VCCA Home Forums TECHNICAL - GENERAL Upholstery - Interiors & Glass Woodgraining for amateurs.

Hey guys, do any of you know how I can restore the woodgraining on my 40 dash and window mouldings - 'In Situ'. I really don't want to remove them and send them off to PA or TX or someplace. I've been looking into woodgraining techniques, but there is not a lot written on the subject. I know that the original woo grain effect was from some glue on paper - like shelf paper - that was available from Chevrolet way back then, and that might be one way to go.

Any suggestions?

Doc

I posted the method that used to do the woodgraining on F*rds

I saw this done on a TV program and I thought it was crazy, but it worked great and it looked just like woodgrain.

no kidding.........I could buy alot of cheese cloth for the $1000. l spent....chef-

What's a guy named Gator doing in Seattle? Ain't too many Gators there.

Anyway thanks for your suggestion. Sounds like it might work, but one question; in Step 2, I gotta' have more detail than "distort it some". If you mean shape the distortion of the cheesecloth to immitate wood grain, forget it. I ain't that artistic. My Wife is, but forget that.

I know that there is a viable DIY method out there somewhere, I just haven't found it yet.

By the way, I have purchased most of the parts for my restoration from "Chevs of The 40's" out your way. And do you know why All the vintage Chev parts sources are in the Northwest?

Doc

This "Gator" lives in Florida and in Gainesville, the Home of the University of Florida (class of '73) and the "Fighting Gators" football team. Just don't look at the team this year, new coach, rebuilding, etc, etc. :cool2:

To distort the cheesecoth just "sort of throw it on the area to be painted" maybe poke it here and there, etc, doesn't really matter. You don't want to spread it out all nice and neat and tight with all of the lines on perfect 90 degree angles. You want to make it look ramdon and unorganized, which would be perfect for you if you really have no artistic ability like you said. Look at the natural grain on a board and it will give you a good idea. :eek:

I didn't say to let the first paint dry (#1), hope you understood that. :)

I am somewhat artistic and tried my own graining with an airbrush and many different technics.But I'm it takes a lot practice,I was kinda happy with my first try but it was'nt quite there and the time spent layering the colors and drying time in between was too much so I took to the pro.DocB don't scare Gator like that,the thought of a week of rain and 50 deg. temps.could cause him to go into hibernation...chef-

Did someone say "Dog"? Bow Wow Wow and Wow!!!!

"hibernation", what's that, must be a NW thing. Gotta have seasons that change some to go into hibernation, and we don't have that.

Dogs are one of the favorite foods (collars and all) of gators here, yum...yum...(hope the UF Gators do the same to the Georgia bulldog).

The small dogs go down so quick, Junkyard dogs would have to be several bites and they have big chains. :cool2:

I did the window moldings on my Model "A" several years ago. Did not do the dash, rear quarter windows, or rear window. When I finished there was very little difference between the new and the original. I used a product called "ONE STROKE" It is a Base Coat, Grain Coat, and Finish Coat all in one stroke. To give it more shine I sprayed Clear Coat from a spray can over the finished product. Manufactured by New York Bronze Co., Inc. Elizabeth, NJ 07201/Bensenville, IL 60106/Norwalk, CA 90650, Taylor, PA 18517. I purchased it at a household paint store. Hope this will help someone.

SEE YOU DOWN THE BACK ROADS. Jim

Hey Gator. I'm sorry as ---- that I confused you with Chef-Chevy. My profuse apologies! Every one is right. No one with the name Gator should live in Seattle. Also thanks to you, Gator, JimoKoontz, chef-chevy and, I guess, junkyard dog, for your suggestions. I'll practice on some sheet metal first.

Doc

Twenty years or more ago, I wanted to woodgrain the window frames in a '37 sedan I had. I didn't have the money to have them done, so I decided to do them myself. I sand blasted the frames to bare metal and primered them with Rustoleum primer. I then painted them with Rustoleum "Leather Brown" and let them dry for a week or so. While they were drying, I bought the cheapest 1½" nylon bristled brush I could find. The bristles on the cheap ones are very stiff and were great for my my project. I hacked the bristles to an irregular shape (see the scan below). I then experimented, using Rustoleum gloss black, thinned a bit, on a scrap piece, until I got the "grain" look I wanted. I proceeded to "grain" the frames and let them dry. After they were thoroughly dry, I wet-sanded them and then clear coated them with Rustoleum clear. All the paint, except the gloss black, was applied using a rattle can. After the clear coat dried, I rubbed them out and was amazed how well they turned out and matched the original! I drove that car 2-3000 miles a year for the next 11 or 12 years and the frames showed no wear when I sold the car. Here's a pic of the hacked up brush that I used. I kept it all these years, but never did do any more graining.

Sounds like you could have made some money either doing woodgraining for your friends or as a sideline.

Now I wish I had some woodgraining to do...sounds like a cool challenge to tackle. Or maybe I'll just watch someone else try...

Hey, JimoKoontz, how long ago did you use this "One Stroke" product? Is the company still in existence? Guess I could use "google" search, but can imagine the kind of web sites I would get if I used 'One Stroke' as the search key words, so I guess I'll use "New York Bronze Co.

By the way, where is Beavercreek? I lived in the Cleveland area for 30 years and never heard of it.

Doc

I realize this post is old, but I just ran across it. Where can I find your instructions? You are welcome to email me. My address is dougkrassow@peoplepc.com

I call it 10 minute magic, doing the wood grain
1) Paint remove from metals
2) Apply metal prep if you have
3) Paint with LATEX rust looking base let dry
4) Dab on Gell dark stains ( I use plastic bag)
5) Let Dry (spay with Clear coat)

Looks like fish eye maple wood.

Better yet, it's been quite some time, if there is anyone still left from that discussion or any new info, repost it.
Denny Graham
Sandwich, IL

I'm a huge fan of the wood graining in old Chevy's.

In a couple of catalogs {Eastwood?} I have seen "wood Graining keys for sale that come with an instruction video. But whether it's completed by a pro, a do-it-yourselfer or what ever, I really enjoy the wood graining look.

I read in a book on Chevrolets it claims that different factories sometimes produced slight variance's in wood graining style. They said it was the "artistic" difference in personnel that produced the difference. They also said the "original wood graining was done using printers ink and various colors of paint in a 6 step process." Seems like a lot of work but the results are beautiful.

A "pro" in Long Beach Ca quotes, "$1,500. - 3,000.+" depending on a few issues such as the owner or him having to remove the dash and other parts.

I'll try to post a pic of the dash in my 41, maybe other can do the same to get an idea of the beauty and differences.

Enjoy the ride {& wood}
Michael41

Despite what is published in most books, the process used by Chevrolet and others in the 30s and later was not applied by the hand of experts but more like a decal applied to a base coat. There are at least two companies that produce the "sheets" and sell to restorers. The effect can be produced by "hand" but close examination can detect the difference from the original process/product.

Nope, no decals were or are used.

According to two books on Chevrolet and Ron Hedges of Woodgrain Specialties in Littletown PA.

Ron says from 30's & 40's, the the factory started out with;
Bare metal dash
Sanded & primed
Color Base coat was applied {background color of wood specie}
Grain pattern was "rolled" on using paint on a metal plate that applied the "pattern"
Clear coat {s} as a final
And Viola !! a beautiful Wood Grained Dash.

enjoy the ride,
Michael41

As if this site does not offer enough info, here's the dollar version on "Wood Graining"

Sorry it's so long, but.....it reads like Stan2 knows his stuff...

Wood Graining Secrets
By Neal A. Rogers

INTRODUCTION

A beautifully grained dashboard adds a real touch of elegance to any classic. or vintage instruments are truly at home nestled in deep rich burl and spiral grains.

The following procedure’s are used professionally to produce high quality grain work and should enable the individual restorer to add the same quality and value to his car. So, strip off the black lacquer and join the dashboard revolution!

PREPARATION

Prepare metal parts by removing old paint, saving any suitable section of original grain work for possible matching. The reverse face of dash or moldings may reveal the original base color and should be saved until matched. Prime with red oxide acrylic lacquer, sanding smooth with #400 wet-dry sandpaper and water.

BASE COLOR

Select the base colors in automotive acrylic lacquer, matching an original sample or a desirable background color. Any medium brown or bronze varying from reddish, to very light or yellowish tan will provide a suitable base. Interior and exterior colors may influence selection. While a dark base provides a richer tone, a selection too dark will diminish the necessary contrast between base and grain. Metallic paints are acceptable and add dimension when accented by sunlight. Orange metallic "Indian Fire", a 1969 Ford Thunderbird color matches the 1933-34 Ford base closely, is deep, rich, and suitable for other makes and years. 1966 Chrysler "Turbine Bronze" is equally rich and provides an increased bronze tone. "Old Masters" offers a selection of base colors through hardware stores and provides a color chart. Make your selection and dream of beautiful flowing patterns!

For an ideal base, use professional equipment and spray several coats thinned in a ratio of 3 to l, spraying at 65-lbs. pressure (acrylic lacquer). Substitute a small inexpensive "Preval" brand sprayer or spray cans paints if necessary. A last resort or experimental base color may be formed using spray cans if the proper spray can color or equipment is unavailable. Select a white, very light tan or light yellow and spray parts. Follow with a fine spray of dark bronze (whatever is available), carefully spraying until desired tone develops. Do not apply rubbing compound or polish to base, avoiding later problems with clear finish application. Sand lightly with #400 paper and water before graining.

GRAIN COLOR

Be sure to select a graining paint darker than base. Premixed graining paints are purchased through some hardware stores and hobby shops. "Flecto" and "Old Masters" brands should be available. Flecto #12 or a mixture of Flecto #11 and Old Masters 7 blend beautifully with the Ford Thunderbird base. Graining paint can also be home manufactured by combining enamel and enamel retarder, clear Glaze and thinner.

GRAINING TOOLS

Grain paint may be applied using expensive professional brushes (flat tipped (itch and blender) or with common, equally effective implements: graining combs, stiff feathers, wadded newspaper, cheesecloth, sponges -------- the list is limited only by one's imagination!

SPONGE TECINIQUE

The sponge is one of the best all-purpose graining tools, is inexpensive, easy to use, and produces a unique and beautiful graining job. Use a #20 "3M" brand sponge pad (part #5526) sold by automotive paint supply stores. Carefully cut the 3M sponge pad into 4 equal parts, each 1 1/2" by 2 1/4", using one section for application. All edges should be straight and even.

Slightly rough one or both sharp, short end edges (1 1/2") with coarse sandpaper. Additional particles can be picked off to increase pattern definition. Save the remaining sections for later use.

Dip roughed end of sponge into graining enamel, proceeding at one end of molding or dash, covering only a small portion. Apply paint liberally but keep the working-area small. With fore finger over the center, hold the sponge approximately 45 degrees to surface touching roughed sponge edge (not face) to base under very slight pressure. Pull or drag sponge from one edge of molding to the opposite side. Edge remains in constant contact until beginning adjacent path. While dragging, the sponge is slightly jiggled back and forth or slightly circular. Motions are no more than a trembling of hand and wrist. The proper effect has been achieved when a very faint intermittent connecting cross pattern appears, crossing the primary grain path at the various points of deviation. Occasionally "walk" the sponge along the graining path, moving one end then the other, keeping the same constant contact under slight pressure.

For a spiral grain effect, gradually rotate sponge during the path traveled from edge to edge (very effective on moldings). At the same time pattern is drawn diagonally across the molding face. Show some occasional waving. A portion of excess paint may accumulate at pattern edge and can be used intermittently for contrast. Begin new pattern or path slightly into excess, leaving a dark flowing paint portion between.

Enamel retarder causes the graining patterns to flow and blend during graining paint application. It is the ingredient necessary to keep the paint workable and to avoid harsh lines. However, it may be necessary to regrain fresh paint portions, reforming the pattern to counteract excessive flow out and diminished contrast. The uncontrolled factors of humidity and temperature as well as differing paints and colors will effect flow rates. If paint becomes too dry to work, wipe off and apply fresh.

Realistic knotholes are created with the sponge edge or face. Place the graining edge of the sponge to the surface with one tip at a center point. Use the graining edge as a radius, and under slight pressure complete a circle. To vary knot hole sizes and shapes, move edge away from center point while rotating, adding hand motion for irregular effect. To capture the true burl look, intermingle smaller knotholes and swirls using a smaller width sponge if necessary. Probably a more satisfying effect results from moderately waved grain flowing in one general direction blended around a few knot circles or concentric circles.

Notice how the sponge process is much like grade school finger painting; a process of drawing rough edges through the paint leaving portions of the base exposed. The distinguishing characteristic of sponge graining is the way grain lines flow and deviate uniformly.

For additional ideas, study patterns of natural wood where possible paneling, furniture, gunstocks, vintage car magazine dash photos exhibit applicable patterns. Be observant during a possible trip to a furniture store, sporting goods department, or lumber yard.

Graining may be discontinued at almost any point beginning a new pattern or adjacent path later. Complete portions or patterns that do not turn out satisfactorily can be erased while still wet with a paper towel. It is unnecessary and impractical to wipe off all. When erasing, be sure to avoid leaving a partial grain path or pattern. When regraining some of the fresh paint will overlap onto dry patterns. Simply wipe off excess avoiding erasure of fresh portion.

After finishing, squeeze the sponge dry with a paper towel (thinner will dissolve the sponge). Squeeze thoroughly otherwise remaining residue will destroy necessary roughness and flexibility. Some of the best patterns are created with a well-used sponge, so, never discard. Changing the sponge sections while graining also produces desired pattern variety.

CLEAR FINISH

The best of grain applications will not reflect full beauty unless mirrored under a smooth, flawless, clear finish. Crystal clear "Flecto Varathane"#90, available in spray cans, is recommended for covering the enamel grain and can be purchased in hardware stores. Clear enamel can be used but lacks comparable durability, requires a much longer drying period, and will not accept succeeding lacquer applications. Do not mistake Varathane satin finish (frosted) for the clear! Varathane can be used entirely as the finishing agent or as a buffer between the enamel grain and succeeding lacquer coats. The Varathane is more durable than lacquer but is much harder to rub to a high luster. The additional effort to finish a dashboard entirely in Varathane will be worthwhile, insuring non-chip surfaces around glove box, ashtray, and instrument areas. Allow the enamel grain paint to dry at least 24 hours before spraying clear. Use extra care when spraying Varathane to avoid runs and rough overspray!

When applying initial clear coats, grain will stand out, producing an uneven surface. The necessary smoothing process is one of spraying additional clear coats between successive steps of drying, sanding, and respraying. Allow 5 hours drying time before sanding. Use 600 wet dry sandpaper and water. Using very fine sandpaper will minimize possible grain wrinkling and reappearing sand scratches. A rubber sanding block or squeegee is employed during the last sand-spray steps for ultimate smoothness. Sand carefully to avoid exposing or erasing the pattern using extra care around openings, edges, and curves. Avoid the temptation too fully smooth out in one sanding operation. Gradually the surface becomes smoother using the clear as filler to build up low areas. Varathane may wrinkle the grain where previously exposed by sanding and can be cured by repetition of additional thin clear coats, lighter sanding, and longer drying periods.

Clear acrylic "Krylon" brand #1301 can be sprayed directly over the sanded Varathane, providing the enamel grain remains completely Varathane coated and resulting surface is moderately smooth. The acrylic lacquer is also available in spray cans and can be purchased in auto parts or paint supply stores. Note that any exposed enamel will wrinkle radically when contacted by lacquer or acrylic lacquer spray.

The acrylic is much easier to sand and rub to a high luster than Varathane but should not be used for any considerable filling or buildup. Acrylic retains a much longer settling period causing highs and lows to later reappear under heavy acrylic filling. Apply enough acrylic body to, sustain light sanding and vigorous polishing. Ideal spraying conditions are during warm or moderate dry days.

Lightly sand the final clear application with #600 and water (color sanding). A very fine grade of rubbing compound may be lightly applied after sanding. Then, polish vigorously with a clean soft rag and "Turtle Wax" or similar auto polishes until desired luster is achieved. Be careful when selecting polish a few brands are very abrasive and can leave a dull, scratched appearance.

SECONDARY PATTERNS

Secondary patterns, shading, or crossflow streaks can be applied over the primary grain for added effect. Often an additional process transforms average graining into the realm of the ultimate. The secondary process should not be applied unless the primary grain is covered with unpolished Varathane. Streak the entire surface using sponge and graining paint, streaking at an angle or directly across the original grain flow (cross grain). Let dry 24 hours and erase excess by sanding with #600 paper. To enhance retention of detail, a coating of Varathane may be applied and dried over the secondary streaking before sanding. Only portions of the heavier streaks should remain after sanding. Excessive secondary paint will obscure the base color and diminish desired contrast.

Shading is produced by dabbing a paint moistened sponge end or edge intermittently across the original grain flow. Remoisten the sponge as necessary dabbing back over areas of differing shades until uniformly blended. Improve and lighten areas as needed using a Q-tip. Recast with Varathane and proceed to finish.

A graining comb can be used to create cross grain flow lines. Mark and notch the thin edge of a. "Marson" brand bondo spreader (plastic applicator for auto body filler) uniformly with a razor blade. Lighten graining enamel almost to clear by adding clear enamel, thinner, and retarder. Cross flow lines should be very light and subtle requiring lightened paint. Brush the surface with lightened paint and comb through with the graining comb, crossing the original grain flow. Show some waving. Lines may radiate from an imaginary point below panel. A fine toothed graining comb produces an unusual effect when sharply waved through lightened paint over primary straight grains (short sharp strokes). Graining combs are also used to create primary patterns by combing at random or tapping full color graining enamel.

BRUSH GRAINING

A flat fitch brush is recommended for graining and is available in art supply stores. Selection of a quality brush is necessary to avoid the "brushed on" look characteristic of many first time graining attempts. Enamel grain paint is brushed over the base, turning the brush and varying pressure during application. Differing pressure develops contrasting dark and light areas, while position or rotation determines spacing between grain lines; normally wider or closer, increasing or decreasing as grain lines approach knotholes. Harsh wet lines are softened with a blender (blending brush) or soft rag, stroking softly in flow direction.

A modified brush increases pattern definition. Thin alternating, uniform bristle tufts are cut leaving an irregular brush face. Experiment with an inexpensive moderately stiff brush, severing small successive bristle sections (half-length) and testing to achieve desired modification.

Simulated pores, are formed by sprinkling fine specks of dark brown or black graining enamel over Varathane covered primary grain. To sprinkle the small particles, a wet brush is stroked across hair comb teeth held above the grained surface. The surface is then gently brushed with a blender parallel to grain flow forming the specs into realistic pores. A graining comb tapped continuously at an angle over a wet enamel surface also provides the porous appearance.

LACQUER GRAINING

Lacquer grain paint is applied over a lacquer base by dabbing the paint with a piece of soft cloth or velvet tied around a cotton ball. Two differing shades of graining lacquer are effective, each separately applied over the intermittently appearing base color The effect created is that of mottled burl and is followed by immediate clear acrylic application, saving considerable finishing time and effort. Wadded newspaper, tissue paper, and small sections of chamois or cheese cloth are also employed for application of lacquer grain as well as enamel.

ACRYLIC GRAINING

Water base acrylic wood stains are inexpensive, odorless, quick drying, water washable, and easily applied with a variety of graining implements and procedures; appreciated by one bothered with paint, fumes and stained fingers. Water or a damp rag or paper to well easily removes the water-soluble acrylics. Cunningham Art Products offers a variety of colors available in art supply and "hardware stores. Rapid drying requires occasional addition of water by dipping sponge or brush into a small container of water. Water is added to the paint as a thinning and lightening agent for secondary pattern application. Primary patterns and unfinished portions should be protected with Varathane to avoid erasure. Unlike enamel, dry

There it is, wood graing 101-125.

Now that's what I call an answer, and that's really something that you can really get your teeth into. I'm printing it out right now and gonna add it to the reference file. Thanks for finding and sharing that Mike.

Chipper, you wouldn't happen to know who these companies are would you??? "There are at least two companies that produce the "sheets" and sell to restorers." I've never noticed them listed anywhere.

But, this still isn't a definitive answer about "How the factory applied the wood grain." That has to be documented somewhere in pictures, patents or factory production notes. And what in the world ever happened to the people that worked on the wood graining production line, they had to be somebody's mom or pop or uncle or family friend and they must have talked about it to someone out there that is still alive today.
Denny Graham
Sandwich, IL

Denny that be great, find someone that knows/knew a Chevrolet/GM wood graining artist. What talent and all free hand, no decals allowed.

Hemmings has several ads for "Wood Graining" and some of them mention 15, 20, 25 years experience. I presume these guys have a firm grip on the Art of wood graing and it's history. They also have/had ads for "Sheet pattern, like you'd see on Early Ford/GM station wagons. Kind of like Contact Paper.

I have several books on Chevrolet {GM} that and some of them touch on wood graining. And they show Chevy, Buick and Pontiac models with wood graining.

I've noticed a large variance in wood color & pattern between 1940-41-42-47 & 48 chevy cars. But I don't know it's it was normal or typical. {?}

enjoy the ride,
Michael41

Denny,
My research indicates that several processes were used by Fisher Body to produce faux wood grains on metal parts.

Initially actual wood pieces were used in the higher cost models for mouldings and accents. They indicated luxury to car buyers.

In the late 20s to early 30s there was a desire to upgrade the interior appearance of the lower price cars. This is where the faux process was used. To actually hand grain mouldings with its multiple steps was not practical or cost effective. So they developed a photographic/printing process that produced a wood pattern on a substrate. It was a very thin film the same as used for decals. The film was overlaid on the metal moulding that had a base color coat. Likely water was used for the transfer process. It is the liquid used for decal transfer softening the film so it is relatively easily to apply and smooth out but facilitates bonding to the substrate. Once dried the moulding was coated with clear lacquer to seal the surface and protect the thin grain. It is the same process used to produce the dash decals.

Later other processes were used particularily for irregular surfaces and as more durable materials were developed. The more modern plastics are much more flexible then the earliest cellulosic based ones.

My understanding is that Mike Benton mbauto@worldnet.att.net used the “decal” type process. I used “used” because, last I knew people have not been able to get in touch with him so don’t know if he still with us and supplying the service.

Today there are several alternate processes. All use a base color and partially cover it with and ink or paint or tinted glaze. There are a multitude of techniques used to produce the grain effect: rubber mats, various graining tools, wadded paper, cheese cloth, aluminum foil, etc. All use multiple steps (up to 15 claimed) to produce the wood grain effect.

Links to some of them: http://www.woodgraining.com/ Grain-it sells the rubber sheets. I can’t find the other source of them. http://www.classicwoodgraining.com/home.htm I have not used any of them. I have used a kit available from my local hardware intended for faux wood graining on wood.

Of note is the dynoc process used to produce vinyl wood grained panels applied to the sides of station wagons and other vehicles in the 60s. It was much more durable than the earlier processes and also faster to apply. The faster to apply was important to the Bean Counters.

I don’t know the process used today to produce moldings and accents but suspect it is uses a molding machine. That is a press with a mold to make the desired shape.

Thank you for all the input on Wood Graining Techniques. What wood species was copied for the 1938, or does anyone have a picture of what it is suspose to look like?

The Primavera Tree



This is the best that was on my car.



Brian

Hi All,

I wanted to make a brief product report on woodgraining. This was a great and very informative thread; it led me to explore the company GIT (Grain-It Technologies, mentioned above; check out: woodgraining.com) further. I ended up ordering supplies from them and doing the garnish mouldings on my 38 coupe with their products. I want to report that I have been very satisfied with the results. Their process (as they claim) is pretty much the original one, using a base coat of color, followed by an application of ink with a roller that has been passed over a metal plate that has been etched with the particular grain pattern that will be used. For the 38 grain, which in the owner's manual is described as "Primavera" (see posts above), I used their "driftwood" base, ink, and toner, and the primavera plate (mahogany plate could also be used). The roller supplied in the kit is made of a very peculiar substance, a rubbery sort of stuff, that picks up the ink on the metal plate; it, in turn, is rolled onto the moulding and leaves a very realistic looking grain pattern.

The supplies are not cheap, but they do provide everything you need. I probably have about $450-500 in the supplies. To have these mouldings done professionally would cost at least twice that, and I have the satisfaction of having learned something new. The kit comes with an excellent DVD that explains clearly all of the steps, etc. I also found the company to be incredibly responsive to email correspondence and questions; in other words, top-notch on customer service.

I thought this info might be useful to some of you who are thinking about woodgraining.

Yours,

Jim

Yes- "Grain-it-Technology" is a very reputable company and also very helpful. Myself and another member in our local VCCA club are doing a 33 Towne Car and we purchased one kit approx. $400 and except for the base coat it was enough to do both cars. Between both of our cars we had 20 Garnish mouldings, two dashs, four ashtrays and two robe rails. Everything came out perfect. The base coat is about $25 per aerosol can and if memory serves me right it took approx 10 cans. I had contacted a company in Arizona that does this service and they said it would be approx $1900 to do my car (one car).

hoppy

Since my 51 wagon is a "driver" and I don't wish to spend a zillion $'s, I go to Home Depot, buy a quart of Gelstain (mahogany) and brush it on. A week later, I varnish on a semi clear varnish and it looks pretty damn good! Of course it is not show quality, but most people observing the car believe it is real wood. Total cost is about 20.
The dinoc looks real good, but you have to buy a fair amount of it and I don't know how difficult it is to cut out to exacting standards. They do have every conceivable color and wood pattern imaginable though ....

http://www.woodgraining.com/

Read/enjoy this entire website first. Decals were not what was used according to this guy. He shows the whole process here and advertises his products as well. It is fascinating. One could make a tin woody with this technique, as well as any dash and interior graining. I think even an average guy could certainly make a presentable grain by following these techniques.