- Ceruse effect, weathered, cracked, marbled, brushed lime...
- Decorative painting: choosing the right ingredients
- Prepare the funds before painting
- Patina: with each tool its effect
- Apply the patina
- Practical advice
In decorative painting, it is not the effect of time that gives the walls, furniture or doors an aged appearance, but different techniques, now available to all. Example with this oil glaze.
Ceruse effect, weathered, cracked, marbled, brushed lime...
The variety of products sold in GSB (paints and coatings effects) can change the scenery in a jiffy... more or less easy to acquire depending on the products and the desired effect.
Decorative painting: choosing the right ingredients
Another solution is to make yourself an oil glaze (our site).
It will be more or less liquid and transparent depending on the amount of pigments (powder or liquid) used (Laverdure, The Merchant of Colors, Okhra...) or oil painting for artists (Pébéo, Lefranc & Bourgeois, Winsor & Newton...). The important thing is to let "glimpse" the support, which must be clean and in good condition.
Prepare the funds before painting
Here, the painted wood cupboard doors were leached (rinsing with clear water), sanded with medium-grit sandpaper (120), and then dusted prior to the application of a two-layer white glycerophthalic paint (Sikkens, Dulux Valentine, Guittet...). Better for acrylic as a support for an oil glaze, it also allows more subtle and lasting effects.
The first layer of paint is rolled rabbit-rabbit (or anti-drip roller hair 13 mm).
The second layer, more diluted (10% maximum), is applied to the thumb brush in bristles. But be careful, the background color of the support must remain clear (white, cream or eggshell...).
Patina: with each tool its effect
To preserve the characteristic transparency of an old-fashioned patina, two layers of maximum glaze are necessary.
To enhance the hue and patina appearance, we can add to the preparation of the second layer (always the same tone), a hint of earth pigment Natural Shadow.
In addition to the number of layers of glaze, it is the different tools used and the gesture - always regular - that give the final rendering. It is generally carried out by "erasing" material, using a lint-free cotton cloth - for a marbled effect, delicately veined - a natural sponge - for a nidd'abeilles effect - or the combination both.
It should be noted that the painting business offers cheap bales of rags, precut.
After drying, the support is varnished (matt, satin or waxed appearance) or covered with a layer of wax (Libéron, Auro, Valmour...) with a pattede-rabbit roll or with a brush.
Apply the patina
- In a container, mix 3 vol. of whitespirit, 1 vol. of linseed oil and 3 to 5% of drying agent.
- Add the pigments (here ochres red and yellow).
- Perform tests until the desired hue is achieved.
- Apply the glaze with the thumb brush: start at the top of the support by 8-shaped movements lying down, from left to right.
- Cover all the doors.
- Use a spalter 80 or 100 mm wide (in bristles) to distribute the glaze.
- Start by crossing the passes from left to right, from top to bottom, then back up.
- Tap the end of the bristles (brush to skate or poach) to erase the traces of strokes (called stringing) and evenly stretch the glaze.
- Use a cotton rolled on itself without tightening.
- Make it "waving" on the support, from top to bottom, in zigzags.
- Its folds form more or less marbled effects.
- Dilute ½ glass of white spirit in a tray filled with water, soak a sponge, wring it out, then apply it in zigzags, slightly, to obtain a "honeycomb" effect.
- Poach the moldings with the patina brush.
- Then, with the thumb wound in a cloth, wipe them with a frank and pressed movement, in order to accentuate the relief.
- Poach again the inside of the panels, to soften the white of the bottom layer.
- After drying (around 24 hours), apply a coat of glycerophthalic varnish or beeswax.
• For a finer rendering, the glaze can be composed of flaxseed oil (1 vol.), Turpentine (3 vol.), Siccative (2 vol.), Pigment or dye. In any case, the addition of a white pigment tip (titanium white or zinc oxide, also called zinc white) softens the tones and makes the patina more milky.
• For the pilling of the glaze, make preliminary tests on a wooden or cardboard support to familiarize yourself with the gesture. Regularly wipe the poaching brush to prevent it from getting dirty.