Here we will do an old world finish with texture, dry brushing and WoodUbend using Dixie Belle Paint and Belles and Whistles products!
Here's where we are going....
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And here's what we are starting with....
The first thing I do, and THE most important step to prepping your furniture, is to properly clean all the dirt and grime off. I used a premixed bottle of White Lightning and water and spray the piece down generously in sections and let it sit for a few seconds. Then, I take a finishing pad that has been cut into a small square and scrub the piece while the white lightning is on it. You'll wipe that off with a shop towel. You'll want to rinse off your white lightning residue well, so then I spray with a water bottle mixed with 50/50 ratio of white distilled vinegar and water. You'll wipe this off with a shop towel too. Now we are ready to create!
This was probably the dirtiest, stinkiest piece I have ever gotten. I applied 2 coats of Gray Boss on every square inch, inside and out in order to block the odors.
Before painting, I wanted to add some Woodubend where the hardware would go, and drill new holes to replace the hardware. I went with Moulding #1352 to match the square detailing on the sides. To apply your Woodubend, you heat up the Moulding with a heat gun or griddle. Apply Titebond Wood Glue to the entire back of the surface and press down on your piece in the spot you want it. Once it's on, you'll heat it again and continue to press down on the moulding until it begins to cool off. To clean up your excess glue, you can use a baby wipe, a q-tip or a wet artist brush. Titebond dries clear, so if you can't get it all off, no worries!
For the front, I painted Kudzu into all the crevices so the color would pop through when painting over it with the Buttercream and Dried Sage. Once dry, I took my Scarlet brush and painted with Buttercream, depositing the initial brush load on a flat surface then dry brushing over the Kudzu. If you do this in layers, the color will pop through better rather than trying to paint over it with a light hand.
I added in some Dried Sage in a cross hatch motion, mostly dry brushing but spritzing with water with my Fine Mist water bottle in areas so that there were spots of blending along with spots of dry brushing. This technique requires multiple layers until you get the coverage and desired look.
Watch the entire process here:
On the sides of the piece, I wanted to incorporate the Kudzu on to the sides somehow, so I decided to use the Greek Key Stencil to create a pattern, then do the same cross hatch technique on the sides to make it appear as if the piece had been painted several times and had been wearing off the layers over the years. I painted a base coat of Buttercream before I stenciled. I used the Belle Brush to stipple the Kudzu on to the piece, going straight up and down as to not get the bristles under the stencil. The coverage didn't matter much, since it would mostly be covered up. Once the stencil was dry, I went in with layers of Buttercream and Dried Sage, just as I did on the front of the piece until I got the layers where I wanted them with just a tad of the Kudzu showing through.
For the hardware, I cleaned well with White Lightning and rinsed with vinegar water. I applied a thin coat of Slick Stick and let it dry over night. Once dry, I applied 2 thin layers of the Gemstone Mousse in Garnet. I allowed the mousse to dry for a couple of days while I finished working on the end table before buffing with a soft cloth.
To drill the holes in the WoodUbend for the new hardware, I started with a small drill bit in 1/16", then drilled with 1/8" and finished with 7/8" to create a hole big enough for the screw. You must be careful not to start with a large drill bit so that you do not crack your wood when drilling.
Watch the entire process here:
For the top, the end table had a dated piece of glass on top, but rather than filling the top with resin as I initially planned, I decided to try decoupage paper on the under side of the glass to add some color. I went with the Whimsical Mediterranean Rice Decoupage paper. To do this, I flipped the glass to the under side. I applied the decoupage paper with the brilliant side on to the glass, so that the colors were vibrant when flipped over. I used Gator Hide as my decoupage medium.
I drew a line for the center of the glass and applied the largest sheets possible first. The decoupage paper has a continuous design, so I matched them up as best as I could to continue the pattern.
For the rim of the top, I pulled from the colors of the decoupage paper and went with Pine Cone to separate the top, visually, from the bottom of the piece. I sealed the top with 2 coats of Gator Hide and the body with 2 coats of Clear Coat Satin.
Here she is!
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