The Decorative Artist Pantry: 3 Tint Bases to Try

A common question is: "What products should I keep in stock?"  Unless you are recreating a specific class sample, it is hard to know exactly what to keep on hand with so many choices. I thought about my practice of going through our family pantry. Just like a good cook knows with a few staples you can whip up a pretty good meal the same is true of stocking a studio pantry.  

With that in mind, this is my criteria for product staples:

1.  Can this product be tinted or mixed easily with other items to alter the color, texture or appearance?

2.  Is the material adaptable to a range of design styles? For example can it be used for both modern and rustic finishes? 

3.  Will I be able to use the product on a variety of surfaces such as walls and cabinets?

4.  And does the product have a good shelf life-most of the items from Faux Effects International™ are good for a year or more unopened. Putting plastic wrap over wet product and making sure the lid is on tight will keep these products fresher once opened.

So, let's start building our Decorative Arts Pantry!  The three items I am starting with are all Tint Bases which means they meet my 4 criteria above. Plus they are simple to use and best of all....

You can get them on sale right now during the NEW YEARS SILVER LABEL promotion.

LUSTERSTONE TINT BASE®

Lusterstone and Metal Glow

We all know that Lusterstone comes in beautiful colors from pale white to deep black, but did you know there is a tintable version?  We often get requests from clients to match a specific paint color while making samples when we don't have a pre-tinted Lusterstone available. Lusterstone Tint Base to the rescue.  

You may tint this product with Faux Effects Colorants like FauxCreme Color™ or Metalglow® Metallic Paints like the sample above which uses Metal Glow colors in Sea Spray and Wheat mixed with Lusterstone Tint Base.  

Lusterstone Tint Base mixed with MicaGlow Powder

A favorite finish is to tint Lusterstone Tint Base with MicaGlow Powder™ (seen in the sample above).  Just a tablespoon of mica powder per quart of tint base yields a pretty silky look.

Palette Deco Silver and Lusterstone Tint Base

You don't always need to add something to the Lusterstone Tint Base-it works just fine on it's own.  It dries to a neutral pearl finish (neither too blue or brown). A simple and effective application is to trowel a layer of Palette Deco ™ Metallic Plaster (my sample is Silver) and top with a layer of Lusterstone Tint Base

Below Lusterstone Tint Base is pulled over Stucolux™ Fine Polishing Plaster in White on White and Vanilla Bean.  For the pattern, I added a little silver colorant to the Lusterstone Tint Base and rolled it over the stencil. 

                                                                                                                                                               And speaking of patterns! Lusterstone Tint Base is troweled for a base in this finish below. Next I mixed the tint base with Silver MicaGlow Powder and silver glitter- a nice (clean) way to apply a glitter finish! 

You may also use quality paint tint from your local favorite paint store if you are matching a specific paint color.  Add it slowly and always swatch out the wet color to see how it dries. Then write down your formula. Adding too much paint tint may overcome the "luster" of the product.

VENETIAN GEM TINT BASE®

The same attributes of Lusterstone Tint Base are useful for the Venetian Gem Tint. The biggest difference is the opacity of the products with the Venetian Gem Tint Base drying more opaque (not a great choice for a glitter finish) but works fine with many other colorants!

Below, the Venetian Gem Tint Base is mixed with Setcoat™ Metallic Taupe and is shaped with a trowel and an Alligator Roller.

Venetian Gem Tint Base is mixed with FauxCreme Color and some is left natural for the trowled finish below:

Because of the well sealed and smooth quality of the Venetian Gem Tint Base it is a great choice for using with foils.  Above, Venetian Tint Base is used for the base layer and the raised pattern. A pewter foil is applied over the plaster and our other staple, Lusterstone Tint Base is pulled over the top to blend and soften.

AquaWax™

The most translucent of the 3 tint bases discussed here is AquaWax.  And like the other two, AquaWax may be used both over and under other products. Below AquaWax is mixed with Sea Spray Metal Glow, Old Bronze Metal Glow and Elephant Hide Metal Glow.

This finish above is AquaWax is divided into 2 parts. One part is mixed with Metallic Toffee® Setcoat and the other part is mixed with Metallic Toffee Setcoat and some Silver Concentrate. 

And since it dries so clear, AquaWax is a perfect binder for glitter.

Or used on it's own as a see-through texture over things like foil.

An added bonus with Aquawax is you may use it as a protective and durable topcoat over your finishes! 

What you should notice is that many of the finishes using Lusterstone Tint Base, Venetian Gem Tint Base and AquaWax are 2-3 steps making these economical finishes as well.  Take advantage of the sale and try a quart of one (or all) for your decorative art  product pantry.

The New Year Silver Label Sale is being offered from Faux Effects and at participating studios. Use N2018Y code at check out or call your local studio for information.

Check out my post tomorrow when I write about my favorite Cabinetry stock items.

Stay Warm,

Rebecca

Anything but Scary-Halloween Inspired Design with Year Round Appeal

Happy Halloween! It's that time of year when you try not to eat all the candy before the kids trick or treat.

After Christmas, Halloween is the second most favorite time for decorating our homes.  Check out Pinterest and you will easily see how much we love pumpkins, witch's hats, ghosts, black cats, ravens and skulls. 

For a month, it's fun to embrace the macabre but could you live with this year round? For example this  might work if you make a lot of pies or keep a goat in your bedroom.

The traditional palette of  bright orange and black may be difficult for most people to embrace on a daily basis-unless you are an Oklahoma State fan....or my Dad (the unofficial Earl of Orange).

Go Pokes....This is for you Pops

When we tease out a literal interpretation of Halloween, there are several elements of the holiday left to create inspired interiors.  Let's take a peek at a few:

Bold Black  The classic color of Halloween, black is a sophisticated and timeless favorite in interior design.

Above is Black Crackle from Faux Effects used on cabinetry.  What makes this crackle look more refined?  As the black crackle medium is drying, I rub off areas with a damp cloth to reveal the warm wood tone underneath. When the crackle medium is dry,  I brush on Old World Finishing Paint in Coal. This will back fill and soften the crackle.  When the Finishing Paint is dry, I sand the surface to see the wood and to create a really smooth finish. By doing this step I may control how the crackle looks and feels!

This door also uses crackle but the medium is Faux Effects' Clear Crackle mixed with Setcoat Metallic Gun Metal.  Don't want to use crackle but get the rich look of Metallic Black?

Metallic Black Setcoat is a great choice for color and coverage.  The door above has small dabs of Black Onyx Venetian Plaster to add interest and a bot of texture.

Black is also a classic for wall finishing.  This close-up of a feature wall is RS Plaster painted with Metallic Black Setcoat: RS Water Wax is mixed with Faux Effects Silver Mica Powder and troweled over the plaster. I use a buffer brush on a drill to polish.  A glaze of FX Thinner + Van Dyke Brown  Stain & Seal + Ebony Stain & Seal is brushed over the surface to highlight the texture. 

Gothic Pattern.  A mix of dark and romantic, this style is a way to add drama (both small and large) to your home. 

My Dorian Finish below uses Black Onyx Venetian Gem Plaster as a base (heads-up, Venetian Plaster is the Faux Effects November Sale Product).  The Venetian Gem is shaped with a specialty roller.  Then I apply Foil size. After this sets, but is not dry, I place a romantic scroll stencil from Cutting Edge on top. The size holds the pattern. I mix Clear crackle with glitter (I used Silver here) and trowel it over the pattern,  When the crackle dries, I used pewter foil around the pattern.  The same glaze mix of Van Dyke and Ebony Stain & Seal is used over the surface.

This beautiful and romantic kitchen is by talented Kansas City Artist Suzanne Lynch, owner of Finishes Unique.  Black Setcoat is the base. Suzanne used Black Palette Deco over the Damask Pattern from Royal Design Studio. Stove Pipe Nu'Villa or Black Onyx Venetian Gem are also choices.  She used Sandstone to bury the pattern and lighten the finish. A warm glaze softens the wall.  Love the crystal chandelier as well! 

Black is not the only choice for a Gothic inspired finish. Deep blue and grey are also choices.
One of my favorite colors is Ancient Grey Lusterstone. Ancient Grey Lusterstone is used as the base and for the pattern from Cutting Edge in this simple and elegant sample.

My McQueen finish starts with Weathered Bronze Lusterstone.  What makes this finish is the combination of patterns ( the larger one is the same as Suzanne's choice, Fabric Damask from Royal Design Studio). I used Turquoise Stain & Seal for the smaller pattern and Weathered Bronze and Mica Powders for the larger pattern. 

Burnt Orange. Halloween orange is a bit bright-best saved for hunting vests and traffic cones...and my dad.   But when shaded in warm copper, red or dark brown, orange may be a lovely addition to your interiors.

Not all little girls want pink.  This children's table and chairs combine Gothic Style with Burnt Orange. The finish is Black Setcoat and Fire Red Setcoat. The pattern is from Royal Design Studios.

One of my most popular finishes is the Vintage Apricot for cabinets.  For this bathroom it pairs nicely with the Copper Foil behind the RS Sandstone Walls. 

Faux Effects Metallic Copper Fresco over a base of Royal Taupe Fresco.  The finish is glazed with Van Dyke Brown Stain & Seal for a simple cabinet finish with a lot of depth-that still feels smooth! 

Burnt Orange is not just for wood. It creates a dramatic and rich finish for walls as well.

Kansas City is home to some of the best finishers in the country. This copper wall treatment for a Butler's Kitchen is by local finisher, Sue Hon.

And this lush bath finish by Heather McDonald of  thestudiochick.com which was featured in Faux Effects World Magazine.

These are just a few ideas for using Halloween inspired elements for finishes. The next time you're considering something different, treat your clients to a bit of Gothic Romance, Black Drama or Rich Burnt Orange.  

And just a reminder-today is the last day for the 20% off sale of Faux Effects Stain & Seal.  Think of it as stocking your own goody bag.

Have a Safe & Happy Halloween! 

Rebecca

TGIF-Don't be Clueless about a simple Countertop makeover.

That's Good In-Faux

 

 

The question this Friday comes from my friend Phyllis who asked about creating a copper-look counter top over an old surface.  You know what that means....

 

 

 

 

But first here are some things to think about before tackling an unconventional faux project.

 

•  How much is the surface used? Is this a kitchen countertop that gets cleaned everyday or a guest bath used a few times a year?
• Is the condition of the surface damaged from a structural or water problem? You are just using paint not a magic wand.  These things should be fixed by the appropriate professional first
• What is the material?  Plastic, acrylic, wood, metal, and ceramic have different properties.
• What is the client's expectation? If they are expecting granite like qualities-they should get granite.
• All products need time to cure. That means 48 hours for a light cure such as setting things back on the surface, 72 hours for water clean-up and 30 days for heavy cleaning.  Many people will disregard those time frames if the surface is one they use frequently like a kitchen counter.
• Dry times between layers are critical.  It may only take you 20 minutes to apply a layer but you can not come back until the next day.  Plan on multiple trips even for a small surface.

Still interested in doing a countertop?  OK, let's get started....

 

 

 

Our countertop is wood. Wood is good.  It is an easier surface to work on because it is porous. 

 

To prepare a wood surface, you need to clean it with a degreaser/de-glosser like Krud Kutter, TSP, or Paso.  We prefer Paso or granular TSP (mixed with water).  These products are brushed or wiped on and  allowed to sit for 30 minutes. Then use a 220-320 grit sandpaper to scuff the surface and remove loose topcoat/debris.  Clean the sanding dust and other smutz with a damp cloth.  Give the surface at least an hour for the liquid to evaporate.

 

If the surface is non-porous like cultured marble, after the above steps, you will need to apply a bonding primer.  In the Faux Effects line, I either use Primetch or Stone Décor. Primetch is a silver label product and is as sticky bonding agent.  Roll on a coat with a black foam roller and it will tack-up. When it is no longer stick, you may roll a Setcoat color.  Stone Décor is gold label and involves training. 

 

I let the Setcoat layer dry over night whether I use Primetch, Stone Décor, Primer, or go directly to Setcoat. I used Royal Taupe Setcoat on our wood counter.

 

 

These are the products I used for this simple technique.  I opted not to use the large Mica Flakes as I progressed with the project. The Activator II is the only Gold Label project. If you don't have access to it, then substitute denatured alcohol for a similar effect.

 

Materials:
Faux Effects Royal Taupe Setcoat
Faux Effects Charred Gold Lusterstone and Weathered Bronze Lusterstone
Faux Effects Metallic Copper and Metallic Rich Gold Concentrate
Magic Metals Aqua Blue Patina Solution
Faux Effects Activator II or Denatured Alcohol
Infinity Laser Cut Antique Gold Glitter
Faux Effects Aquaguard Gloss
Faux Effects C-500 Satin
Water bottle
Chip Brushes
Pointed Glazing Brush
Small bowls or ramekins
Black Foam Roller
Sanding block and/or papers

Don't have what you need? Don't worry we carry it.

 

 

Of Course!

 

I'm using Charred Gold and Weathered Bronze Lusterstone but any color complimentary to copper will work.  Spritz the surface with water and dab in one of the Lusterstone colors.

There should be enough water for you to swirl the brush and make the Lusterstone frothy.

Repeat with the 2nd Lusterstone color.  While the Lusterstone is wet, squirt in some Metallic Copper Concentrate and some Rich Gold Metallic Concentrate.

Spritz with more water....

And use a brush to break up the shapes.

The final step in the sequence is to flick the wet materials with the Activator II for small pits or denatured alcohol for larger holes.

 

It seems like a lot of operations to perform in a step but really after you try it a few times, you develop a rhythm. Spritz, swish, and flick....

 

Just work in small connecting sections.

 

 

Once a section is done, spritz with some Aqua Blue Patina Solution. The reaction does not happen right away but must be done while the copper and gold is damp.

 



 



This layer should dry overnight.  The next day, us a medium to fine grit sanding block. This will smooth the surface and check for bonding. Wipe off the dust.

 Butter your blade your more of the copper and/or gold metallic concentrate.

Pop this on in areas where you would like to see more metallic.

 

To soften transitions, I also repeat this process with my Lusterstone and pulling it tight in connecting areas.

Your goal is to soften the look without burying the pitting motions you created in the previous step.  You may also add more Aqua Blue Patina Solution.

For added bling, I blew into the damp plaster some Antique Gold Glitter.  Some people don't like glitter...

I know, boring right?

 

This layer needs to dry over night.  The next day, sand again and seal.  I like 1-2 coats of Aquaguard Gloss followed by 1 coat of C-500 Satin.  The gloss coats should dry 2 hours between applications.

 

 





 

 

 

(Clueless, Paramount Pictures. 1995)