hey everybody Joe Cornelius here let me take you on the jobsite and show you how I do one of my favorite faux finishes I'm gonna take some ordinary paint trim and make it look like real Oh check it out I'll show you step by step so I just go to whatever paint or any paint store just get some regular interior yellow pink satin machine David have any of the bristles and just a little dab on the sides like so dip dab little dipping down to you you cover it all with this base coat no I always use yellow let gravity drag it right down that edge see how I went right down that vertical edge just let gravity pull it go with it that's all you got to do so you see I just tried to get that base the nice and level pull out the strokes get it as even as you can you don't need to worry too much about that base coat all right now we're putting the top coat on this is an oil glaze and I tainted it with myself you got your raw umber you got your burnt umber and you got your yellow oxide and you messed with it to get the tone you want you know I'm using a quart and I probably didn't put more than a couple ounces of tint in that you need to understand how thin I'm spreading that stuff all right this is not like paint this is like I'm putting it on and pulling it out as thin as I can pull it because that's how you get it to be nice and even all you got to do to do this as you can see that my brush if I pull it sideways because that flat shape of it it's gonna have a fat line so I start pulling it sideways see pattern line so my brush always stays facing the same direction in order to get that pattern just like a calligraphy pen you know you got the skinny way you got the fat way it just stays the same direction the whole time just follow suit line after line so whatever pattern you choose to use I mean you can zigzag that line all you want you can go all over the place as long as you remember just keep that brush facing the same way so that wherever you start to go sideways it's wider wherever you start to pull a long ways it stays skinny and you need to end off of the board all the way to the edge of the board because remember this is just a piece out of a tree that has continuous rings in it they're not in the wood you know in the real world that's something that you fill with caulk get rid that not and paints gonna come out of it but no no we're not filling these nuts we are creating knots in the wood first thing I'm going to do is get rid of the heavy spots another thing is gotta get good at handling a brush I'm gonna take that brush I'm a lightly pull it across this grain that I just made you just pull it right across there you don't need a lot of pressure you know you want that right balance of the little pull marks coming across it trying to get that real splintery wood grainy look you don't want to do too many you don't want to do too many of those who get all stressed I'm gonna take this rag and I'm gonna make ripples in the wood you know you see a guitar or something that's got the flame maple and it woods all Ripley or you see burl burl walnut or something that's got all the ripples in the wood we're just gonna do a really subtle effect to that nature on this okay see look at that it looks like those splinters are catching the light and the wood and it's just like a rippled wood I have a lot of fun with this because because this is where you're comfortable with the technique you're feeling good about it and then you're like I'm gonna add something a little more exciting of this look maybe your wood grain looks like this alright maybe it doesn't look like mine maybe it looks like this with a skull big skull in the middle that's it okay after I drag that fat brush across the top that's done that's the finished coat right there you can just leave it