The idea of constructing a project from hardwood with traditional joinery, then painting it, may seem like sheer blasphemy or just down right sacrosanct, but adding color to a naturally porous surface can yield some interesting results that can elevate a project, or, at the very least, catch the attention of the unsuspecting onlooker.
Over the years we have taken the liberty of painting projects using any number of products and techniques, from aerosol cans that produce a hammered metal look, to distressed and crackled finishes using milk paint and hide glue. But there are nuances to the surface preparations that go beyond achieving a specific look that are necessary when applying paint. Material, like humans, is imperfect and sometimes need a bit of conditioning.
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| Filling voids and cracks before sealing end grain or plywood edging is a sure way to get a smooth, seamless finish. | The products shown here are all suitable candidates when it comes to durability like Titebound instant bond, wood filler, water putty. |
The cabinet above utilizes paint in a way that masks certain features, while providing a stark contrast that accentuates color and grain. Follow along, as we’ll discuss the variety of applications that will be sure to produce desired results. See plans for this cabinet in our article on Woodsmith Plans.
EDGE TREATMENT
Before you go adding paint to a project, consider the finish you wish to achieve. Once this is established, you will want to address any gaps, cracks or holes in your material that could potentially show through the topcoat. A tried and true product for filling small gaps is wood filler. It’s easy to apply and dries quickly.
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| Thin layers of epoxy, PVA or even traditional white glue penetrate and seal the porous end grain of plywood. This results in an even surface, ensuring a consistent appearance ready for paint. | Products used are epoxy resin and white wood glue. |
For larger holes and cracks I like to use a two-part epoxy, which is stablizing and creates a smooth finish. When it comes to more porous materials like Combicore plywood or MDF, white glue and water putty are great choices for creating a paintable barrier. Both dry rock-hard and can be sanded for multiple coats.
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| Shellac works as a versatile sanding sealer as it is resistant to water and alcohol. | For those high-traffic areas, try an exterior penetrating sealer, like the one from Old Masters shown above. |
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| Alternatively, leaving the plywood edge exposed adds sharp contrast to the painted surface. | Painting the edge masks the plies while creating consistent lines between the horizontal surfaces. |
Regardless of whether you are concealing the edging or leaving it exposed, sanding beforehand is encouraged, and will further guarantee a mirror-like finish after the paint is applied.
SURFACE PREPERATIONS
The next step is to treat the surface, or large faces of the material you wish to paint. Similar techniques are employed here, but require further consideration. There are a couple of go-tos for me, personally. Sanding sealers have more than earned their place in this short lineup.
These are typically made from lacquer or shellac dissolved in solvent and work well with open-grained or naturally porous wood. Once dry, the sealer creates a smooth, uniform barrier ready to receive stain or paint, for both interior as well as exterior applications.
The second type of sealer I default to is primer (latex/oil-based). Like designated sanding sealers, primer functions to create a flawless foundation on which to build a topcoat. Primer can be tinted to complement your color of choice, which will help cut down on the number of coats needed for uniform coverage.
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| Nothing beats traditional primer to cover “imperfections” in the wood, which creates a smoother, more even finish. |
Furthermore, it improves adhesion between the wood and paint. These two application methods can be somewhat interchangeable, however, it’s important to know what results they both yield and how that best suits your preferences.
FULL COVERAGE VS. A “WASH”
Two of the more common paint applications are the ones you see here. To the left, paint is applied with the intent of getting full, uniform coverage. The con-trast of the paint backdropped by the raw material creates a striking visual juxtaposition. On the right, you have a technique known as color washing. This is where a thin, diluted layer of paint is applied over a raw or pre-painted surface. The underlying layer thus shows through, giving the appearance of something weathered or antiqued.
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| Appying paint to bare wood provides a splash of color while retaining the visual texture of the grain. | A color wash, or “whitewash,” creates a weathered, layered effect, which adds depth. |
METHODS OF APPLICATION
The final decision to make is how you are going to apply your top coat. Spraying may seem optimal, but is not always the most accessible practice. But for projects with lots of real estate, spraying can be time saving and undeniably consistent. However, for a majority our projects, a combination of brushing and rolling often suffices.
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Brushes serve the purpose of getting to those hard to reach places, while rollers are economical and offer unparalled control, even for a novice. Roller naps, like brushes, come in a variety of materials and sizes designed to accommodate particular surfaces.
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| Foam brushes excel on smooth, flat surfaces, and are a great choice for smaller applications. | Rollers have the ability to cover large areas with more uniform paint. |
Though, regardless of the material, trial and error is encouraged to produce favorable results. So, the next time you entertain painting a project, consider the steps previously discussed and do some experimenting. You never know what complementary results may emerge.
