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artist effects

gallery

• 

  surface

  Primed drywall

  finish

  Venetian Plaster

  technique

  Trowelled-on in multiple thin layers to create depth and a subtle texture.

• 

  surface

  There are two different elements represented here:
  unglazed ceramic ceiling tiles and wood supporting beams.

  finish

  Ceiling tiles: acrylic glaze
  Wood beams: chemical-reactive bronze metallic acrylic paint

  technique

  Ceiling tiles: keeping the porous terra cotta as the base, brown acrylic glazes were applied, utilizing a two step rag-on and wipe-off method.
  Wood beams: first the bronze paint was applied by brush, then followed by a chemical solution which achieved the blue-green patina effect.

• 

  surface

  Drywall painted with an olive green base color.

  finish

  Shimmer Stone

  technique

  Three separate layers, each a different color. The Shimmer Stone (a product similar to Venetian Plaster but metallic) was applied with a combination of roller, trowel, and rag techniques.

• 

  surface

  Previously painted brick and mortar. This client wanted the “used brick” look. So rather than the mess of sandblasting off the numerous layers of paint, we painted the brick to look similar to its original color.

  finish

  Acrylic glaze and paint.

  technique

  A combination of spray, brush, roller and rag methods.

• 

  surface

  Previously painted brick and mortar. This client wanted an “old world” look with the appearance of centuries of age. Before starting, this brick wall was a tan color

  finish

  Acrylic glaze and paint.

  technique

  A combination of spray, brush, roller and rag methods.

• 

  surface

  Previously painted brick and mortar. This client wanted the “used brick” look. So rather than the mess of sandblasting off the numerous layers of paint, we painted the brick to look similar to its original color.

  finish

  Acrylic glaze and paint.

  technique

  A combination of spray, brush, roller and rag methods.

• 

  surface

  Previously painted slump-stone block wall.

  finish

  Acrylic glaze and paint.

  technique

  A warm golden-ochre base color with a series of brown, orange, and red glazes utilizing rag and roller methods.

• 

  surface

  Previously painted slump-stone block wall.

  finish

  Acrylic glaze and paint.

  technique

  A deep rusty-burgundy base color with a series of warm earth-tone glazes. Rag and roller methods were used.

• 

  surface

  Primed drywall

  finish

  Shimmer Stone

  technique

  A series of trowelled-on layers, each a different color. The application method created a sense of fluidity and movement.

• 

  surface

  Painted drywall

  finish

  Acrylic glaze and paint

  technique

  After the base color was rolled on, a series of deep ochre and rusty-orange glazes were applied. The glaze process involved rag, roller, and sea sponge methods.

• 

  surface

  Primed drywall

  finish

  Acrylic glaze and paint

  technique

  Opaque base coats followed by a series of brush and rag-on, rag-off glazes to create a result with intense luminosity.

• 

  surface

  Primed drywall (detail)

  finish

  Acrylic glaze and paint

  technique

  Opaque base coats followed by a series of brush and rag-on, rag-off glazes to create a result with intense luminosity.

• 

  surface

  Previously finished wood door (before: left, and after: right)

  finish

  Alkyd glaze

  technique

  In this project the doors needed to match some recently acquired darker furniture. A dark brown alkyd glaze was brushed on and lightly ragged off, leaving the glaze heavier in the crevices and corners to achieve an aged antique look.

• 

  surface

  Wood lamp

  finish

  Alkyd paint and glaze

  technique

  These clients had an old ornate wood lamp that was in decent condition, they just wanted it to look livelier than the original muted brown. A couple of coats of red paint were brushed on, followed by a black over-glaze to accentuate the detail of the wood carving.

• 

  surface

  Wood lamp (detail)

  finish

  Alkyd paint and glaze

  technique

  These clients had an old ornate wood lamp that was in decent condition, they just wanted it to look livelier than the original muted brown. A couple of coats of red paint were brushed on, followed by a black over-glaze to accentuate the detail of the wood carving.

• 

  surface

  Primed drywall

  finish

  Acrylic paint and glaze

  technique

  Multiple red base coats were applied followed by a black glaze. The rich, fire-like effect was a result of creating varying degrees of opacity from a brush and rag application.

• 

  surface

  Primed drywall (detail)

  finish

  Acrylic paint and glaze

  technique

  Multiple red base coats were applied followed by a black glaze. The rich, fire-like effect was a result of creating varying degrees of opacity from a brush and rag application.

• 

  surface

  Wood panel sign (before and after). This sign was so ravaged by the elements that it was beyond repair, so a new one was constructed. Although the basic idea and text were to remain, something fresh and new was desired as well.

  finish

  Acrylic paint and exterior varnish

  technique

  Brush

• 

  surface

  Wood panel sign. Previously “California Floral” with a different illustration, this client wanted the sign returned to its original name “California Poppy”.

  finish

  Oil stain, acrylic paint and exterior varnish

  technique

  Brush

• 

  surface

  Wood panel sign (detail).

  finish

  Oil stain, acrylic paint and exterior varnish

  technique

  Brush

• 

  surface

  Primed drywall/ Wood beams

  finish

  Waxed Venetian Plaster/ Oil stain and acrylic glaze

  technique

  For the walls, multiple coats of Venetian Plaster were applied by trowel to build a texture that was physically noticeable, yet still subtle. This was followed by a tinted wax that was also trowelled. The wax served not only as a protective layer over the plaster, but visually it brought out the texture as well.
  The wood beams went through a two-coat stain and glaze process - a medium brown base coat, followed by a darker brown glaze that accentuated the form of the wood.

• 

  surface

  Primed drywall/ Wood beams (detail)

  finish

  Waxed Venetian Plaster/ Oil stain and acrylic glaze

  technique

  For the walls, multiple coats of Venetian Plaster were applied by trowel to build a texture that was physically noticeable, yet still subtle. This was followed by a tinted wax that was also trowelled. The wax served not only as a protective layer over the plaster, but visually it brought out the texture as well.
  The wood beams went through a two-coat stain and glaze process - a medium brown base coat, followed by a darker brown glaze that accentuated the form of the wood.

• 

  surface

  Primed wood trim (below a marble countertop)

  finish

  Acrylic paint and glaze

  technique

  Here, an actual marble countertop was installed, but the curvature of the piece made it difficult to use marble for the trim underneath. To compensate, a piece of wood trim was made to look like marble. First, a predominant color in the marble was chosen, then matched and used as the base color. Next, a series of colors and glazes were applied, using diverse methods including brushes, rags, and sea sponges.

• 

  surface

  Primed wood trim (below a marble countertop)

  finish

  Acrylic paint and glaze

  technique

  Here, an actual marble countertop was installed, but the curvature of the piece made it difficult to use marble for the trim underneath. To compensate, a piece of wood trim was made to look like marble. First, a predominant color in the marble was chosen, then matched and used as the base color. Next, a series of colors and glazes were applied, using diverse methods including brushes, rags, and sea sponges.

• 

  surface

  Primed wood trim (below a marble countertop)

  finish

  Acrylic paint and glaze

  technique

  Here, an actual marble countertop was installed, but the curvature of the piece made it difficult to use marble for the trim underneath. To compensate, a piece of wood trim was made to look like marble. First, a predominant color in the marble was chosen, then matched and used as the base color. Next, a series of colors and glazes were applied, using diverse methods including brushes, rags, and sea sponges.

• 

  surface

  Primed wood trim (below a marble countertop)

  finish

  Acrylic paint and glaze

  technique

  Here, an actual marble countertop was installed, but the curvature of the piece made it difficult to use marble for the trim underneath. To compensate, a piece of wood trim was made to look like marble. First, a predominant color in the marble was chosen, then matched and used as the base color. Next, a series of colors and glazes were applied, using diverse methods including brushes, rags, and sea sponges.

• 

  surface

  Primed wood trim (below a granite countertop)

  finish

  Acrylic paint and glaze

  technique

  Here, an actual granite countertop was installed, but the curvature of the piece made it difficult to use granite for the trim underneath. To compensate, a piece of wood trim was made to look like granite. First, a predominant color in the granite was chosen, then matched and used as the base color. Next, a series of colors and glazes were applied, using diverse methods including brushes, rags, and sea sponges.

• 

  surface

  Wood panel

  finish

  Oil and acrylic paint

  technique

  Brush

• 

  surface

  Canvas

  finish

  Oil and acrylic paint

  technique

  This painting was commissioned by a client who wanted a Central Coast landscape theme. Brush and palette knife application.

• 

  surface

  Canvas

  finish

  Oil and acrylic paint

  technique

  Rather than framing a photo, this Californian (originally from Northern Italy) wanted a painting to capture the essence of the balcony view from his home in Italy. Brush application.