Sanding off the plaster reveals the stencil pattern underneath. It’s something completely different, and worth exploring. Excavating the stenciled area was really fun, and seeing the result of the technique got me hooked on this process and on discovering more about Venetian plaster art. Since the gel medium acts as a resist, those areas show the paint underneath, like a window, while the other areas remain white. Texture was created in the plaster with a rubber rug mat.Īnd now…the big reveal! I sanded the plaster covering the stenciled area. Let the plaster dry completely-you’ll know when it’s ready because it will feel room temperature, not cool, to the touch. If you don’t like the way the texture looks, you can re-do the plaster and texture it again. While the plaster was still wet, I embedded a rubber rug mat into the plaster covering the paper, removed it, and fell in love with the texture. I spread it over the stenciled part first with a palette knife, then over the collage paper. Having never worked with this medium I didn’t know what to expect, but I discovered that it’s very smooth, has the consistency of thick cake frosting, and is extremely easy to work with. Thin printed tissue serves as another layer underneath the Venetian plaster art.įinally, it was time for the plaster. Thin collage paper was decoupaged onto the rest of the board I chose some Tim Holtz Idea-ology Melange Tissue Wrap. Heavy gel medium was applied through a stencil. The gel dries clear, and you’ll see the full amazing effect of this step later on. Playing with the paint layers results in what will be the backdrop to the Venetian plaster art.įor the next step I chose a stencil (I used the Versailles stencil, designed by Nathalie Kalbach for StencilGirl Products), taped it to about 2/3 of the board, and applied heavy gel medium with a palette knife. When I got the paint to where I liked it, with different colors and values represented on the board, I let it dry. That alcohol technique is all kinds of awesome, so you need to indulge. In the lesson, you’ll work with isopropyl alcohol to get cool patterns in the paint. More misting, more paint, and some paper towel blotting took me to the next phase. I tilted the board to let the colors drip and do their thing, and got this: Applying diluted acrylic paint to an Amersand Encausticbord allows you to create beautiful patterns. I misted the board with water, then applied fluid acrylics in Golden Artist Colors Quinacridone Magenta and Manganese Blue Hue, and DecoArt Media Phthalo Turquoise. These boards are also very stable, so you can add wet media without fear of warping. I used an Ampersand Encausticbord as my substrate Sandra recommends this because it’s absorbent and takes paint beautifully. Venetian plaster is the star of Sandra’s lesson, and this material truly makes the piece come alive. This year’s series, called Texture Adventures, offers tons of ideas for creating physical and visual texture in mixed media. Since nearly every step is accompanied by a photo, and each lesson includes a companion video, it’s like the artist is there with you every step of the way. I never tire of touting our Art and Lettering Lessons series because it offers so many great techniques that are perfect for all levels of mixed-media artists–and the lessons are affordable. But after being formally introduced, we are now an item, and I’ve cleared space on my supply shelf for this 30-ounce can of amazing. I’m sure Venetian plaster and I would never have entered into a relationship had it not been for Art Lessons Volume 3: Venetian Plaster Party, by Sandra Duran Wilson. Wait, make it five: mixed-media Venetian plaster art. I’m still going to do that, but I’ll sum it up in three words: Venetian plaster art. I was going to start this Studio Saturday post by telling you how wonderful the March Art Lesson is.
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