Transcripts
1. Introduction : Hi and welcome everyone. My name is Chris Hill and Amar. I'm a decorative
artist living in London originally from Sweden. My classes we've covered
the basics such as the veining and marble
and important background and would do some of the
most difficult techniques in the world of faux marble
wood graining, entropy. I'll be teaching
in the way that I use in my everyday trade. From the quickest way to do 12, to pause with glazing
to an intricate three. Warn that the
mahogany imitation. We will also add some
from ploy moldings and frameworks just to create some
extra depth to our panels. The aim of these costs
such introduce you to the wonderful world
of the creative art, but also political experience
and practice to meet, used in a trade for
hundreds of years, which are still used today. You will discover
new ways of looking at and using decorated art and techniques which
can be applied in both professional
and personal spaces. I cannot wait for
you to experience this course and I can't wait to see what you guys play with
my techniques and my methods. I hope you will
enjoy this course as much as I will
be teaching them.
2. Project : Okay, so that's enough about me. So what are we going to do? We are going to
paint birch wood. It would grinning technique. I'm going to show you
my way of doing it. And hopefully that will give you enough competence of just
going out on your own, starting painting your pattern. You can follow my technique, you can adapt it. Maybe you already know a
little bit of wood graining and you can take a
little bit of my ideas, put it into your own. I don't know, but I think
that you will definitely gain a lot of knowledge and a lot of confidence from watching
what we are gonna do. The birch is quite
straightforward. It's a nice one to get to
know how to wood grain. It doesn't involve a
lot of different tools, a lot of different techniques. It is pretty straight forward. But what I do like
about it is that all the techniques we are
using for this first batch will be techniques that
are going to come back in our oak reining
in the mahogany, in the wall nuts. So this is a brilliant way of starting off our journey
into wood graining. And also how to get
to know all the, the glazes, the materials that the pigments
are, the colors. And the open time will be
how quickly it sets down. Movements on how to move
your brushes, your sponges. All of this, I'm going to
walk through with you. And it will all come clear. Also, we are going to
go through how to, how to set out your panel. In this case, we
create something that could look like
a cabinet door. I've I've done the employee on this panel that will not
be part of this class, but the upcoming one
where I'm going to show you how to add Trump ploy to make it look like a more realistic feature
on your panels as well. But in this first lesson, we're going to just focus on the wood graining
aspect of all of it.
3. Birch - Measure and Basecoat: So the first thing I'm gonna do, I'm just going to burnish
the tape to make sure that a minimal amount of the paint is what we don't
want it to creep. And so we tried to
keep our lines. It's straight and as
neat as possible. So I got my panel here. I've measured it out. I'm quite happy with
all the measurements. I always give it a
couple extra centimeters or half an inch or so, just to make sure I can take a straight
line on each side. And that will give me a nice
frame around this well, so between the tape lines, it's 50 cm times 78 cm, which is a really
nice measurement to work with for this exercise. Now, the first
thing I'm gonna do, I'm just going to
use a credit card or something like this is
a card from a hotel. Just to burnish my tape. Because what that will do, it will just help the
tape to stay a bit sharp. You press it down
onto the canvas. So in this case, I got
a pre prion Canvas. So I don't really
need to prime it, but I do need to give
it a couple of codes of the base coat color that we're going to
use for this birch. Always make sure that you protect the surrounding as well. Because painting stuff like
this tends to be a bit messy, but we're going to try to
keep it as neat as possible. So I got my base coat here. As you can read underneath. It's an NCIS color. But I will also put
down the bedroom and more or equivalent colors. And this is like a satin or
an eggshell when it dries. So I'm just going
to brush this on. And it might need a couple
of codes just to to cover. But I mean, it's
part of the process and lovely thing is
we're actually painting. I wanted this down just
a little bit as well, just to make sure it flows and doesn't lead to any brush marks.
4. Birch - Layout and Measurement: Okay, We've got a couple
of coats on this now. Reached capacity,
which is what we need. Just gonna give this
a light sand with a old I got to know to
40 sandpaper here. Just gonna get rid
of some of them. Race space in the Canvas. Don't need a lot,
just a little bit. And if you've got a dusting
brush, that's good. I probably got a bit
of a cloth hair. So I'm just going to set up what we need now for the measurements
is we need a ruler, a pencil, longer ruler, and a set square. I don't have one. So I got this old
board that I know it's 90 degree angle and
that's pretty much all I need. So first of all, want to make sure that
our panel is lined up in a 90-degree angle and that
corner is really good there. I'm just following my
tape lines that are created when a hanging
hung the canvas. And the bottom one there
is perfect as well. There's a couple of
ways to do this. You can even either you can use your ruler like a
smaller ruler like this. I've done a small template here. I don't know if you can see, but it's just to make sure that I get my
measurements right. So instead of using this, because sometimes
it can be confusing and you can easily
measure it wrong. If you've got a template
with a measurement, it will be super-quick, super easy, almost
impossible to do. Mess it up. All I do now I
use line that up where I know that my first
style is going to be and I follow through. I do that. I'm just doing, I'm just
doing my styles now. This is going to make
it very, very easy. I am right-handed. I hope I don't mess with
the camera angle moment. When doing this, it's quite
good to use a harder lead. Because you don't
want smudge mark in your panel from
from anything lower than HB or the rails. Which is quite easy
to remember styles, it's a bit harder to remember, but rails always goes
this way, like a train. Messed that up. We showed it. Even with a template. Sometimes you just
need to be focused. And now we just quickly going
to add that Trump ploy. Bead as well. These are your guides. So that's going to
help you a lot. I also want to have
that after you've done your measurements
and sketched dole out? Yes. Double shake. We just set square
because it's quite important that it's actually
90 degrees and your panels. So you want to make sure
all of your lines lines up. And it does. Yes.
Perfect. Happy with that.
5. Birch - Heart Grain: Okay, so let's get going. Try with a trait to start
with the exciting part of it. So first of all,
we're just going to tape off the center panel. So by doing that, we'll go with it
with the inner line. And that's what we're going
to line up the tape with. This, will you see a square? Pretty much. Colors we're going to use now
is raw, umber, raw sienna. A little bit of
ultramarine blue, and a little bit of burnt umber. And we're going to mix
these ones with a glaze. An acrylic lays. This one is from the HBR
system here in England. You can use the one from Golden. I'm sure modern masters got
something in Cleveland, but just an open time glaze that will give you enough
time to work this, it will extend the drying
time of your acrylics. If you want to, you can use oil. That's up to you. I'm not using any oil, so I'm not going to talk about any recipes for mixing up
oil and be all experimental. That's not me. I'm just
going straight up. Water-based products. Safer environment, safe for me, safe for my family. To wise for this, I'm going to use an
application brush. I call this glazing brush. You can call it a sash brush. Because that's usually what
the painters herring in England are using
these pointed ones for is sachets of the windows. I think it works brilliantly
for adding my glaze. So I'm going to keep this
for the badger brush, which is really subroutine, call it a softening
brush as well. This is pure badger hair. Appointed. Artists brush as Bolter just to smooth out the place and give
it an even surface. Two is a sponge. This is just one of them
called washing sponges that you can find in Europe. Looks like, like this
when it's dry and you just cut this
into smaller pieces. And you can see
all the openings. And that is what's
going to create the grain in this birch wood. You can use the smaller side when it gets into smaller areas, but you can use the biggest
side to use create your, your basic greening
techniques for that. Okay, so let's get going. First of all, I'm
just going to mix up getting rid of
that little hair. I'm just going to mix
up on my palette. There are color with the
open time place I got. And I'm just going to use
raw umber and raw sienna. And just by creating that
first initial glaze, you can already
see that the tone of the color is already
getting more and more towards. Would. One of the secrets of doing wood graining is that you always want to first
glaze to feel right? And you want it to
resemble a bit of, of wood already in the start. And sometimes more color. It's going to, you're going
to benefit because you'd get a bit more time to work it. So one thing you want to
think about is to not be too mean with the paint
and would you call it, you wouldn't get enough
glaze on there as well. Because it will help
you to stay open a bit longer if you've got more
materials to work with. So in the beginning of
starting to create my panel, I already know in my
head that I'm going to have a heart graining
in the center here. And I'm going to
have some side grain coming down on site. So what I do is I'm
trying to create my heart a little bit darker. I'm just going to add a bit of the burnt umber to
my mixture here. I'm just going to create
something that looks almost like the shape of the
Eiffel Tower in Paris. Because that is a nice, nice shape to work with. I'm just going to give it a bit more dark up here as well. And to create a little
bit more variation, I'm adding a bit of the ultramarine blue
to my site grains that will just make
it a bit cooler. Be careful with that because
it's quite powerful. I do like it when it, when you can actually
see what's going on. Doesn't have to be perfect. But you do want
something going on. So now we can already see
I establish the center. It's gonna be here almost
like an hourglass. You got to streaks of
the ultramarine blue. And now I'm just smoothing
it a bit to your skin. Get it a bit more
even like this. I can also use my badger because you do want some variations, but you want to get rid of
some of the brush marks. We don't want it
to be too heavy. And now starting with a sponge. So what I don't want to
do is to start with it like this and go up and
create almost like a rainbow. No wood is growing like that. And it will look very unnatural. Or even do the oyster effect, which is, yeah, you would
never see that in real life. So what I'll do, I'll start with my sponge perpendicular
like this. And I create a, a half bow. Or you can create a little bit
of extra movement as well. But what you always
want to do is to make sure you go
through the tape. So I'm going to start with
a bit of a bigger one here, just to give you
the feeling of it. So come up and go down after
establish that first move. Now you know, the rest
is going to be if you do the same thing and you come up underneath and you
follow that first shape. Should be, alright. That to me looks
like a lovely start. What we'll do now, we're
just going to continue. We'll start in the same section. And we're going to end in the same section
because we don't want this to grow in a
bigger purchase, a quite narrow tree. Keep that in mind as well. So we go up here and come down. And we're going to start up here now because I don't want
it to grow any further. And we'll do it again. And all of them makes sense. You can see it lifts off here. But what I'll do, I'll just
come back in with my sponge. And almost like
an airplane move. I'm just going to pull
up through you do that. And you can go through
it as many times as it take to make sure that you're
happy with your image. I think I'm just
going to add just a little bit more
up the top there. It's lovely. What I'll
do now I wanted to meet 12 peaks to meet. But up here I use
a very, very fine, something almost like that. Now I'm going to start with my straight grading on the side. Here. You see how I'm
working my sponge? Because what do you want? On the side grainy. It always goes straight to the further out from the
heart you're coming. So you've got a bit of movement where it
follows the heart. But the further out you get, the straight to your
graining is gonna be. But always allowed yourself to add a little bit of movement. You've seen trees,
they grow like this. No tree is perfectly straight. So you definitely want to allow yourself to have a little
bit of a movement to go on almost like that. That this a bit. Yeah, I'm quite happy with that. I feel like that's quite
a nice piece of birch. And also don't be scared of all of this
because you can use to take the clean side of the sponge and you can use
easily clean that off. I know what you're saying. Yeah, that's going to create
a whole offline where to take it then you just do
that and just clean it. And now with the birch wood, we always badger it
from the center, going towards the top
or out from the panel. So I'm going to start
down here now and gently Badger it from the base. Going up, going out
to the side to side, to the side all the time. And the same thing
on the other side. Going up, going out. And from the top, doing the
same thing, going this way. And that way. That looks very
lovely, very natural. And then you can
always come back and just finesse it a bit. Make sure that you're happy
with all the movements. But the lovely thing
is would sponge, which you can see is all of
these grains start from top, goes all the way
down to the bottom. They start here, goes
down, start here. You can follow it
all the way up. They don't disappear. So we start there. And that looks lovely.
Also now in this step, as it starts to set, what we could do is we can just add a little bit of color. Would an artist brush? If your glaze fields
to tack in sticky, just add a little bit of
water to your brush as well. Don't add too much, you
don't want it to run. But just little bit to make sure it comes up
the brush a bit easier. Just going to add little bit
of burnt umber and row on the list to make
sure that some of these ones are you
stopping in midair. So I just want to make
sure we can follow them. And also what we're
doing, we're calling it. So because we're painting it, we're allowing yourself a
little bit of artistic freedom. What is lovely as well
is to add some notes. Would work is tends to shoot the pieces
without any nodes. But as a decorated artist, or you think that they add to, the reality just makes
it look a bit more real. And where I tend to put
them is where you've got something going on when you
got something moving about, where it doesn't look
completely straight. Where you've got a
little bit of a wiggle, a little bit of something. You can always just put it in. A couple of small ones. Can do one in here. It's quite nice to
just have a little bit of something going on. Don't want to create too many. This newest make enough to
make sure if this is dy. Of course, we want a badger, what we've just
done to make sure it blends in the panel because you don't want it to
feel like it's free-flowing. And even with these, not just give them
a little bit of a, something doesn't
have to be much, but just used to blend
them into the panel. And also I'm using the
back of my badger. I mean, you can use the back of your artists brush
or any brush really. But what I'm doing,
I'm just putting it in the actual node. That is to create
a better light. Cleaning it a little
bit as well because you don't want it just makes it just makes those
notes sing a little bit. They don't look just
one-dimensional. I mean, I know it looks quite
easy and straightforward, but this takes a
lot of practice. So don't be afraid
of making mistakes. I've done so many mistakes
throughout the years. And what I keep doing is just practice,
practice and practice. Because I'm loving it. I do love. And every time you do something, you find some new technique
that you want to add an attack and don't be
afraid of any of it. I liked variation here as well. Within what's
happening between the heart's got a bit of
something going on. I would pretty much
call this step done. If you want to, you can let this dry and you can
come back here and add a bit more of this
hand painted green. But for me, I want to
keep this panel quite. I wouldn't say simple, but I want to keep it as
a good exercise panel where you actually keeping most of it with the with the sponge. This is a movement
that we will use in all the wood grain
in we're doing. So, keep practicing
this pattern. Pattern because it will
pay out, I promise here. Also what we wanna do now
is just quickly remove the tape because there's
always some kind of bleed. I can't I can't remove the
tape because females but yeah, there's always a
little bit of grief, especially on Canvas. Did I say creep? I meant bleeds. Especially on Canvas like
this because it's fibers. But don't worry too much. If you've got a steady hand, you can use use your hand
like this. Clean it up. Another method to do is to seal the tape before
you start placing. So I would use probably a magnesium just to paint
the edge of the tape. I know some people are using
the frog tape in America, which works as well. Don't overdo it. I mean, just keep it
simple because we all gonna do some triploid which will be hand painted all. And it will the sky some
of the bleeds as well. But start with this. I promise you can
have a great time.
6. Birch - Straight Grain: Okay, So I've let this dry now. I'll let it dry overnight. But what you can do,
you can hair dry it. But I just wanted to make
sure it was drying, cured. So now we're going to take
off the styles and rails. We're going to start by
doing this, the rails. And to keep all the edges clean. I'm gonna hair dry
in between before we tape up and start
doing the styles. So let's just get going. And as you can see now, I'm incorporate the
trunk blow molding here. So what will happen
is that I will do a 45-degree angle tape
line here and here. And I would do the same
thing on the bottom. Because when we then
paint it from ploy, we wanted to employ to follow
the shape of the word. So now the only difference
is that what we're gonna do, we're gonna do straight
green up here and down here. And that will go for the sides
as well because we want to keep the panel simple. We want it to look
like real, real-world. We want to send a panel to
be the most decorative piece like it would be if a
cabinet maker made it. So important thing is not to keep it completely straight because then it's
not going to look natural. Give it a little bit of
movement for the sponge. And it's just going
to fall in place. But same colors that we
used for the center panel, same place, and same tools. So let just crack going. So what I'll do now, I'll just mix up the
same color with the raw, umber, raw sienna on my palette. And start adding it. And make sure I go through to take there and, and bottom. And don't be mean with this. We want again, we want a fair
amount of product on there. And again, we can add a little
bit of a different color. And already now you can start shaping it a little
bit if you want to. Like, I feel like maybe this one will go on
a slight angle like that. Better blue little bit
of a burnt sienna, I'm sorry, burnt umber up here. Give it a little bit of heat. We're going to use
my spoke to you. Stretch it. Does the
same thing down here. And I can see that, yeah, I need to add a little
bit more color. It's going to give the base
a bit of a darker line. Give it a bit more
ultramarine blue. There's nothing that
says that you can't do a little bit of a hard graining
on your styles and rails. But in this case now
we are going to keep this as a bit of a
beginner's panel. A panel, a course that
you can always come back to an N and get inspired. How to do nice layout and
the principle of greening. Let's give that a
little bit of a blend. The same thing here. Take the Spanish, which is damp. And you're going to start
doing a little bit of a you can see how I do it on a slight angle is disappeared out from the panel. Turned my sponge around. And now I'm just going to
follow my first stroke here. And just wiggle it, make it a little bit
straighter down here. A couple of brush day, fine. Doesn't matter. Can just come back in and add a little bit
of movement there. Now I'll do the same
thing down here. You see you can just come
down and then come back up. And just in your head visualize you might
have enough here. Something that goes on. And it just adds interests to your panel, whatever you do, just give it a little
bit of movement because there's nothing
wrong with that. And then you try to straighten, straighten it up a
little bit as you go. This is quite lovely. What
you see here is tape line. That's why it looks a
bit darker up there. And again, now we need to visualize like the
heart might be in here. So badgering away. Just to soften
those lines a bit. And what that does, it just gives you some of them. Those cross pause as
well, which looks lovely. It's almost like a print
that goes against the grain. But visually, when you're up
close to what you're doing, it just looks fantastic. And it helps, helps the
image that we're painting. What I'm gonna do again, just because it looks
a little bit claim. I'm just going to
add a little bit of pure raw umber with the
pointed artists brush. And I'm just going to
create a little bit of a notch right there in the little
bit down here as well. And they might look very
strong at the moment. But when we obey glaze this, it will be pushed back a bit. And it's all going to look
very natural and lovely. So this is just one of those
things that you will have to play about with and
just enjoy as you going. And you can always add
more knots as well. I'm trying not to to
create too many of them. And sometimes they
can be lighter. They don't always have
to be super strong. But always make sure
that you do a little bit of that just to give it a little bit of light
in the background. That's your rails at the moment. I'm gonna, I'm
gonna hair dry them and make sure that we get this task done at the same time. Now, then again, I don't think I told
you this before, but all different pieces of
wood will look different. They're going to be
lighter, darker. It's variation and
it's naturally would, so it will just add
to it to look real. So don't be scared of it. We can always come back in
and just add a little bit of a dark is pre-K if we
feel that it needs it. Personally. I don't think it
needs it because the overlays is going to help. We're getting to that later. But now what we do, we're going to do the
styles, both styles. So we'll tape off whatever
has been painted before. And we just kept going. Again. Same colors. We'll just keep it to
the same thing that we've done before
and just keep it translucent because you
don't want it too old to be strong. If
that makes sense. Like I said before,
if you don't like it, wipe it off, add
more color, redo it. You got plenty of time
with these places. Again. We can use smooth
that up and down. Up and we can use
the Badger is to soften it a bit tedious. Get rid of some of them. The brush marks, get rid of some of the
bristles in there as well. And again, with a sponge, always make sure that
you rinse it because it will gather paint and it's quite nice to keep
it as clean as possible. Now, I'm just going to
follow the shape of that that streak I got here. So start don't start
on the tape line. I start outside of my panel. And I'm using the
edge of my my sponge. And earliest follow
free like that. You see a lovely
that is the warm, the cooler gray to the side. And because I didn't go all the way to the
edge of my panel. I have to come back in
here and just create a final little streak
and pull up down. And that's going
to look absolutely fantastic. I'm so excited. And then we do the same
thing on the other side. This side I'm going to make
a little bit more of a bot. I'm not gonna go as straight. And I can make a little
bit of a wiggle. So by doing that small
wiggle down here, I can add a note here. Because the word is
always growing outwards. If you got your green coming here and you're in your mind, when I create a knot here, you can't create that
movement on both sides. Because with doesn't grow like
that, would grows outward. So what would, what should
happen is if you create a North hair and they
would grows out, you're going to have a
straight grain hair. Then when when that not paid. All of a sudden, they
would thus this. And then gently tries
to straighten up again. That is wrong. This is right. So
always keep that in mind that it goes straight. It hits an OT and all of a sudden you start
to grow around it. Very important thing,
I see a lot of this technique and it
doesn't please die. It doesn't look real. It looks painted right away. So stay away of that. Okay. So on this side, I would say that the
blue part or the grayer than the cooler part that will be closer
to the heart. It's going to badge you this. From the left coming in. Badger, badger. Lift badger. Don't press down too hard on it because I want to keep
this lovely green. And on the other
side, I'm going to do the same thing because I did
a bot that kind of goes in. What that would mean that my heart would
be here somewhere. So I'm just going to drag it
from the right to the left. And then I gently
go with the panel. Let's just create
a couple of knots. And now again, not too many. We just want this to
be a bit decorative. Don't need to leave that round. You can always read up and down a little
bit just to make it look like it's just a small
speck in the world as well. Everything doesn't have to be about Nazi could
be small specks, old bark or something that
just happened to end up. In the piece that we're doing. Again with the back of your brush is create
little bit of a light. I think this looks
absolutely fantastic myself. And again, if we feel like some of this doesn't
go all the way up to date. You can just add a couple
of small streaks here. Because what happens
with the sponges? Usually it removes a bit
more in the beginning. And as it becomes saturated, it will leave more
grain to the bottom. It's all about practice, getting to know your
sponge, your tools. But I am super happy with what we created
in this first step now. And I'm just going
to remove the tape, clean up my edges. And then we're on to
the next one which will be dealt with lace.
Crucial step. But I'm sure you're
going to love it. Wants you to look at
this as well now, because you can already, because of our lines here, you can already start
to feel the panel. You can feel like it's actually, it's not just the
painted piece of veneer. It's actually thought out
your plan and your employee, and it's already starting
to come to life now. So yeah, I'm thrilled.
7. Birch - Overglaze the Heart Grain: So we're getting ready
for the overlays now. The overlays is part of just
pushing this back a bit, bringing out the grain and make it all look a bit more
alive at the moment, it looks a bit one-dimensional. So what the glaze we'll do is just give it a bit more life. And also we are going
to add a couple of flames around the
knots that we created. So we're going to keep the same palette as we had
before with a raw sienna. And Rwanda is going to
be our main colors. And then add a little
bit of ultramarine blue and a little bit of burnt
umber in places as well. And two y's. Now, it's important. A cloth should be
dry. This falter. This is, I think that
it's an 80 Bolter, which is a good size for
small panel like this. Okay. Two different pitches. A big one per application,
a smaller one. You have to still allow small imperfections and tastes
that we are going to do. The application brush
that we used before and badger brush a lot, just going to tape off
the center panel work. The center panel is one. And then we'll do the
styles and rails. And we were not going to
tape off each and every one. This time we're going to do the styles and rails
at the same time because it will just show you
how we can make it quick. If you want to, you can tape it off and do them one by one. I'm going to show you a bit
of a quick way of doing it. So again, just adding
a lot of glaze onto my palette because
I wanted to make sure I've got enough to
do the center panel, mix it up with a
bit of something. They mixed it up with a
raw sienna and Rwanda. And then we're just
going to try it on the panel is to
make sure it reads. Don't be scared of this
wood color and glaze. Just to add a bit more, we will give you
enough opened time. What we're aiming for here
is a really nice wood color. We can add just a little bit
of the burnt umber as well, because that would just
warm up the panel. So more grace again. This quite nice to add a little bit more
color in the center. I'm saying as well. Because it will just
help your panel to get that extra dimension that we're looking for as well. It's going to pick up a bit
of the ultramarine blue here. And as I said before, make sure that entire
panel is placed up all the way up to the tape
because you don't want any small spots that
you haven't placed. I'm just going to take my Bolter and it's going to
smooth this side to side and up. And now I'm going to put
the application brush away. And I'm just going
to use the phage. They don't glaze. And
I'm just going to make a couple of marks that all
gonna be a little bit darker. Just around my notes. Doesn't have to be perfect. It doesn't have to have
the exact same color, but it's just know so we can just add some
color, color down here. So the thing to think of with more arrays is that they always tend to go
towards the heart. I'm just adding some
streaks at the moment. Goes towards the heart and around all my small knots
that I got everywhere here. And now with the badger
can use create small, almost like butterfly looking
things around my notes. Gathering delays like this, holding onto the bristles to make sure I shape
it the way I want it. We're going to come
back into them as well. But now we actually got a
really nice pattern already. So I'm not going to
smooth that more now. I'm going to use my club. So what I'll do with this now, I'm just going to fold
it and then roll it up. And I wanted to have
a quite messy role. I don't want it to look perfect. What I'll do with this now, I'm just going to start.
On the left side. You can see I already established that goes
towards my heart. So I'm just going to
start here by just rolling this like that. Can start a bit further up. Up here. It will come this way. We'll do the same thing
on the other side. And that will create a
quite unusual mark compared to what you would get if
you only use a brush. But I will show you how to
do with the brush as well. Some of these needs
to be finessed a bit. And I would suggest
that you actually wear gloves because this
is a little bit messy. So by using the brush, you can actually come all the
way to your site as well. So I'm just holding it like this with my fingertips
up on the bristle. This is still dry. I don't want to add
water to my panel. So what I'm doing, amused, gently, push, drag a
little bit, release. What I'm doing. This. This just allows me to shave my legs a
little bit on the edge. So if you got a real panel that you're doing when you actually
go to molding here, it's gonna be really hard
to get in with a cloth. So then the brushes, the best way to actually
allow it to come as close as possible to your corner like that. And then again, I'm
just going to shape my, my small butterflies little bit. And I'm going to use this
now because this is little bit sharper than the Badger. And it will just allow me
to shape it a bit closer. It is a good, good way of
thinking of these are, that they actually are
butterflies because then that will keep you from from
creating a weird shape. So we are actually
creating almost like butterflies,
like the wings. They don't need to look
the same. All of them. It's quite nice to have
coupler little bit broken up. Again. Open up a
little bit of light. I'm just sweeping my brush. Picking up a pod. Sweet thing. That's quite nice there. And if we feel like it's
starting to dry on, you, just get your your, your Bolter a little bit damp, wring it out in the, in the in the in
the Cloud for in the rag and come back in because it will continue to
open up the glaze as well. You don't always want these
fonts to be too strong. We want a bit softer, so I'm just going to go over
it and it's a little bit, again with the back of
this brush you can use to open up a bit of
light in your life. In the little nut,
little bit of water. Let that sit for a bit. And when you feel like you
are happy with the mores, as we call them, open flames. Come back in with
your badger brush. Always keep that dry
Netherland and wet. And then badger,
it's side-to-side. Like this. Also do your small butterflies. If you've got
something that I'm not 100% happy with that, you can smooth it a bit more. Or you can add a
little bit of color, take a little bit more
out of the image, change it about, play around, is to have a good time with this because it's not as
easy as it looks. And it's a very nice technique to know how to master this. Because it's so effective
and it will definitely give, give you the wow
factor of you would. Because all of a sudden you bring something that looks a bit plain and dull into
something that looks real. And by putting up a varnish on this as
well, or a lacquer. That will just bring
it to life and make it look
absolutely stunning. Always want to spend
a bit more time on your central panel. Then on the other
stuff around it. There's nothing wrong with
doing something that looks a bit and unusual as well. Not everything needs
to look the same. So I'm just going
to add a little bit more color up there. To change it up a bit. There's something a little
bit more different. But the thing is that would, would it does have tons
of stuff that goes on. Wood, doesn't know
what he wants. It just becomes it grows in a certain way and sometimes
anything can happen. It needs to grow
around something, it grows into something. And also if you want to, you can just add a
couple of fibers. You just pure raw umber. You can just flick this like hot dry Lancome with this. I don't want super
dark and big spots. I want them really
fine and crisp. So the drying, the
brush, the bedroom. And after doing that, you just use your Badger
and go with the grain up. And that is the overlays
and put the center panel.
8. Birch - Overglaze Stiles and Rails: Okay. So I quickly as hairdryer
the center panel now it's dry enough for us
to over glaze decides. So what I'll do, I'll just tape off the center
panel to make sure that we don't get any glaze on top
of that just to protect it. And we're gonna make distalless and rails in a little bit of an easier, quicker technique. We're not gonna do all
of that rag rolling. We might do a little
bit on the side here or down at the bottom, but, well, we'll
see how it goes. So let's just start
by protecting it. Now to get my corners sharp, I'm just going to use
a five in one tool. You can also use a
knife or something, just make sure you don't
cut into the canvas. I'm just going to start
by putting my tape up here. And here. And what I'll do is keep
that on a slight angle. Make sure it hits the
corner where I want to cut it, and then snap. The same thing on the other side that you can quickly see how quick can affect it. That was just to get you
sharp corners on each side. Now off to the glazing again. So we'll keep it to the same
system as we used before. Same brushes will
keep the cloth. But now we are going to try to get this little bit quicker. I'm going to load
up a lot ablaze. And I'm just going to start by placing up the
entire section now. Because even though like then the rails are a
little bit lighter, it's just going to add to
make it look a bit more real. And you can use to
add a little bit of extra color to make
sure that you actually, you even it out a bit
like we did before. Little bit of the blue. Just make sure you mix
the blue together with other colors because you
don't want it to look blue. You just want it to
feel a bit cooler. In areas. You can just gently pour mural
kind of way now, all of that is already
looking quite good. I like the feel of this panel. You just quickly
do the same thing, is going to stretch it. The reason we're
stretching it is that we're evening out
the glaze a bit. So it doesn't sit as
brushy and uneven. Going to add a little
bit more down here. Again, what we did in the last section when we
did it, the center panel, just going to add a
little bit more color around these knots. And some of them can be bigger, some of them can be smaller. Cooler, warmer. And I always tend to add a little bit more drama to some of these kind
of open spaces here. Because it's quite, it's quite nice just to do
something like that. I think I'm quite
happy with the colors. It's going to use
the magic quickly. Your smooth side to side. Let's just do this. This gatherer, a little
bit of that place. If you feel like
you're glazes to, if it's a bit too stiff
or sturdy and your bad, your brush doesn't move about as much you can use
the, this boulder. What I'll do now here, I'm just going to create
little bit of Morris. My side here. Drag, push it down, release. I'm going to back
it up quite a bit. It doesn't look as stock
because like I said earlier, I want my center panel
to do most of the talk. I just want this to be
quite subtle around it. But just make sure you
don't overlap into that. Rail is keep it
like you're cutting in your stance a little bit. You can see here how
I'm actually gathering bit more place for
that knocked up there. You see how big and
beautiful that is. We'll do the same thing here. Sometimes it's actually
harder to make a subtle would effect than to make one of those that looks a
bit more advanced. Because we, they advance once
you've got more playroom, you can actually
add more effects. And you can, you can overlay, sit in a couple of more layers. I'm trying to make
this one just as a quite subtle two-step method. But for an intricate 0 gets free steps and a
quick oak is two steps. Mahogany always three steps. Walnut always three steps. If you do February might be
four or five steps sometimes. But when you are
trying to keep this quite quick, not simple, I wouldn't call this simple, but this will give you most
of the techniques that you need to learn to be able to, to make all of
these other words. So as you can see now, I'm use badgering
it side to side. And then with the grain again, just to make sure that some of these worries don't
want them to sit too harsh on this one. I feel like that is a bit much. So I'm just going to
stipulate, get rid of some. Remove my head. It's quite hard to gauge your color weight as well
when you've got the tape on. So sometimes when
I'm halfway through, I might remove my
tape just to make sure it looks level
and looks alright. In this case, we're going to do a lovely
trunk ploy molding, which will break it
up a bit as well. So that's going to help. What I'll do here now, I'm just going to open up a
little bit of light in there. What I do, push down and then make a little bit
like a half moon in there. And then use graduates again. Because it's very rare to see brush marks in inward,
in real-world. Years tried to get rid of them. You want the effect, but
you don't want it to look. Painted. Now I'm just going to
quickly remove the tape to make sure that I'm happy
with my color weights. And I would say that
looks pretty good. I might just come back in
here and just remove a bit more because that part
was bit darker earlier. And don't be afraid of just adding a little
bit extra color to patch. Like I said before. Play around with this. Have fun. If it doesn't go right the first time you learn something, second time, it will fall
into place eventually. So don't be afraid. I've done so many mistakes
throughout my my career. And I've learned
something every time. What we'll do, we'll
just add a little bit of that spattering talked
about earlier as well. So what you can do if it
doesn't come off your brush it, then easily just add a
little bit of water. Little bit because like I
said, I want to keep it dry. A little bit of spattering
goes a long way. Especially in these
areas where where the grain kind of disappeared a little bit on us.
And that's okay. That's okay. It's just paint. It can all be repainted. We can always add
to whatever we do. But the lovely thing
is that you can really feel your Rails. Got your styles, got
to center panel. It's all been split up. You can easily see it. So when it gets to
the trunk port, it's going to be quite
easy to do from here on.
9. Birch - Varnish and Reveal our Work: For the final step of
this panel now, it's dry. It said everything is
where I want it to be. I'm super happy. So now I'm just going to put a
water-based lacquer on this or water-based
varnish if you want us to protect
what we've done. And also what will
happen is it's going to bring the colors to life a little bit because
as it dies back, especially when using
fluid acrylics, they tend to go back a bit mad. Kills the pigment sometimes. So by putting a varnish or a lacquer on top
of it will bring back that, illustrate
the colors. So I'm just going to apply
a varnish or a lacquer. Lacquer from the HVAC
system here in England. And I'm going
straight out of the ten now because I want
it to be a bit fat. I want a lot of products. Don't want it to run. You can also roller tip this, which means that you apply
it with a roller and then with with a sport. You just even out the role
amongst the brush like this. But in this case I don't
have to do it because I'm just brushing my panel. It's quite a small surface, so I'm not too bothered. But if I had a big door or bigger role than definitely
bring out the roller, save you a lot of time. Let me just crossing
over it as well to make sure that my entire
panel is coated. Then I'm just going to use
this travel period again. This even though the lacquer a couple of codes just to
make sure that you're happy. Removal the
imperfections if you've got a dry spot somewhere, well, give it another coat. Just continue until
you're happy with it. But usually for me to, your free code should do it. So I'm going to leave my panel there now and I'll show
you when it's dry. So first coat is dry and
I is preferred to give it a light sand or a polish
with 1,000 pad in-between. My coach. Just to make sure
if you got any any religious or anything that stands out a little
bit on your panel? Yeah. Get rid of that. And then of course, yes. Dusted off with a dusting brush if you've got one or
damp cloth or something. I got them club hair but I can just run over it to
remove some of that. And then we just coded up again. I have a tendency to always leave it up in
the same direction. So even though it looks like
I'm rushing it up and down, I'm just pushing it up and
then finish it on my way down. And that's also to prevent runs coming from the
top of the tape line. So I'm trying to keep that
as as tight as possible. So now we're just
going to let that dry, remove the tape and
see what we got. Okay. Most exciting part
to reveal the work. So let's just start
peeling away. And as you can see,
just by revealing tape, tape to tape off,
remove the protection. All of a sudden
just comes to life. And I'm super pleased with that. And I think that you
guys are going to have a great time
trying to adapt, trying to test my techniques, bring your own techniques into. Just enjoy this. Have a great time playing around with the hard
play around with the, with the side graining. You don't have to
make as many nuts. All the possibilities
are endless. And I'm sure that
whatever you do, you are going to have a fantastic time playing
around with these techniques.
10. Conclusion: For all of you, first-time
wood grain is employed you who are a bit more advanced
into the decorative arts. I really want you to focus
on the techniques this time. Techniques and
don't get too stuck into the column mixing because the colors
will always change. Doesn't matter if you're on, if you're doing OK, running a museum, OK
here and name and might be a bit too rare
compared to a dark OK. And France don't get too
upset about the colors. Just try to enjoy them the
time you're having with it, and just make sure you make a little bit of different foods. But if you can focus on the techniques and the
tools we're using, I'm sure you'll be
off to a great start. And thank you so much for taking my first ever online class. I really hope that you've
learned as much as I learned from doing this. And please don't be shy. Offload as much pictures, progress pictures as you can
into the project gallery. I'll review as much as I can and I'm definitely
going to come back to you, give you some tips and
tricks along the way to make sure that you
improve as much as possible. And I'm super excited and I hope that you guys
are going to follow me along this road for
me to teach you how to do the wood graining
or the trunk ploy. And definitely getting
into the world of marbles, which is my favorite subject. Thank you so much.
Kristoffer Gyllenhammar, Decorative artist
