This is an excerpt from the Book called “The Paint Effects Bible 100 recipes for faux finishes “ by Kerry Skinner. Continue reading to learn more about Basic Materials and Equipment, thanks to the author.
Few mediums are more versatile than paint, but to take full advantage, of it you need the correct tools and equipment, and some idea of how to use them. Don’t splash out needlessly on tools—it is better to work with a few familiar ones than to assemble a large, costly collection that never gets used. Only gets used. Only a small number of specialist items are required to produce the paint effects that follow, and most of the materials are widely available in DIY stores or artist’s supply shops.
Paint is made up of three main ingredients: pigment, binder, and a medium. The pigment provides color and covering power; the binder causes adhesion to the surface; and the medium allows the application;
Today’s paint is either water-or oil-based. Water-based products are preferable in many ways as they are non-toxic, odorless, and environmentally safe (although they must be disposed of in accordance with local waste regulations). Oil paints, also known as alkyd paints, dry more slowly—a boon for beginners—and give a more durable finish.
A glaze is the transparent layer of color used over a base coat. The general rule is: use an oil glaze over a latex base coat.
Color strainer (or tinder) is a concentrated coloring agent. If you wish to use it for hand painting, it must be mixed with a medium that has commonly encountered types of paint.
The list that follows describes some of the most commonly encountered types of paint. Remember that properties vary widely between makes. For best results always follow the manufacturer’s instructions.
Acrylic primer is water based and used for sealing and covering wood and fiberboard surfaces.
Oil-based undercoat is an undercoat and primer combined, used before applying the base coat, especially on wood.
Latex paint is water based and available in matte (flat) and satin (mid-sheen) finishes.
Stencil paint is a water-based pain that generally flows better than latex paints, and is available in metallic and glitter colors. It can also be used as a strainer.
Wood paint is a matte, opaque paint specially formulated for wood. It is self-priming, has a high chalk and pigment content, and can also be diluted with water to create a wash for bare wood.
Casein (or milk) paint is a water-soluble paint with a soft finish similar to lime wash that gives a “dusty “appearance. Excellent for use on furniture and walls, it needs an additional coat if used in an exposed area. See right for recipe to make your own.
Oil-based paint comes in gloss, satin (mid-sheen), and eggshell (semi-matte) finishes. Gloss is used as a finishing coat on woodwork. Satin and eggshell are used on woodwork and can be used on walls wherever general wear and tear is likely. They are all wipe able.
Acrylic eggshell paint is a more user-friendly version of oil-based eggshell, with substantially less odor.
Metallic paints are widely available in tubes, pots, and spray cans. New acrylic products are also available offering a range of iridescent, opalescent, and interference colors. These offer unusual shimmering effects that are quite transparent.
Color wash is a specially formulated, water-based, translucent, colored glaze containing glycol retardants. See right for recipe to make your own.
Matte latex glaze is a water-based product used to thin color and to act as a protective top-coat sealant.
Acrylic glaze is non-yellowing, and water- and heat-resistant. It is tinted with acrylic colors for decorative glaze work. Water-based, it gives a short working time, about 15 to 30 minutes.
Transparent oil glaze is used for oil-based paint-effect glazing. It gives more working time but tends to yellow with age. Dilute with mineral spirits.
Artist’s oil paints are used for tinting oil glazes for broke. Color work and oil-based marbling effects. You could use universal tinkers as an environmentally friendly alternative to artist’s oil paints.
Universal stainer or universal tinter can be added to any paint or varnish. The strength of color obtained will depend upon the medium being tinted and the amount of white within that medium. As a general rule, add the tinter a drop or two at a time, monitoring the results as you work.
Exterior house paint comes in smooth or rough finishes and can be used for some plaster or stone effects.
Textured wall finish is available commercially and comes in powder form. It is a mix of quartz, clays, and cellulose. It can be added to matte latex paint by the spoonful. See left for recipe to make your own.
Alternative plasters such as stucco or marmorino plaster are available for those with more specialist knowledge and an understanding of their application. The finish is harder and can be polished to give a smooth, soft gleam.
Natural clay plasters can be mixed with water into a workable consistency and will adhere to most surfaces if prepared properly. They are best used over a breathable surface.
Metal leaf is available in gold, silver, copper, and a range of metal alloys or Dutch leaf (imitation gold or silver). Most metal leaf is available either loose r in transfer leaf form.
Transfer leaf is used for oil-gilding. Whilst easy to handle and cut owing to a waxed tissue backing paper, it may not retain the luster of loose leaf.
Loose leaf was traditionally used for water-gilding as it can be burnished to a high sheen. It is slightly larger than transfer leaf, but it can be trickier to apply.
Bronze and metallic powders are made from metal alloys. Flakes of mica or celluloid can be used to create sparkle or luster colors such as opalescent paint.
Rabbit-skin (gilding) size is a specialist, water-based glue with a milky consistency. It is used in gilding and is available in powder, granular, or sheet from. See right for recipe to prepare.
Gesso is used to create a smooth surface to take thin gold leaf. Traditionally it is made from a mix of rabbit-skin size and whiting. It can also be bought ready mixed. See right for recipe to make your own.
Acrylic primer offers a smooth surface as gesso substitute it is built up carefully and sanded regularly.
Bole is painted over gesso to add a sealing layer before size is applied to take metal leaf. It enriches the color and makes a pliable cushion to assist the burnishing process. Bole can be bought as a paste suspended in water. A variety of colors are available for use with colored metal leaf. It is mixed with rabbit-skin size before use. See right for recipe to prepare, but always check the manufacturer’s instructions as some brands may differ.
Crackle medium is one way of creating the effect of cracked, aged paint. Paint the base coat, followed by a coat of crackle medium. When dry, paint on a coat of the top color (the heavier this coat is, the bigger the cracks will be). Cracking will occur due to a chemical reaction between the crackle medium and the top coat of paint. This can be used as an alternative to making your own crackle-effect paint system.
Craquelure varnish is a two-part paint pack consisting of a slow-drying base coat and a brittle, quick-drying top coat. It produces an antiqued effect over painted surfaces. Rub artist’s oil paint or colored wax into the cracks for extra emphasis.
Whiting is a white chalk powder used in gilding and as filler for pigment.
Thinners are used to adjust the consistency and workability of your paint. Solvents are used primarily to clean and remove paint. Some thinner may also be solvents, and vice versa. Adhesives are used both for gluing and, in diluted form, for “sizing: or sealing porous surfaces.
For water-based and acrylic products: use water for thinning and cleaning while wet. Check manufacturer’s instructions for cleaning or removing when dry.
For oil-based products: use mineral spirits, linseed oil, or pure turpentine for thinning; use mineral spirits or specialist brush cleaner for cleaning; use paint stripper for removing paint from surfaces.
For shellac, knotting solution, and enamel varnishes: use methylated spirits to thin and clean.
Ready-mixed drywall sealer such as Shieldz by zinnser is used in many paint effects—both as an adhesive and as a preparatory sealing coat for porous surfaces. It can also be mixed with powders to act as a binder or with paint or plasters to improve adhesion on surfaces. Alternatively, any liquid white glue (PVA, latex glue) that turns transparent when dry will serve the same purpose.
Spray adhesive, available from art-supply stores, is an alternative (and less messy) means of sticking paper and other lightweight items to a surface.
Certain paint finishes need to be protected from exposure to water or steam, to the elements, or simply from general wear and tear.
Furniture waxes come in an easily applicable form and in varying colors. If ready-colored waxes are not available, they can be tinted with stainer or tinter. They are applied with a soft cloth and buffed up with 0000 grade steel wool. Old wax must be removed before starting work on a new surface, as it creates a barrier that will not take paint.
Clear wax protects with a soft sheen.
Antiquing wax is used to create a warm, antique look.
Liming wax imitates bleached wood by leaving a film of white in the grain and so works best on open-grained woods.
Gilding wax is used for highlighting moldings and edges.
Beeswax is a traditional wax used to protect wood from drying out. It is available in liquid form (applied with a brush) and in paste form (applied with a lint-free cloth). The paste is a suitable alternative, although it is more difficult to use.
Oil-based varnish is more robust than its water-based equivalent, but many types go yellow in sunlight or are naturally tinted. Always test a sample piece before use as they can change the coloration of a finish noticeably. Polyurethane is the most popular, but it is quite yellow and can be brittle.
Resin-based water-soluble varnishes do not yellow, are reasonably heat and water resistant, and are more user friendly. Available in matte and satin.
Acrylic water-based varnishes are quick-drying, and available in matte, semi-gloss, or gloss finishes.
Spray varnishes are non-yellowing and need to be treated with great care. They tend to offer only limited protection and work better on water-based effects. They are available in matte and gloss finishes.
Shellac or knotting solution provides a barrier between the wood knots and the painted finish, stopping the resin in the wood from bleeding through and discoloring the paint.
French polish is made from shellac, a natural resin, in liquid suspension. It is the classic finish for fine furniture, but correct application takes some skill to master.
Button polish is made from unbleached shellac buttons, and is darker and more cloudy than French polish. It is a great favorite with restorers to recreate “old” finishes.
Shellac sanding sealer fills the grain in an open-grained wood such as mahogany and allows it to take a better finish.
One of the secrets of success in decorative painting is to know and use the correct tool for the job. Will it produce a fine enough line? Will it produce the surface texture I want? Always buy the best tools you can afford. They pay for themselves in the end, especially if they are properly cared for.
Remember also that brushes are made of different materials, as are rollers and sponges. Nylon and synthetic brushes work well enough with water-based paints, while oil-based paints generally require better quality hair or bristle brushes. These can be expensive, but are worth the outlay.
Softening brushes such as the high-quality badger-hair softener are very expensive. A hog-hair softener or dusting brush is cheaper and can also be used to remove dust.
Flogging brushes are used for wood a raining and some marble effects. They can also be used for dragging.
Dragging brushes are long-bristled brushes that are used for the dragging and graining techniques. An alternative would be an ordinary basecoat brush, but the effect is less subtle.
Stippling brushes come in a variety of shapes and sizes that produce different textural effects. They can be made of bristle or rubber and this dictates price.
Stencil brushes can be domed or flat and are available in different sizes. Made from hard-wearing bristle they produce a fine stipple effect when used over a stencil.
Gilder’s mops are soft brushes of camel or squirrel hair used primarily in gilding to remove surplus leaf or to apply metal powders. A soft artist’s brush makes a good alternative.
Fitch brushes are usually made of hog hair and come in shapes such as round, oval, flat, or chiseled. They are used for mixing small quantities of paint, cutting in, and painting moldings and small areas. They are also useful for splattering because of their stiff bristles. Use the tip of the brush to work the paint. Start with a round ¼ – ½ in (6-13mm), a flat ½ in (13mm), and possibly a chiseled ½ in (13mm).
Lining brushes are essential for line and other decorative applications. They hold the paint in ling bristles and allow easy flow. They are also ideal for marbling. Build up a collection starting with sizes 0, 1, and 3.
Artist’s brushes come in a variety of shapes and sizes. They range in quality from the best and most expensive sable to the more affordable hog-hair and nylon. They are excellent for cutting in on panels and for working in tight corners. A fine artist’s brush can be used instead of a lining brush.
Varnishing brushes come in a wide range of sizes. They are thickly bristled and can be flat or domed. Ideally purchase a 2 in (50mm)flat brush.
Household paintbrushes come in a range of sizes. For priming and undercoating it is best to use a straight-edge brush, and for cutting in edges, a chisel-edge brush. Choose the size that is most suitable for the job and the largest you feel comfortable with. A good range would be ½ in (13mm), 1 in (25mm), 2 in (50mm), 4 in (100mm), and 5 in (125mm).
Tooth brushes or nail brushes can be used to spatter color.
Wire brushes are used for preparing and cleaning surfaces and for liming techniques.
Sponges are used for mottling, stippling, and color washing. Use a natural sponge, the surface of which is pitted, or a synthetic sponge that has a smoother surface and is cheaper. A prepared cellulose decorator’s sponge is ideal for colors washing as it will not show marks.
Rollers can be used to apply base colors, plaster coats, and textured effects. Radiator rollers can be used on inaccessible areas and small roller heads can be used for stenciling. Many types of roller heads are available including foam, textured, and sheepskin. Avoid using foam rollers with oil-based paints as they be may affected by the mineral spirits in the paint.
