Imitation industrially radically differs from handwork. This process at furniture factories and the enterprises of the chemical industry almost is completely mechanised. It is based on pasting by a thin paper or a film with the typographical way printed on them drawing on which then put a protective layer of a transparent covering. Plywood, plastic, a hardboard and other materials can be a basis on which in the hot way under pressure paste a decorative film. .
At imitation industrially the wood structure is monotonous enough. Even on rather small area drawing in accuracy repeats nearby though natural wood of similar copies has no. Cutting manually is easier for approaching to nature, the original, all depends on skill, skills and art taste of the executor. The Cabinet maker is helped with this work by knowledge of a structure of a tree, a natural structure of its wood depending on geometry of cutting of trunks.
The Most widespread and idle time is colouring under an oak. Here cutting consists of what operations. The first, bottom layer do light ohroj in which whitewash are added a few. The second covering is put by more liquid paint in some hours when ohra slightly will dry up. To the second layer apply more dark paint - zhzhenuju umbru. It put a soft wide brush. These two colours precisely enough render the general colour of wood of an ordinary oak. .
Now the problem consists in that strips of different width to remove a layer umbry, vysvetliv them (fig. 25). A portrayal to make easier if to have before itself the original standard - an oak board or a piece of plywood with an expressive structure. In nature these light places usually happen more smooth to the touch, less porous, rather than dark. A time of wood fibres, in the different degree, absorbing and reflecting light, also creates contrast transitions - from dark, to light.
Cutting of an oil paint under an oak:
1 - a portrayal of a structure a comb; 2 - shading by a brush
Strips trace the combs made of rubber or a skin, they remind wooden crests with a large teeth. Then shading - the most responsible part of work demanding certain skills of possession by a brush follows. It begin with the remained dark strips. Hardly concerning with a layer brush umbry, a paint shade in a direction of fibres "фЁхтхёшэ№" so that on the first, light, a background thin dark veins, and on a layer umbry - the same thin slightly wavy gleams were formed. The same reception shade narrow dark strips.
But on natural wood there can be knots, traces of other physicomechanical defects. They too can be simulated, using thin brushes with rigid and soft volosom. Doing various dabs and divorces, removing a paint coat in one place and adding in other, it is possible to receive the drawing rather close to the natural. .
The ash-tree Structure is very similar to drawing of wood of an oak. They are easier for distinguishing on colour: the ash-tree is more light, with hardly reddish, rozovo-yellow semitones and shades, a time less deep. Therefore the first layer whitewash with a small amount zhzhenoj make siennas, and the second - a natural (crude) sienna. Cutting is made as, the same tools, as well as cutting under an oak.
For cutting in imitation walnut the first layer is done by a paint made of whitewash, natural umbry and ohry in a proportion approximately 6:2:2, and by the second, top - one umbroj.
Upon termination of cutting to a paint allow to dry up completely, and then cover for formation of homogeneous luster by a transparent (light) varnish.
The Choice of paints on colour for drawing imitation under a skin is given to the executor as the genuine leather can have any colour. Cutting is made by a dry rigid brush which easily strike on a paint coat. Thus in a layer small deepenings are formed, they and make the drawing simulating appearance of a pebble-leather. .
Rubber and spongy platens are applied To marbled cutting. prokatyvaja the platen in a superficial tray with a paint small amount, and then on a product surface, receive the shaded, indistinct drawing, which then "юцшты х=ё " a portrayal thin soft brushes. Nakatku do on fresh paint coats. The colour choice is defined by a task in view to simulate natural marble of a certain origin.
Despite seeming simplicity of an opaque covering of joiner's products ukryvistymi paints, has put it demands the big skill and experience. At furniture factories of work on shpaklevke, it are charged to polishing and colouring to joiners of high qualification and tarifitsirujutsja (are paid) for the higher categories.