This marble is more extensively imitated than any of the others, with the exception of white marble with black veins, and there is no wonder that it is so with its wealth of forms.
No matter what which one you like or paint – it is pretty sure to look like some specimen sienna faux marble if you the same character is kept up to the end.
It is true some forms are more pleasant than are others, but that is true really in all marbles. You really shouldn’t spend much time trying to imitate a marble which is considered an inferiority in the sienna marble itself.
Sienna marble has a great variety of character. One slab will have a dark hue tending to umber, and another from the same quarry will be a bright yellow.
In the imitations, however, the background is commonly made of a light yellow. The background can also be put in with white and the larger clumps put in with raw sienna and blended. Then some of the intervals may be connected with lighter toned and smaller clumps, also made with the raw sienna upon the still wet ground.
When the background is dry, the work is laid over with glazing liquid tinged with yellow. While this is wet, the character veins are formed with a feather, and blended with the color by a softener.
The painter then mixes a suitable color on his pallet, with raw sienna, burnt sienna, and other colors; and it is worthy of mentioning at this stage of the work that he displays his taste, by the selection and introduction of the colors, for upon this choice the success of every future operation depends.
The spaces left open by the crayon are then filled in with a color tending to raw sienna, and the several colors are blended together in the usable manner.
After the blending, put in the white veining**, which, of course, will mix with the still wet ground, but that will give it the transparent effect if when the work has dried they are touched up here and therewith flake white to give them their character.
The work is then glazed with white, and when badgered is complete.
**Some painters, in finishing sienna, spot it with a pure white, but so many neglect this process that it can scarcely be called a common custom. We would strongly recommend those who are beginning to imitate this marble, after they have examined the best productions of other men, to paint from a number of the best specimens they can obtain, before they adopt any particular style.
Marble Veining Feathers
The most pleasing forms are clumps of darker color overrun with veining’s and intervals of lighter tone also veined, but usually with much lighter toned veins than the set occupying the darker clumps. But some of the light as well as the darker ones usually trespass some upon each other ‘s ground, and in some specimens clumps of very fine dots extend over some of the light areas instead of veins.
Variations galore will suggest themselves to you after you have made a study of these marbles from natural specimens.