Times Free Press Lifestyle 11/06
Creating Old World looks with modern methods
After studying in Italy, faux finisher Michelle Simpson works her magic on an Ooltewah home
In her five years as a decorative painter, Michelle Simpson crisscrossed the country for classes on new techniques and refresher courses in the faux-finishing skill she plies with her Ambiance Creations. Earlier this fall, the Chattanoogan logged some longer-distance learning when she spent three weeks in a 13th-century Italian villa studying venerable buildings and the art of Venetian plastering.
“It was a ‘storybook’ of grape vineyards, olive orchards and the hills of Tuscany,” she said of the 60-acre estate on the outskirts of Siena, a city surrounded by a stone wall where cars are verboten.
“We looked at Old World architecture and tried to recreate aged Mediterranean looks,” she said.
Faculty ranged from an elderly Italian painter (who spoke no English) to Susie Goldenberg of the Atlanta-based Paintin’ the Town Faux, according to Ms. Simpson, 35. She said students honed their skills in fresco and trompe l’oeil painting, as well as in stenciling murals and Venetian-style plastering.
When an Ooltewah client tapped Ms. Simpson’s company to “age” his new home’s walls, she tackled the project, she said, by employing modern methods and materials to achieve an ancient appearance.
“Venetian plaster has a very textured look but is smooth and cool to the touch,” she said. “It originated as a way to emulate marble, which was too expensive to bring in to many parts of Italy.”
In her customer’s dining room, Ms. Simpson used a stained Venetian plaster infused with marble dust, which gives a golden luster to the walls’ thick surface. As many as five layers of the lime-based material may be applied with a trowel before the faux finish is burnished to a high sheen, she said.
The painter said she planned to enhance the powder room with a Florentine faux-stone finish that features embedded cheesecloth. She said, “It will give a very Old World look, very aged and rugged.”
For the Ooltewah project, Ms. Simpson said the client chose a typical Tuscan palette of deep orange, gold, red and brown. She said, “Rarely was green or blue used in Venetian plaster.”
Not unlike the novel effect obtained by embedded cheesecloth, the newest trends in faux finishing include adding cracked burlap to create a rustic mien, using crumpled tissue to evoke a leather look and producing custom coverings on canvas, which not only yields an unusual finish but permits the decorative panels to be removed and later reapplied on a different surface, according to Ms. Simpson.
“With faux, so many exciting things are happening, and with all the new products, (the possibilities for) looks are infinite,” she said. “The popularity of faux is one reason that wallpaper sales are down.”
While data to support a dip in consumption of conventional wallcoverings is hard to find, the Nippon Interior Fabrics Association of Japan’s market reports for 2003, the most recent posted online, show a decrease of 10.6 percent from 2002’s figures — which also represented a 12.2 percent drop from the previous year. But the association’s Web page attributed the decline to a slump in housing starts.
Ms. Simpson said the emergence of more durable products now allows for exterior applications of faux finishes, such as on door surrounds. She said, “The best surface for faux is nonporous — a satin paint or a 100-percent acrylic base. The flatter the surface, the more material is absorbed.”
She said that costs vary, according to the selected finish and project size, but wall treatments run from $2 to $15 per square foot and that faux finishes on furniture and cabinetry range from $20 to $25 per linear foot.