" Oh this one is very good. Now, you're actually a decorative painter which means you don't just do throw [unk] finishes but------"

" A lot of fine art projects and------"

" Yes."

" and murals and------"

" And this door that you're doing is really the prototype for all the other doors at the mansion. Other painters would be doing that work."

" They'll be prepping it."

" And the door behind you is one of the doors that I guess, it was a victim of an earlier decorating project at the mansion back in the 20's or the 30's."

" Yes, they took the paint off with a blow torch, as you can see. So that scarred the door and the first step is to sand all that smooth and fill it and re-square all the edges."

" Yes."

" And then prime it and base coat it to this color------"

" So this door on the right already has a coat of primer and how many coats of base?"

" Two."

" Two, and its------"

" In oil."

" In oil. And you picked a color in this tans for example, based on what?"

" The base color for the wood grain that you want to show through."

" Exactly. So in this case, the mahogany is gonna have that rich reddish, tannish showing through a little bit."

" Right."

" not much. Well, take us through the steps. What's the first thing you do once the base coat has been on there and has that chance to dry?"

" I'll show you a panel first and------"

" What are you putting on?"

" This is a glaze that's a mixed tint straight from the tube and with the glazing liquid."

" Okay."

" And which is an alkyd glazing liquid and then cedar oil. Until I get the right consistency and I have 3 colors of this kind, I brush them all in at once."

" Really, one ride over the other although they're wet?"

" Just to get the right tone. Coz this color is burnt sienna and then I have burnt amber."

" And you use just the same brush, you don't have to be------"

" Same brush."

" Its all gonna get mixed together kind."

" Just a little bit of red to bring that mahogany tone in there."

" Okay, now to get these dark tones which you would find in flame mahogany, you're putting in a darker glaze."

" I feather that in to the wet ground------"

" And------"

" And you have to step back, and that's the hardest part."

" Yes. Coz if you look at this here, its very realistic if you look at antique mahogany furniture, very often, they would match and book-end the veneers so that the pattern is running in this direction here and then she's painting it over here in the opposite direction. That's the real fine point."

" Right. And also, I stipple in between the hearts just to give it a little bit of that grainy pit marks that you find in the wood. And then that has to sit about 10 minutes."

" Now, do you think this has dried sufficiently to start doing the magic?"

" Still a little wet but I can just blend some of it in and use a wet brush. The first thing I do is just kinda streak it, almost like you're doing a tortoise shell. You pool those colors. Now. After that sits for a minute, I take my magic brush which is a badger blender------"

" So these are badger bristles."

" Yes."

" Nice brush."

" And it's very soft and it will lift the paint without scratching into the wet paint. I just lightly brush over it and it starts separating the colors and so that I don't end up scratching through, I have to go horizontal and then vertical and then diagonal and there it makes your grains."

" Now this is meant to be an inlay of holly for example, lighter wood within the mahogany. And how do you achieve that on the wet panel."

" Okay now that I've got this feathered out a little more right here, I take my sand brush and dip it in the first color and then run down the side and stipple a little in here just to make my border."

" I see. Coz the boarder itself is not meant to be the flame mahogany but more like a curly------"

" Its kind of a burrow."

" Burrow."

" And then I take my plastic [unk] . You combine them in a roll and------"

" Lift off some of the excess."

" It's a negative technique that you're taking off instead of putting on. This is just breaking up the brush marks and to lay in my inlay line that's not the finish."

" Right."

" [unk] then I take my stick and lay it across and pull through the wet glaze to make my inlay. "

" There you go. Okay. So now there's a few little repairs to do. But basically you showed us how you created this, what we've got here."

" Right."

" And that's pretty authentic looking but I know it's not done. What's the next step from here?"

" After this, you over glaze it with a darker glaze and these areas have already been over glazed."

" And so the final step is to apply bowling alley wax with a fine steel wool. Is that [unk]?"

" Yes"