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Our beaded fringe trims are 1st quality and exceptional in craftsmanship and detail.
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
Satin or gloss acrylic varnish or polyurethane
Rubber gloves if you feel they are necessary
Glaze is made from artist acrylic's and waterHow 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
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
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
Decorating Studio, LLC or www.DecoratingStudio.com is not affiliated with the authors nor responsible for the actions or content of the articles, or any 3rd party information within or linked to or from Decorating Studio or Decorating Studio's website.
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