AD-22 - CHIPAWAY DISTRESSING

In this process we achieve uneven removal of one layer from one beneath, allowing the undercoat to be revealed in chips or patches.  The effect is that of a “chipped away” surface representative of a weathered, brittle or otherwise damaged look such as when paint “alligators”.  Many color combinations work well.

FAUX PAINTING - ANTIQUE FINISHES​

AD-6 - TONED AGING

Through the use of Master Finishing Medium, a unique product known for its high build characteristics, an exceptionally smooth, velvety finish is achieved that reflects light as if satin.  Distressing the surface prior to finish development contributes to the sense of age.  Deeper color toning provides visual depth.

AD-19 - TONED PEELED PLASTER

Achievable via several means, distressed texture helps evoke strong perception of age.  In this sample, Fauxstone has been applied and partially removed revealing areas of base color, and accurately portraying broken plaster.  The addition of a tinted wax and buffing off high areas accentuates the depth of the carved surface.

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AD-16 - STAIN & SEAL WITH LIQUID LEAF

Compared to most other styles seen on this web page, this sample demonstrates staining as opposed to glazing, I.e. the wood's natural grain is allowed to show through.  Several interesting options have been incorporated as well.  The high areas of the center carved detail are been painted with "liquid leaf", an opaque, high shine metallic having strong similarity to gold leaf.  The recess of the center have been treated with  "dirt and dust of the ages" a technique that emulates the natural collection of dust commonly seen on carved picture or mirror frames.  Notice:  the panel molding frame surrounding this web site is the sample you are reading about here.

AD-11 - CHIPAWAY DISTRESSING

In this process we achieve uneven removal of one layer from one beneath, allowing the undercoat to be revealed in chips or patches.  The effect is that of a “chipped away” surface representative of a weathered, brittle or otherwise damaged look such as when paint “alligators”.  Many color combinations work well.

AD-14 - LIME WASH

Lime wash is a true “lime paint” material, applicable over raw wood, stucco and most water-based painted surfaces.  Because of the presence of lime, this finish will continue to “leach”, i.e. bring out the oxidized color or embedded lime within the material.  This is how we achieve a white “ghosting” on the surface.  Water affects the oxidation rate of lime paint.  When water touches the dried surface, it changes the oxidation rate of the spots that it hits.  As a result, it does not make sense to use on surfaces that make be water impacted (e.g. bathrooms).   Waterproof varnishing does not work well, as it is the chalky look that is attractive, and varnish defeats this.  When planning colors, think of Tuscan/Fresco palettes.  Lime takes only certain pigments well, e.g. burnt or raw umber is “burnt off” – is caused to disappear by the lime.  Interesting applications include table bases and chair frames.

CL-PER2 - TONED STONE WITH LIQUID LEAF

Combining a straight grain wood finish with a toned texture adds interest and distinction to trim or furniture.  In this sample, the center area has taken on the look of inlaid stone.

CL-RTH - SIMPLE AGING

Simple, understated aging transforms plain raw or painted wood into something special.  Incorporating two colors, one to emphasize shadow areas but fade into the other color,  the effect is gentle yet sophisticated.

Samples of Status Faux's Antiquing Designs.

Antique finishes, otherwise known as aging and distressing provide a worn and old look to any surface, not only furniture. Particularly attractive on moldings, trim, cabinets, fireplace and bric-a-brac, a broad variety of looks are available to go from shabby chic to a yesteryear impression reminiscent of painted layers wearing away over time or the effect of wear over the years.

AD-20 - ASIAN LIQUID LEAF

Meant to have a hand-painted look, the occasional application of color over color with a deep dark base, gives a distinctly Mandarin look.  Purposefully finger-painted, the dabbing and rubbed-off appearance convey age.  Note the use of genuine colors associated with the locale and era gone by.  A welcome touch to furniture, Chinoiserie or other.

CL-SAL5 - TEXTURED BRONZE

A texture underlayment to a metallic finish helps the light dance off it.  With bronze Dutch metal applied to the trim's high areas prior to overstaining with a dark brown and antique mahogany color mix, color depth and richness are enhanced.  This finish looks fabulous in eggplant, charred platinum and many other colors.

SS-105 - NATURAL COPPER PATINA

When copper oxidizes due to exposure to air or seawater for long periods of time, a green patina or crust of copper sulfate or copper chloride forms.  This natural corrosion process occurs as well on brass and bronze (alloys of copper).  Simulating this effect on interior trim and furnishings creates a truly unique effect.  While the actual colors of the patina can be adjusted, those seen here are authentic.

AD-4 - BANDED WOOD AGING

Not all grain comes from natural wood.  An interesting grain and pore structure has been developed in this sample through the use of contrasting color and manipulation of flyspecked dye.  High areas of the rope inset have been finger-painted with a light color and sanded through to the underlying wood for a mildly distressed look.  Dye has also accumulated in recesses to emphasize depth.

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AD-12 - TONED SANDSTONE

A gritty though non-abrasive synthetic textured material (than can be smoothed), Sandstone provides a realistic looking natural stone finish.  The darker bits of material within are actual ground walnut shells and not sand, and can be made to show prominently by scraping/sanding Sandstone when dry.  This feature is desirable and yields a nice look.  Toning with a dye after wetting the surface with water enables some areas to retain their original lightness and others a darker accumulation of color, emphasizing depth.

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CL-SCH - SIMPLE ANTIQUING, COLOR VALUES

An extremely light, dilute treatment of color may be enough to set it apart from adjoining surfaces or detail.  Experimenting with color value (color depth) will help determine the right shading.

CL-PER1 - STRAIGHT GRAINING WITH LIQUID LEAF

Straight wood graining is an excellent solution for improving the look of inexpensive or unstainable woods, as well to help define and emphasize length and distance.  The use and specific combination of different background and foreground colors help simulate not only different wood species, but help augment carved detail especially when viewed from a distance.  The addition of liquid leaf to high areas makes them prominent and increases perceived value.

AD-3 - TEA STAINING AND DISTRESSING

One of the most popular of the aging samples is perhaps the least complex.  Mild toning, with emphasis on gathering color in the recesses can be enough to create a truly classic look.  With the addition of slight distressing, particularly on high and carved areas, the right amount of wear is achieved.  Commonly referred to as "tea staining", this light toning is popular on cabinetry, furniture and moldings.

AD-5 - AGED MAHOGANY

A rich, deeply toned finish with color accumulation in recesses, lightened high areas, gold toned highlights, and sand-through to expose darkened wood, this sample has an old world feel.  Executed in light colors as well, it can accompany any décor or be used as the finishing touch on furniture.

AD-24 - NEGORO NURI

A technique that imitates a 14th century Japanese method of lacquering, Negoro Nuri is recognized by its characteristic red or yellow color with decorative black rubbed-off patches showing through.  The key to authentic looking Negoro Nuri is the distinctive “z-shaped” (zigzag) rub-off areas.  Anything less or misshapen lessens the effect and perhaps renders the finish less than desirable.  In this sample, an authentic "Antique Ochre" color is produced.

AD-8 - MULTICOLOR ANTIQUE

Through the use of Master Finishing Medium, a unique product known for its high build characteristics, an exceptionally smooth, velvety finish is achieved that reflects light as if satin.  Distressing the surface prior to finish development contributes to the sense of age.  Deeper color toning provides visual depth.  This sample began its color development as seaweed green, with accenting mahogany color layers to give a faux bois grain appearance.  Note the weatherbeaten look.

AD-18 - WAXED O'VILLA

Textured O'Villa finishing plaster, applied with texture to this carved piece sets up an irregular surface to which color attaches in varying intensity and value.  Originally developed as a plaster for furniture, O’Villa is a versatile texture that resembles a soft plaster effect.  The look and effects range from chalky to softly sheened, waxed plaster.  Can look traditional, Mediterranean or contemporary.  Notice the natural color pooling in the recesses and the near absence of color on high detail.  This sample has a close resemblance to carved stone

AD-21 - CRACKLE

The concept and purpose of Crackle is to render a finish that not only looks old and weathered, but that permits a multicolor effect.  In general, the idea is to have a top color layer “open up” to reveal a different layer beneath.  Dark over light or vice versa, the effect is classic and timeless.  Crack (fissure) and island size and shape are controlled by the artist.

AD-7 - UNEVEN COARSE TEXTURE

An uneven, coarse texture creates great interest and definition.  It permits the colorants used to both sit high and low on the surface, thus allowing thicker and thinner concentration of color and result shade.  When the high areas of texture are sanded back, a beautiful vein structure can emerge further accent the detail.

CL-SAL4 - TEXTURED BRONZE

A texture underlayment to a metallic finish helps the light dance off it.  With bronze Dutch metal applied to the trim's high areas prior to overstaining with a dark brown and antique mahogany color mix, color depth and richness are enhanced.  This finish looks fabulous in eggplant, charred platinum and many other colors.

AD-17 - STAIN & SEAL WITH LIQUID LEAF

Compared to most other styles seen on this web page, this sample demonstrates staining as opposed to glazing, I.e. the wood's natural grain is allowed to show through.  Several interesting options have been incorporated as well.  The flat areas - those showing wood grain - have first received a metallic red stain in order to kick back light through the overstain.  The high areas of the center carved detail are been painted with "liquid leaf", an opaque, high shine metallic having strong similarity to gold leaf.  The recess of the center have been treated with  "dirt and dust of the ages" a technique that emulates the natural collection of dust commonly seen on carved picture or mirror frames

CL-ROS1 - AGED BRONZE

The addition of warm dark glaze or dye over a metallic finish enables the accenting of depth and play of light off high areas of carved detail.  With color accumulation in the recesses and burnish of peaks, the object glows.

AD-1 - DISTRESSED MULTICOLOR AGING

The simple multilayering of color after color, partially rubbing through at each layer and mild distressing provide this classic look.  Traditional antiqued finishes follow this pattern.  A wonderful finish on furniture as well as architectural details.

AD-9 - FINELY TEXTURED STONE

Thin, fine texture conveys a sense of stone.  Relatively smooth detail gives the right feel and permits the application of color evenly.  Deep rubbing of the color exposes the highest edges of the texture, casting light accents and definition.  In this sample, the use of a related, deeper color in the carved inset sets up a very attractive contrast.  Note how the pooling of darkened color emphasizes depth.

AD-2 - FAUX COLOR AGING

A fancy, elegant finish involves Faux Color aging.  A dye is applied in a glaze carrier over a painted metallic surface (enhance reflectivity), then treated with a reactive solvent which simultaneously opens the glaze revealing the base coat in "bird's eyes", and forms rings of accumulated color around the open areas.  A distinct edge banding of metallic without a colored dye enhances the effect.