Finishes Pearl Effects, our specialty metallic paints. Pearl Effects can be

painted or sprayed straight from the can for a solid color or thinned to create

specialty finishes. We like to add 5% Extender for spraying and glazing and to

improve open time in low humidity. Always use Pearl Effects over a sealed

surface such as General Finishes Milk Paints, sealed water-based stains,

water-based top coats or any primer. Here are undiluted Pearl Effects sprayed.

Argentine

Bronze

Burnished

Champagne

Copper

and Tawny. This may be the look you want but Pearl Effects lend themselves to

much more interesting decorative applications such as dry brushing,

stippling, marbling and glazing. The first demonstration is dry brushing with only

one Pearl Effects color. The first dry brush demo will be Tawny over Lamp Black that's

been sealed with High-Performance Satin. I have my colors into the plate here I'm

just gonna give a squirt of Extender and I wanna condition that rag just so that I

can get my brush wet and I want a little bit of color. I don't want to use a lot.

This is really the key here and just keep dabbing on very soft and subtle.

That's the key about dry. You can see it going on, you don't wanna heavy wet film.

You want to build color very soft. As the brush gets charged with paint you can just

keep adding color wherever you'd like it. If you get too

much on just grab a damp cloth and kind of wipe it back. You can see the color

develop their. Yeah it's really building. It's very subtle. I like this, I think

that's a very sophisticated look. Here are finished examples of one

color of Pearl Effects dry brushed over Milk Paint completed with two coats of

High-Performance Satin. Tawny over Lamp Black.

Champagne over Persian Blue

Argentine over Queenstown

and here's a completed table. The legs have been painted in Somerset Milk Paint

and glazed with Tawny. The top has been finished with Java Gel Stain with two

layers of High Performance Satin. You can also dry brush multiple colors.

In this demo Tom will apply Argentine, Copper and Tawny over two coats of Lamp Black Milk Paint

sealed with High-Performance Satin. Just like before we're going to

use the same techniques again I want to use a little Extender to kind of wet the

colors out a little bit. I'm going to use a couple different brushes here cause I'm starting

with a different color. Drag a little bit of the Argentine silver and I

want to blot it off. The key here is just keeping it really dry. The silver is a

little stronger so it will show up quicker. That's a nice subtle layer of

color. Like I said before if you get too much just take a damp cloth and wipe it

right back off. I'll follow it with my next color which is the Tawny.

I'm going wet on wet here so I'm gonna let the colors work together. This adds a

second dimension of color which really will make those moldings and those

routed edges jump off the surface there. These are great combinations of color.

This has become my favorite finish here.

That Extender just makes that color slide a little bit easier if you can see that.

I'm going to take a third brush. I just want to put a little bit of Copper on here.

This just dampens the brush so the brush isn't dry.

A damp brush will pick up color and distribute it more uniformly. I'll put that

third color on there. See that going into the grain there? Three different colors

working together really create an unusual, real nice subtle change of

colors on your project there. I think that's really cool. It's gorgeous Tom, thank you.

Here are finished examples of multiple colors dry brushed: Argentine and Bronze over Lamp Black.

Copper and Tawny dry brushed over Espresso water-based stain

Argentine and Bronze over Driftwood

and here's a hutch painted in Lamp Black and dry brushed with Argentine,

Copper and Tawny.

Next we'll show two stippling techniques also known as pouncing. In the first we will

use a heavy additive stipple. Additive means painting on without removing any

of the Pearl Effects. I'm going to do a stipple of Argentine and Tawny over two

coats of Driftwood Gray milk paint sealed with two layers of High-Performance

Satin. This one is just a little more aggressive application here. Again I

charge my brush, wet it out with a little Extender. I'm gonna take a little bit

more paint now because I want some heavy application. I'm just going to

pounce the color onto the surface. The key is not to be too consistent -

you want random.

Just a random application and then I'm going to come back with my second color which is

going to be the Argentine silver. A little bit more and that

Extender keeps my plate wet which is kind of key becuase now I'm going to come back

and that secondary color. Try and fill in those spots that you missed and

let those two colors blend together. This is easy there's really no rule per se

but it's just something that when you like the looks of it put the brush down.

It gives you nice, contrasting colors.

Thank you Tom. Here are examples of additive stipple: Argentine, Burnished and

Copper over Queenstown

Argentine over Queenstown

Copper and Tawny over Royal Purple

For the next demo we will use a subtractive stipple of Copper, Bronze and

Tawny over Brown Mahogany water based stain. The paint is applied and then removed with a

brush, sponge or towel to create a textured effect, Tom? For this demo I'll be

pouncing three different colors together.

Again, pouncing is just the method of application.

So I'm actually going to pounce the color into the wood

right on the surface. It's kind of a stiff up-and-down motion. You don't want

to be dragging it, you want to make it look like it's been blotted on.

So then I'll do my three different colors here. Again a little Extender become your best

friend. Do a little bit darker color, add to the background to help soften out that gold

which is a brilliant color. Then I'll come in with my third color, get my

brush conditioned here.

Copper is a real rich color so it doesn't take a lot. You can see I'm

leaving most of it off on the

cloth. Well that's good for product sales Tom. Yes it is, we will make more. The next step

is I'm going to take just a clean cloth, something without a lot of texture or

pattern and I want to just come in and blot this and soften. Look at how

those colors just kind of blend together. As a final step I'll take a soft bristle

brush and I will come down and this is just a softening technique that blends all

those lines together so it looks like its layers of color almost like

oxidation. There that's cool.

Here are finished examples of subtractive stipple: Tawny and Copper over

Brown Mahogany water-based stain and Argentine, Bronze and Burnished over

Queenstown

And finally, you can mix Pearl Effects with our water-based topcoats and glazes

to produce a subtle look. We mix one part High Performance with one part Burnished Pearl Effects. Chris?

To start with, here's my brush du jour. It's from the

Escoda restore collection. I like it because the handle is thinner, fits the

hand really well and has a natural bristle nicely rounded. So we're using

this mix of High Performance and Burnished which I have in this jar.

I'm just going to get it on the surface. You don't want too much. Even it out a bit.

Now come back and do a subtractive stipple technique. This will give that surface a really soft shimmer.

You can take off as much as you want but this technique is fabulous

for any of your bright reds, bright greens and bright yellows. Those colors

are really designed for glazing, pouncing and stippling. Here are examples of

water-based topcoats and Glaze Effects intermixed with Pearl Effects.

One part Burnished, one part Burnt Umber Glaze, four parts High Performance over Patina Green

One part Burnished, one part High Performance over Holiday Red

One part Burnished, one part High Performance over Emerald.

and one part Burnished, one part High Performance over two parts Tuscan Red and one part Dark Chocolate milk paint

Be sure to protect your beautiful work with two coats of topcoat.

Here is a quick tip to extend the life of your brushes. It is real important when you're done painting

using the Pearl Effects or any product, clean your brushes right away.

Don't let that paint dry because it becomes more difficult to clean your

brush and it's an investment. The brushes will last you a lifetime if you take care

of it. So you can see how quickly it rinses out. I will blot it off on my rag but

for storage because what happens with water, the brushes have a tendency to

flare. I'll roll my brush in my cotton cloth and that helps keep the shape of the

brush. Squeeze it out a little bit so when I'm done with it I can keep the taper

on my brush it's a nice natural bristle it's going to last you a lifetime.

Erin's Tips: Apply Pearl Effects over sealed surfaces only. Such as topcoat, milk paint or primer.

Always seal Pearl Effects with topcoat.

Dry time to touch: 2 to 4 hours.

Dry time to re-coat when using as a paint: 12 hours.

Dry time to re-coat when thinned as a glaze: 2 to 4 hours.

Our finishes are engineered to be compatible with each other.

Test to your satisfaction when using with other brands.

And there you have it, creative ways to use Pearl Effects. More ideas can be found at General Finishes

Design Center at designs.generalfinishes.com

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