Wallpaper Imitation With Fabric Look

The Hamburg-based decorative painter Friederike Schulz masters old decoration techniques, as only a few painters do today. She does not carry out any restorations, but rather specializes in new versions of old surface designs, for which she has developed her own color and form language. In a new series, Malerblatt readers can look over their shoulders as they work. In the first episode of the decorative painting series, Friederike Schulz shows an imitation wallpaper with a fabric look.

Friederike Schulz / Susanne Sachsenmaier-Wahl

In my work, I like to combine classic painting techniques with modern materials and optics,”explains Friederike Schulz how she works. “I prefer solvent-free materials for the design techniques, e.g. For example, on an acrylic basis, use pigments or mineral colors."

The basis for the wallpaper imitation in fabric optics was a base coat with dispersion paint in a color that is reminiscent of wrapping paper, since it harmonizes very well with gold. "For the gold tone I used a standard acrylic paint from artists' needs (e.g. from Lascaux, Golden, Boesner, Goya)," the artist reveals to us and adds: "The glaze is made from acrylic binder, titanium dioxide (pigment) and lots of water. I first mix the pigment with the acrylic binder and rub it in with an old brush. Then I dilute the color with water until it has the optimal transparency. Usually you should rub the pigment in a mortar and let it soak in overnight, but titanium dioxide dissolves relatively well and I therefore always do without this somewhat more time-consuming process."

At Friederike Schulz there is almost nothing of “the bar”, rather she relies on her own production, which gives her paintings a lot more individuality: “I cut the stencils for my design myself. Overhead film is ideally suited; it is thin but relatively stable, easy to cut and you can print the pattern directly if you don't feel like pausing it. It is always important to have a mark for centering the template in order to stay in the plumb line and to continue the pattern right up to the edge.

Most of the tools that Schulz uses come from classic decorative painting. “For this technique you need a good stencil brush (I prefer old ring brushes that are cut very flat), fine steel combs, a large glaze brush (from Leonard or elco, for example) and a plunger brush (from Leonard, for example)."

The steps of imitation fabrics

To imitate fabric, first align the template with a chalk line so that the pattern does not later go wrong on the wall. The aligned template is fixed with a piece of adhesive tape. The overhead film used for the stencil also adapts very well to corners when you press it on with your finger or with the help of an adhesive strip. The paint is dabbed "dry" with a fixed stencil brush or a ring brush. To do this, put the paint on a palette or a container lid and dab the brush "dry" on the color-free surface after wetting it with paint. If the brush is soaked with paint too much, the risk of underflow is very high. The subsequent work step is also made more difficult. With a steel comb (smallest toothing), the surface is combed vertically at a 45-degree angle from top to bottom immediately after removing the template. This is how the fabric can be imitated. Before each new attachment to the wall, always make sure that the comb is wiped off with a cloth - otherwise unsightly approaches arise.

After the stencil painting has dried, the surface is glazed in stages with a glaze brush. The glaze should be quite thin for this, so that there is enough time to work without the glaze attracting early. In order to avoid visible transitions, the adjacent area should be provided with a "fat edge" (a strong excess of glaze, which delays drying). The applied glaze is evenly distributed up to the fat edge with a plaster brush. In order to achieve the character of the fabric, the surface is then quickly traversed with the steel comb, first vertically, then horizontally. Then repeat the step. (Note: There are far fewer unwanted “glaze edges” and a more even end result if you work with an aqueous glaze and repeat the process,instead of working with an opaque glaze. Although this shortens working hours, it leads to a more unsatisfactory result.

How to do it

The template aligned with the help of a chalk line is fixed with a piece of adhesive tape

With a fixed stencil brush or a ring brush, the paint is dabbed "dry" (with little material)

With a steel comb, the surface is combed through vertically at a 45-degree angle from top to bottom immediately after stenciling

A “fat edge” in the transition area prevents visible transitions during the subsequent glazing in stages

The applied glaze is evenly distributed up to this fat edge with a plunger brush

To achieve the character of the fabric, the surface is then quickly traversed with the steel comb, first vertically, then horizontally

practice plus

Further information on Friederike Schulz is available at:

www.friederikeschulz.de