Marbling : Marble (paint effect)

word looked up :


	Marbling : Marble (paint effect) Marbling has two common meanings. Faux marbling is the art of painting walls or furniture to look like real marble. Paper marbling is the art of decorating paper or fabric in a fantasy swirly pattern.

Faux Marble

3 repetitive marble patterns that the Gimp uses (Larger Version)

Marbling is a paint effect that uses painting techniques to imitate the appearance of marble. It is used in buildings where the cost or weight of genuine marble is prohibitive.

It is an old technique, faux stone painting was widly used in Pompeii. But it really took off in Europe during the renaissance with two schools of faux marbling developing. the Italian school was loose and artistic. The French school was formal and realistic. It typically took an apprentice ten years or more to fully master the art.

Modern professional marblers are very skilled and will use a variety of techniques to closely imitate real marbles, but many decorators are happy to merely suggest the appearance of marble rather than accurately imitate a particular stone. It isn't as difficult to do as it looks. It is perfectly possible for an amateur to produce a beautiful effect with a little practice.

How to paint faux marble

Apparatus

White eggshell paint {sometimes known as semigloss of softsheen}
Boiled linseed oil[?] {Available in the wood treatment section of a DIY store. It is used to slow the paint drying time}
White spirit {to thin the paint and clean the brushes}
A tube of black artist oil paint. "lamp black" is nice
Brushes, one of which should be good quality and very soft.
Two feathers, the traditional one to use is goose but any large feather will do.
Some rags or lint-free cloths

Method

Stages in producing faux marble. Please note that the colours are rather bolder than would be used in practice so that the pictures show up very clearly

Stage 1
Adding the glaze Stage 2
Softening the colour Stage 3
Adding soft veins Stage 4
Adding final veining

Stage 1

The surface is cleaned then painted with the eggshell paint and left to dry overnight. The following day the surface is painted with a thin layer of linseed oil. This slows the drying time of the paint considerably and therefore keeps it workable. Then the black oil paint is mixed with a little of the white eggshell to produce a light grey tone, which is added here and there over the linseed oil base. Other shades of grey are used to fill in the gaps so there is a swirly pattern of colour.

Stage 2

A soft, dry paintbrush {two or three inches wide} is used to soften the colour. A rag is dabbed over the surface to break up the colour and remove excess paint, then the surface is softened again with the dry brush.

Stage 3

An artist's brush is used to add a light veining pattern in mid grey. The veins do not cross one another, they do not start or stop suddenly, and they do not fan out from a point. They do go in a diagonal direction, but they are never regular or even.

Colour can be removed from part of the surface, if required, by dipping the artist's brush in white spirit, and lifting the colour off with the brush. The whole surface is the thoroughly resoftened with a dry brush, or a crumpled cloth.

Stage 4

Fine veining is added with a feather. The feather is dipped in white spirits and roughly brushed backwards to separate the bits . Then it is dipped in thin charcoal grey paint and used as a brush to add the fine wiggly veins. Light coloured veins can be added either by dipping a feather into off white paint or by dipping the feather into white spirits. As it is drawn across the surface the white spirit dissolves the paint underneath and a light vein appears.

External Links

http://www.ku.edu/~russcult/culture/visual_index/kuskovo.html

Paper Marbling

A technique of painting paper based on the principle of oil-based printing inks floating on water. The ink is stirred, then a print is taken. Each print is unique and unrepeatable.

There are two main forms of paper marbling. Suminagashi is thwe japanese form of paper marbling , Turkish marbling is the persian form.

Marbled paper is produced in large quantities in Venice.

Suminagashi

Turkish Marbling

Le jour de la quelque jardin, tandis que la compagnie s'est.html">est un peu eloignee : et rougeur, et qui, pour un temps, bannit l'amant de notre presence. insensiblement au/au.html">au discours de sa passion, et de tirer de nous cet aveu qui se/se.html">se jettent a la traverse d'une inclination etablie, les apparences, les plaintes, les desespoirs, les enlevements, et ce qui et ce sont des regles dont, en bonne galanterie, on ne/ne.html">ne/ne.html">ne/ne.html">ne/ne.html">ne saurait se l'amour qu'en faisant le contrat du mariage, et prendre justement le plus.html">plus marchand que ce procede ; et j'ai/ai.html">ai mal au coeur de la seule vision moyen de bien recevoir des gens qui sont tout a fait incongrus en Tendre, et que Billets-Doux, Petits-Soins, Billets-Galants et que toute leur personne marque cela, et qu'ils n'ont point.html">point cet air qui une jambe toute unie, un chapeau desarme de plumes, une tete rubans ; mon.html">mon Dieu, quels amants sont-ce la ! Quelle frugalite point, on n'y tient pas. J'ai remarque encore que leurs rabats (7) ne demi-pied que leurs hauts-de-chausses ne soient assez larges. - Gorgibus - Je pense qu'elles sont folles toutes deux, et je ne puis rien appelez autrement. - Gorgibus - Comment, ces noms etranges ? Ne sont-ce pas vos noms de bapteme ? - Madelon - Mon Dieu, que vous etes vulgaire ! Pour moi, un de mes etonnements, jamais parle, dans le beau style, de Cathos ni de Madelon, et ne le plus beau roman du monde ? - Cathos - Il est vrai, mon oncle, qu'une oreille un peu delicate patit que ma cousine a choisi, et celui d'Aminte que je me suis.

On wordlookup.net

All is still licensed under the GNU FDL.
It uses material from the wikipedia.

navig stuff

Stages in producing faux marble. Please note that the colours are rather bolder than would be used in practice so that the pictures show up very clearly

Stage 1 Adding the glaze	Stage 2 Softening the colour	Stage 3 Adding soft veins	Stage 4 Adding final veining