Last week I had the wonderful opportunity to add some Tuscan details to a game room. My clients initially asked if I would need to under-paint the area for the mural white. But I have found that keeping the original wall color helps set the tone for the artwork. In this case the warm wall tone added depth and warmth to the landscape. The result is that the art blends in well with the room.
Sometimes rooms can present challenges that can turn out to be blessings in disguise. Take a recent job of mine. The project was to paint a roller coaster in a young man’s room, but the ceiling rose three feet higher on one side of the room. The solution was to use the difference in wall height to my advantage to give the illusion of steep tracks and to make the cars appear to be rolling toward you. From there the roller coaster looped and corkscrewed around the remaining walls, behind windows and doors while allowing space for other things to later be hung on the walls. In the end, the varying wall height turned out to be a huge advantage for the subject. I love that when it happens!
Recently I had a client who was looking for a way to better integrate an outdoor painting into the area behind their bar. Using colors pulled from the upholstery on their patio furniture, I first glazed the wall. I then added a few areas that looked like breakaways which matched adjacent brick work. The canvas painting was secured with screws into the stucco so that it wouldn’t blow away. Careful to match the colors, I extended select details from the painting onto the wall.
I thought it turned out to be a great yet simple way to maximize a small purchased painting for minimal cost and effort. Best of all, it wasn’t something you’d see everyday.
I would love to hear what you think?
Looking for a soft glow or an aged look for your walls ? Consider a parchment finish. It is hands down my most popular finish, and I have used it in a wide variety of situations. It’s as simple as a finish gets, but the effect is always warm and subtle whether it is done with one glaze or multiple glazes. It involves the application of glaze over a basecoat that is then blended using a neon leon brush. I feel it is most successful when a darker glaze is applied over a lighter base since light can bounce off the basecoat for a more luminous effect.
A glaze is a thin layer of transparent medium. It can be tinted to any desired hue. When applied over an opaque base, it lends depth and translucence because it permits the light to pass through it to the layer below and then reflect back. Depending on the method used for application, a variety of patterns and textures can be used to achieve a variety of results. The more layers, the more depth.
The term “trompe l’eoil” in french means literally “to fool the eye.” It is a concept that has been around since before the Middle Ages. Trompe l’eoil has been used on rotunda’s, staircases, the side’s of buildings–nearly any architectural surface. The result is always surprising and if you ask me a bit tongue-in cheek. To pull it off successfully requires an expert’s understanding of perspective, light effects, and materials. The example posted here was painted for the St. James Elementary School Library in Los Angelels. The door is actually closed, but painted to look as if it is opened onto a literary wonderland. Click Here are a few more of examples from my own work.