Graining, Stencilling and Sign Writing
Graining, Stencilling and Sign Writing
This domain tests imitation wood graining, stencil work and hand lettering. Questions focus on tools, registration and layout rather than freehand artistry.
Graining
- A ground coat is applied and sealed, then a scumble glaze is laid on.
- A comb or graining tool draws the grain; an overgrainer softens and adds fine lines; a stipple brush adds figure.
- Work with the grain direction and vary the pattern to avoid obvious repetition.
- Protect the finished grain with a clear varnish.
Stencilling
- A stencil has bridges that hold the design together; bridges leave gaps in the painted image, so design around them.
- Register the stencil with marks or a previous image; repositionable adhesive stops creep.
- Use a stencil brush with a near-dry, dabbed motion. Too much paint bleeds under the edges.
- Clean and dry the stencil between colours.
Sign writing
- Lay out the text first: measure the panel, decide letter height and spacing, and draw guide lines.
- A pounce pattern transfers a design by pricking holes and dusting with chalk.
- A Mahl stick supports the hand without touching wet paint.
- One-stroke lettering uses pressure variation to change stroke width.
Worked example
Six letters must fit a 900 mm panel with five spaces of 20 mm. Total spacing is 5 × 20 = 100 mm. Remaining width is 900 − 100 = 800 mm. Each letter is 800 ÷ 6 = 133 mm wide. The reasoning is that spacing is subtracted before dividing, otherwise the line overruns the panel.
Traps
- Loading a stencil brush too heavily and bleeding under the stencil.
- Forgetting that stencil bridges interrupt the design.
- Setting out lettering without guide lines and losing baseline alignment.
- Graining in a regular repeating pattern that looks artificial.