Faux Marble Veining Fundamentals with Pierre Finkelstein #4

Faux Marble Veining Fundamentals with Pierre Finkelstein #4


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Join Pierre Finkelstein for the final installment of his 4 part series featuring 1-hour online demonstration of faux marble veining fundamentals.   This sketch-based instruction will be useful for all levels of painters. Pierre will break down veining in its simplest form by focusing on copying the structure of basic veined marble.    Learn how to paint realistic veins by understanding the structure and formation of the Fragments and Fissures of real marble.   

Pierre will do a quick review of all previous lessons.  After that he will demonstrate a couple more breccia, including Black & Gold and Seagreen.  He will also explain extensive marble layouts, veining on a column, pilaster, baseboard, and stiles & rails.  He will cover how to deal with return edges, painting pieces of marble on 3D surfaces such as fluted mantel pieces, ornaments, etc. 

During the live video conference, students will be able to ask questions via chat.    There will be a brief Q&A at the end of class.   The overall class may go over one hour.  Students will receive the video recording for 30 days.

We expect this class to sell out, so SIGN UP today!

* Date: Monday June 21, 4-5PM EST

*  Materials needed:   paper, pencil, veining brush (see below), paint and optional kit.  Paint colors needed for the cardboard exercises are Yellow Ocre, Black (or Paynes Grey), and White (or Titan Buff). 

* Class:  Zoom Meeting Invite (to be sent out 1 day prior to event)


Prior Class Descriptions

Part 1 - 
Pierre began by sketching while explaining direction and composition.   He used a veining brush to demonstrate how to hold a veining brush and body placement.   He completed several black and white sketched samples during the fundamentals class.  Pierre held an informative lecture on marble to aid in creating realistic veins.

Part 2 - Pierre dove deeper into the composition, fragmentation, brush handling to create a faster veining system, mini fragments, and "Z hooking."  He touched on small breccia veining, as well as multi-directional veining, counter pass cut veining, and veining exercised on cardboard.

Part 3 - Pierre took a closer look at Breccia veining (fragmenting) using the principals taught in lessons 1 & 2.  Pierre demonstrated some quick tricks and drills to develop faster Breccia marbling with a strong composition of fragments.  Pierre touched on how to vein a column, baseboard, handle corner returns, and general marble layouts but will dive deeper in lesson 4. 

How-To Brush Care Guide

Prepare your brushes for their first use - read below.

Most of our large and fine hair brushes are hand-set and made with different hairs that are tapped in a small copper cylinder before being glued into the ferrule. This is why some of the hairs are not properly affixed to the ferrule, so the brush will shed some hair the first few times you will use it.

Thick hair: examples are; badger, hog (china bristle), horse hair

Fine hair: examples are sable; squirrel, goat, skunk (fine, thin short hair)

Synthetic Fiber: examples are; taklon, samina, bordeaux, synthetic bristle

To minimize brush shedding, you should:

  1. Wash the brush thoroughly with a mild dish soap in warm water and massage the hair to comb out the loose bristles. Rinse until there is no soap residue left in the brush.
  2. Ring the brush out by rolling it between your hands as if you were trying to make a fire with a stick to fluff out the brush.
  3. Let dry by hanging the brushes or lay it down at the edge of a table (a hog bristle will have a strong odor due to the bone glue used to attach the bristles. This will go away after a few washings.)

Repeat this process a few more times.

All acrylic glazes contain some sort of ammonia which attacks the structure of the natural hair. Therefore, brush maintenance and thorough repetitive cleaning as described in step 1, 2, & 3 is imperative to protect and extend the life of your brush.

Applying a few drops of ‘leave in’ conditioner is also a good idea if you’re not going to be using your brush for some time.

Dried Paint: If some acrylic glaze becomes hardened on the brush, start by removing the heaviest part with denatured alcohol then rinse with water and coat the hairs with Murphy’s Oil Soap and leave for several hours. Apply the steps again from 1, 2, & 3 so the paint will brush out easily and leave your brush as good as new. Be careful as soap left too long in the natural hair will deteriorate the flexibility of the hair.

Proper cleaning procedure

for oil/water and large or small brushes:

  Oil Medium Water Medium
Large Brushes Prep brushes by thinning in two or more baths of spirits or until a rag runs free of paint. Wash brush with warm water and a lathering soap. Shake out excess water, quickly form brush shape, and then allow to dry upside down. Rinse thoroughly with warm water. Clean with a tiny bit of lathering soap and rinse until completely clean. Shake out excess water, quickly form brush shape, and then allow to dry.
Small Brushes Prep brushes by thinning in two or more baths of spirits or until a rag runs free of paint. Apply a generous portion of Lard to the tip of the brush and store. To reuse brush, completely thin with spirits. Clean each small brush very carefully and gently with a tiny bit of lathering soap. Shake out excess water, quickly form brush shape, and then allow to dry . To reshape a brush, dip it in Gum Arabic.



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