When I think of steel, I’m reminded of the iconic photograph, Lunch atop a Skyscraper, which depicts ironworkers eating lunch on a steel beam, suspended above the New York skyline. Originally taken as a publicity stunt to promote the construction of the RCA Building (now known as 30 Rockefeller Plaza), it’s become reminiscent of a time, place, and peoples that were integral to the growth and development of the United States. Beyond its symbolic status, the image also showcases a building material that is just as emblematic as the photo itself: the I-beam.
Developed in 1849 by Alphonse Halbou, this distinc-tive structural member has been a central component of 20th century bridge and skyscraper construction. Its rolled appearance is iconic, and it heavily influenced the Industrial Shelving project on page 50. Imitating these distinctive elements is surprisingly simple with the right materials and technique.
BASE MATERIAL
When considering material for painting, it’s important to use something with a smooth exterior face. This not only makes for easy application of paint and finish but requires little preparation. In the article we used a Combi-core plywood with MDF outer faces, how-ever, for this demonstration, just plain MDF was used. Both are comparable and more than adequate solutions, the main difference being the treatment of the exposed plies on the Combi-core. As discussed in the last issue’s department article, applying thin layers of white glue (sanding in between) will help seal up the plys. As you can see in Step 1, I use a bit of fine-grit sandpaper to smooth off the small fibers along the edge of the MDF.
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Knock back any rough edges and faces using 150 or 180-grit sandpaper. The smoother the surface, the finer the finish. |
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Spray I-beam interiors before adding the front panels. Alternatively, you can apply your primer and top coat before assembly. |
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Apply light coats and move swiftly to avoid lap marks or runs. Add follow-on coats after each layer cures. |
PREPPING THE BEAM
The next step in the process is to create a profile on the outside edges of the flanges. You’ll notice there are two different radii. The interior receives a 11⁄22" roundover, while the outer edge gets only an 11⁄88". Once this has been completed on all necessary pieces, go ahead and assemble the indivdiual beams. I often apply the primer and paint after partial construction (Step 2), but this can be done to the interior-facing pieces before assembly as well. This helps ensure full coverage in hard-to-reach areas, and helps prevent possible drips or runs.
Once the beams are assembled, the intersections of where the flanges meet the wedges will need a fillet added to give it the rolled steel look. An easy solution is to add a bead of acrylic caulking along the inter-secting joints. This was done in a three-step process.
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| Create a pencil line 1/4" from the joint intersection on both faces. This provides a continuous reference when applying tape. | Using acrylic caulking, apply a bead along the joint lines of the intersections, with an emphasis on full coverage over quality. | A 1/2"-diameter pipe creates a consistent transition between faces, mimicking a rolled steel appearrance. |
The first step in achieving the fillet is by creating a registration mark 1/4" from the intersec-tion lines — see Step 1. Once the lines are established, painter’s tape is applied to the faces of the wedges and flanges. This creates a definitive line as well as a squeeze-out barrier. One thing to note: make sure the tape has a firm, consistent adhesion to the MDF. Ensuring this helps minimize the transi-tion between the two surfaces.
While the caulking is setting up, remove the tape. Doing this during the curing process ensures a crisp, clean line.
When it comes to applying caulking, control and consis-tency is usually the name of the game. In this instance, the tape affords some extra insur-ance. That said, apply a liberal amount of caulking to the inter-sections without rushing.To get a smooth, accurate line, a piece of 1/2" copper piping was used as a substitute for a finger. This allows for a more controlled and repeatable result.
Although it’s not visible in the steps, I attached a small piece of tape to the end of the pipe. This is done to protect from any burrs or sharp edges damaging the beam. Using the provisional smoother, make a pass to estab-lish the initial profile. Then, dip the pipe in water and continue to go over the caulking until the fillet is completely smooth. Note: Use light pressure and the intersecting walls as a guide for the pipe. Then, remove the Painter’s tape from the surface while the caulking is still wet. This will further promote an accurate line and prevent any damage to the caulk. Once the caulking has sufficiently dried, it’s time for finish.
FAUX FINISH
Now that the beam has been fully prepped, its time to turn our attention towards the finishing process. There are several options out there for emulating the appearance of steel. One such product is Modern Masters. It’s a water-based paint that has actual metallic particles added to the paint. These are meant to react to oxidation solutions, thus creating a distinctive weathered look that can be used on any paintable surface.
Another option is the one fea-tured here, which is a Rust-Oleum product that creates a forged “hammered” appearance. And, although it does not deliver as diverse of results as the former, it does achieve a striking resem-blance to hammered steel; but is accomplished in a more stream-lined manner. This paint and primer in one comes in a 12-ounce aerosol can equipped with a built-in ergonomic spray nozzle, providing unparalleled comfort. Not to mention, the coverage, durability, and ease of use make this product an acces-sible option for those who question their spraying skills.
LAYING DOWN THE PAINT
Before the topcoat was applied, a secondary primer was used. Yes, the topcoat is a 2-in-1 product, but I chose an additional primer coat to help mask the transition between the caulking and the substrate. Plus, bare wood is often times peppered with imperfections, and can inconsistently absorb finish.
To stay on brand, the primer used is also a Rust-Oleum prod-uct. Now, the last thing to consider is coverage and how that effects the final result. Adhering to the instructions listed on the back of the aerosol can is highly reccomended. The general rule sug-gests spraying from a 12"-16" range, but can be fine-tuned by experimenting on a piece of scrap.
Another thing to take into consideration is the speed and angle of the passes. Since the spray pattern from an aerosol can is cone-shaped, it’s important to keep the base of that cone parallel to the surface. Then, with a straight wrist, steadily move your arm side-to-side to maintain a consistent spray pattern. With a little practice, you will gain the confidence you need to ensure a professional-looking finish. At the very least, you’ll be turning heads with this illusive application.
See plans for how to use this as Industrial Shelving in our plans article.
