The painting on of the proper colors for the background is the first step in marbling, and it is a very important one, too.
It’s important that I state here – The descriptions which are given here for marbling and faux wood graining are in oil, as that is by far the best way of imitating marble. Therefore – You will need to make time allowances if you are planning to use water based paints because of the quicker drying time.
The background is usually put on all over using basic white. (Unless the recipe calls for another color).
While this is fresh (really wet) – if a partial colored ground is desired, a little of the proper color is worked over it and blended more or less to suit.
If the imitation marble is striated, veined or serpentine marble, while the ground is still wet the main body of color and veining should be put in and blended.
The blending in marbling is really a most important part, because blending causes the veins and lines to disappear as it were into the ground gradually, which gives it transparency, and it will look as if it came from the interior and gradually becoming stronger toned as it reached the surface. These effects are all produced by proper blending.
If the imitation is a conglomerate marble (Something that looks as if it has a chunky texture) the chunks should be put on with dabs of color suitable and of the right size. Then you will use the blender to soften them into a gradual disappearance into the background.
While the background is still wet – lay in the deeper toned veins, or rather that portion of the veins which it is desired should appear as having reached the surface by a gradual ascent from below. These should be touched with a little of the fresh color and left un-blended.
This is done with liner brushes or with the tip end of feathers.
In the conglomerate imitation the chunks can be touched with fresh color left un-blended where want to show them at the surface point, so that the chunks will show as if they were gradually sinking away from sight to the interior of the stone.
It will be best after having formed all the character of the veining and having touched up the bright parts to let the work dry before attempting to put in the white veining and what may be called the “high-lights,” or the lightest parts of the colored veins or chunks in the conglomerates.
If this was attempted when the color is still wet the veins will mix up so much with the others so they become anything but white.
Where you want to produce the impression of white veins disappearing into the rest of the work, however, it will be well to paint in some while the first color is still wet and to blend them in to produce that effect.
Then when it has dried to go over them at what is intended for their surface points with some fresh color, which will greatly enhance their transparent effect.
Now the light veins are put in without fear of their tones being destroyed by mingling with the wet ground colors, and all the finishing touches should be put in. Defects, if any, can be corrected and when the work is dry it may or may not be varnished.
Creating Faux Granite Spots
The spots usually seen in granites are produced by striking a brush upon a stick at some distance from the surface. The size of the dots being regulated by this distance you are away from the surface and also by the kind of brush used.
A fine spraying with turpentine afterward (if you are using oil based paints) will cause them to spread sufficiently to run together at the edges and to look more natural than if left without.