" Painting on a coat over latex finish and trying to get a translucent effect."

" Yes, now are you using an oil-based paint over the latex? "

" Exactly. This is a glaze mixed with oil-based paint, glaze, and some paint thinner."

" Yes. So it's a relatively thin stuff. It doesn't cover."

" Right. Well it's actually thick, it's sort of juicy. I like it to stay wet. That way, while it's on wet, what I'm gonna do is I'm gonna actually distress the paint and take it off, little by little. It gives it an effect------"

" So you put the------"

" of rag rolling."

" And that's exactly what you're doing. You put rag off, crumpled up against the wet paint, then you roll it down------"

" Right."

" so that you're removing some of the paint."

" I'm removing enough to show the under coat and to try to get an effect that is kind of surreal-looking."

" Yes."

" The, the overall goal is to have a lot of depth in the wall -----"

" Exactly."

" so that you, you see the white way down below."

" Well, this is the first sequence on the series of 4. When you have just one coat, it's not as depthy, it's kind of powdery. But if you add two or three contrasting covers, not, not necessarily great variations in the color but enough to see the contrast, you get a real depth from the wall that makes it beautiful."

" So when it's done it's gonna be darker, right?"

" Exactly. And very pleasant to the eye. It's called broken colorMAAM, you missed this because the speaker is very SLANG!!! You'll get used to this later on. CLUE THAT ITS WRONG is because there's no such thing as a COWA. TY."

" Gary, you only do a certain section at a time, I noticed. You've just rolled on a section about 3 by 3 feet, and then you started roll ragging it. -----"

" Right."

" Why is that?"

" Well, I'm trying to get it so that there's not muchOPPOSITE. MAJOR ERROR!!! Please Listen carefully. TY of a, of a great scene between edges and if you keep it wet during one section, where it barely overlaps,------"

" Yes."

" You can get it so that the scene is very, almost not a scene."

" And the great thing about doing more than one coat is that the next coat will cover a quite camouflage style."

" Yes."

" And then, anything in between the third or fourth coat will get, so it really works out for your advantage to do more than one coat with this kind of technique. You notice I'm using gloves because I'm really getting my hands wet. The rag is very saturated with------"

" with the paint. Yes."

" Exactly. Anytime you do rag rolling, I think you should use oil because the latex style just dries too quickly even when you add a lot of extra water or any solution to, to work with it."

" So this is the glazing liquid. It's, it's not transparent. What is it that it dots?"

" Well, glazing liquid is a solution that suspends the pigment of the paint so that it crosses quite a depth."

" Yes."

" I'm adding 6 pots , glazing liquid to 1 pot thinner. And 2 pots of the color which I have today and, and that's a darker salmon."

" Of the actual paint. Yes."

" Right."

" So ready to go on the roller?"

" Exactly. First, I like to pour over a small amount into the pan at each time. And you noticed that I've changed pans. The last one was a, with the light orange."

" Yes."

" And this one is a darker color. "

" Yes."

" You could see that on the paint brush. And I got a new roller all together because I want a completely different color contrast to go over it."

" Why do you put so little paint in the pan?"

" Because if I put too much paint in it, I need to keep mixing it."

" Yes."

" I need to keep mixing it."

" Okay? Yes."

" Right."

" I'm ready for the wall."

" How about if I try the rag rolling this time?"

" Exactly, I'm glad you're picking up the gloves because you'd certainly don't want this all over your hands. This is a darker color of salmon and even though I'm putting it on thick here, it doesn't have to be."

" Yes."

" You can have motion in between but you wanna get it to [unk]"

" Want the role [unk]"

" So without putting too much on and then you just kinda crumple the cloth like that?"

" Let me take, let me take my cloth and show you, want the two techniques. One is the roll it completely like a tootsie roll or sort of like this straight down."

" Yes. Yes."

" And use the palms of your hands and you get a------"

" Oh look at that."

" a distressed fashion that leaves, that takes off a lot of paint."

" Yes. Let me try that."

" Okay. Alright. You don't need your fingers so much, just the palms of your hands. And that gives it a, a lot balance."

" So what's the other? What's the other technique?"

" The other is more crumbled up and let it find, let it find its own shape and form."

" Let it kind of fall on the wall."

" And you can keep changing it. After you've done at the first way for awhile------"

" I don't think these gloves are my size, Gary."

" They're extra large and------"

" Really. But let you're hands breathe a little bit because you'll, you're hands get really sweaty."

" Nice."

" Okay Bob, after the second coat is dried, we'd like to put a third coat on where you have a much lighter color, contrasting------"

" It's like you're covering up all your work though"

" It looks like that but what you're gonna have here is quite a translucent effect where you can see right through this beigey color, which is really a white opal."

" Yes."

" And that will tone down the salmon color so it will go very well with the white background."

" So now back to the rag?"

" That's right. And we'll just take this off and you'll begin to see a texture that will be almost as the finished product. I will put a fourth coat on, and that will actually be mostly just dabbing and tapping here and then."