From where we left off in part 1 of the Red Griotte faux marble how-to, we now finish with some fine detail steps along with an overglaze.
Here is a picture of real Red Griotte. This marble is named after the Griotte cherry (from the Ukraine) which has a bright red color. Notice the coloring within the fragments along with the “C” shapes.
This is the last shot from part 1. Let this dry completely.
Using a combination of cadmium red and carmine lake (alizarin crimson) the process of detailing some fragments begins. Using a soft, samina veining brush, a random but clustered handful of fragments are colored.
On the palette – in addition to cadmium red and carmine lake, there is white, paynes grey, black, and yellow ochre. The veining brush is loaded so 2 tonalities will mark after each stroke. This type of a fragment is called a “quail’s eye”.
On some fragments, create a “C” shape with yellow ochre, using a sharper pointed brush.
Actually, this bristle veiner works great when you want the brush to “skip” across the surface.
An overglaze over the fissures is the final step. Mix a very transparent glaze (black, paynes grey, raw umber) and use the single head brecher to soften the white fissures using a zig-zag motion.
Here is the finished sample. A few coats of satin or gloss varnish will finish the look.
Here is a real Red Griotte mantel that is found in the Palace of Versailles.
This table top was painted in my studio.
There’s Red Griotte faux marble on the baseboard. The entire section under the chair rail is painted, actually.
This is a fantasy faux marble sample I created for a Japanese client.
Green Campan faux marble has a similar technique as the Red Griotte. See our post on these columns.