SPECIAL TOOLS
Wide, stiff brush required to run through the top coat to create the dragged effect, artist's brushes for adding wood grain. Marbling imitates the effect of real marble, and should be confined to surfaces which could be made of such a heavy material: skirting, fire surrounds, floors and dados take the treatment well. The two examples here reproduce the effect of Siena (right) and Breccia marble (far right).
BASE COAT Eggshell finish, oil-based paint, in cream or white for pale marble, or very dark grey/black, deep rose pink or earthy tones, depending on the type of marble you want to imitate. Top COAT Thinned and tinted glaze in two or three shades according to the type of marble. Here, tones of sienna and grey have been used. The glaze is interwoven with veins of undiluted artist's oil paint (Siena) and diluted raw umber and black (Breccia).
SPECIAL TOOLS
Fine artist's brushes and feathers are to apply the veins and soften the effect.
Tortoise shelling gives a rich, warm texture to woodwork and ornaments such as wooden boxes and frames. Imitate the real thing, or create fantasy effects with rich sea-greens and warm reds and pinks.
BASE COAT For traditional tortoiseshell, chrome or bright yellow gloss paint.
Top COAT Three glazes were used here: raw sienna, burnt sienna and burnt umber. After the glazes have been softened with a broad, clean, soft brush, small areas are spattered with white spirit and burnt umber.
SPECIAL TOOLS
Clean, dust-free decorator's brushes are to apply varnish and soft artist's brushes for the mottling.
DIRECTOR' Malachite (right) is a fantasy finish, not a direct copy, which imitates the effect of this vivid green mineral.
BASE COAT Pale eggshell (white)
Top COAT Eggshell (jade green) slightly diluted with white spirit.
SPECIAL TOOLS
The effect is obtained by dragging a piece of torn cardboard through the top coat, the areas in between is then stippled using a small artist's brush. Walnut (jar right) is a way of imitating in paint the beautiful grain of this costly wood. BASE COAT Eggshell in a very pale color (pale yellow off white). Top COAT A glaze of raw umber and burnt sienna is applied in irregular patches and then wiped with the firm edge of a folded cloth. The cloth is moved to make ribbon shapes. The knots are obtained by twisting a small stubby brush and the areas in between the knots and swirls are stippled with a small brush.
