How to draw the structure of a tree with a pencil step by step? Draw a wooden block with colored pencils. Imitation of wood texture

IN Lately I was busy looking for ways to imitate wood on a decoupage base, as a result of which I should have gotten something like this:

First of all, I took into account the simple and well-known technique of applying two contrasting shades in succession and then treating them with a bristle brush or just a toothbrush.

For my experiments, I took white acrylic paint as a base:

There are special pastes for tinting acrylic paints, but in order to save money and because of the experiment, I just took gouache in two contrasting shades:

The experiment was carried out on the following pieces of cardboard:

After it was completely dry, I applied a dark coat to it. The paint must be applied in one direction only.

If the paint of the second layer dries out during this time and cannot be removed, it was recommended to moisten the surface a little with water. This was exactly my case.

I realized that I shouldn't have waited for the second layer of paint to dry. It was necessary to start partially removing the top layer of paint before it dried. The result would have been better. And this is what happened:

In case you do not have two contrasting shades, or you are not sure that they will go well together, it is recommended to paint the first layer with white paint, as this always helps to create an interesting effect.

Quite unexpectedly, the first layer of white immediately laid down in such a way that it created an imitation of wood fibers almost without any effort.

I'm not sure I'm right, but I think that this was facilitated by the fact that the paint was thicker than in the first case, the brush was completely dry, and there was not much paint on the brush.

I regretted that I didn’t immediately paint this layer with brown paint.

After applying a second, darker coat of paint, the effect was still not entirely bad:

However, after brushing the second layer of paint I liked it much less. Perhaps, in order to get a beautiful effect, you need to get good at it.

I was not entirely satisfied with such dependence on artistic skill and paint consistency, and I began to look for a more reliable and simpler option.

In one of the Italian video master classes, I liked the method of incompletely mixing two paint compositions, which was much easier to perform and gave a magnificent effect:

But the problem was that these were two special compounds that I didn’t have and it’s unlikely that I could find and buy them.

Then I tried to do it with two undiluted paints. I mixed them chaotically and not completely and started painting:

This technique made it possible to work with one layer of paint, and this had to be done right away, before the paints dried.

I think that this method can be implemented using regular paints it is forbidden. The fact is that, thanks to some special components, the paint compositions in the Italian master class did not mix, no matter how much the demonstrator dipped his brush in them.

For me, after each dipping of the brush into the paint, the colors mixed more and more, and this is what came out of it. Plus inept hand movements.

I continued my search for more reliable ways to imitate wood.

We also have special compounds on sale that need to be applied sequentially, and which give a good effect of simulating wood with paints.

You can see these compositions in the picture:

I don't think this is a good solution. The compounds are quite expensive. The second component is alkyd based, and this is not always acceptable for decoupage.

Finally, I found this double-sided rubber spatula - a brush, which, when completely simple movements hands gives just an excellent effect:

Soon, for my experiments with landscaping my apartment, I will need such a spatula, so I will definitely purchase it and write later about the results of working with it.

However, wood can be different, and for decoupage purposes such a pronounced effect of wood fibers with knots is not always needed. Therefore, I decided to continue my exercises to improve the quality of wood imitation in simpler ways.

Finally I managed to get a result that I was almost satisfied with:

I'll tell you how I achieved this.

First I cut the brush in zigzags:

Then I prepared three paints: white, light brown and dark brown.

I covered three bases of each paint.

This time, on the contrary, I moved the brush not in one direction, as recommended, but in the opposite, moving the brush several times along the already made stripes. This led to the effect of uneven coverage (streaks).

After the paint had dried, I put on my brush a paint contrasting with the one the base was painted with and did the same.

Moreover, if you are not very pleased with the result, then you can cover the base three or four times in the same way, alternating colors until you achieve the desired effect.

Can also be combined various shades paints to achieve the wood effect you want.

It's very easy to do, there are no difficulties here. Any beginner can do this.

In the picture, my samples were painted in the following order (from left to right):

Dark base, light stripes;
- white base, dark stripes;
- light base, dark stripes.

My experiments were carried out with gouache, so the color turned out to be dim. If you do this with acrylic paints and tinting pastes, the effect will be better.

OK it's all over Now. I wish you success.

Applying wood textures to various surfaces using paints and varnishes has been practiced for a long time by professional artists and designers.

But, as it turns out, there is a special paint on the market that imitates wood. We will talk about the characteristics of these coatings and methods of application in this article.

Turning metal or plastic into wood is easy

In the photo - KAOWA SEMENTOL - “liquid wood”

On the Internet you will find many videos in which professional artists, using special brushes, foam swabs and other means to various subjects recreate the texture of wood. After varnishing, analogues.

Stock up necessary tools, patience and try to do something similar. Unfortunately, you most likely will not be able to draw the texture of wood by hand. But don’t despair, there is a way out - this is a special paint that imitates the structure of wood.

For example, in some specialized stores you will find paints and varnishes presented by the KAOWA SEMENTOL brand. On cans of these products you will see such designations as “mahogany paint” or oak, ash, teak, etc.

That is, these paints and varnishes make it possible not only to imitate the arrangement of wood fibers on certain surfaces, but also to reproduce the texture of valuable or exotic wood species. This advantage is especially important when decorating furniture and other elements of the surroundings.

Scope of application

Special paint and varnish materials, sold as liquid wood paint, are intended for treating various surfaces with high and average degree density. These paintwork materials can be used both indoors and outdoors.

The paint can be applied with equal success to wood, plastic, metal, ceramic, glass and other substrates with a matte, smooth and glossy surface. Specialized paints for imitation wooden texture do not contain wood-based fillers and are therefore resistant to negative impact environmental factors.

As already mentioned, the use of special compounds is important when decorating furniture and other elements in the interior with your own hands.

These paints are widely used in workshops involved in improving car interiors. Thanks to special paints and varnishes, unpresentable plastic dashboards, lids of various boxes and other surfaces in the car can be made “wooden”.

Despite the fact that the price of paints and varnishes that imitate the texture of wood is several times higher than the cost of traditional enamels, this method is still more affordable than paying for the services of a professional artist.

Features of applying “liquid wood”

The use of special paints and varnishes is no more difficult than ordinary painting of wood. But there is one condition: you must use the right tool: a hard, flat brush based on natural bristles.

The length of the bristles determines how pronounced the texture of the wood will be. That is, if you need the fibers to be well drawn, use a brush with short bristles. The longer the bristles, the more poorly defined the texture will be.

The paint is applied directly from the can without special preparation and without the use of solvents. It is necessary to decide in advance on the required color, since it will not be possible to change the tone or color of the paint during application.

Important: Special paint, designed to imitate wood, is not mixed, but only shaken immediately before opening the can.

It is necessary to prepare the surface before decorating in the same way as before applying any paints based on organic solvents. That is, the base is cleaned of unevenness and dirt.

If a glossy finish is being decorated, it should be matted with zero sandpaper to ensure maximum adhesion.

The paint is applied in long stripes from one edge of the product to the other. You should not rub the applied layer, as is done with conventional coatings, as the texture of the imitation wood fibers will be damaged. A shiny film appears literally 15 minutes after application, and complete drying occurs in 1-3 hours, depending on temperature and humidity.

According to people who have used KAOWA SEMENTOL in accordance with the instructions indicated, the finished coating is an order of magnitude superior in quality and similarity to cut wood.

How to do without special paints

In the photo - hand-drawn texture

What to do if there are no special compounds to imitate the texture of wood in the nearest hardware stores, and most likely they will not appear, but it is necessary to decorate this or that surface?

In this case, you will have to awaken within yourself creative potential and get to work.

In order to paint a wooden surface, we will need acrylic paints and varnish on a similar base. We select paints of two colors: one is dark brown, the other is several tones lighter, closer to beige. We also use two types of flat brushes with stiff bristles. One brush with longer bristles and the other with shorter bristles.
Preparing the surface. We clean it from dirt and dust and prime it if necessary.
Apply dark paint as the first layer. The layer should be uniform and should be applied with a long-bristled brush. When the first layer is completely dry, you can begin applying the texture.
Apply light paint as a second layer, also using a long-bristled brush..

In the photo - a tool for simulating wood using simple paints

Then we wait until the second layer begins to dry, take a short-bristled brush and draw one line across the coating from side to side. Veins resembling wood fibers will appear on the surface of the painted coating.

Tip: If the brush is not hard enough, you can use a clothes brush to apply texture.

After the second coat of paint has completely dried, you can apply varnish..

Conclusion

As you can see, instructions for simulating wood using various paints and varnishes are not complicated. Deal with this creative work Surely anyone can do it. More useful information you will discover by watching the video in this article.

To learn how to draw trees, you need to understand several principles that will help you see patterns in the structure of trees. The diagrams and drawings below allow you to see all this clearly. And then you need to observe nature and regularly make sketches. Only by constantly practicing drawing can you master the necessary skills. So, what principles do you need to understand to learn how to draw trees?

1. Cylindrical shape of the trunk and branches of the tree.

The tree trunk is based on a cylindrical shape. Therefore, when an artist paints the bark, behind the texture of the bark, you need to see the volume of the trunk. This means that it will be illuminated unevenly. That is, on one side there is light, and on the other there is shadow. The light can be in the middle of the “cylinder”, and on its sides, accordingly, there is shadow. The same applies to branches. But due to their small thickness, the chiaroscuro will be little noticeable. Therefore, artists use this technique: they paint the branch in one color, and emphasize its edge dark paint. The underlining creates the impression of shadow and the branches appear voluminous.

2. The structure of the tree bark most often consists of cracks.

The bark structure of most trees consists of cracks in the surface layer of the trunk. Cracking and hardening, this layer becomes thicker and rougher over the years. Each individual “tubercle” of the cortex has a lighted and shadowed side. But looking at a tree, we do not see such details, but perceive the image as a whole. Therefore, the artist does not copy every “curtain”, but conveys the texture with a bark-like stroke. For example, you can use a “clumsy” stroke, with different thicknesses lines. In this case, the area of the bark located in the shade will be darker.

3. Shape of the trunk and branches. Direction of branches.

Each type of wood has its own characteristics. For example, the nature of the bends of the trunk and branches. The oak branches are more twisted and gnarled. Pine has a mostly straight trunk. In a willow tree, the trunk can branch into several trunks, forming a “slingshot”. Many large willow branches have the same character. Therefore, when drawing a tree, you need to be observant and see the various structural features.

Besides this, there is one more aspect that many people forget about. Often, beginning artists draw branches to the left and right of the trunk, forgetting that the branches still grow forward and backward, surrounding the trunk on all sides. If a branch grows forward, it will block the trunk and other branches. Thus, plans are formed in the tree drawing: first, second, third... The branches of the first plan will cover the branches of the second plan, etc.

4. Fractal principle of hierarchy of tree branches.

A fractal is a repeating self-similarity. If you carefully observe the trees, you can see how similar the small and large branches, as well as the trunk, are to each other. Indeed, the crown of a tree consists of a hierarchy of branches: very small, small, medium, large, very large and the tree trunk itself. They are based on the same form. It’s as if they took one branch and made from it many copies of more and more bigger size. Knowing this principle, drawing a tree will be much easier.

5. The tree trunk is not visible everywhere: it sometimes appears, sometimes hides in the foliage.

The trunk of the tree, its branches and large branches will pass between masses of small branches and leaves. The trunk may either appear between them or go deeper, where it is no longer visible. Because of this, shadows from groups of branches and leaves will fall on it. Therefore, when conveying chiaroscuro on the cylindrical surface of the trunk, you also need to look to see if there are any falling shadows from its foliage on it. On a sunny day, it happens that the tree trunk is dotted with “spots” of falling shadows.

6. Chiaroscuro throughout the entire crown of the tree as a whole.

The entire mass of branches and leaves of a tree without the lower part of the trunk is called the crown. It has volume. That is, throughout this entire mass as a whole there is light, penumbra, shadow and reflex. For example, often sunlight falls onto the crown from above. This means that the top of the tree will be lighter than the bottom. However, the crown of a tree consists of clusters of foliage, between which there are gaps through which the sky or shadow can be seen. inner part crowns These clusters or groups of branches themselves are also illuminated sunlight differently. This means that the crown of the tree will not be depicted in the drawing as a solid silhouette. Therefore we come to study the next important principle.

7. Foliage and branches of trees are combined into groups.

A huge number of tree leaves, as well as the branches on which they grow, are combined into groups, forming clusters. The crown of a tree is not a continuous mass of foliage. The crown consists of many groups of branches and leaves. Moreover, these groups also differ in size and shape. They are not the same. Each group is illuminated by daylight, which means each individual mass of foliage has its own light, its own shadow, its own reflexes and penumbra. That is, just as in the drawing of a plaster ball, students convey chiaroscuro, so in the drawing of a tree, in each individual mass or group of branches and leaves, chiaroscuro must be conveyed. However, at the same time it must be remembered that chiaroscuro separate groups will be subordinated to the general chiaroscuro of the entire crown (which I wrote about in the previous subtitle). But how to translate this into a drawing? For example, the sun shines from above. The lightest point on the tree will be at its top. The darkest point is at the bottom. But the crown consists of the above-mentioned groups of branches. This means that each group has its own light and shade. Suppose there is one group at the top of the tree and another at the bottom of the tree. So, the light on the top group will be lighter than the light on the bottom group. Also, the shadow on the top group will be lighter than the shadow on the bottom group (in the picture they are numbered No. 1 and No. 2). It turns out that the particular is subordinate to the general. The chiaroscuro of individual groups of branches is subordinate to the general chiaroscuro of the entire crown of the tree. But there are exceptions to this rule. If a group of leaves from the lower shady part of the tree protrudes more and falls on it more light, then it can be as light as the one at the very top (from our example).

8. Imitation of foliage through shading.

In previous schematic drawings the trees look “cartoonish” and simplified. In this drawing, the tree must be depicted realistically. To do this, you need to pay attention to the execution technique. Hatching can be very different depending on the surface being depicted (I wrote about the types of shading). It must convey the “materiality” of the depicted object. In our case, this is the foliage of a tree. And the artist does not need to draw thousands of individual leaves on a tree. You just need to shade it so that you get the impression of foliage. But how should you shade a tree to make it look realistic and alive?

The secret is that the stroke can create the illusion of foliage. That is, the character of the lines will be similar to the character of the leaves. In the above figure you can see three types of shading, corresponding to three types of leaves - maple leaves, oak leaves, willow leaves. In one case the line is “prickly”, in another “clumsy”, in the third the strokes are more elongated. But these are just examples. You can come up with your own type of stroke. Here you need to use your imagination and not think in stereotypes. For the bark of a tree, you should come up with a different stroke, for the grass a third, etc. In this regard, I can only give this advice: the drawing looks impressive when the thickness of the line changes. That is, you need to work with a blunt and sharp tip of a pencil lead. Therefore, when coming up with your own shading, you can take this point into account.

9. Gaps in the foliage mass.

The crown of a tree is not monolithic and, as I wrote above, consists of branches and leaves combined into groups. Consequently, gaps will form between these groups, through which the sky or the inner, shadow part of the tree can be seen.

It would seem that everything is simple. But this is where novice artists have a problem with drawing trees. The fact is that beginners depict these gaps not between masses of foliage, but between individual leaves, and they draw them the same in size. The result is a painting in which the viewer sees a tree whose silhouette looks “cartoonish” and unnatural. In nature, gaps in foliage are located at different distances from each other. The gaps themselves also vary in size everywhere. But this pattern is determined not only by nature, but also by the laws of composition. IN fine arts there is a concept of rhythm. Just like in music, by the way. If the artist places objects at the same distance from each other, then the depicted view looks boring and unnatural. If the artist changes the location, size, tone or color, then the painting becomes dynamic and natural. Thus, rhythm is created in painting.

Let's imagine that we are painting a dark green silhouette of a tree against the sky. This silhouette is dotted with “dots”, which are gaps in the tree through which the sky can be seen. So, these points need to be made different in size and at different distances from each other. Large, small, medium... Between small groups of branches, between large clusters of foliage, between individual leaves of a tree, etc.

Therefore, the crown of the tree will not look like a solid mass of foliage, but like a loose structure riddled with branches and having gaps between clusters of foliage.

10. Not a template approach.

In order to understand how to apply the above theory in practice, I present two of my drawings of trees. The first one shows a maple tree, and the second one shows an oak tree. Try to trace the nine principles outlined above in these drawings. Let me make a reservation right away that there is different types drawing: linear, tone, quick sketches and many hours detailed drawings. These maple and oak drawings are quick sketches. And in such sketches, artists do not draw everything. Therefore, somewhere you may find some deviations from what you read above. Here it is clear that I did not use a template approach, but was guided precisely by the principles, thinking about how best to apply them. Therefore, in conclusion, I will add that the artist must add creativity, fantasy and intuition to theoretical knowledge. Then the drawing will be more expressive and free from the monotony of a template approach.

You can imitate the rich patterns and colors of natural wood using a technique that dates back to the Roman Empire and was especially popular in the late XIX century. For a long time considered accessible only to highly skilled craftsmen, this method has now been revived again, because new tools appeared, such as rocker to imitate wood texture. The method of simulating wood texture is suitable for applying a topcoat to any flat surface.
To create a finish that imitates wood grain, a thicker paint glaze is applied over the first coat of low-gloss latex enamel paint. The rocker side of the wood grain tool is pulled across the wet glaze, rocking the rocker back and forth. The simultaneous pulling and rocking of the tool creates elongated oval marks that imitate the characteristic grain of pine and other trees.
Become familiar with this technique by practicing applying a wood grain finish to a large piece of cardboard until you achieve realistic picture. This will also help you test the resulting finish before you use the technique on a real project.

To create the impression of wooden parquet, apply a grid of squares with a side of 10 or 20 cm on the first layer. You can center the pattern or start in one corner with a whole square. Close one square at a time in the grid and apply the coating alternately in the horizontal and vertical directions.

TOOLS AND MATERIALS

Artificial bristle brush, sponge applicator or paint roller for applying the first coat
Artificial bristle brush - additionally for applying glaze
Rocker to imitate wood texture
Soft natural bristle brush 7-10 cm wide
Pencil, ruler, masking tape, narrow spatula - for applying a decorative coating that imitates parquet flooring
Low gloss latex enamel paint - for application as a first coat
Artistic acrylic paint or latex paint - for glaze
Thickener for acrylic paint
Rags
Cardboard - for practice with coating
Semi-gloss or high-gloss clear topcoat or clear acrylic spray sealer

Final coating color imitating the structure of wood, depends on the combined action of the first layer and the glaze layer. The first layer should be lighter, and it will be covered with a darker colored glaze. Matching colors for the first layer are: natural sienna, red iron oxide, burnt sienna, burnt umber and beige tones. Good colors for glazes include: burnt umber, black, red iron oxide, burnt sienna. Since various stains are commonly used when working with wood, there is no need to repeat both the texture and color of all trees.

GLAZE FOR APPLICATION OF COATING IMITATING WOOD TEXTURE

Mix the following ingredients:

2 parts artistic acrylic paint or latex paint of desired gloss
1 part acrylic paint thickener

Apply the first coat of low-gloss latex enamel paint in the desired color, using strokes in the desired direction. Use a brush or sponge applicator; For large surfaces, use a paint roller. Let the paint dry

Mix glaze for decorative coating. Using an applicator with a sponge or an artificial bristle brush, apply an even layer of glaze over the first layer, working a small area at a time.

Run a rocker over the wet glaze to wood texture imitation; The rocker movement is done slowly to achieve the desired effect. Start from one corner; the work is performed in one continuous movement, while simultaneously with the movement of the rocker it rocks back and forth (photo above). As you can see from this picture, the position of the rocker determines what marks it leaves, imitating the texture of wood.

Repeat step 3 for subsequent rows, varying the distance between the oval marks. Use a dry cloth to wipe off any glaze that has accumulated on the instrument when necessary. On some rows, run the ridged or grooved side over the glaze instead of the rocker itself. This will change the appearance of the coating and imitate continuously stretching wood fibers.

Imitation parquet

Using a brush or roller, apply the first coat of low-gloss latex enamel paint. Let the paint dry. Measure and draw a grid on the first layer using a ruler and pencil. Center the grid or start at one corner with a whole square.

parquet imitation parquet imitation

Apply masking tape to the squares one at a time. Using a narrow spatula, as shown in the picture, trim the masking tape diagonally at the corners. Press the tape firmly along the edges to prevent the icing from flowing underneath. Mix glaze for decorative coating.

Spread frosting onto open squares; movements of the hand should be made in a horizontal direction. To create an imitation of straight wood grain in individual squares, stretch the rocker horizontally through the wet glaze. In the remaining squares, rock the rocker horizontally, changing the location of the oval marks. Work only a few squares at a time as the glaze dries quickly.

parquet imitation parquet imitation parquet imitation

Before the glaze is completely dry, brush the surface with a dry, soft natural bristle brush (7-10 cm wide). Brush lightly in the direction of the wood grain to soften the resulting finish. Clean your brush to remove excess glaze as needed.
Let the paint dry and then remove the masking tape. Apply new strips of masking tape to the coated squares. Spread frosting onto open squares; movements of the hand are made in the vertical direction. Repeat steps 3 and 4, working in a vertical direction. Let the paint dry and then remove the masking tape. If you prefer, you can apply a clear topcoat or clear acrylic spray sealer.

Variations of coatings imitating wood texture

By choosing specific paint colors for the first coat and glaze, you can create finishes that resemble typical wood grains such as cherry, honey oak, and walnut.

For decorative floor covering, imitating cherry wood, uses a dark reddish first layer and a glaze the color of burnt umber.

Wood imitation Honey oak is done by applying a light tan first coat and a golden tan glaze.

The walnut finish is done using a dark golden first coat and a burnt umber glaze.

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Wood brushing is one of the wonderful technologies decorative finishing wood products. The method is based on the difference in hardness of the layers that make up the vast majority of solid wood. On a cross section of any wood product, a characteristic wood pattern is clearly visible, which is formed by fibers with different physical characteristics. Some of them are quite dense, others are less dense and quite easy to process.

When a layer of soft fibers is removed, areas consisting of hard fibers become embossed (convex), clearly appearing on the surface and giving the wood a particularly decorative appearance. Under natural conditions, this happens over time, when soft fibers are removed as the product is used. Brushing allows you to visually age the wood and give it texture in a carpentry workshop. Most clear example natural brushing - old boards washed up on the shore of the sea or ocean. In them, soft areas of wood are so thinned by sea waves and sand that denser areas can protrude by almost a centimeter!

Brushing: artificial aging of wood

This wood structuring technology is suitable for use with soft and hard woods that have a clearly defined texture and distinct layers of different hardness: pine, oak, larch, ash, walnut, wenge. Wood species with a fine-grained and indistinct structure are not suitable for brushing, since they do not have the necessary layering. These types of materials include wood: beech, maple, alder, teak, birch, cherry.

The use of brushing technology allows you to create original textures that look ideal in products for interiors different styles. Structured wood is actively used in the manufacture of floors, furniture, and decorative elements. Natural wood fits perfectly into any design, adding original touches to it.

Equipment for structuring (brushing) wood

Brushing is the most accessible and easy-to-perform method, allowing you to quickly visually age natural material. This process can be carried out in a home workshop using a minimum of equipment.

This is one of the few technologies that allows you to achieve excellent results using exclusively manual labor. For this you will need:

metal brushes of different hardness, which are used to roughly remove soft fibers from the surface of the workpiece
sandpaper Various grits for rough sanding and final polishing
stains and other means to give wood maximum decorativeness
varnish for finishing the product at the end of the brushing process

To further simplify wood structuring work and make it significantly more productive, it can be mechanized. For this, variable speed drills or special brushing machines are used. They are supplied with flat or wide brushes of three types: metal, polymer with abrasive and sesal or hair. By observing the order of work, with the use of mechanization, you can get impeccably executed work for various products.

Brushing technology - step by step

1. The selected workpiece can be slightly moistened so that wood dust does not fly around the room. The first pass is carried out with a metal brush, the rigidity of which is selected depending on the hardness of the wood. The “bristles” should not damage the hard fibers of the material, but at the same time should successfully remove the soft ones. The movement of the instrument is carried out in the direction of the fibers, at a speed sufficient for effective scraping. Increasing the rotation speed of the brush can lead to baking of the wood, so it is necessary to select the best option for each sample. When working with a hand tool, this problem does not arise, but you have to apply more force and spend significantly more time on processing.

2. By replacing the nozzle with a polymer brush with an abrasive applied to it, the part is initially polished, during which roughness and fragments of fibers remaining on the surface of the wood are removed. Having removed everything unnecessary, you can evaluate how deep and high-quality the structuring was done, and, if necessary, further deepen the resulting grooves. At this stage you can add decorative elements in the finishing of wooden products. Using a chisel in different places workpieces, recesses are selected free form. After rough grinding, they can be corrected and given the most natural appearance of old cracks that have formed in the material.

3. Final polishing is carried out using a sisal or hair brush, which gives the part a finished polished look, fully revealing all the decorative texture of the wood. When processing by hand, the finest grit sandpaper is used to create a perfectly polished surface. Having smoothed the structured texture of the product, it is prepared for further painting and varnishing. If the wood was wetted before work, now it must be dried and completely cleaned of dust.

4. To give it a special decorative look the part can be painted, patinated, gilded and other finishing options. Using stain will age the product due to the formation of contrasting textured patterns. Abundant application of the composition with quick removal of excess allows you to paint over areas with soft fibers that absorb paint, and leave light areas of hard fibers that have not had time to absorb the pigment. Looks especially impressive gold paint, clogged during application into microcracks and depressions against the background of the natural color of the wood. Such reflections of gold will give the product an original decorative effect. After treatment with coloring compounds, the surfaces are polished again to get rid of the roughness that arose during painting.

5. Varnishing is carried out on completely dried and cleaned wood. When making brushed parquet, it is necessary to use a special parquet varnish to open it so that the finished coating can serve its intended duration.

Scope of application of brushing technology

The accessibility and decorative nature of the structuring technique make it especially popular in the manufacture of interior items and room design elements. Mantels, shelves, ceiling beams, columns, wall panels made of aged wood give a unique ambience to living rooms and halls, and fill the halls of restaurants and clubs with aristocracy and luxury. Wooden furniture with brushed parts and elements looks no less elegant. Among cabinetmakers, materials touched by the bark beetle are of particular value, since such a texture cannot be reproduced manually, but it creates a complete impression of the antiquity of wooden products.

The use of products made using brushing technology in interior design will allow you to easily create a stylish and unique atmosphere in any room.