Painting Wood by Ron Sherwood

Painting Wood
By Ron “Ratman” Sherwood

To begin I took two cans of spray primer, one Black and one Dark Gray. I lightly sprayed the black and then followed up with a lighter application of the gray. I kept this up till I had a good even coverage of both colors. Once those applications were dried thoroughly, the next step was to give the deep crevices of the wood a wash of pure black.

While this wash was still wet I gently, as not to displace the paint in the crevice, removed most of the color from the upper ridges of the wood with a soft cloth and sealed the area with Krylon Matte.

I’m going to begin the color changes with a Burnt Sienna by dry brushing lightly upon the ridges of
the wood. I wiped my brush off on a clean cloth repeatedly till the brush was able to glide over the ridges without leaving a wet look. Once all the pieces were done it was lightly sealed again with Matte

The next two steps I alternated between often.
The first I used a rag to wipe on Freak Flex Wooden Stake, and the other a sea sponge to dap and skip around the piece with Burnt Umber.
I repeated this method till I found a comfortable combination of color I was happy with. Look closely at pic (4) it is noticeable how the sponge simply breaks up the underlining color without totally covering it up. Be sure to have the sponge relatively dry of color, this is important, you don’t want it to be saturated with paint. Blot the sponge often on
a clean rag before applying.
Pic 4


The sea sponge had proven to be the key technique to the realistic effect I was going for.
I happened to have picked Burnt Umber, because I wanted to darken up some areas of
the Raw Sienna previously applied, but yet, still allow much of it to show through.

The Wooden Stake was applied in a different manner to help equalize the spotted effect I was getting with the sea sponge, like a tug of war between techniques.

Basically, what I was attempting to avoid was a noticeable pattern. In this type of “nature” there is no pattern to be found. Colors are random, and no two-tree barks or inside tree rings are the same. Each board, or wood plank within your kit must be somewhat different from its counterpart.


After repeating the above steps many times the pieces were dull coated and permanently
assembled. Immediately the very light grays and almost white’s came out to play.

Once again I revert back to imagining an old washed out barn, or that worn out old park bench we’ve seen numerous times somewhere out there. My imagination seems to recall that the worst worn areas are the edges. I took some Lt Gray and began to lightly, lightly, lightly, dry brush the edges building up the color slowly and in random areas.

I mentioned random again, because you don’t want to have every edge, and every end or tip have the same Lt Gray look, remember do not purposely form a pattern.

Hit the tops of some boards, hit the edges of others, and split a board in half with some Lt Gray. Put your piece down and step away….what do you see? Return and continue dry brushing and repeat these steps till your happy with your results. Eventually you will be and another kit will be ready for your display.

Yagher Classics Vol. 1
Available from X-O Facto

Frankenstein at the Mill
By Ron Sherwood
can be seen by
CLICKING HERE

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