Foilin Around -S - Modello Designs

Transcription

©2009 Modello Designs. All Rights Reserved.
www.modellodesigns.com
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This workbook contains copyrighted material that was created for the sole use of
attendees of the Foilin’ Around Virtual Workshop. The information presented herein
cannot be copied, duplicated, or otherwise shared in any form without the written
consent of Modello Designs Group, LLC and Melanie Royals.
1. Allover Moroccan Arches
page 5
2. Holo Highlighted Acanthus Damask
page 11
3. Oriental Tamise Border
page 15
4. Nouveau Lily
page 21
5. Rhapsody in Blue
page 27
6. Modern Marquetry
page 33
7. Indian Sari Paisley
page 39
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Metal Finish Foils with black pinstriping
Step 1 Roll on two thin coats of Wunda Size. Allow the first coat to dry 15
minutes before applying second coat. Allow to dry overnight, if possible.
Step 2 Cut lengths of Cashmere Gold Metal Finishes foil
to fit inside the outer edges of the stencil, to avoid transferring the foil to the exposed background outside the
stencil area. Place the stencil directly over the sized background. The sticky, sized background should hold the mylar
stencil in place quite well, but you can add pieces of tape
to further hold the stencil if you wish. Place the foil directly
over the cutout area of the stencil and smooth it out with
the flat of your hand or a folded terry towel/rag.
Pattern:
Royal Design Studio Stencil:
Large Allover Moroccan Arches
3016L
Metallic Foils:
Cashmere Gold
Burnt Oak Gold
Materials:
Wundasize
Van Dyke Brown Stain and Seal
Master Clear
Tools & Supplies:
Cheesecloth
Scrub Brush
1” Stencil Brush
Basecoat:
Black Setcoat
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Transfer the foil through the stencil using a stiff bristled scrub brush and by
“scrubbing” in small, tight circles. You will want to do a 100% transfer of the
foil pattern to the background, but will find that it will be difficult to transfer
the foil completely into the edges of the cutout areas of the stencil due to the
thickness (10mil) of the stencil. This is fine, and will even be an advantage as
the black background will come through the final finish as a nice “outline”
around the pattern.
Note: Take care not to transfer the silver outer edges of the Cashmere
Gold foil.
Step 3 Repeat the stencil the same way that you would any allover stencil
pattern, using the laser cut registration lines to place the stencil for the next repeat. Continue until your entire project area is covered with the stencil pattern
in Cashmere Gold.
Step 4 Replace the stencil over the Cashmere Gold
repeats and use a large, slightly offloaded stencil brush to
brush on Van Dyke Brown Stain and Seal over the Cashmere
Gold areas. Focus the majority of the stain around the outer
edges of the design areas. While still wet, use wadded
cheesecloth to remove the excess stain from centers while
pushing it out towards the edges. This will effectively tone
and seal the Cashmere Gold foil while also sealing the still
exposed black areas around the edges. You will want these
areas to be sealed before applying the next color of foil so
that you can retain the black “outlines”, and not have them
become filled in with the next color of foil. Repeat over the
entire project area.
Step 5 Cut manageable lengths of Burnt Oak Gold Metal Finishes foil. These will be
used to fill in the still exposed sized areas of the background. Because the Burnt Oak Gold
Foil had a linear pattern to it, you will want to make sure that you always place your foil
pieces in the same direction, keeping the outer edges as plumb as possible. This foil will be
transferred 100%, in the same way as the Cashmere Gold; with a stiff-bristled scrub brush
and small, tight circles. Take care not to scrub out to the edges of the foil (both the silver
selvedge edge on the sides as well as the top and bottom) to avoid creating any noticeable
lines in your finish.
Further Toning and Sealing
This patterned foil finish looks lovely “as is” but you may want to tone it further with Stain and Seal or tinted wax.
It can be sealed with the topcoat of your choice, and the level of topcoat that you apply will depend on the surface
that you apply the finish to and how it will be used.
There are so many ways you can vary this simple finish by
changing the pattern, metallic foils used, background color
and staining options. In the example on the left I chose to use
the background color, Leather Red Setcoat, as my second color rather than introduce another color of leaf. The stenciled
stain rubbed in around the edges give an instant dimensional
look that is super quick and easy.
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Alternate Finishes
Pattern:
3010L Large Curved Connection from the Moroccan Stencils Collection
Basecoat:
Leather Red Setcoat
Metallic Foil:
Maltese Gold
Stain and Seal:
Van Dyke Brown
This sample also uses a Leather Red Setcoat background. The Metallic Foil used is
the Maltese Gold from the Metal Finishes Collection. It was finished off using undiluted Van Dyke Brown Stain and Seal applied with a Colour Shaper, which gives
it a much more defined line around the edge of the pattern than stenciling does.
In addition to simple painted backgrounds you could do a decorative finish, or
troweled plaster such as Lusterstone, which makes a great base for the Metallic
Foils. Simply apply your size over the finished plaster, foil, and then topcoat with
Stain and Seal and/or a waterbased varnish. Note that the Metallic Leaf will not
transfer as easily over textured surfaces as smooth surfaces-so I like to trowel my
Lusterstone smoothly as a base for Metallic Foils. If you want to create a more distressed, less “perfect” look then try a more textured plaster surface. The options
and applications for these techniques are endless. Experiment!
Pattern:
3011S Star Diamonds from the Moroccan Stencils Collection
Basecoat:
Black Setcoat
Metallic Foils:
Burnt Pine Gold
Antique Silver Leaf
Stain and Seal:
Van Dyke Brown
This finish was done in a very similar way as the Allover Moroccan Arches. I used
Burnt Pine Gold through the stencil pattern first. Without sealing the stencil area,
I applied Antique Silver Leaf to the background. When everything was covered
with foil, I replace the stencl and used a Colour Shaper to trowel undiluted Van
Dyke Brown Stain and Seal through the stencil, as shown in the Holo Highlited
Acanthus Damask video lesson.
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Use a stencil shift to highlight an embedded pattern
Step 1 Roll on two thin coats of Wunda Size.
Allow the first coat to dry 15 minutes before applying second coat. Allow to dry overnight,
if possible.
Patterns:
Small Acanthus Damask 2061S
2a
Step 2 Cut smaller sizes of Celadon Green
2b
Use the scrub brush to randomly add small
amounts of Holographic Gold here and there,
using a smaller piece of foil that will fit into the
stencil area (2b).
Metallic Foils:
Celadon Green
Peacock Blue
Bronze
Copper
Holo Gold
Materials:
Wundasize
So Slow Super Extender
Aquacreme
Master Clear
Tools & Supplies:
Colour Shaper
Cheesecloth
Scrub Brush
3a
Slo Creme Recipe:
3 parts So Slow Super Extender
to 1 part Aquacreme
foil to fit inside the outer edges of the stencil to
avoid transferring the green to the background.
Place stencil directly over the size, positioning it
as you wish to create a random, pleasing pattern
(cover up registration marks with tape). Place the
foil directly over the cutout area of the stencil
and transfer the foil through it using a stiff, short
bristled scrub brush (2a). Save the foil pieces as
you work so that you can transfer the “negative”
images randomly through your finish later.
Step 3 When all of the stencil images have
been completed in Celadon Green, go back and
replace the stencil over the original images and
then shift the stencil up and to the left (on a diagonal) approx. 1/8” (3a). Cut small pieces of Holo
Gold foil and use the scrub brush to now transfer
the Holo Gold to the exposed size area, creating a
“highlight” on each stenciled image (3b).
Step 4 Cut off a length of Bronze Foil and use
a scrub brush to brush this randomly through
your background area using vertical strokes with
the scrub brush. Fill in the background in this
manner to cover approximately 75%.
3B
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Step 5 Use the saved Celadon Green foil
pieces to randomly transfer a small amount of
the “negative” images left in the foil. For a lighter,
more subtle image use a folded terry towel and
rub lightly to transfer the foil image, avoiding the
outer edges of the foil.
Step 6 Continue the process of filling in the background with the scrub brush
and vertical strokes, now using Copper Foil to fill in further.
Step 7 Fill in further with Peacock Blue and small amounts of Holo Gold, if de-
sired. Continue playing with scrubbing in the different colors until the background
is filled in and you have achieved the effect you desire.
Step 8 Mix Van Dyke Brown Stain and Seal 1:1 with Slo Creme. This will give
you a stain medium with maximum working time and added translucency. Use a
piece of cheesecloth to “rouge” this lightly all over your Metallic Foil finish. Use a
harder pressure in areas to remove some of the foil and reveal more of the black
background if a more distressed look is desired. Allow to dry completely.
Step 9 Replace the stencil over the original Celadon Green images you did in
Step 2. Use a Colour Shaper to softly trowel undiluted (straight) Van Dyke Brown
Stain and Seal through the stencil. Use a high angle with the Colour Shaper to pull
the stain out of the centers of the open areas and allowing it to pool around the
edges. This will naturally produce an outlined effect of the stenciled image with
the stain. Allow to dry completely.
Step 10 To bring back the full luster and shine of the Metallic Foil after the
Stain and Seal toning layer, you can optionally topcoat the whole finish with 1-2
coats of Modern Masters Master Clear. Roll it on in thin layers with a short-nap
roller, allowing the Master Clear to dry 30 minutes between coats.
Alternate Finish This version of the Acanthus Damask finish
uses the same techniques and Metallic Foil colors as the one shown in the
video, except I did NOT do the stencil/shift and highlight with Holographic
Gold. I DID use a small amount of Holographic Gold in the background, and
also used Caribbean Blue instead of the Peacock Blue, so it has a softer,
more subtle look.
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Tamise border with banding in Metallic Foils
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Step 1 Roll on two thin coats of Wunda Size. Allow the first coat to dry
15 minutes before applying second coat. Allow to dry overnight, if possible.
Step 2 Mark off a wide band on your surface the width of the mylar
Pattern:
Small Oriental Brocade Border 1041S
Metallic Foils:
Candy Apple Red
Plum Passion
Coppery Gold
Burnt Pine Gold
Materials:
Wundasize
Tamise Flakes/Fall Mix
American Walnut Stain and Seal
Aquacreme
Master Clear
Tools & Supplies:
Colour Shaper
Cheesecloth
Scrub Brush
1” Stencil Brush
1” Blue tape (regular and “Orange
border stencil (9”in the case of the Small Oriental Brocade Border) using a
sharp chalk pencil in a red color. Run lengths of blue tape along the outer
edges of the lines, leaving an open space of 9”in between the lines of tape.
Position the stencil between the tape at your desired starting point. Place
tape under the cutout triangles that are the registration marks and mark
the registration marks on the on the tape with a pen. (Alternatively, simply
place small pieces of tape over the registration marks on the stencil and
mark the registration on the outer lines of tape as demonstrated in the
video). Use pieces of thin plastic to “mask off” the areas of size outside the
border area you are working in, both on the sides and below the stencil.
Position the plastic slightly UNDER the stencil edges.
Step 3 Pick up a small amount of Fall Mix Tamise
Flakes between your fingers and apply it through the
stencil openings. Work from top to bottom so that any
excess flakes will catch on the exposed stencil elements
below. Burnish lightly as you go using the flat of your
hand. Fill in the entire repeat and burnish further with
lamb’s wool. Dust off the plastic with a damp rag before
removing it and moving the stencil to the next repeat.
Note that it will be impossible for a little of the Tamise
Flakes NOT to get onto your sized background here and
there. These will blend into the foil finish when it is
applied if they are small, but if you have any areas that
are troublesome, you can simply resize them lightly
with fresh Wundasize before applying the Metallic Foil
later. Remember to allow the size to set up for about
15 minutes after applying before proceeding.
Core”)
Small piece lambs wool
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Step 4 To fill in the background of the banded border around the Tamise Flakes, reposition the plastic on
the outside of the taped lines and apply Plum Passion
lightly and randomly by lightly stippling it on with an
Ultimate Stippler.
Step 5 Fill in the majority of the remaining exposed background around the
stenciled border by using a stiff-bristled scrub brush to scrub in Candy Apple
Red. Leave about 10% of the background uncovered if you can, so that you can
transfer some of the Burnt Pine Gold metallic foil to this area as well when you
get to Step 6.
Step 6 Keeping the strips of blue tape still in place, use a stiff-bristled scrub
brush to do a 100% transfer of Burnt Pine Gold Metallic foil to the background
area outside the taped lines. Because this pattern has a linear quality to it, you
will want to be sure to keep the pattern running the same way and to keep the
edges of the foil plumb as you work. Go back and also fill in any remaining exposed background around the stenciled border with the Burnt Pine Gold at this
time. Having a little bit of this color in both areas will really help to tie the finish
together!
Step 7 Remove the blue tape and begin to randomly fill in these pinstripes
with Coppery Gold. Use more of a “tapping” motion with the scrub brush rather
than a scrubbing motion, to create a slightly distressed look.
Step 8 Fill in the remainder of the pinstripe area by scrubbing in with
Plum Passion foil.
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Step 9 Use undiluted American Walnut Stain and Seal to “rouge” on a toning layer overall. Use a damp terry
towel or wad of cheesecloth and rub the stain on in a circular motion, pushing it into the surface of the foil and
feathering out the edges as you go. Allow this to dry.
Step 10 Replace the stencil over the border image and use a 1” stencil brush to brush
on a heavy layer of undiluted American Walnut Stain and Seal. Apply it to a small area
and remove the excess with cheesecloth or a paper towel as you go. You will only need to
offload your stencil brush slightly for this as you want to apply a good amount of stain so
that it stays wet and fluid while you are removing it.
Step 11 Optional: To further enhance and define the gold and purple pinstripe, you can run 1” Orange Core
Blue Tape back over the stripe and use the stencil brush to apply undiluted American Walnut stain along the
edges. Remove excess stain and soften with cheesecloth or a paper towel as you go, as in Step 10 above.
Frame it up!
You can use this same basic concept-running blue tape to create a pattern
or area to be filled in last-for a panel effect with a single motif stencil. You
could place the tape to create a “frame” for your stencil or Modello pattern.
You can experiment with different widths of tape and even combine multiple stripes using different widths of tape, and diferent colors of foil in each
striped band. This would be a great, simple treatment for flat, boring cabinet
door panels.
Stripe it up!
Use the same idea, minus the stencil or Modello pattern to simply create an
allover stripe treatment for whole walls and furniture pieces.
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Alternate Finish
Pattern:
Royal Design Studio stencil:
Arabesque Border 2021
Metallic Foils:
Candy Apple Red
Bronze
Caribbean Blue
Materials:
Tamise Flakes Fall Mix
Aquacreme
Master Clear
Tools & Supplies:
Cheesecloth
Scrub Brush
1” Stencil Brush
Blue Tape (Orange Core
for Delicate Surfaces)
Slo Creme Recipe:
3 parts So Slow Super Extender to
1 part Aquacreme
Step 2 Position the border stencil and run lengths of blue tape along the
outer edges of the mylar. Use pieces of thin plastic to “mask off” the areas of
size outside the border area you are working in. Place tape under the cutout
triangles that are the registration marks and mark on the tape with a pen. Use
a scrub brush to fill in the stencil pattern with the Fall Mix Tamise Flakes. Repeat
the pattern using the registration marks to complete.
Step 3 Use a scrub brush to transfer the Candy Apple Red foil in the border
area around the Bright Gold stenciled image. Cover about 95%, leaving some
areas to fill in slightly with Bronze foil later.
Step 4 Remove the plastic that is protecting the surface outside of the
taped off border area and fill in with Bronze foil using the scrub brush. Fill in
additionally with some of the Candy Apple Red color and alternatively add
touches of the Bronze color into the red border area. This will help to “tie” the
whole finish together.
Step 6 Mix 3 parts So Slow Super Extender with 1 part Aquacreme to create
“Slo Crème”. Mix this at a ratio of 1:1 with Van Dyke Brown Stain and Seal.
This will give you a stain medium with maximum working time and added
translucency. Use a piece of cheesecloth to “rouge” this lightly all over your
Metallic Foil finish. Use a harder pressure in areas to remove some of the foil
and reveal more of the black background if a more distressed look is desired.
Allow to dry completely.
Step 7 Replace the stencil over the original Fall Mix Tamise stencil image
you did in Step 2. Use a 1” stencil brush to swirl in undiluted Van Dyke Brown
Stain and Seal through the stencil. Immediately wipe through with a wad of
cheesecloth the stain out of the centers of the open areas and allow it to pool
around the edges. This will naturally produce a subtle outlined effect of the
stenciled image with the stain. Allow to dry completely.
Step 8 To bring back the full luster and shine of the Metallic Foil after the
Stain and Seal toning layer, you can optionally topcoat the whole finish with
1-2 coats of Modern Masters Master Clear. Roll on in thin layers with a shortnap roller, allowing to dry 30 minutes between coats.
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Banded Tamise border with banding in Metallic Foils
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Foilin’ Around
Nouveau Lily
Positive/Negative Images in Metallic Foils
Foreward This technique combines a positive/negative application of
the Metallic Foil using a stencil. Once the foil is transferred through the positive stencil image, you will be left with a reverse image of the same design
on the foil. The design area will be gone (transferred) and the negative space
surrounding it will still be filled with foil. This opens up a whole world of possibilities for creating interesting finishes with both the positive and negative
images merging throughout.
Pattern:
Royal Stencil Exclusives Stencil
from Modern Masters:
Nouveau Lily
Metallic Foils:
Celadon Green
Caribbean Blue
Coppery Gold
Orchid
Holo Confetti Silver
Materials:
Wundasize
Aquacreme
Master Clear
Tools & Supplies:
Cheesecloth
Terry Towel
Scrub Brush
Slo Creme Recipe:
3 parts So Slow Super Extender to 1 part Aquacreme
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Step 2 Cut small pieces of Celadon Green Metallic Foil to
fit inside your Nouveau Lily stencil area. Place the stencil randomly on the surface and transfer the foil fully using a stiff,
short-bristled scrub brush. You may want to flip the stencil
around 180⁰ for more pattern variation. As you are working,
remember that you will be filling the spaces in between the
designs with additional pattern, so don’t put them too close
together.
Pattern Layout Tips For a random pattern like this, it is always
more visually pleasing to vary the distance between patterns and to group
them differently here and there. If you have difficulty in creating a nice pattern “on the fly” you can stencil the pattern once on a piece of paper. Make
multiple photocopies and tape these around on your wall to give you a good
placement guide for where you will want to place the next pattern as you
work. You can easily play with the paper patterns and move them around
until you are satisfied. Just be sure to stick them LIGHTLY to the surface! If
you don’t want to get that involved, simply use pieces of blue tape to mark
your design placement.
Step 3 Use the images left in the metallic foil pieces from
the stencil transfer to add “negative” Nouveau Lilies randomly throughout your finish. To get a softer, more subtle
look, use a folded terry towel to lightly rub the foil. Keep your
pressure towards the center of the foil to avoid transferring
the foil out towards the edges, which could produce hard,
undesirable lines.
Foilin’ Around
Nouveau Lily
Positive/Negative Images in Metallic Foils
Step 4 Crumple pieces of Coppery Gold and open up slightly. Place the foil
lightly on your surface so that it remains a bit crumpled and transfer with an
Ultimate Stippler, creating a subtle crackled look on the backgroud.
Step 5 Use a short, stiff-bristled scrub brush to add in Caribbean Blue. If you
scrub hard over the Celadon Green stenciled Lilies you will end up with another
“pattern-in-foil” that you can add to your background.
Step 6 Fill in some areas randomly with Orchid. Remember to keep all of
your colors “moving” through your finish, so that the eye travels with them.
Take care that all of your color areas have a very random, spontaneous feel to
them, with lots of variation in size and shape. You don’t want to see spot, spot,
spot...
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Foilin’ Around
Nouveau Lily
Alternate Finishes
Step 7 Even out the finish with another application of the Coppery Gold color. Note
that the more filled in your background becomes, the harder pressure you will need to
use with the scrub brush to achieve a noticeable transfer of the foil.
Step 8 Combine Van Dyke Brown Stain and Seal 1:1 with Slo Crème. Use cheesecloth
or a damp terry towel to rouge on the stain mix. This will be a positive application of the
stain. Soften and blend out the edges as you work. If you wish to add a little distressing
to the finish, press a little harder with the cloth to rub back through the foil slightly here
and there through the water-based size. Be careful with this! Don’t press too long and
hard in one area to avoid creating a hole in your finish. Allow to dry.
Step 9 Topcoat as desired.
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Foilin’ Around
Nouveau Lily
Alternate Finishes
Alternate FinisheS
These finishes both use the basic technique as the Nouveau Lily Finish, with a
simple change of the stencil pattern and Metallic Foil colors.
Stencil:
Royal Design Studio 2067 Ornamental Flower
Metallic Foils:
Copper
Celadon Green
Caribbean Blue
Stain and Seal:
Rich Brown
The Copper foil was used primarily overall, both for the positive/negative
stencil image as well as some of the background. The remaining areas of the
background were filled in with the Blue and touches of Green.
Rich Brown Stain and Seal was mixed 1:1 with Slo Crème and rouged overall.
Stencil:
Royal Design Studio 2067 Ornamental Flower
Metallic Foils:
Copper
Celadon Green
Caribbean Blue
Bronze
Stain and Seal:
Rich Brown
The Copper foil was used mainly for the stencil transfer, with just a touch of
it in the background. The remaining areas of the background were filled in
heavily with the Blue, Bronze and touches of Green.
Rich Brown Stain and Seal was mixed 1:1 with Slo Crème and rouged overall.
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Foilin’ Around
Nouveau Lily
Alternate Finishes
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Modello Medallion in Copper Schaibin
Step 2 Install Modello
Pattern:
Modello OrnCen170
Modello Masking Patterns can be safely and effectively
applied to a sized surface as long as the surface is
sound and stable (refer to the basecoating and surfaces
information)
Metallic Foils:
Caribbean Blue
Royal Blue
Materials:
Wundasize
Copper Schaibin Leaf
Modern Masters Black Patina Solution
American Walnut Stain and Seal
Liberon Wax Medium Oak
Aquacreme
Tools & Supplies:
Colour Shaper
Cheesecloth
Scrub Brush
1” Stencil Brush
Using a squeegee, burnish the Modello well on both sides
according to the Basic Installation Instructions. Marquetry
weed patterns can be a little tricky to install because a
certain amount of the cut pattern has been left in, so take
special care when removing the backing paper that you
don’t pull pieces of the pattern with it.
You may want to do a “pre-release” of the pattern, as shown in the project
video to make installation on your surface easier.
Lay the pattern, with the Transfer Tape side up, squarely on your surface
and run a piece of blue tape horizontally across the middle of the pattern,
affixing it at the outer edges. Drop the top down and pull the Backing Paper
away from the Modello slowly at a 180⁰ angle. Cut the Backing Paper away
with scissors or a craft knife. Working from the center tape edge, roll the
Modello pattern slowly down onto the surface as you smooth back and
forth with your hand. Burnish securely with the squeegee. The secured half
of the pattern now serves as a “hinge”.
Remove the tape and flip the pattern up from the bottom. Remove the
Backing Paper from the hinge edge and roll and smooth down the Modello
as before. Burnish well and remove the Transfer Tape carefully by pulling
back at a 180⁰ angle.
Slo Creme Recipe:
3 parts So Slow Super Extender
to 1 part Aquacreme
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Step 3 The center pattern is done with two
colors of blue. Transfer Caribbean Blue Metallic
Foil here and there through the pattern with an
Ultimate Stippler.
Step 4 Use a stiff-bristled scrub brush to transfer and fill in Royal Blue Metallic Foil.
Go back and scrub in additional Caribbean Blue to blend the two colors together more,
if desired or necessary.
Step 5 Before removing the Modello pattern, you will need to seal the foiled areas to
prevent the Copper metal leaf that is applied in the next step from sticking at all in your
design areas. Use a Colour Shaper tool to trowel on undiluted American Walnut Stain
and Sea overall. Load just a bit of stain on the tip of the Colour Shaper and use a high
angle, changing the direction of your strokes so that you push the stain around to the
edges of the pattern, allowing it to puddle there. This will create a nice outline around
your pattern that will further help to define it. Allow this to dry fully and remove the
Modello pattern.
Step 6 Apply Copper Schaibin leaf to the background area. The Schaibin leaf is loose
metal leaf cut to semi-irregular shapes. It is very easy to apply and gives a nice, organic
look to the finish. You can substitute traditional book leaf and apply it in a similar way
that the Schaibin leaf is applied by removing the individual sheets of leaf from the book
and laying them randomly and slightly broken up over the surface.
If you want to preserve some of the black background to come through the copper
metal leaf, take care not to apply too much leaf at once and leave plenty of open spaces
between the copper leaf. As the leaf gets burnished down, it will break up into smaller
and smaller pieces, finally turning into dust. These smaller bits will end up filling in a lot
of the open black areas between the larger pieces of leaf. Burnish the copper leaf down
slightly with the flat of your hand as you go. Do a final hard burnish with lamb’s wool or
a soft cotton cloth to remove all excess loose leaf from both the background AND the
design area that you originally did with Metallic Foil in Step 3.
Step 7 To add a distressed, aged look to the copper leaf, use Modern Masters
Black Patina Solution. The Patina Solution “speeds up” the aging process by initiating a
chemical reaction with the leaf, turning it black upon contact. The easiest way to apply
the Patina Solution is with a fine mist. You can attach a Spritzer Cap to the container,
or simply transfer the Patina Solution to a fine mister bottle you may have on hand.
The Black Patina Solution works very aggressively, so it is best to start with a light
application and build up from there. If you want to create less of a chemical reaction,
you can dilute the Patina Solution slightly. Clean the Spritzer Cap after each use by
running clean water through it.
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Alternate Finishes
Safety Note: The Black Patina Solution does contain chemicals. Be
sure to work in a well-ventilated area and wear an appropriate face mask
or respirator while using to avoid breathing in the mist. You should wear
latex or nitrile (blue) gloves to avoid skin contact, particularly if you have
a sensitivity to chemicals.
Step 8 Combine American Walnut Brown Stain and Seal 1:1 with Slo
Crème. Use cheesecloth to rouge on the stain mix. This will be a positive
application of the stain. Soften and blend out the edges as you work. If you
wish to add a little distressing to the finish, press a little harder with the
cloth to rub back through the copper leaf slightly here and there through
the water-based size. Be careful with this! Don’t press too long and hard in
one area to avoid creating a hole in your finish. Allow to dry.
Step 9 To further seal and protect this finish, or any Metallic Foil or
Metal Leaf finish, you always have the option to apply wax. The video
lesson shows the application of Medium Oak Liberon Black Bison wax. The
wax will further soften and tone the finish, while adding a soft glow.
Wax should always be applied in thin layers while wearing gloves. Use
cheesecloth to rouge on a thin layer of wax, working it into your surface to
create a smooth finish without showing “method of application” marks. After
the wax has dried for about 20 minutes, burnish it with lamb’s wool or a soft
cloth to harden the finish and bring up a soft shine.
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Pattern:
Royal Design Studio stencil 3051L Large Morse Code
Metallic Foils:
Caribbean Blue and Celadon Green
Additional Materials:
Van Dyke Brown
The Morse Code finish uses the same steps as Rhapsody in Blue with the following
changes:
Substitute undiluted Van Dyke Brown Stain and Seal, as opposed to American Walnut, to seal and define the stencil area. Use a stencil brush as opposed to a Colour
Shaper to apply the stain and remove with cheesecloth (See Allover Moroccan
Arches finish)
Tone with Van Dyke Brown Stain and Seal mixed 1:1 with Slo Crème
Pattern:
Modello FolMot129
Metallic Foils:
Caribbean Blue
Celadon Green
Additional Materials:
Aluminum Leaf (book)
Follow the directions for the Rhapsody in Blue finish with the following variations:
Use a stencil or foam brush to apply the undiluted American Walnut Stain and Seal
over the foiled pattern and rub away excess with cheesecloth. Let dry and remove
Modello pattern.
Apply the Aluminum Leaf to the background, using the full squares taken from the
book in a semi-formal manner. Break up the leaf here and there to reveal the black
background underneath.
Tone with American Walnut Stain and Seal diluted 1:1 with Slo Crème.
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Metal Finish Foils with a Modello Marquetry Pattern
This finish uses a Modello Masking Pattern with a “Marquetry Weed”. With a
Marquetry Weed, the design elements within the pattern have shared lines and
only one design element comes removed from the pattern (in this case, the
large background area). This allows you to work with the pattern in a series of
layers/colors easily without having to tape off areas of the pattern to protect
them.
Pattern:
MarqAll110
Metallic Foils:
Euro Gold
Contessa Bronze
Materials:
Wundasize
American Walnut Stain
and Seal
Marquetry Weed patterns are used extensively in our Modello Marquetry
Masking System that has been developed to easily create intricate inlaid marquetry effects on wood, cork, and other porous surfaces with Stain and Seal
from Faux Effects, International.
We will use the Marquetry pattern HERE with foils to allow us to apply different
colors of foil to side-by-side areas within the pattern very quickly. After the first
foil color is applied through the Modello to the exposed sized areas, it will be
effectively filled in, and thus “sealed”.
You can then sequentially remove different areas of the pattern as you add different color of foil to the freshly exposed size.
Note: For this project, the pinstripes have been left black and without an additional color of foil, but you can experiment with adding foil colors in these areas
instead (Candy Apple Red, Peacock Blue, Plum Passion, etc.) for a different,
more colorful finish.
Wood Marquetry
Tools & Supplies:
Cheesecloth
Scrub Brush
Basecoat:
Black Setcoat
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minutes before applying second coat. Allow to dry thoroughly, overnight
if possible.
Step 2 Modello Masking Patterns can be safely and effectively applied to a
sized surface as long as the surface is sound and stable (refer to the basecoating and surfaces information)
Using a squeegee, burnish the Modello well on both sides, according to the
Basic Installation Instructions. Marquetry weed patterns can be a little tricky
to install because a certain amount of the cut pattern has been left in, so take
special care when removing the backing paper that you don’t pull pieces of
the pattern with it.
You may want to do a “pre-release” of the pattern, as shown in the Rhapsody
in Blue project video to make installation on your surface easier.
Lay the pattern, with the Transfer Tape side up, squarely on your surface and
run a piece of blue tape horizontally across the middle of the pattern. Affix
it to your surface at the outer edges. Drop the top down and pull the Backing Paper away from the Modello. Cut the Backing Paper away with scissors
or a craft knife. Working from the center tape edge, roll the Modello pattern
slowly down onto the surface as you smooth back and forth with your hand.
Burnish securely with the squeegee. The secured half of the pattern now
serves as a “hinge”.
Remove the tape and flip the pattern up from the bottom. Remove the Backing Paper from the hinge edge and roll and smooth down as before. Burnish
well and remove the Transfer Tape carefully by pulling back at a 180⁰ angle.
Note: Take care not to transfer the silver selvedge edges of the Cashmere
Gold foil.
Step 3 Cut appropriate lengths of Euro Gold Metal Finishes foil. Lay the
foil flat on the surface and smooth out bubbles by pushing from the middle
out with the flat of your hand, a folded terry towel, or a wallpaper smoothing
brush.
Use a short, stiff-bristled scrub brush with small, tight circles to do a close-to
100% transfer to the surface. The patterned foils seem to transfer in “layers” of color, so check often to see how the transfer is going but take care
not to remove the pattern fully so that you can replace in the exact position.
Scrub HARD into the edges of the Modello pattern, so that you will get a nice
“crisp” edge.
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Step 4 Rouge on undiluted American Walnut Stain and Seal with cheesecloth to tone and seal the Euro Gold areas.
Step 5 Remove the larger center stripes of the pattern that lie between
the two pinstripes to reveal the sized background in these areas. Use the
scrub brush again in the same manner as above to scrub in Contessa Bronze
for close to 100% coverage.
The video lesson does not show toning THIS layer of foil with Stain and Seal,
but you certainly could! You could:
• Simply rouge some stain on with cheesecloth just in the stripe areas.
• Stencil the stain on and wipe off the excess in the middle to both seal and define the edges more.
• Trowel on stain with a 2” Colour Shaper to add even more definition.
Step 6 Remove the remaining Modello pattern.
Tip! With long strips of Modello vinyl like this it’s best to try to pull in the
direction of the pattern, following the back and forth line. This way you can
pull longer strips of the vinyl without having it break so much-speeding up the
whole process.
Further Toning and Sealing
This patterned foil finish looks lovely “as is” but you may want to tone it further with a clear topcoat, Stain and Seal or
tinted wax.
It can be sealed with the topcoat of your choice, and the level of topcoat that you apply will depend on the surface that
you apply the finish to and how it will be used. See Topcoating Options in the Metallic Foils Foundations documentation.
Note on working with the patterned Metal Finishes Foils:
Even though most of these Metal Finishes foils have a definite pattern to them, it is still very easy to go back and fill in
areas if need be with random pieces or areas of the same foil. If you don’t get the 95-100% transfer that you want the
first time in a certain area, simply place a fresh area of foil over that area and reapply. See Foil Fixes in the Metallic Foils
Foundations.
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A stria blended background with random gold motifs
Step 2 Cut small pieces of Bright Gold Metallic Foil to
Pattern:
Indian Paisley 2012
Metallic Foils:
Bright Gold
Celadon Green
Peacock Blue
Plum Passion
Materials:
Wundasize
Stain and Seal:
Van Dyke Brown,
American Walnut
Aquacreme
Master Clear
Tools & Supplies:
Colour Shaper
Cheesecloth
Scrub Brush
Slo Creme Recipe:
3 parts So Slow Super Extender to 1 part Aquacreme
40
fit inside your Indian Paisley stencil area. Place the stencil
randomly on the surface and transfer the foil through the
pattern fully using a stiff, short-bristled scrub brush. Because of the tiny detail areas of the stencil, you will want to
scrub quite hard, in a concentrated manner. A stiff-bristled
nail brush can be especially good for small areas-and can
be used to clean your nails after applying all that Stain and
Seal!
Step 3 The background finish uses a blended stria tech-
nique. The Peacock Blue Metallic Foil color will blend from
the top down into the Celadon Green Metallic Foil color
which will move from the bottom up. On both your sample
board and project surface, you will want to avoid dividing the surface in half. Aim for an approximate 2/3 to 1/3
coverage of the colors. Of course, you will not want a hard,
visible, straight line where the two colors meet. Instead, the
transition point should vary up and down for a more natural
look.
Begin with Peacock Blue and use a vertical scrubbing motion to transfer the foil
in a stria pattern. Try to be very random with your motion and pressure, as this
will allow you to create a more “spontaneous” looking finish. You want to be
especially careful not to create a striped effect. You should some have areas that
are more filled in and some less filled in, with irregular edges. Pay special attention to the bottom, where the blue will meet the Celadon Green foil. You want
this transition to be very random as well, and not follow a horizontal line.
Step 4 Work the Celadon Green from the bottom up in
the same manner and method as described in Step 3. Also
add some green here and there into the Peacock Blue area
to tie the finish together somewhat.
Step 5 Fill in the random “still open” areas
with Plum Passion foil, always maintaining
the vertical stroke with your scrub brush.
Step 6 Mix American Walnut Stain and Seal 1:1 with Slo Crème. Use cheesecloth or a damp terry towel to rouge
on the stain mix. This will be a positive application of the stain. Soften and blend out the edges as you work. If you
wish to add a little distressing to the finish, press a little harder with the cloth to rub back through the foil slightly
here and there through the water-based size. Be careful with this! Don’t press too long and hard in one area to
avoid creating a hole in your finish. Allow to dry.
Step 7 Replace the Paisley stencil over the Bright Gold foil images to define and accent
the stencil image. Use a Colour Shaper tool to trowel on undiluted American Walnut Stain
and Seal through the stencils. Load just a bit on the tip and use a high angle, changing the
direction of your strokes so that you push the stain around to the edges of the pattern,
allowing it to puddle there. This will create a nice outline around your pattern that will
further help to define it. Allow to dry.
Step 8 Topcoat as desired.
Additional Finish Notes
On a large wall area, you may want to use a paper towel roll, terry towel or Ultimate Stippler to first add a layer of color softly overall. Then go back and used the
scrub brush over that to create the stria. This will make the stria effect more subtle.
Also consider blending 3 or more colors into each other. For instance, if you divide
the wall into sixths, do the bottom 2 sixths in one color, the middle 3 sixths in a
second, and the top 1 sixth in an additional color.
Alternate Finish
This finish is done exactly the same as the video finish,
except Caribbean Blue was used in place of Peacock Blue.
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www.royaldesignstudio.com

Foilin Around -S - Modello Designs

Transcription

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