GIDP was commissioned to paint a large number of pedestals as a base for the artwork of a prestigious artist. One of the many pedestals that were painted was to mimic White Carrara marble. White Carrara marble is a delicate veined marble. In this video series, Pierre demonstrates how to paint a realistic White Carrara faux marble finish. Typically, faux marble finishes are completed in a 3-layer process; 1- background, 2- veining, 3- overglazing; each layer is separated into a video below.
Watch Pierre Finkelstein of Grand Illusion Decorative Painting, Inc. demonstrate how to paint a White Carrara Pedestal using the HV’Art Lacquer Paint System.
He begins with an already primed and basecoated pedestal (white). For this, he used Gesso Style Primer, and Lacquer Paint (Ceramic 90 – finish coat). Both layers were sanded smooth after drying to create a smooth even surface. Note: Lacquer Paint is a finish coat so it is recommended to use Decorative Canvas Basecoat beneath the glaze.
For his tinted Glazing Medium, Pierre mixes a gray tone for his background texture using Ultramarine Blue, Raw Umber, Yellow Oxide, and little bits of Black and White. Slow drying Acrylic Colors were used. After rolling on his white Lacquer Glaze, he stretches the glaze with a Spalter Brush (long hair) to remove any brush marks. For the White Carrara finish, he begins his background layer by laying down the foundation for his fragments. Using is 3-Header Chiqueteur brush, he applies marks in a diagonal direction (working in beds) using different tonalities of gray. He makes sure to vary his pressure so that there is a variation in value in the fragments. Then, he softens using a Bristle Softener Brush using an up and down followed by a figure 8 motion.
On the Veining Layer (Layer 2), Pierre adds dark gray fragments by painting networks of hooks; as he says “don’t paint the veins, paint the fragments!” He connects his anchoring points while keeping the darker tonality at the bottom. He adds his secondary veins with a 3-Header Brush (pointed) and transparent light gray glaze.
Next, he paints tiny fragments with his 3-Header Chiqueteur alongside the beds. He blends the interiors of the fragments first with a Softener Brush (bristle). Then he follows by blending the veins in an up and down motion, always pushing to the top. He finishes up by adding little dots at the intersection and smoothing in an 8 motion. To ensure a realistic pedestal, he connects the veins at the corners and always mirrors the direction on the opposing side.
In the previous video, Pierre showed you how to create the Veining Layer (Layer 2). On the Overglazing Layer (Layer 3), Pierre adds the crystallization over top of his veins. First, he rolls on a transparent glaze and spreads it evenly with a Spalter Brush. With a mixture of gray, white and burnt sienna, he uses his 2-Header Chiqueteur to add bathing which makes some of the fragments darker. He softens and fades his strokes with the Softener Brush(bristle). Next, he rolls the whole panel with clear glaze, and stretches with a Spalter Brush. To add the crystallization, he loads white mixed glaze and pushes/rotates his Chiqueteur brush; working in beds and unloading mainly on the fragments. He works inside the fragments avoiding the clumps. Using his 2-Header Brush he paints flames across some of the fragments to cut the harder lines. He blends with a Bristle Softener; making sure to follow the bathing and soften across the cluster in an 8 motion. He then adds another layer of crystallization with the 2-Header Chiqueteur, leaving the marks sharper for depth (only gently softening). To make the marble pop he then adds white accents to one side of some veins and fragments, and gently fades them outwards with his Softener Brush.
To finish the pedestal, Pierre then varnished using HV’Art Crystal Lacquer (Quartz 40) and polished to a smooth finish.
See also: Cutting Method for Real Marble; Black Belgium – Watch & Learn; Red Griotte Faux Marble – A How To
Learn more about HV’Art Lacquer Paint System here
Learn Veining Fundamentals online here
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