Faux Finish Techniques
The creation of faux finishes in decorative
painting can be accomplished using a number of basic techniques.
These techniques are sometimes combined or used together to achieve
the desired effect. More sophisticated techniques may be applied
for some specific effects.
Paint in a second color and of thin consistency
is applied to the basecoated surface by pouncing or dabbing it
on using a sea sponge. The ragged edge of the sea sponge, dabbed
at random and changing directions, produces a mottled effect
on the surface. Sponging-on may be used to create the variegated
background for a marble effect.
Another method of sponging where the paint
in a second color is mixed with some glaze to give it transparency,
applied to the basecoated surface thickly and removed by dabbing
a sea-sponge randomly or by using a crumpled piece of cling-wrap.
Sponging-off is used to create a leather effect.
A technique to create a mottled, marbled effect
on a light background. The surface is first basecoated in a light
color like off-white or a light gray. It is then exposed systematically
to the soot of a burning candle. Once completed, the surface is
sealed using a spray sealer or varnish before further decoration.
Paint in a second colour is applied over a
dried basecoated area by dabbing a stiff brush up and down creating
fine dots overlapping each other while still allowing the basecoat
color to show through. Stippling can be used to create the background for painting a design
or as one of the effects in an Intarsian Painting project. An old battered brush is the
perfect tool. Or you can use a deerfoot stippler or a stiff bristle brush.
Various types of woodgraining effects may be created. The most simple woodgrain above can be created using a variety of tools
including commercially manufactured graining combs, a small piece
of corrugated cardboard, a comb cut out of a cardboard or simply
a thick and stiff bristle brush. The surface is frist basecoated in off-white, yellow ochre or even a very light brown. A darker brown like burnt sienna or burnt umber
is mixed with some glaze. If using a thick bristle brush, it is
loaded with the glazed mixture and pulled repeatedly in a straight line overlapping the previous one. This technique creates a basic straightgrain.
This more complicated oakwood grain can
be achieved using a paintbrush followed by a flogger to soften the edges.
Crackling to get an aged look can
be done using 2-step crackling mediums. The surface to be crackled is
basecoated, dried, then crackle medium applied and allowed to
dry. A second, contrasting colour is painted over the crackle
medium and cracks appear almost immediately, revealing the basecoat
colour. Once completely dried, a design can be painted on it. There are also crackling mediums which can be brushed over the entire painted design of a project
- this produces fine porcelain crackle similar to that seen in old chinaware.
There are many ways of antiquing using water-based
paints or oil paints. Water-based antiquing can be done on a
basecoat before the design is painted. The chosen colour is mixed
glaze and retarder and applied with a broad brush in loose strokes
where the aged look is desired. A mop brush is used to soften
the edges. Oil antiquing is usually done after the entire design
is painted and completely dried. Lean medium or linseed oil is
applied with a clean cotton rag to the desired area and burnt
umber oil paint is then applied. in a circular motion. A clean
rag is used to remove the excess oil paint to achieve the desired