The art of faux finishing is creating a manipulation of different painting techniques over a colored base of color to create a desired finish in design.These painting techniques have been centuries-old in all kinds of decorating effects, and many of these techniques have been a large variety of finishes adopted by different social and economic classes. European aristocrats to merchants aspired to share these splendors of decorating. Throughout history, members of society that could not afford the genuine article or because of the scarcity of an item of particular substance, like wood or marble, resulted in people trying to re-create a product inexpensively.
As a result of this dilemma, the illusion, or transformation was the underlying principle in creating a painted faux finish. The term faux finish (meaning false) refers to a surface of any kind that has a paint coating on it to look like a natural resource like marble, stone, or wood graining. The process of faux finishing can include other finishes like metal, iron, copper, patina, granite, malachite, and Trompe l’Oeil which is a form of faux scenery. The two basic techniques for faux finishing are the positive manipulation of applying paint and the negative manipulation approach of removing paint.
Positive Faux Finish Technique
The method of a positive technique is applying a paint coat to the surface of an undercoat. This application leaves a hint of color as an impression of the tool the painter used as an applicator. For example, if the painter applied the finish with a lint-free rag that was in the form of a cabbage, the impression would resemble a spiral cabbage or rose. In applying other positive technique a painter can perform sponging, ragging, tri-color rolling, and stamping.
Negative Faux Finish Technique
A negative technique requires a faux finishing glaze that can dry more translucent than regular paint. This technique is used to remove layers of glaze to create a more semi-transparent finish over a base coat. The task of this technique is that painters can still see the base coat with hints of layered colors characterizing the effect. Unlike the positive techniques, by using various tools and manipulating the top coat glaze, the painter can create different depths of the base coat more dramatically.
The process of a negative technique is simple when the painter uses a satin base coat for easy manipulation. This technique is more fragile than a positive finish so it is important to seal the final top coat for maximum durability. Because this process of layering can take time, it is beneficial to add a dry time extender to allow a longer working period. A supply of various dry time extenders are available on the market, and it is important to use the appropriate solvent base for each paint finish. Water base paint and glaze calls for a water base extender. An oil base extender is only used with an oil base paint or glaze.
The tools used for this technique are similar to the positive techniques but are for removing color instead of adding color. The negative finishes include sponging and ragging off, combing, stippling, marbling, and wood graining. These negative techniques are very time-consuming and the difficulty may change to some degree. A painter should always practice various methods before tackling any large projects. This will ensure the painter has more successes than failures in faux finishing.
Faux Finishing Glaze Formulas
Preparing these formulas was for creating the best design finish that the painter will need to complete any of the faux finishes mentioned in this history. Standard Paint Glaze is made by using one quart of paint, and a ¼ quart of water. Mix well and use as a positive top coat faux finish. The painter should mix this standard paint formula each time a top coat is in need to paint a positive technique.
Latex Glazing Liquid is made by adding one quart glazing liquid, a ¼ quart of a desired paint color, and a ¼ quart of latex polyurethane clear coat. Mix well and use sparingly as a positive technique, and as a negative technique. This glazing liquid will become darker as it dries to the surface of the project. This glazing liquid dries quickly, so the painter may want to add ½ cup of latex extender. This glazing liquid cannot be shaken; it will work best if stirred before applying to surface.
Oil Base Glazing Liquid is made of a quart of oil-based glazing liquid; a ¼ cup of oil-based paint color, and a ½ cup of oil-based polyurethane finishing coat. Oil Base Glaze is a more difficult product to use in a faux finish. This glaze will flatten to the surface so the painter will apply this thinly onto the wall surface. If the oil base glaze is applied too heavy, the finish can sag and create multiple runs downthe wall. An oil base extender is only used when a glazing liquid is the consistency of a gel.
Painters should use these techniques as a basic guideline in applying faux finishes as a decorative design. Many faux finishing techniques and products are offered through hardware stores and paint supply stores. Paint supply stores have periodical weekend classes to introduce faux finishing techniques and glazes for the novice as well as the professional, and these classes will cover faux finishing techniques that will use specialty tools and applications. The techniques may change through time but the history of faux finishing will last forever.
The method of a positive technique is applying a paint coat to the surface of an undercoat. This application leaves a hint of color as an impression of the tool the painter used as an applicator. For example, if the painter applied the finish with a lint-free rag that was in the form of a cabbage, the impression would resemble a spiral cabbage or rose. In applying other positive technique a painter can perform sponging, ragging, tri-color rolling, and stamping.
Other uses for a positive technique are:
- Applying more than one color
- applying a washable faux finish
- hiding flaws in a wall like cracks, poor repair spots, and coverage for lack of wall texture
- applying finish over most existing surfaces
- applying multiple paints instead of finishing glaze
- rags
- sea sponge
- feather dusters
- chamois
- cheesecloth
- butcher paper
- terry cloth
Rags will often give a softer edge than plastic. Different types of fabric will also give the painter a different effect as they paint a positive technique for a faux finish.
Negative Faux Finish Technique
A negative technique requires a faux finishing glaze that can dry more translucent than regular paint. This technique is used to remove layers of glaze to create a more semi-transparent finish over a base coat. The task of this technique is that painters can still see the base coat with hints of layered colors characterizing the effect. Unlike the positive techniques, by using various tools and manipulating the top coat glaze, the painter can create different depths of the base coat more dramatically.
The process of a negative technique is simple when the painter uses a satin base coat for easy manipulation. This technique is more fragile than a positive finish so it is important to seal the final top coat for maximum durability. Because this process of layering can take time, it is beneficial to add a dry time extender to allow a longer working period. A supply of various dry time extenders are available on the market, and it is important to use the appropriate solvent base for each paint finish. Water base paint and glaze calls for a water base extender. An oil base extender is only used with an oil base paint or glaze.
The tools used for this technique are similar to the positive techniques but are for removing color instead of adding color. The negative finishes include sponging and ragging off, combing, stippling, marbling, and wood graining. These negative techniques are very time-consuming and the difficulty may change to some degree. A painter should always practice various methods before tackling any large projects. This will ensure the painter has more successes than failures in faux finishing.
Faux Finishing Glaze Formulas
Preparing these formulas was for creating the best design finish that the painter will need to complete any of the faux finishes mentioned in this history. Standard Paint Glaze is made by using one quart of paint, and a ¼ quart of water. Mix well and use as a positive top coat faux finish. The painter should mix this standard paint formula each time a top coat is in need to paint a positive technique.
Latex Glazing Liquid is made by adding one quart glazing liquid, a ¼ quart of a desired paint color, and a ¼ quart of latex polyurethane clear coat. Mix well and use sparingly as a positive technique, and as a negative technique. This glazing liquid will become darker as it dries to the surface of the project. This glazing liquid dries quickly, so the painter may want to add ½ cup of latex extender. This glazing liquid cannot be shaken; it will work best if stirred before applying to surface.
Oil Base Glazing Liquid is made of a quart of oil-based glazing liquid; a ¼ cup of oil-based paint color, and a ½ cup of oil-based polyurethane finishing coat. Oil Base Glaze is a more difficult product to use in a faux finish. This glaze will flatten to the surface so the painter will apply this thinly onto the wall surface. If the oil base glaze is applied too heavy, the finish can sag and create multiple runs downthe wall. An oil base extender is only used when a glazing liquid is the consistency of a gel.
Painters should use these techniques as a basic guideline in applying faux finishes as a decorative design. Many faux finishing techniques and products are offered through hardware stores and paint supply stores. Paint supply stores have periodical weekend classes to introduce faux finishing techniques and glazes for the novice as well as the professional, and these classes will cover faux finishing techniques that will use specialty tools and applications. The techniques may change through time but the history of faux finishing will last forever.
Patrick Tremblay
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