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Video: Painting: Rosso Carpazi
Marble and stone imitation are gaining in importance again given the trend towards luxury.
After the simpler rock types Carrara and Nero Marquina were introduced in the first two episodes of the marble painting series, things are slowly getting down to business.
This episode deals with the imitation of Rosso Carpazi, a red marble from the Carpathians, which on the one hand impresses with its beautiful red-brown color and on the other hand with its striking, multi-colored veining.
Mixing is part of the business
In order to achieve the depth effect and the typical shine of marble, the Rosso Carpazi also preferably works with a leveling compound as used for smoothing techniques. From white filler, color concentrates in ocher, reddish brown and black are used to mix a light reddish brown tone. In general, all the shades that are used for marble painting are made in-house, because this is the only way to achieve the natural color effect. So make sure you have enough cups and sticks at the beginning so that you can work smoothly later.
The mixed brown tone is stamped on the prepared surface with the natural sponge. Marble painting professional Otto Baumann, who heads the creative seminars at Jaeger, advises you to use different pieces of sponge. Because each natural sponge has its own structure and so there are very different "stone structures" when stamping. And which stone is structured evenly?
As soon as the stamped filler has dried, the surface can be filled with a slightly darker shade of brown (yes, it has to be mixed again!). Keep this dark shade well, it will be used again later. And because mixing is so much fun, the first shade of brown is now lightened a little with white. Use this light brown filler to dab individual areas with the natural sponge to imitate the inclusions typical of marble.
Quiet hands asked
So far everything was relatively harmless and easy to do, but now it is getting a little more difficult. Now the veins have to be painted on. So sharp brushes at hand! But before you can start, you have to touch the color. Don't worry, the big mixing can be omitted this time, because now the dark brown tone is used again, which was previously used for filling. It only needs to be thinned a little, otherwise the veins will not appear transparent enough. But be careful: do not dilute the entire filler, but only some of it in a separate container; it will be used again later for filling. Then add a drop of black color concentrate to darken the glaze.
Since the veins should be a little wider, a wider pointed brush can also be used for this step. The brush is constantly rolled back and forth between the fingertips during painting, resulting in a vein of varying width and with a ragged appearance.
Since the glazed filler dries quickly, there is not much time left for a break. A dark, almost black shade can be mixed immediately after painting the wide veins. This is also set glazing, because now very fine are painted along the wide veins. If you have a calm hand, you now have a clear advantage! When the fine veins are dry, the surface is covered again with the dark brown filler, which I hope was well kept.
Because a painted marble only looks real when it is smooth and shiny, you cannot avoid sanding, of course. That is why an intermediate sanding is now in order. With a very fine sandpaper (grit 1200) the entire surface is slightly reworked without grinding through.
After the grinding dust has been thoroughly removed, the wide veins are drawn again with a brush. Why this effort? Because the veins seem so complex and therefore more real. The execution technology does not change compared to the first order. If the wires are not exactly on top of each other or the fine, almost black wires are superimposed, that doesn't matter. On the contrary, painting looks even more authentic. If you want to throw the brush in the corner now, unfortunately you need a little perseverance. Because the vein painting is not completely over yet. The individual fine white crossing veins that are so characteristic of the Rosso Carpazi are still missing. That means: dilute the white filler and touch the brush again. If enough white veins are painted (Attention:don't work too accurately here either!), the brush can finally be put aside.
Instead you take the sandpaper in your hand again and rework the surface until it is nice and smooth. Then dust off thoroughly and finally apply spatula wax, which is polished to the desired level of gloss. And then sit back proudly and admire what you have created with the help of a spatula, brush, sponge and spatula. Can be seen, right?
Rosso Carpazi The Rosso Carpazi impresses with its red-brown color. Also in the picture: Verde Alpi (green), Carrara (white) and Nero Marquina (black). Rosso Carpazi You can't do it without mixing: every color for the marble painting has to be made individuallyRosso Carpazi A brown tone is stamped on with the natural sponge until the surface is almost closed. Rosso Carpazi After the surface has been filled in dark brown, a light brown shade is partially stamped on with the sponge. Rosso Carpazi For the wide veins, the pointed brush is rolled back and forth between the fingertips when painting. Rosso Carpazi Fine veins are drawn along the wide veins in an almost black color with the pointed brushRosso Carpazi The entire surface is filled in dark brown again before the wide veins are drawn again. Rosso Carpazi With the pointed brush, individual white crossing veins are painted. They are characteristic of the Rosso Carpazi. Rosso Carpazi Finally, the entire surface is sanded, waxed and polished to any gloss.
Photos: Susanne Sachsenmaier-Wahl Author: Susanne Sachsenmaier-Wahl Source: Malerblatt 11/2011