If you want a dead smooth finish then you are in for a LOT of sanding. Really you should use trad gesso, brewed up
in a double boiler. The properties of such are tried and tested and have never been improved on since the time of the
ancient Egyptians.
![Very Happy :D](./images/smilies/icon_biggrin.gif)
However, in the modern world we don't have all the time in the world and building up an immaculate
marble-smooth base is going to take hours/days/weeks. To my mind, unless you are doing water-gilding all the labour is OTT.
For a painted finish it is sufficient most of the time to merely fill the grain pores on hardwoods and make good any knots, splits
and blemishes on softwoods*.
I first join the frame and then examine it for any niggly bits. Also radius the corners
slightly. Next a brushing over with
diluted fine-surface filler. this I wipe off/rub in with a J-cloth**. If you take your time at this stage it saves a lot of sanding. At
the same time I make good any mitre gaps and minor flaws with the filler full-strength****.
Next, When the filler has dried and the frame sanded, two coats of ripple paint***. This acts as a primer and also fills the grain
further. This applies to softwoods as well as hardwoods. At this stage you can see any rough patches of grain that were not apparent
earlier. Sand down any patches of raised grain as you go. Two coats is generally sufficient. You can add more and the more you do the
smoother base you'll get, but after a certain point extra coats produce diminishing improvements.
Sand the ripple paint down and you get a nice base for the acrylic top coats. Good quality artist's grade acrylics are very tough when
dry. Non-soluble and waterproof. You can use emulsion-type paints for a top coat, but they are not as durable. Waxing then is OK and
you can also varnish them. The surface might not be dead smooth. Not like a machine extruded moulding. But personally a few brushmarks
and undulations do not detract from the look. It's a handmade product. You can even emphasise the 'imperfections' to produce pleasing
textures. Adds touch of humanity. As long as it's even all the way round.
Thing is, if you take time and trouble to prepare the wood surface you should not have to go back and make good any flaws.
Like most other things in life, preparation is the key.
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* When I say 'Hardwood' and 'Softwood', I'm talking in the botanical sense. Some Hardwoods are very soft and most Softwoods are harder
than some Hardwoods.
** You can buy cleaning cloths from EBay and such in bulk. Don't get them from the local Co-op as you'll get through 100s.
*** The ripple paint I've used for years from Wickes has been discontinued.
![Neutral :|](./images/smilies/icon_neutral.gif)
I'm currently testing some B&Q jollop which looks OK.....
**** This is fine for small gaps/holes. For bigger ones it's best the use a wood stopping. I use Brummer Stopping which is more akin to wood
than Polyfilla-type stuff. It's got more body. A big void will need to be filled in stages, the final one well proud of the wood surface. Do this
and sand it flush before you start grain filling.
Here Endeth Today's Lesson.
![Ninja :ninja:](./images/smilies/emoticon-0170-ninja.gif)