Next I applied 3M transfer adhesive #465. I've been using it for 40 years, ever since it was a test product for 3M. Absolutely no warping when applying paper shingles, ties to homasote, strip wood to
Steve, Thanks much appreciate that. The saw banding technique is outlined by Brett on page 52, Check Box #4 of the O'Neills Fabrication Manual "To simulate saw blade banding hold a single edge blade
I think you did a wonderful job on the siding. The fading looks great and once the roof is on...even better. Your weathering of the wood is just how I like it and your response on line item #4...now
Brass and then weathered with raw umber #408.5. I was careful to remove the tag left from the laser cut sheet with fine sand paper – 400 grit. I then removed most of the adhesive backing and used a
Then I used Brett's suggested method to stain the wood. Rembrandt pastel chalk Burnt Sienna #411.3 scraped onto the wood and washed/rubbed in with pra (again for newbies – Brett's term for plain rubb
The remaining cross braces are added per template L. You will need 8 pieces cut with jig #4 and 12 pieces cut using jig #5. (note: on my cutting jig, there is a cut slot missing from jig #5--see das
#3) instead of the typical Dry Brush (aka Brush #4) otherwise you'll have silver all over the place. I attached a few pictures of the brushes and the paint I'm referring to in my description. I also
The staining was a new process for me and I was a little nervous. Simply scrape the chalk (in this case Rembrandt raw umber #408.5) over the wood and apply rubbing alcohol to the pieces with a soft br
You need to really mix it good and then apply it with a #4 shader brush. The small places I use a 00 round. Because its so thin I just keep added coats until I get the coloring I want.
use for rust. The brush is over the Burnt sienna #411.3, directly across is the mix of Orange #235.3 and Burnt sienna #411.5, thats black in the middle and some of the darker Raw umbers up top. Just
scrub on the chalk. I first used burnt sienna #411.3 to go over all the cabinet surfaces. I used some raw umber #408.5 to go between the boards. Finally I lightly dusted on some #231.3 gold ochre to
On the green can I used the wire brush but also did some scraping here and there with the toothpick. Re-blacken it and dry it off. I used my Windsor-Newton water mixable oil (raw umber) and hit a few
chalks and maybe some of the dark raw umber #408.5 and blow off the excess. I put each casting on a toothpick. Take your Dullcote and spray it and pass the casting through the mist of Dullcote that i
Next I take a small soft brush and dust on some burnt sienna #411.3 over the W-N oil. Just lightly blend it over the oil. I also use an equal mix of Rembrandt orange #235.3 and burnt sienna #411.5 as
Let's get to some detailing. The open crate was first given a wash or what I call a slurry of alcohol and Raw umber #408.5 in the inside of the crate only. This is just to give it a dirty look and to
a row of them with some Rembrandt Burnt Sienna #411.3 chalk. Just the tiniest bit will settle in the nail hole and I brush the rest away. When I apply the chalk to the casting (the gold ochre and raw
on the bench Gold ochre #231.3 and Raw umber #408.5. The primary color is the Gold ochre and I use a worn out brush to brush and stab it on over all the benchtop surfaces. I'll dip into the darker Ra