The Use of Decorative Painting And Finishes in Historic Interiors

Architectural Arts Decorative Painting Brief History

Decorative painting has been around from the very early ages in various forms. The origins of decorative paint(in,vi,ar)ing in historic interiors can be traced back 4,000 years when cultures used different patterns and designs as a means of communication and self-expression.  Decorative painting was found in prehistoric times with painting on cave walls, on tombs in ancient Egypt, on temples in ancient Greek. It just continued through the ages, growing tremendously during ancient Rome seeing marbleizing, frescoes and other techniques being used more and kept going strong after.   Today this type of painting has become a way for people to add visual excitement and a cohesive design element to a room by embellishing surfaces with a unique texture or finish.  Throughout the world you see historic structures that contain Murals, friezes, frescoes, and other decorative finishes.

If you are looking for more details, kindly visit BGP.

Decorative elements can be found in all types of structures including churches, courthouses, libraries, private homes, theatres, and museums.  Typically the use of decorative painting in historic interiors can be found on ceiling or walls but will also be found on floors to imitate carpet, as well as furniture to add detail.

The decorative techniques for walls have been multipurpose and covers everything from creating patterns of designs to mimic wallpaper, adding borders to accent a space, to adding dimension or elements of interest to a room.

The desire for decoration led the middle and upper classes to decorate homes lavishly rivaling that of what typically was reserved for the Nobile.  Public buildings would be decoratively painted to impress or pay tribute to make a statement.

Some of the common decorative painting techniques that can be seen in historic interiors include:

Stenciling

Stenciling is a decorative design technique used to produce and exactly replicate a design or pattern.  The image or pattern is created by applying paint to a surface by using the stencil to apply a design to a surface through superimposed openings/holes. The openings allowing the paint to reach the desired parts of the surface determined by the stencil design.

The art work in stencils can range from simple lettering and basic patterns to the very ornate and complex designs. Stenciling is use to help reinstate and create decoration for historic structures. Stenciling offers a practical method for producing elegant designs. Even though you can spend quality time developing and creating a stencil, the stencil can be used to quickly reproduce that design so you don’t have to sacrifice quality for quantity.

Stenciling is a common decorative finishes technique found extensively in historic interiors. A couple of examples include a residence in Newport New Hampshire and the First Church of Christ, Scientist in Boston.

Trompe L’oeil

Trompe L’oeil is a form of painting to give the illusion of depth and dimension.  When done correctly it tricks the eye into perceiving a painted elements as a three-dimensional object.  Sometimes called illusionism, a style of painting which gives the appearance of three-dimensional, In French literally meaning “trick the eye” and that is exactly what happens when the artisan uses this technique. To implement the Trompe L’oeil technique and artist must have a strong understanding of using colors and how lighting and shadows work together to create the layers needed to create the uses.

The use of trompe L’oeil on ceiling was common to give the appearance the building continue upwards to great heights, the term di sotto in sù (“from below” in Italian) is used to sum up this soaring effect. It is also used in portraits and murals to give the visual illusion the subject or elements are emerging from the painting.

Grisalle is a form of trompe L’oeil that uses monochrome painting to create decorative effects using elaborate shading technique.

Trompe L’oeil can be seem in many historic decorative interiors including in the Philadelphia Academy of Music and Independence Hall in West Virginia.

Gilding

Gilding also known as Metal leaf is an ancient art where tissue thin sheets of rare metals or imitation leaf are applied to either a flat or ornamental surface. This technique is often used to highlight certain features of architecture. The results can be opulent or richly understated. Gilding can actually use rare metals such as gold, silver, bronze and aluminum to put on surfaces including metal and wood.  Methods of gilding include hand application and gluing, chemical gilding, and gold plating.  Gilding can be used to give an object a gold appearance at a fraction of the cost a solid gold object, without the weight of sold gold.  Radio City Music Hall in New York, The Cosmo Club in Washington DC,  and the San Francisco War Memorial Opera House are great examples of interior gilding.

Marbleizing

Marbleizing, also known as marbling, faux marbling and simulated stone, is the preparation and finishing of a surface to imitate the appearance of polished marble. This technique has been used for many centuries were decorative painting is being implemented to help enrich the appearance of interiors. One technique is Scagliola which involves the use of specially pigmented plasters. Scagliola is a technique for producing stucco columns, sculptures, and other architectural elements that resemble inlays in marble and semi-precious stones.

Examples were marbleizing can be found include the Shrine of Our Lady of Guadalupe in La Crosse, WI, and the National Building Museum in Washington, DC.

Faux bois 

Faux bois also known as woodgraining (from the French for false wood) is the decorative technique of artistic imitation of wood or wood grains.  Faux bois can be a cost effective and is often used to match a species of wood that’s no longer available, hard to find or too expensive.

The imitation of wood grain with paint and glaze can be done on non-wooden surfaces such as bricks and brass, but can also be used on inexpensive woods to help imitate more expensive woods. One or two base coats are applied in the direction of the grain to diminish brush marks. The glaze is then applied which helps the base coat imitate the wood grain. While the glaze is drying either a brush or steel comb wrapped in cotton is pulled through the glaze to create a grain pattern.  Finally wax or vanish is applied to protect the finish and bring out details of this technique.

The process of woodgraining is multiple step process.  For example to create a walnut grain would require using water scumble, oil scumble and a water glaze in a six step application with some of those steps requiring flogging to create the pores of the wood.

Examples of woodgraining include Michigan State Capitol, the Taft Museum of Art in Cincinnati, Ohio and Iowa State Capitol.

Glazing

A glaze is a thin transparent or translucent medium layer that modifies the appearance of the underlying paint layer. Glazes are used to change the surface through a carefully controlled application of the glaze over a painted surface. The multi-layering of several glaze colors develops a complex and beautiful surface. Glazing can be applied in three to thirty coats and has many different appearances.

Scumble is a technique similar to glazing, except that the coating is opaque, and is just painted on very thinly to allow bits of the paint below to shine through. While most painters glaze with dark colors, scumbling is more popularly used for lighter colors; especially atmospheric effects when rendering fog or clouds.

Strie is common technique that is used in glazing. The strie technique mimics the look of centuries-old paint altered by dust and sun. This technique creates a subtle dramatic stripe and plaid effect.

Glazing is extremely common in decorative painting is it is part of the process of so many techniques including Marbleizing and Faux bois.  Some examples include the Eisenhower Executive Office Building in Washington, DC and the Hill Auditorium, at the University of Michigan.

Faux Gustavino Tile

Another technique utilizing scumbles and glazes is the creation of this faux Gustavino tile. Guastavino tile is a tile system technique that uses layers of terra cotta tiles set in a herringbone pattern for self-supporting architectural vaults using interlocking terracotta tiles and layers of mortar to form a thin skin. To achieve the faux Gustavino tile it requires rubbing in the scumbling and then applying multiple layers of glaze and a crazing varnish. A great example of faux Gustavino tile is the Boston Public Library where the faux Gustavino tiles were created to match the existing beehive Gustavino tile ceilings.

Conclusion

A high degree of decorative finishes knowledge as well as strong solid knowledge of architectural styles and materials is needed to match new decorative finishes to that of the original finish. This is what is needed to be a true artisan.  Today’s artisans of decorative painting use this knowledge to implement historic decorative painting techniques to help keep the beauty of the past alive.   As a architectural arts decorative painting contractor, John Canning & Co.’s artisans have decades of collective experience and the expertise to deliver the highest quality craftsmanship when it comes to decorative painting.  If there are any projects that require decorative finishes in your future, we are always happy to assist.

Faux Your Information:

florapompeiiThe act of painting walls precedes even architecture. As a fundamental human experience it reveals a natural human response to our environment. From the Paleolithic cave paintings through the evolution of the decorative arts; we have adorned our walls with colors and pattern, flora and fauna.

For more Wood Coating Manufacturerinformation, please contact us. We will provide professional answers.

Decorative techniques are used to alter the feeling of space, affect mood and offer atmosphere and illusion. From accent walls to larger areas, paint and plaster provides for a variety of textures available to create subtle finishes of depth and interest. It’s a great way to share in the richness of our long artistic tradition, and experience the loveliness of decorative painting!

These painting techniques are meant to be used in small doses, subtly, and sparingly. Our design service may include one, or a combination of these hand painted affects, where we may incorporate them to emphasize special features, create small and dramatic accent walls, and add a lovely, hand brushed quality to your interior design statement as a whole.

1. Color Wash

A color wash is a faux painting technique used to create a subtle wash of color over a wall by applying multiple layers and colors of tinted glazes to create depth, movement and drama. It is generally applied with a softening brush over a solid paint layer, using sweeping strokes to blend and meld the glaze colors together.

Color washing was historically created with oil-based products because of the long drying time, but with today’s health and environmental consciousness, paint companies are producing more user-friendly water based glazes. This finish can create the illusion of an old Tuscan plaster effect.

2. Dry Brushing

Dry brushing is a faux finish whereby a brush is pulled through a wet glaze or paint, producing fine blurry stripes of the base coat color showing through and creates an effect of soft graduated lines on the wall. Dents and cracks in the wall can enhance this affect and the surface textures are built up slowly.

3. Sponging

This decorative effect is produced by either applying or removing color by “pouncing” with a natural sea sponge while the paint is still wet. This is done by tapping the sponge in a random pattern on the wall, and at the same time working to create a consistent finish. For covering large surfaces a sponge roller can be used. Sometimes this technique involves laying down undiluted paint in a patterned or mottled way so it will serve to disguise any flaws in the wall surface.

4. Stippling

Stippling is a decorative paint color technique and is also known as “pouncing”. A glaze or paint is applied to the surface and while it is wet, a stippler is pounced onto the surface causing the glaze to disperse into tiny dots.

Stippling gives a very even film of glaze while removing brush strokes in a wet glaze – its brushes or stippling blocks have short cut bristles that make fine pinpoint marks on the painted surface. A stencil brush can also be used.

5. Strie

A faux painting technique used for achieving a subtle mix of fine stripes or brush strokes by pulling a dry, stiff bristled brush or rubber comb through wet paint. Strie is also referred to as “dragging” where a drag brush is held down to push through the wet paint while trying to keep the line as straight as possible.

This technique can be done on its own, with the streaks directed either vertically or horizontally or by overlapping horizontal and vertical strié creating the affect of fabrics such as linen or denim.

6. Venetian Plaster

Involves the application of pigmented limestone and marble dust to create the look and feel of authentic stone creating a rich finish with depth. It is a lustrous and silky smooth finish and is traditionally applied in thin, multiple layers. There are a variety of Venetian plaster products to be used today that come ready mixed in a range of muted colors. The plaster is applied with a steel spatula. A luminous finish can be created by choosing a top coat you can burnish.

7. Stenciling

Stenciling is a decorative painting technique whereby a tool is used to apply a repeated image or pattern by dabbing paint with a sponge, stenciling or stippling brush over the negative space cut out of a sheet of mylar or stiff oak tag.

A little research will reveal motifs including Classical, Egyptian, Japanese, Indian, Pomeiian, Art Deco, Mexican, Victorian, Chinese, Contemporary and more, can be accomplished.

8. Spattering

This technique ranges from boldly bright and blended colored flecks to watermarks caused by sprinkling paint thinner on a wet base coat. It is a random affect produced by using a paintbrush, toothbrush, or air gun using various techniques, and creates a rich and complex finish.

There are many ways to spatter, yet no matter which way you go about this, it is so messy that everything in the room should be covered. It can be done by hitting a loaded paintbrush with a wooden stick or other paintbrush. Smaller areas can be accomplished by running a toothbrush over a fine metal screen. An air gun with a compressor and special nozzle produces a fine even finish. The closer you stand to the wall surface, the finer the spattering.

9. Metallic Finishing

As the name implies, these are decorative finishes that use metallic paint in various techniques over other painted finishes. Golds, silvers and bronzes are used over different colored base coats to achieve the appearance of antique gold, burnished bronze or shimmering silver.

Metallic paints are water based these days, (personally I love Modern Masters), and require a carefully prepared smooth wall surface and base coat. This paint application requires lots of experience as it reflects the light and produces a beautiful prismatic effect.

Comment: “Once I painted the living room wall of a client’s home with a rich metallic copper finish. This wall was exposed to direct natural light, which had the potential of revealing any imperfections. As luck would have it, this client was an antique car collector and had restored fabulous automobiles as a master of that ever-so-perfect-car-buff- paint-finish!”

10. Ragging

Ragging is decorative finish in which paint or glaze is either applied or subtracted with a damp rag on the wall surface. The material of the rag affects the finish, and can range from absorbent cotton to cheese cloth. It is crumpled, folded or rolled to create a variety of affects over the wall surface.

11. Fresco

This particular technique recreates the soft contrast and weathered look of frescoes by ever-changing recipe of a combination of sponging, glazing, stippling. plastering and mottling to achieve this effect.

The original frescoes were created using two techniques; that of either buon or secco (Italian for wet and dry). Buon-frescoe was pigment mixed with water on a thin layer of wet, fresh lime mortar or plaster. The pigment absorbed by the wet plaster for a number of hours, dries and reacts with the air. This is a chemical reaction which fixes the pigment particles in the plaster.

The secco-frescoe consisted of adding a binding medium to the pigment such as egg, glue or oil to attach the pigment to the wall. The pigment then is absorbed by wet plaster and eventually dries and reacts with the air; a chemical reaction which fixes the pigment particles to the plaster.

A third type used during the Renaissance was called Mezzo frescoe and is painted on nearly dry plaster so the pigment penetrates only slightly into the plaster.

12.Marbling

This faux painting finish is arrived at by studying pieces of marble or photos of it to become familiar with each variety’s special characteristics. For the best effect, the marbling technique is to be used sparingly; perhaps on columns, baseboards or crown molding. Marbling is a gradual process of adding more and more shapes and veining in many subtly mixed colors.

Note: A surface needs to be in good condition to best approximate the cold smoothness of stone. The base coat is best cured before beginning this step by step procedure.