The art of Graining (part 2)

In part one I described the tools and tips for successful graining but now here comes the hard bit.

GRAINING TECHNIQUES.

Presuming you have gathered round you the tool kit described in the first part of this blog we are ready to start. Pour some of your mixed graining paint into the dish. At this point you need to decide whether you are going to use brushes or combs to grain this bit, and also what sort of effect you wish to produce.
Whether using a coarse brush or a comb to produce your grain, then start by using a suitably sized brush to apply an even thin coat of paint to the whole area, at this point do not worry about the actual effect that appears, just get the whole area evenly covered. Only cover an area big enough to complete within say 5-10 minutes, this may sometimes be governed by a panel size, in other words if you were going to grain your cabin top, do not try to cover the whole cabin top in one go as it would be ‘dry’ by the time you followed on with producing the grain) after the area is covered then we start graining. What follows is the methods used to achieve the listed desired effects.

Basic straight grain. Always remember what it is you are trying to replicate and think of the natural grain that might have appeared if it was real wood, especially the direction the grain would have flowed. Nothing looks worse that something grained in the wrong direction. Majority of the inside of a back cabin or cabin top etc. is usually straight grained, then mixed in amongst that are your fancy bits.

The bulkhead between back cabin and engine 'ole has been treated to straight graining to represent planking.

For instance a panelled door leading to the engine ‘ole. The frames would be straight grained and you might choose to grain the panels with differing patterns or even straight graining but at an angle to the panel. If using coarse brushes it is important that as much paint is removed from the bristles as possible by wiping excess off on the edge of the dish. Now draw the brush over the painted surface in one continuous stroke across the whole length of the panel being grained. to produce fine lines in the paint exposing the lighter undercoat underneath and poof, there you have it. Don’t worry if you wobble a little for real wood grain has ‘wobbles’ what I do is on the next brush stroke I try to follow the wobbles of the last stroke and so on until the panel is grained. Don’t worry if after you make a brush stroke you don’t like the grained effect it has made as you can rework it over and over again. The process for using combs is very similar when once the area has been coated in the same way, thinly and evenly, the comb is placed onto the surface at one end and drawn across the surface in a continuous straight line to the other side under slight pressure. The result of using combs gives a much coarser grain than with brushes.

The horizontal & vertical 'frames are done with combs while the diagonal grain on the panels is brushes.

Edging One of the problems with graining a panel is that as you start and end the stroke whether with brush or comb, it can leave the outside edges a little untidy. To overcome this I have a couple small flat hogs hair artists brushes 12mm and 15mm which, after finishing the panel, I select how wide a boarder will look right and using that size brush, I wet it in the paint, wipe off the excess then proceed to run it all around the panel. The result looks very neat and gives a boarder to the panel.

This central panel on a door has been edged with boarders. The centre graining was done with a brush, while the outer frames were done with combs. Note how the ‘bent’ graining gives variety.

Knots These are knot used (oops sorry) they are not used randomly in the middle of anywhere but have to be thought about. They fit well when you for instance grain a cabin top or a cabin side where it has been skinned with plywood and you want it to look like planks of timber (see seams and joints). After coating the area with paint and before graining it, get a small artists brush, dip it in the neat paint left in the tin, and paint a small round or oval spot about 20 -30mm in size. Now position your brush/comb at the end of the plank with the edge of the brush/comb inline with the centre of the knot. Make your stroke across the surface in a straight line as usual, and when you get to the knot move round it like water would flow round an object in a river then return back to your original line and carry on to the other end of the plank. Now line your brush back up at the end and just overlapping the first line. Repeat what you did on the first pass, but this time go around the other side of the knot.

Two painted knots on some drawn planks.

Knotty grain For this we use the Speciality combs. Start off in the same way by painting the plank then use the comb in the following way. Place the comb onto the surface then we are going to draw it continuously across the whole length of the plank. The difficult bit is that as we travel across the plank we also change the angle of the comb on its curved surface back and forth, back and forth in a rocking motion as we travel. This technique takes a bit of mastering as it’s a bit like tapping the top of your head while you rub circles on your stomach! But with a bit of practice it can produce some very good effects. When done correctly you will see that the pattern in the grain has produced circles in the centre of the plank in places. These are ideal positions for a painted knot(not too many though). Just use your hogs hair flat brush to blend the edges of the knot into the grain then using your brush/comb blend into the outside edges both sides.

A panel that has been knotty grained using the speciality comb and painted knots, on a background of brushed graining which has also been edged.

Seams and Joints This is good way of producing what looks like a planked surface on perhaps a flat steel cabin top or cabin side. For this you will need cotton buds and a wooden straight edge the length of the board you are producing. The screws sticking out of the straight edge at each end hold it off the wet painted surface. Start by deciding how wide you want the planks then evenly split the panel up into the plank widths and place a small mark with a pencil at each end of each plank width. Only work on a width just over one plank at a time say one and a half. Cover this area in exactly the same way as before, then use brush/comb/speciality comb/knots etc to produce the desired effect.(I like to alternate methods used to produce different ‘grains’ on a plank now and then) Line the straight edge up with the small pencil marks, then dip the cotton bud into the paint to ‘wet’ it then carefully run it along the whole length of the plank. This will wipe off the paint revealing the undercoat but at the same time deposit a thin dark line at either side. Unfortunately if you mess up and don’t get the line straight it looks a mess and you can’t repair it, just have to re do the whole plank again from the start. After this, paint the next section and repeat for this plank, remember to vary your planks, when graining your second and following planks you have to brush/comb right up to the seam you have just done being careful not to go over it.

Minnow’s cabin top that has been straight grained and split into planks. (sorry about the black marks, soot of the Bolinder)

By using a combination of differing graining patterns, quite effective planks can be achieved.

Grained roses These are not roses at all, but I don’t know what they are called, just a decorative featured grain I suppose. These look good in the centre of a flat plain panel. Simply grain the panel with straight graining as normal, then get a 1” paint brush and working from the centre of the panel outwards place the brush on the surface and rotate it to give a circle of grain. Now place the brush on above the first circle and repeat, then below, then at sides etc until you build up the desired effect. I also use a smaller brush for the outer circles.

A panel with grained roses in the centre of brush graining edged with a comb boarder.

Figured graining This is a type of graining that is commonly seen on real oak timber panels, but it can be used whatever graining colour you are using. It looks like small flecks in the timber which usually radiate on a panel. The effect is achieved by again using a cotton bud and after the panel has been grained, the cotton bud is just lightly flicked across the surface in arced irregular patterns

The bottom panel on a door with figured graining around the brass handle ]

Odds and Sods. Sometimes through experiment you can come up with some other effects which can fool the eye such as false panels, doors, openings etc. The only limit is your imagination.

A flat door which has been paneled then just circles drawn in the centre then a detail of a 'peep hole' painted on with small brush and neat graining paint.

That all folks these are the basic methods that I’ve used over the years all I would say is don’t be frightened and have a go. If you are unsure then paint you some practice panels of scrap wood/plywood/hard board and try it out. Take it from me it is very satisfying when finished and you look back and admire it.
Well there you are the rest is up to you. Practice, experiment but most of all have fun and enjoy it
Don’t bang ‘em about
Blossom.