Venetian Plaster. by Sandra Duran Wilson

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1 9 Plaster Venetian Plaster There are many different brands of Venetian plaster that can be purchased online or at home supply and paint shops. They contain various levels of plaster and have slightly different characteristics. I like a brand by Modern Masters. The benefit to purchasing the plaster in this form, as opposed to mixing Plaster of Paris, is that it is already mixed and you have more working time. The disadvantage is that it must be applied in thin layers and built up or it will likely crack. 10 by Sandra Duran Wilson

2 Preparing Your Surface Prepare for working with Venetian Plaster the same way you would for Plaster of Paris. Application Apply a thin layer to your surface (I recommend a wood surface) with a palette knife and let dry. Apply a second coat and additional coats as needed or desired. You may press objects into the wet plaster to add texture or marks. Painting Use a watered-down acrylic or alcohol inks to add color. Sealing Apply a coat of acrylic polymer to seal the painted surface. (Seal after each layer applied and painted.) Layering Additional layers of plaster can be added just be sure to let the plaster dry between applications. Use these additional layers of plaster to play with texture and color. 11

3 Sanding After a layer of plaster has dried, you can use an abrasive, like a green scrubbie, to sand back areas of plaster and paint to reveal the sealed layers below. Transfers You can transfer a laser print onto dry plaster with solvent. Carve You can use a knife or clay tool to carve into the plaster and fill the incisions in with paint. The incisions can also be left as is for an intersting contrast. 12

4 Joint Compound Joint compound is similar to Venetian plaster but it is softer. It can be purchased at home supply stores and worked in the same manner as plaster of Paris and Ventian plaster. Stenciling Joint compound works great applied through a stencil because you get a raised effect. Joint compound is a better choice for stenciling than other plaster products because of its texture you ll get smoother edges when removing the stencil due to joint compound s softer texture. Tips, Troubleshooting and More Ideas Apply a layer of joint compound to watercolor paper and, while wet, press a textured paper into the plaster, burnish, and then remove the textured paper. Let dry and paint. Paint, glaze and seal plastered paper with polymer medium. Plastered paper can be mounted onto wood panel for display. 13

5 11 Rawhide, Suede & Leather Burning Use a wood-burning tool to draw a design into leather. by Darlene Olivia McElroy 14

6 Transfer an image or draw your own image on a piece of leather. Burn the design into the leather using a woodburning tool. Paint the image as desired. Add finishing touches and embellishments. 15

7 12 Wood & Wood Veneers Collaging For a uniquely textured background, consider working on a woven wood strip placemat. Adding papyrus or bark paper to the surface of the placement will add even more texture and visual interest.you could also glue together wooden or bamboo barbeque skewers or cheap wooden chopsticks to create a custom surface. 16 Humongous by Darlene Olivia McElroy Printed papyrus, woven place mat

8 Glue a placemat onto a surface like a cradled canvas, panel or piece of foamcore. Let the glue dry. Glue printed papyrus onto the placemat and let the glue dry. Add handpainted details to the papyrus. Sand back some of the paint or print if desired. Add any additional details you want. 17

9 15 Acrylic Skins Acrylic Skin Hanging Sculpture Sandwiching thread, glitter, gold leaf, paper and other ephermera between layers of acrylic paint or polymer medium adds even more visual interest. Dressing Up in Polka Dots by Darlene Olivia McElroy Acrylic skins with embedded objects 18

10 1Apply soft gel gloss to your work surface. This will be the base skin you add ephemera to. Add wire to the wet gel. Let the 2 gel dry. Stencil black shapes on the base 3 skin and let dry. Apply gold leaf adhesive to 4 the skin until it is tacky. Apply gold leaf. Add a coat of soft gel gloss over 5 the gold leaf. Embed patterned paper into 6the gel. Collage elements (fabric sleeves 7 and buttons) to and in the skin. Add a hanger to the embedded 8 wire. Tips, Troubleshooting and More Ideas If your skin is too thin you will have problems removing it from your your work surface without tearing it. Add more polymer medium to build thickness. 19

11 17 Fabric Weaving Weave a pattern with fabric and attach the weaving to a surface. Use the weaving as a piece or an accent element. Leave it plain, paint it or add gold leaf. Rough fabrics like burlap will give you a totally different look than a smooth silk. Experiment. Desert Sunset Darlene Olivia McElroy (oven fabric, paint, gold leaf) 20

12 Staple strips of fabric to two adjacent sides of 1 a canvas. Apply soft gel to the canvas in one small area at a 2 time and weave the fabric strips. Press them into the gel. Let the gel dry. 3 Paint the fabric. Let dry. (A gesso pre-coat is optional.) Apply a gold leaf size. 4 5 When tacky, apply metal leaf. Brush off any excess metal leaf. 6 21