Dragging, Stipling & Combing Finishes

Stippling is more difficult than any rag technique because imperfections will show. Rag application is inherently varied but stippling makes a delicate, slightly elevated, consistent finish. The glaze must be oil to maintain workability.

1. Carefully fill all cracks and imperfections in surfaces. Prime if necessary and apply base coat.
2. As with other large surfaces, have a partner paint the glaze on the surface in strips just ahead of your progress. A roller makes stipple-like marks naturally so use a brush only in corners.
3. With the clean, dry bristles of the stipple brush, gently dab the brush down the vertical row of glaze. Just touch the surface straight on so the glaze is transformed into tiny, raised droplets. If the brush doesn't hit and jump back out it will smudge the glaze and leave a blank "hole" of base color.
4. Both workers move across the surface, one painting on the glaze, and the other blending the stippled rows into each other.
   Try not to go over areas twice-you'll create gaps. Also be sure to keep the bristles of the brush clean, dry and soft.

Dragging-trim and molding, flat surfaced furniture-
Dragging produces a striped effect by pulling a dry brush in rows across a wet glaze surface. A dragging brush will create soft lines through glazed surfaces. Dragging is not recommended for large surfaces because it is difficult to keep the lines straight, but can be done with a plumb bob marking the vertical rows. The base coat can be oil-or water-based satin paint and the glaze should be a very opaque, oil-based liquid applied in a light film.

This technique requires a brush with long clusters of bristles called a dragging brush, over-grainer, or flogger brush. Keep this tool dry and fairly clean while dragging or it will not pick up glaze.

1. Prepare the surface by filling holes and sanding or de-glossing any varnishes. Prime if necessary.
2. Apply an even base coat and allow to dry.
3. Begin by rolling the surface with a complete coat of glaze. Don't worry too much about brush marks; the dragging will incorporate them into the finish.
4. Pull the dragging brush across the surface in a long, straight and steady motion. Move from one end to another end. Never stop mid-point because the lines will be jagged.
5. Wipe bristles off before starting the next pass. Keep a wet edge between passes but don't overlap or the stripes will be too narrow at this point.

Combing-flat, small surfaces like tables and cabinets-
This technique is similar to dragging except it creates a visually more interesting pattern. By using different tools, some which you can make yourself patterns are created where the glaze is lifted off. As with all the techniques move your hand steadily to a stopping point. If you muddle an area, or stop mid point, the surface must be reglazed and started over.

Combs are available from art stores or mail-order catalogs. They come in metal, plastic, wood or rubber and have varying teeth width and length. You can create a tooth pattern from heavy stock card board or from a plastic lid cut in half. Use a material that will not bend under the pressure of dragging.

1. Follow steps 1-3 as above.
2. Hold the comb firmly but don't apply too much pressure to the surface. Drag the comb across the surface at slightly less than 90 degrees.

Wipe off the glaze on the comb after every pass. It is important that the teeth of the comb stay fairly dry or they will just smudge the glaze.

When combing try these finishes:

• Drag the comb in vertical rows across the entire surface then immediately comb horizontally to create a tiny boxed pattern.
• Start at a corner of the surface and make a vertical box pattern several inches long. Pick up the comb sharply and turn it perpendicular to the first box. Make a horizontal box of the same length beside it. Repeat the vertical then horizontal pattern to create perpendicular boxes.
• Start at the top and go down vertically in a wavy row. Try to follow the pattern of rows when moving across the surface. When complete, begin horizontal wavy rows across the whole surface to make a moiré pattern.