Fauxology: Studying the Visual Magic of Faux Finishing and Interior Design (brought to you by Garay Artisans)

Hi, Everyone!  Well, tomorrow (Saturday, 8/16) is The Day!  I’ve talked about The Fauxtastic Four before and gave you a preview of what was coming.  Well, we’ve decided to change our moniker and re-christened ourselves: The Wall-nuts!  (No offense is intended to any ceiling or any other surface.  My name is Regina Garay and I approve this message.) 

We are getting together to check out the recipes in Gary Lord’s book “It’s Faux Easy”.  (Do click on the Fauxtastic Four link above to read a little more in-depth about our plan…it’s been a long day and Momma’s tired.) 

My husband, Chris, and Sharon Adelman’s husband, Chad, have been working diligently this week to put our podcast tech tools together to ensure that the four Wall-nuts can talk all about our first adventure.  Thank you so much, Chris and Chad!  I’ll try to post the entries up as fast as I can.  Not sure the world is ready for us gabbing away (someone is bringing Mimosas, I think) but there it is…

Until then!

Thank you for coming to Part Two of our Faux-cus on the Pros interview with Sisters Hands.  If you haven’t yet read Part One, please click here. 

What is wonderful about Sisters Hands is that they are planning to continue sharing their decorative painting knowledge.  Their website, recently launched, will soon feature great articles, recipes and a Q&A area.  A newsletter will also launch in the Fall. They will also have product reviews, fun stories and a few more surprises in mind for all.  How cool is that?!?  I’ll definitely be visiting often — I’m going to nominate myself as a long-lost cousin, LOL!

Here’s Part Two of our interview with the “sisters”…

Professionally, who are some of your inspirations?

Patty Henning says: Early in my career I was inspired by my first FE Instructor, Julie Robinson, who opened my world to professional finishing products and just a hint of what could be created with them.  Where else do I find inspiration?  Other creative artists.  Being an avid web user, I have a natural tendency to seek resources there. With so many fellow artists on forums such as Murals Plus or Talk Faux, I find it a great source of inspiration to see their work, be it a photo of a room just completed or a new finish in the creation phase.  Often, when I feel a connection with an artist’s style, I will check out their website or blog, bookmark it and revisit it in the future.  It’s a great way to get the creative juices flowing.  Professional businesses that offer new and exciting products, tools or design ideas, such as Royal Design Studio, Modello Designs, and Faux by Kathy motivate me. Lastly, it’s not so much who as a what.   I love looking through printed literature that focuses on home design and style.  My favorite author is Betty Lou Phillips.  Magazines and books are a great source of inspiration for me, and a great tool to help a client envision just what I can offer for their space.

What is the most positive/fulfilling project you have ever done? 

Judy Norman says: My most positive/fulfilling project I have ever done was working with a designer who had been diagnosed with breast cancer. Denise and I had originally met at a local bible study and worked together for several years.  Her cancer had progressed and she had been extremely ill right before Thanksgiving two and one half years ago. I went to visit her when she came home from the hospital and I asked her if there was anything I could do for her thinking she would ask for meals, housecleaning, etc.. She said her 11 year old daughter wanted her room painted and would I have time to do that before Christmas.  I said we need to do something more than just paint and together Denise and I came up with a color scheme for her daughter. I pushed other work to later dates as I was convinced that she would not live to see Christmas. I gathered the products and went to work painting neon green walls with large black bagged flowers and hot pink centers. I painted the ceiling fan hot pink and used the three colors to create some unusual patterns on the ceiling. Her daughter chose 3 designs from about 10 different samples I had made for her.  I also found a picture frame in hot pink and neon green so she could have a picture of her mom close by. It was such a bright room I imagined the little girl might having some trouble sleeping at night, but she was thrilled with how it turned out and said she sleeps well. Denise wanted to pay me for the room and I said absolutely not!  This is a gift to you and your daughter and it is my pleasure to do this for you. We visited quite a bit over the next 18 months before Denise lost her battle with breast cancer. I can’t express how much joy she gave me in my life and this was such a small thing that I could do for her. Even though it isn’t a fancy high end finish, it is the most fulfilling project I have ever had.

What’s the best piece of professional advice you have received?

Elaine Castronovo says: I chose to answer this question with somewhat of a twist.  Some of the best advice I have received about my career came from outside of the industry, from individuals and sources that were unexpected but welcome nonetheless.  Sometimes if you take a moment to really listen to what people have to say, it can change your course or keep your head above water. Before attending my first professional class, I ran into a neighbor/friend at a local grocery store.  We stopped to talk briefly.  I don’t know that she will ever know how much her words of wisdom affected me then and how they still ring true.  When I told her how I was second guessing everything, business decisions and dealing with the guilt of leaving my family to further my education she simply said to me: ”Being a Mom and staying home with children, making them your focus, your world becomes very small.  Go away to your class - you will never regret it.” And oh how right she was.  That first class lead to many more and a whole new me, and a much bigger world. 

Another piece of advice came from a meeting that my husband had at work that was meant to pump up the employees for the benefit of the company.  The man speaking to the audience made a simple statement that still makes me stop in my tracks and I remind myself of this all the time. He asked the audience, “What is the definition of insanity?” His reply: ”Doing the same thing over and over…and expecting different results.”  This small statement keeps me in check every time I want to complain about work or the results I am getting.  And another is a quote from Connie Reeves, a cowgirl: “Always saddle your own horse.  Always know what you are doing.  Go in the direction that you are headed.”  To me, these are words to live by.  Although none of these came from professionals within the industry, they have all been the best advice that has encouraged me to keep steady, not be afraid to grow and know that I will always be learning - thoughout my career and in my life.

What is the best thing that has happened to the faux industry in the last five years?

Julie Young says: To me, the best thing that has happened to the faux industry is two-fold. The first being all of the cool, fun textures - whether it is a smooth Venetian Plaster, Marmorino, Versiplast or PlasterTex. No more sponging or ragging a colorwash to mimic texture. Most of our clients do not want to attempt a textured finish so we are in high demand. The textured finishes are so hands-on that they sell themselves… whether they are metallic or matte in color. Embossing with stencils or patterns is another asset in design. Small thin trowels are great tools for application for folks with petite hands.

The second most exciting thing to happen to the faux industry is the networking and camaraderie. You can go to any class and meet friendly willing partners in the industry. You can network thru message boards.  You can go to SALI/IDAL conventions to find like minded souls. The creativeness in our industry brings people together to collaborate and it is an awesome accomplishment.

Where do you see faux finishing heading in the future?

Renee Holder says: There are many professionals in our industry, including our group, that are making it a mission to educate the public and I believe that people are listening.  I believe that the awareness of faux and decorative painting is currently more acute than in any other time in our recent history.  I also believe that the client is more tolerant of prices now that decorative painting has become more popular and the fact that they are more educated in the time that it takes to not only apply these finishes, but all of the work that goes into a project prior to application.  Not only do we now have designers, architects and builders using our skills, we also have other trades who refer us to their clients as well, such as plumbers, electricians, tile, granite and flooring installers.  Look in any major publication and you most likely will see a decorative paint finish displayed somewhere, if not on walls, then on backdrops in advertising.  It’s basically everywhere!

For the past several years I’ve repeatedly heard that faux is on it’s way out and wallpaper is making a big comeback.  Although I keep hearing this, I’ve yet to see it happen. What I have noticed is that the wallpaper manufacturers are now trying to mimic the finishes that we apply to walls everyday.  Don’t get me wrong, I know that wallpaper will always be around, but I don’t believe it is a competitive worry.  The consumer would much rather prefer a certain look without the seams showing and the labor entailed with hanging and removing wallpaper.  They also take into consideration the fact that they can have custom color in their finishes, which is limited in the wallpaper selections. I truly believe that the future for our industry is going to continue to grow and be a strong influence in residential and commercial settings.         (End)

Well, I had a tear in my eye reading Judy’s story — what a tremendous opportunity to do something wonderful for Denise’s daughter! I bet it meant the world to her. Elaine said something really important as well: so many accomplished women never take the time to do something for themselves…when in actuality, it may be just what their own soul needs the most.  Well, it’s been a pleasure for me to transcribe this interview – I hope it’s been an enjoyable read for you!  They reinforce how rewarding it is to reach out to your fellow artisans and create a group filled with trust, respect and friendship.  In fact, the group as a whole reminds me of that famous quote: “Sisters are different flowers from the same garden.”  Please be sure to check out their individual sites as well as their Sisters Hands site…it looks to become a wonderful resource!  Have a great day!

While looking over House of Faux, I found out about artists who formed Sisters Hands, a networking and supportive resources group.  I was truly inspired by reading their story.  The ten artisans came together (nine nationwide, one abroad) by believing in “faux karma” - that if you lose your competitiveness and the fear of sharing, you will not only grow personally but your business will blossom as well.  Wow — I completely agree with this philosophy!  In our industry, some artists choose to be secretive about their techniques, their creative process or let jealousy/fear run rampant.  These artisans knew instinctively that sharing the joys of this field (along with its stresses) helps one grow, evolve and reach higher levels of artistry and camaraderie.  I had to stalk them talk to them and hope they would share with us how they came together in 2006 and how they work together today. ;)

In what was a first for our Faux-cus on the Pros series, almost the entire group was involved in the interview and tackled specific questions.  Normally, I take about five interview questions but each answer was so touching and/or had such a great message, that I decided to leave them all in and create a double-header.  So, this is Part One of our interview with Sisters Hands.  Before we get into our interview, I want to take a moment to let you know who the ten members are (in abc order) and have the chance to get to know them better by visiting their websites and seeing their outstanding work. 

Susan Bickford of Singing Walls (Nashville, TN), Marti Carroll of Fauxscapes (Baton Rouge, LA), Elaine Castronovo of Creative Lane Finishing (Pittsburgh, PA), Cindy Everett of Designer Finishes Studio (Olive Branch, MS), Patty Henning of Fabulous Finishes (Detroit, MI), Renee Holder of Artistry in Faux (Little Rock, AR), Judy Norman of Decorative Illusions (Atlanta, GA), Krista Vind of Ufauxrea (Destin, FL), Cait Whitson of Carte Blanche (Scotland) and Julie Young of Julie Art (San Diego, CA). 

Here we go!

How did you meet and begin this networking path?

Marti Carroll says: This question can be answered in many different ways depending on which sister the question is being directed to.  The answer is as diversified as the group members!  This has been an accumulation of friendships that has been formed over time. Our beginning was based on a personal desire.  I have never been one to be in the public eye, especially on public forums and I had no local finishers in which to network with.  Although I would lurk on the public forums daily, I rarely posted.  What I was looking for were finishers who would be interested in a more personal setting in which to share ideas and support.  I had made many friends in the industry through classes and conventions and decided that it was time to reach out and try to design a support network that was more intimate than a public forum.  I called a couple of friends who are respected finishers that I would like to have join in on this idea and they were very excited about it.  I set up a private message board for us to chat on and we set down a few simple rules and that was the beginning.  We are usually in contact with the rest of our group on a daily basis, discussing everything from pricing projects to how to handle a kid crisis!  We love taking classes together or taking classes from members who are teachers!  We get together once a year for our annual “faux play”, which is a fun and exciting time to share ideas and play with new products!  And when we have a project that requires a few extra hands, we know that we have our group to help us out.  Over the last three years we have supported each other both personally and professionally….we truly are sisters at heart!!

Please describe working with your Sisters.  How do you prepare and execute a commission together?

Krista Vind says: Working with other members of Sisters Hands has been a tremendous blessing in both my personal and professional life. I love what I do, but I enjoy it even more on a daily basis when I share the work, the challenges and then the beautiful results.

One of the really empowering things about being a member of a group of extremely talented and experienced artists is that I now actively seek very large projects. In the past I was reluctant, and I am sure it showed in interviews and consultations, because very large projects were just SO much to bite off for one person. A concern for me was that when taking on jobs that could last months on end, I wouldn’t be actively marketing and my business would suffer after that one project was done. I did learn this lesson firsthand early on in my career. I was really starting to enjoy some success and recognition and was so pleased when I got my first really big job.  I worked on that job for 8 months and when it was over, even though I was so proud of all the work that I had done and my high profile client was ecstatic, I found myself out beating the street trying desperately to find business. In essence, everyone had forgotten about me while I was away. Those concerns are not an issue any longer. When I take on large projects, I try to bid them so that no job will take longer than a month to complete, so the size of the job dictates how many Sisters are needed to complete it in a timely manner.

You may wonder about how this obviously affects the overall cost of a project.  When I bid Sisters projects, I include funds to cover travel expenses and labor. Generally, we call in others from the group based on the type of experience required for a particular job, the individual talents of each member as well as the geographic location of a member to the jobsite. Most often large projects are commercial (a store with an opening date) or a very large residence (someone is carrying a construction loan), so time is of the essence. The actual project price is not much different for group vs. single; it is just concentrated into a smaller time frame. When you are able to complete projects quickly, the constant change of project and scenery keep your outlook really fresh. Less time in the “execution phase” allows more time for the “design and creative phase”.

We have had the opportunity to bid projects as Sisters Hands, but for the most part, we are led by the Sister who secured the job and completed the preparations (bid, samples, etc). We are comfortable traveling anywhere to complete a commission.  Beyond the business aspects, it is not a job but a true joy to work with the talented ladies in this group. We have so much fun in all the projects we undertake, from work to “faux play” (our yearly gathering). We support each other no matter what life throws our way…..good or bad. I have no biological sisters, but I do have real sisters! 

What are some misconceptions about faux finishing that you encounter?

Cait Whitson says: The misconceptions I encounter in Scotland are various.  I chose to answer this question because I thought it might amuse to see attitudes that are 5,000 miles away and yet many of you will find them familiar.  First of all, the word “faux” is almost never used to describe decorative finishes. A faux finisher is referred to as a “specialist decorator” or a “decorative painter”. In this tiny country that is smaller than Maine and with a population of only 5 million, there is actually very little awareness of what in the USA is termed “faux” and we as a company are continually educating our clients. We have a panel van that has a description of our business on the side: Carte Blanche, Decorative Painters - Graining and Marbling, Paint Effects, Murals, Hand Painted Furniture. Despite all that information we come across people on weekly basis who will say “I’ve seen the van often……and what is it you actually do?”  I am not sure what more we can say to explain it. The terminology is misconstrued and misinterpreted regularly. I visited a client only today who said he wanted graining when he in fact wanted strie, I am asked alarmingly often if I do murals, I have been asked for dippling in the past, asked if I disturbed walls and had a designer ask if I could “do some blobby stuff”. We are often asked if the paint just does that when it comes out of the tin.

Many clients believe that good finishers can only be found in London. We constantly surprise people when we tell them that we are home grown. We even have the converse of this happening – clients who tell their friends that the work they have in their home, carried out by Carte Blanche, was actually done by a company in London. We, like all the best finishers the world over, are still fighting the sponging and bad rag-rolling image that has haunted the industry since the 80’s and the word “stencilling” is virtually a swear word.  I always think that Melanie Royals was so clever to invent the word Modello, a new word for a stencil, and I am thinking I might do the same in Scotland just so we get the opportunity to use them more often.

I think the biggest misconception is amongst the tradesmen that we work with…they are all convinced we earn an absolute fortune. I do little to dispel this as perhaps their belief, whilst at times misconceived, will turn into reality if we believe, too. 

What are some of the coolest items and/or products you’ve come across together?

Susan Bickford says: One of the most fun things we do as a group is get together once a year just to play with product and be creative.  All of us have a history with FE products, but we’ve also introduced each other to some other great product lines including Perfetto and Blue Pearl, Pro Faux, Texston, Wood Icing, American Clay, and Rosco Scenic Paints.  At last year’s gathering, we were fortunate to have some companies contribute products for us to play with.  Kathy Carroll shared some of her great Bella products as well as other products that she carries.  Misty Heath of Perfetto shared some of the new Villaggio, as well as Shimmered Suede and Portofino.  We were introduced to Blue Pearl’s great metallic glaze, and their Wood Gel Stain.  Rosco, a scenic arts company, shared their new acrylic paint line, and our favorite in that line - Crystal Gel - a great adhesive medium for a variety of thing including glass beads.  American Clay shared their Loma with us, as well as Manda Mudd, who shared their great 3 step textural product.  We all come away from our play time invigorated, producing and selling new finishes using all the new products we get to share and try out. 

…to be continued…

Phew!!!!  I myself am inspired by their thoughts and heck, all those great products to look into!  Thanks, Susan!  I found myself laughing at Cait’s designer asking for “blobby stuff” — and have also been asked if the product comes that way out of the can.  Um, no….  (Don’t even get me started on the “OH!  You do sponging!”  Sigh.)  I hope you tune in to get Part Two of our interview with Sisters Hands, including their future plans and what they say is the best thing that has happened to the faux industry.  Until then!

The Fauxtastic Four. What is it? Who are they? Is there really a faux superhero team? Well, no…and yes. The Fauxtastic Four came about as an idea I had to take the faux recipe books and videos that come out every year and actually test them. See if the recipes hold up and if anyone really can achieve those looks. Then, I thought, “Why just test them on my own when a group with varying degrees of training can do so?” The idea started to take shape and the group started to evolve. I narrowed it to four participants: [1] a faux-as-a-hobby enthusiast with no professional training, [2] a professional faux finisher starting their career, [3] a professional faux finisher more than a decade into her career (that would be me), and [4] a university-trained muralist.  In short, the Fauxology readers will each have a person whose experience they can relate to.  I thought we each would bring a certain outlook into our tests and reviews while helping the readers (that would be you) make an informed buying decision on a “how-to” purchase.  

Here’s how it works: Once per quarter, our group chooses a book and/or video we’d all like to review. After picking the finish in the book/video we’d each like to try the most, with no repeats, we get together in the studio for one day to test our chosen recipes and talk (and eat and drink and have fun).  No actual formulas will be posted online but there will be pictures taken of the process and of the final results. All four of us are pretty positive personalities so we will be fair but not be vicious or derogatory — we’ll leave that to those who like to tear others down.  Our ideal goal is to have a great experience with the book/video and share our findings with you.  We will also have a podcast where you can listen to the four of us dish on our day and the results.

So, who is the lucky recipient of Review Numero Uno? Why, it’s Gary Lord! We’ve picked his book “It’s Faux Easy” to test out. Our studio day is planned for Saturday, August 16 – look for the next Fauxtastic Four entry after that to see and listen to the results! Until then, here are the pics and bios of each of the Fauxtastic Four members…enjoy!

The Faux Enthusiast: Sharon Adelman

Hoping to Inspire: All the DIYers out there!

I have always been very active in the arts. In middle and high school, I loved “still art” and anything that was abstract. With my parents’ “push” to learn classical music since I was 5 years old, it also fueled my passion for music as well. I went into Audio Engineering and Digital Media degree programs, but eventually got tired of the competitive nature of the music business. Four years ago, I tapped into the teaching market after a revelation: teaching has always been in my blood since the women in my family were all teachers. This has taken me into a new career and I now teach at a children’s school. Art and faux has always been something of a fantasy for me, meaning that “one day, I will learn it” but I never knew where to start. After meeting Regina, it sparked my interest even more. I enjoy cooking, entertaining, traveling abroad, indigenous craft and music.

Ye Olde Timer: Regina Garay

Hoping to Inspire: Like-minded professionals and anyone with an interest in decorative painting as a hobby or business

Regina Garay is of Hispanic heritage and has traveled internationally to receive training from world-renowned Master Artisans. She is a member of the Stencil Artisans League and the company is an ASID (American Society of Interior Designers) Industry Partner. She was one of the first faux finishers in the country to be recognized as a Certified Faux Consultant by the Paint and Decorating Retailers of America. She has taught faux finishing courses for the Southern Women’s Show and her firm’s work has been featured in newspapers and magazines (and now, a book: Modello by Design) in addition to a commission featured in the Frontgate catalog which reached 40 million homes. She was recently asked by TalkFaux, an international faux finishing forum, to be a Global Moderator on their site. Her firm, Garay Artisans, was established in 1998 and the artisans have since worked in many beautiful homes and notable commercial projects including hotels, restaurants and boutiques. She also teaches beginner’s faux finishing workshops in Orlando in conjunction with Benjamin Moore and maintains the Fauxology blog. She personally enjoys traveling, socializing, dancing, reading a great book and going to the movies. She hopes to tackle her garden as a project one day.

The New Professional Faux Finisher: Debbie Jackson

Hoping to Inspire: Those who are just starting their faux careers or are thinking of jumping into one

Debbie Jackson is the owner of Debbie’s Designs, a Central Florida faux finish and custom painting business that was established in 2006. Debbie’s interest in art began in elementary school, where she began drawing portraits of her family, friends and an assortment of pets. Over the years she developed an interest in making her surroundings more appealing to the eye and decided to take the next step and start her own business by sharing what she loves with others. Debbie continues to learn new techniques yearly at different faux studios and schools. When not painting, Debbie enjoys photography, visiting with family and friends and playing with her animals. Debbie is also passionate about animal rights and volunteers for a local no-kill shelter.

The University-Trained Muralist: Monica Zeuli

Hoping to Inspire: All fine artists who have an interest in faux finishing as well

I did my first painting when I was 7 years old. My dad was an established artist and my first art teacher. When I was young, he taught me the correct ways of drawing and painting. This is the best thing you can do for a child who enjoys art since you receive more of an education than what you learn at school. I used art as my therapy as a teen during my parent’s divorce and my Grandfather’s death. It helped me heal in so many ways and it teaches you to look inward and grow.  In high school, I took weekend classes in Boston’s finest schools and was nominated as Best Artist.   I went to a four-year art program at Notre Dame College where I got a BA Degree in Commercial Art. I started my own business in 1998 in Massachusetts and was astounded at the fact that I could actually get paid for what most people consider a hobby. I moved to Florida in 2000 and since then, have been painting regularly and been steady with referrals.  My work is getting more defined and recognized everyday.  I sleep great since there is nothing more satisfying than being wiped out from painting all day.

All of us are so excited — we hope you are, too! 

One of the most wonderful opportunities we’ve had this year is working at the Orlando International Airport.  We received the call and had to adjust the schedule and split the crews in order to make it happen for them.  My brother, Jason, took on the project while I headed another one at the same time.

Working in an airport means you have to take into account all the security measures.  Every morning, the cargo van would be checked thoroughly (even underneath with the long-handled mirrors) and there was a mandatory dress code.  Plus, all the construction site regulations were followed to a T.  I would definitely call it the most securite site Garay Artisans has ever been involved in! 

The finish was Venetian Plaster and it was imperative that it be done quickly and well since it was a public space on a serious deadline.  Since the site was open 24 hours (and had revolving crews), we were able to be provided with lifts that we shared with other trades. 

Here are the before, during and after pics of the work.  If you’re ever in Orlando, stop by the food court at Terminal B and look up — isn’t it nice to see the beauty Venetian Plaster can add?

Before & During

After Shots  (BTW, I particularly like how Jason and his team were able to work around the immobile vents and not make them look like they had a Venetian Plaster halo around them.  They were able to continue a seamless look.  The things I notice, right?)

A big THANK YOU! goes out to one of my best buds (and amazing artist), Jeff Huckaby, for taking the “after” pics on his way home from Paris. He took them without being asked — just because he thought we might like to have more pics. (You need a plane ticket to get into the terminal…so it was a pleasant surprise to receive them!) Thank you for always being so thoughtful, Jeff!

This is a ceiling my brother, Jason, and I recently worked on. It was a great day - we were the last trade in the house, we had awesome topics of conversation going and at the end came a ceiling our client loved. What could be better? What I thought I would do is walk you through the steps of this ceiling and show you how the two-overlay Modello was used to create this. You ready?

It started with a meeting between the decorator, Lynne Sylvester, the client and myself. Lynne wanted something to fill up this space and have the design incorporate some of the lines and colorations of the lighting fixture. She also wanted the vent to not be such an eyesore.

Lynne and I kept meeting at the Modello site and after looking at many designs, we both thought OrnCen164 was great — with a few modifications. Here is the original design — Lynne wanted the four double-scrolls between the outside scrolls taken out.

One thing I do stress is that you measure twice, then call Modello. I’m not ashamed to say that I miscalculated and had to have the design re-sized and re-cut at our expense. When we received the new size, we started laying on the first overlay. Since I’m the one taking pics, you’ll only see my brother working — but I assure you, it’s a two-person process. The first layer is extremely important because it sets the tone and direction of the entire design. We also had to make sure the large scrolls would fit perfectly on either side of that air vent (you can see the hole of the vent — we took it down to paint it so it would “disappear”).

We colored in that layer with the wall color so that the entire area looked balanced. Then, we removed the first overlay and installed the second one of the Modello. You always have to keep in mind the registration marks and making sure you’re right on point.

See how the scrolls are right at each side of the vent? Phew!

We had coloration layers and one final overglaze. A red tone is up first and will be the least seen color. It was chosen so that it worked with the incoming fabrics and furniture.

Two layers of metallic next. First Modern Masters Silver, then Platinum. Is your neck hurting yet?

After overglazing the metallic with a nice dark aging glaze, we took off the Modello. Since we were working on a knockdown ceiling, we had a lot of touch-ups (left pic). Time to bring out the tiny artist brushes to make those edges perfect! (Is your neck still hurting?)

Here are some pics in the late afternoon. The two-overlay Modellos weren’t too hard to install but did require some planning. The client’s reaction made the many steps sooo worth it.

Until next time!

I hope everyone’s weekend was great!  I wish mine had been a bit more productive but that may be almost everyone’s gripe, right?  I keep writing to the government about a 3-day weekend but I don’t think I’m getting anywhere with them.  C’est la vie.

Well, I wanted to show you a bit of what we call Smoky Ceilings.  It’s when we apply glaze and make it darker around the perimeter (”smoking” the edges) and then lighten it up when coming towards the middle.  We’ve done quite a few of them and my brother and I finally have a system down but the first one we ever did was a doozy.  Lots of tweaking and fixing to make it a seamless flow.

This is the before pic of a groin ceiling.  At least it had been painted and not left white but it did need a bit of oomph.  I think when the ceiling saw us it said “Yes!  I get to be special now!”  (…I know, I have an overactive imagination.)  The client did not really want this area to go over-the-top, which you can easily do with a ceiling shaped like this one.  She just wanted us to put ”a nice glaze on it and that’s it”.

Well, nothing said we couldn’t start with a different base coat.  I loved the metallic color on the light fixture (a sorta champagne-silver color) and I tried out a few metallic colors from a few manufacturers but nothing seemed just right.  I spent about half an hour playing mad scientist, mixing a bit of this and a bit of that and finally had the color down perfectly.  It took three coats for opaque coverage.

Using the light fixture colorations, we mixed a reddish-brown glaze and started glazing the ceiling.  As you can see, we kept the edges darker and swooped it into the four groin edges.  The client loooooooooooooooooooooved it.

Here’s a shot from underneath where you can see the dark edges better.  Pardon the view askew and my thumb on the upper right…   

There’s more you can do with groin ceilings…i.e., add a design along the edges, add a design on each of the four quadrants, do a multi-color glaze or plaster finish…but in the end, it comes down to what is right for the space and what is right for the client.  We have some more cool ceilings and rooms coming up this week so stay tuned…

OMG, I can’t wait to show you pics of some of our latest works.  They take time to crop and get to the right pixel size so it might be over the weekend/early next week that I might have some time to put it all together.  I can’t believe I get to be creative every day and leave people happier with their homes.  I just want to pinch myself sometimes, I’m so lucky.  In the meantime, let’s talk Part II of our “Aged & Old” discussion.   (OK, so it’s really a one-way discussion…but you can always comment!)

One of our favorite antiquing agents is Faux Effect’s Earth Brown AquaColor mixed with glaze.  We call it ”Age in a Bottle”.  Other good tints to use to create an aging glaze would include Burnt Umber, Raw Umber and Black.  Using Van Dyke Brown water-based stain mixed with a little glaze followed by a flat topcoat also works quite well, too.  One of my artist friends told me years ago to go take pictures of aged buildings, rust formations, verdigris — basically, anything that could be used as inspiration — and it was invaluable advice.  I noticed that corners and deep grooves usually remain darker than other areas since these are the areas least exposed and most prone to the accumulation of grime throughout time.  Conversely, raised sections would receive the brunt of wear & tear and so they would naturally fade more than the rest of the piece.  Some aged pieces (esp. wood) also have a light spatter pattern.  Most surfaces expand and contract in reaction to temperature changes (and the weather, if outside) and so the paint may start to flake, crackle and/or craze.  Amazing what you can learn from having photographs for visual reference.  Before aging a piece, some thought as to its composition and balance is helpful — you don’t just want to make it look old…you want it to be authentically old.  Now for the really fun part…pictures!!!!

Some nice weathered wood…

An aged building.  I particularly love noting the dark watermarks under the right window.

Lichen and moss…

A beautiful distressed panel (Right) and Rust (Left)

Hope you’ve enjoyed this Aged & Old series!  Until the next post…

Pictures courtesy of Phoenix Home & Garden, Period Finishes & Effects and Outdoor Painting Techniques

In many industries, the words “Aged” and “Old” have bad connotations.  In the faux industry, however, you might as well be talking about El Dorado, Valhalla or The Emerald City — it’s something to aspire to. To get anything to have a “centuries-old” look, you have to take into account what could get it there.  Wind, driving rain, heat from the sun, pollution, mistreatment, breakdown of materials, improper use of materials, natural disasters, grime and/or just plain old neglect are a few causes.  There are also many tools you can use to get there in a short amount of time: hammers, nails, sandpaper, steel wool, milk paint, crackle materials, pickling stains and aging glazes.  I’m sure I’ve probably forgotten  to mention other products and tools you could also use.

I’ve compiled some pics to showcase in this entry and in Part II as well.  In my eyes, I can only see the beauty of the effects of the passing years.  Looking beyond each surface and breaking down the layers, an artist will have to account for a good balance of color, texture and age.  In essence, find a way to be Perfectly Imperfect.  This will sometimes require layers of work.  Rome wasn’t built in a day, you know.  Or in our case, hasn’t weathered in a day.

It would be so nice to be able to sit in this garden bench in the early morning hours.  The walls look like they might have plaster over bricks (see the faint indentations?) and there is, of course, water damage and dirt around the bench.  One way to achieve this look is using varying shades of tinted aqua plaster on the walls and then layering glazes/acrylic colors in various mossy shades as well as dark, dark browns, greys, some white and black.    

Two different types of water features.  I love the background of the Left (maybe using oxidizing patinas and/or silver metallic with a rust-colored watery paint to get there).  The one on the Right is a more traditional stone - different shades of grays, browns, ochres and white. 

 The following two photographs are stained and weathered wood pics.  Some of my favorite water-based wood stains come from Faux Effects.  The second pic features stencilling on the planks in a “pattern box” style, perhaps using milk paint.

This last pic showcases the appeal of taking years to grow vines.  I love, love, love this look and so I thought I’d end this entry with a photograph of the vine growing in an unusual place.  Years ago, I got lost in Winter Park, FL and saw a house that had gorgeous ivy all over its exterior walls.  I literally had to park the car, get out and just admire its beauty.  Try as I might, I haven’t been able to retrace my steps and find that home again.  It’s probably just as well — it’s hard to come back from a “stalker” reputation, LOL!

Until Part II…

Pics courtesy of Phoenix Home & Garden and Period Finishes & Effects.