Turn over the moist sponge to the side without glaze, and use it to stipple the surface (2b), blending and As it is pounced diagonally, the sponge, carrying as little glaze as possible, transfers a thin, random pattern on the ground color. Here we start with the dried basecoat, adding glaze with a natural sea sponge (2a). Additive glazing is the only option for textured walls.Additive techniques economize glaze and time-they’re quicker than subtractive techniques that involve putting it on and then taking it off.The luminosity of a light and bright ground color is essential for “grinning through” darker glazing.You can sweeten any sour notes with a thin dab of base color. Like a waltz or a tango, dance random patterns along diagonals, avoiding foxtrotting right angles.Practice, if I may paraphrase, is how you get to Carnegie Walls. Explore base colors, glaze colors, and techniques on 20″ x 30″ sheets of posterboard.It’s time to explore the simple old solutions, avoiding recent temptations.
The low-relief “Venetian Plaster” was perhaps the last straw in a paint-department shootout between Home Depot and Lowes. Revived again during the 1980s and 1990s, the popularity of simple faux finishing plummeted as it morphed into expensive and cumbersome “decorative effects,” lauded in books that emphasized complex formulas and difficult techniques. Revived in 1909 by Andrew Millar’s Scumbling and Colour Glazing, published in London and New York as an alternative to the “white scourge” of the Edwardian era, its popularity as “Tiffany Glazing” peaked here during the 1920s and 1930s. Faux finishing once was practiced by every house painter and many householders, who used inexpensive materials and simple techniques involving glazes, sponges, rags, and crumpled paper. Such treatments also blur the pattern of ugly old wallpaper. Nothing obscures the cracks, stains, and gouges in old walls quicker and cheaper than random patterns of semi-transparent glaze applied over a basecoat color.
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