How to Make Faux Whitewash
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Enjoy the sample-making process.Jupiterimages/Brand X Pictures/Getty Images
Practice the technique and test the look that will be achieved. Whitewash glaze applications usually cover the existing finish with a thin, even coat. In some cases, showing long grain like brushstrokes is the desired look. For some decorative projects, an even glaze without much variety is wanted. Off-the-shelf paint-store cans of oil-based pickling glaze give the more desirable finish. Water-based pickling products won't look as good and are harder to control, giving less open time for surface manipulation, but the water-based products are much less toxic during application and cleanup. Do the test samples on a surface with a similar color and texture to the project substrate. - 2
Mask off the surrounding areas.Zedcor Wholly Owned/PhotoObjects.net/Getty Images
Brush or rag on a thin, even coat using long, even strokes brushing with the grain. If the project includes painting on vertical surfaces, practice the sample vertically. The whitewash glaze is quite runny and it will drip if applied to thickly. Let the samples dry. The dried finish will look slightly different from the wet sample. Be mindful while doing the samples, and take notes if necessary, so the successful test methods can be applied when the project is executed. - 3
Judge the samples and proceed accordingly.Martin Poole/Photodisc/Getty Images
View the dried samples and judge for necessary color and transparency adjustments. Make more samples if a better result is desired. In some cases, a base-color adjustment will need to be made to the project surface before the pickling coat goes on. If the wood color is almost black, for example, or too light, the existing color may need to be altered to get a good whitewash effect. - 4). Glaze the whitewash. Using what was learned during sample making, do the job. Decant the pickling glaze to a flat, open container. Brush or rag on the glaze. Use long, even strokes, applying a thin, even coat brushing with the grain. On vertical surfaces, working the glaze on in upward strokes is more controllable and less messy. On large, broad areas, the glaze can be rolled on if then it is quickly brushed out.
