by Ross O'Neal of the OCI School of Decorative

Painting teaches us how to take the mystery out of faux finishing. Marble finishes are all the rage and actually, not that difficult to achieve. Marbling can be done on plates, gift boxes, plaques, furniture, trim, floors, but keep in mind it should be used in places and situations where we find real marble for the best effects. Here Ross shares his technique for Greek Rose Marble.

What you will need:

Ordinary stain blocking primer

Some Soft Rags

Palette- 3 small dishes will do

Container of water

Container for glaze

Flat lettering brush, fine pointed long haired brush and a small round brush

Wipe-out tool

Badger Blender

Satin or gloss acrylic varnish or polyurethane

Rubber gloves if you feel they are necessary

Glaze is made from artist acrylic's and water

How to do it:
1. Prime the surface of the item using primer.

2. Drag and dab the sponge over the surface to give the background texture. Add some of the palette colors to make some areas stronger.Smooth with blender when completed. this will dry quick because it's water base.

3. Repeat the process with a darker mix of the colors. Apply more random so some of the 1st layer shows through. Let dry.

4. Mix the red oxide; a lttle burnt sienna, vermillion and chrome orange and a little water. Make enough for the entire project. paint over area, leaving some areas uncovered, go back over other areas again to add more depth. With wipeout tool you can cut through glaze to expose base in some areas.  

5. Make a very transparent glaze of burnt umber and water. Sponge over red areas mainly this is to add texture to the red area. Now mix a darker glaze of burnt umber and a little black.  

6. Mix a opaque glaze of white plus a touch of black, ultramarine blue and raw umber, glaze should be a light gray-white color.Apply over entire surface with the corner of the worn sponge lightly. Set aside for use later. With the long haired fine pointed brush, add light veining in raw umber, make wavy breccia lines in all directions some crossing others.

7. Add white to lighten gray white glaze from above, with the pointed brush outline one side of most of the gray shapes to create a shadow and add depth.  

8. With the round brush outline some gray areas with white glaze with a touch of yellow ochre. With the fine pointed brush add veins in broken stepped lines of various sizes across surfaceas seen on the sample. Once varnished the surface takes on the sheen of marble.    

Colors: For the base glaze we use 6 parts titanium white 2 parts raw umber 2 parts ultramarine blue dash of black   Red Glaze: Red oxide plus a little vermillion, burnt sienna chrome orange   Palette colors: white ,black, burnt umber raw umber, ultramarine blue     Greek Red Marble

Tips for Veining Variety is the key here with veining, give each vein its own character by changing their width and color depth . All this can be controlled with the pressure and the color strenghth on the brush. Think about the marble you are reproducing as you work you want to capture the fragmented look of the marble. Veins should be like small fragments they should tremble slightly. They should not be straight or look like crows feet or snake tongues.

 

 

 

 

 

 

 

 

Ross O'Neal is a Philadelphia painting contractor -- with a crew of up to 75 -- specializing in faux finishing. He is also the director   of the OCI School of Decorative Finishing. For more information on faux,   or a schedule of classes, contact Ross at 215/679-4064, or visit his website   and view his finish of the month, RossNeal.com

 

The OCI School of Decorative Painting Techniques Copyright 1985,1987,1989,1990,1994,1995,1997 by OCI School of Decorative Painting. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission from the copyright owner Ross O'Neal   Ross O'Neal is President of O'Neal Coatings Inc. He oversees estimating, marketing and in house training operations for painting, wallcovering and decorative faux finishes. The company undertakes complex restoration, gilding and decorative painting projects throughout the United States and abroad as well as industrial and commercial projects. He is an instructor of decorative painted techniques with over 25 years of decorative painting working experience. He is trained in the French, English and German techniques of Trompe L'Oeil effects, Wallglazing, Woodgraining, Marbling and Gilding.   Serves as President and instructor of The OCI School of Decorative Painting and is President of The Artist and Gilders Studio which specializes in the restorations of decorative painting, murals and of gilded objects. Serves as Instructor of Architectural Gilding for Baggot Leaf Co. N.Y. Serves on the Board of Trustees and is the Vice President of the International organization, The Society of Gilders. Serves on the Board of Directors and is the President of The Delaware Valley Painting and Decorating Contractors of America. Serves as alternate board member of the PA Council of PDCA. Serves as monitor for the Decorative Painting forum for the National PDCA's Web site. Serves on the Advisory Committee for the Painting, Wallcovering and Structural Coatings