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ART FACTS
"THE ART OF ILLUSION: Continuing The Trompe L'Oil Tradition"
"The Finishing Touches and the Presentation" by Robert K. Roark
smaller. Remember to keep the paint thin in order to avoid any build-up of surface texture.
"Dusty On A Shelf", o/p, 20"x16",R. K. Roark
Now that the major elements of the painting have been completed, it is time to apply those final effects to achieve the greatest verisimilitude possible. Properly painted cast shadows can add significantly to the illusion that one is trying to create. The "secret" to a realistic shadow lies in its transparency. Thus, shadows are traditionally glazed in rather than being rendered in opaque paint. After the area around an object has been detailed and the surface is thoroughly dry, thin glazes, conforming to the proper shape, are applied using a soft sable brush. The value of the shadow can be controlled by the number of glazes used. Shadow edges should be softened by blotting with a clean, lint-free cloth.
A good glazing medium is composed of linseed oil, damar varnish and turpentine, about 1/3 each.
Those final, minuscule bits of distressing and wear can now be added to the various objects. This detailing is best done using round sable watercolor brushes, #0 and
After the painting has been completed, it should be set aside for a period of time and allowed to dry completely. The final varnish can then be very distracting, while a "mat" finish tends to look dull and "dried-out".I recommend creating a solution composed of one part gloss damar varnish and one part "mat" damar varnish. First, sit the bottle of "mat" varnish into a container of hot water to allow the wax to dissolve into solution. Then measure and mix the two varnishes into a clean bottle. Before each use, heat the now semi-gloss varnish as just described. And, unlike a good Bond martini, this mixture must always be stirred, not shaken.
With the painting lying perfectly horizontally, brush on a thin layer of varnish using a clean, good-quality varnish brush found in all good paint supply stores. Cover the painting quickly and lightly; do not continue to brush over previously-varnished areas. Without moving the artwork, let it dry overnight in a dust-free environment. Should some areas of the painting dry "flat", a second coat of varnish can be applied.
After proper drying, the painting is now ready to be framed. Because most trompe l'oeil paintings contain much detail and can be somewhat "busy", it is advisable to keep the framing classically eloquent and simple. An understated profile with a gold-leaf or gold metal-leaf finish is perfect. Avoid bright finishes, elaborate carving and trendy styles. Quiet simplicity is the key.
The tradition of trompe l'oeil painting is a long and rich one. To be done well it requires patience, devotion to detail and a vivid imagination. When you and others gaze upon your finished masterpiece, the rewards are many. Good Luck!
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RELATED ARTICLES AND EVENTS
"THE ART OF ILLUSION: Trompe L'Oeil Painting - Procedures and Techniques: Part I"
by Robert K. Roark"THE ART OF ILLUSION: Trompe L'Oeil Painting Techniques" - Part III: Tips on How to "Fool the Eye" by Robert K. Roark
"THE ART OF ILLUSION: Trompe L'Oeil Painting Techniques" - Part II: Tools of the Trade by
Robert K. Roark"THE ART OF ILLUSION: Trompe L'Oeil Painting Techniques" - Part II: Tools of the Trade by
Robert K. Roark"THE ART OF ILLUSION: Trompe L'Oeil Painting Techniques", Part I: Getting Started
by Robert RoarkRead article about Mr. Roark: "Robert K. Roark: Capturing The Mood".
Visit Mr. Roark in his studio at Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
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