Abstract:
A multi-color faux art palette includes a resilient substrate having an upper and a bottom surface. The bottom surface includes handles integrally dependent from the bottom surface of the substrate. Upon the top surface are secured a plurality of discrete substantially planar color-absorbent sponges, each sponge thereof having a bottom surface integrally dependent from the upper surface of the resilient substrate. Opposing edges of the planar sponges are separated from each other by a distant sufficient to preclude contact therebetween when the sponges are compressed against a planar surface.

Description:
BACKGROUND OF THE INVENTION  
         [0001]    (A) Area of Invention  
           [0002]    The invention relates to palettes and tools of application used by artists and, more particularly, to a multi-color palette having particular application in the area of faux art.  
           [0003]    (B) Prior Art  
           [0004]    Faux art is a very exacting and labor intensive art form. Therein, the artist must often operate at considerable heights and distances from the source of the various types and sources of liquid and viscous color which one must use. However, because of the weight and quantity of color used in faux art, a conventional artist&#39;s palette containing small dabs of paste-like oil paint, has never offered a practical solution.  
           [0005]    Some parties, in an effort to address this problem, have suggested the use of a multi-color paint roller for purposes of faux finish application. as is reflected in U.S. Pat. No. 6,330,731 (2001) to Jackson, et al entitled Faux Finish Applicator and U.S. Pat. No. 6,331,327 (2001) also to Jackson, et al, entitled Faux Finish Method. However, such solutions to application and color in faux finishing are limited to the two different colors and a specific pattern that a roller of the type of Jackson can accommodate. Other efforts to address the above difficulties in faux art supply and finishing that involve the use of an improved roller and paint supply are reflected U.S. Pat. No. 5,966,772 (1999) to Woodnorth, et al, entitled Paint Supply and Finishing System; and U.S. Pat. No. 6,289,548 (2001) to Capoccia, entitled Synthetic Torn Patterned Roller And Its Method Of Production. Solutions of this type, while providing for special faux art effects, do not help the faux artist in the many labor and time intensive aspects of various forms of faux finishing.  
           [0006]    The prior art of faux finish applicators also includes the utilization of selectably different interlocking stamp sets, each of which may be provided with a different color, pattern, or design such that, after such a system is assembled and loaded with color, the artist may take such a stamp set onto a ladder, or to a location remote from the color source, to more easily provide the colors and patterns of the elements of the stamp set at such a location. A stamp set of this type is taught in U.S. Pat. No. 5,655,451 (1997) to Wasylczuk, et al, entitled Interfitting Stamp Set For Faux Finishing.  
           [0007]    As may be noted from the above, the prior art does not teach or suggest an analog of the classical artist palette that would be practical for use in the area of faux art.  
           [0008]    It is accordingly toward this end that the present invention is directed.  
         SUMMARY OF THE INVENTION  
         [0009]    The instant invention pertains to a multi-color faux art palette comprising a resilient substrate having an upper and a bottom surface. Said bottom surface includes handle means integrally dependent from said bottom surface of said substrate. Upon said top surface are secured a plurality of discrete substantially planar color-absorbent sponges, each sponge thereof having a bottom surface integrally dependent from said upper surface of said resilient substrate. Therein, opposing edges of said sponges are separated from each other by a distant sufficient to preclude contact therebetween when said sponges are compressed against a planar surface.  
           [0010]    It is accordingly an object of the present invention to provide a palette particularly adapted for use in faux art.  
           [0011]    It is another object to provide a palette of the above type to reduce the time and labor associated with the application of faux art finishes to surfaces.  
           [0012]    It is a further object to provide a multi-color faux art palette to enhance the ease and convenience of the application of sponge, rag and other faux art tools to surfaces to which a faux finish is to be applied.  
           [0013]    It is a still further object to provide a multi-color faux art finishing system adaptable for use in achieving various faux art effects.  
           [0014]    It is a further object to provide a more efficient means for the supply of faux paint colors during faux finish applications.  
           [0015]    The above and yet other objects and advantages of the present invention will become apparent from the hereinafter set forth Brief Description of the Drawings, Detailed Description of the Invention, and claims appended herewith.  
       
    
    
     BRIEF DESCRIPTION OF THE DRAWINGS  
       [0016]    [0016]FIGS. 1 and 2 are sequential views showing the prior art method of faux finishing known as ragging.  
         [0017]    [0017]FIGS. 3, 3A, and  4  are sequential views showing the prior art method of faux finishing known as sponging.  
         [0018]    [0018]FIGS. 5, 6 and  7  illustrate prior art methods of color washing and rubbing.  
         [0019]    [0019]FIG. 8 is a perspective view of the inventive multi-color faux art palette.  
         [0020]    [0020]FIG. 9 is a side elevational view thereof.  
         [0021]    [0021]FIG. 10 is top plan view thereof.  
         [0022]    [0022]FIG. 11 shows a first step in the use of the inventive palette loading various colors in all faux applications.  
         [0023]    [0023]FIG. 12 illustrates the use of the palette applying colors directly to a wall to be finished.  
         [0024]    [0024]FIG. 13 shows the use of a faux tool in one hand of the artist to blend colors while the inventive palette is held in the other hand.  
         [0025]    [0025]FIG. 14 shows the use of a sponge to obtain color from the planer sponges of faux palette.  
         [0026]    [0026]FIG. 15 shows the step sequential to that of FIG. 14 in which a sponge is used to apply color to a surface to be finished with the sponge.  
         [0027]    [0027]FIG. 16 shows the application of a faux rag to a planar sponge of the inventive palette.  
         [0028]    [0028]FIG. 17 shows the application of the rag of FIG. 16 to a surface to be faux finished.  
         [0029]    [0029]FIG. 18 illustrates a configuration of the inventive faux palette particularly adapted to produce an effect of wood or paneling, where the palette is used in the manner shown in FIG. 12 above.  
         [0030]    [0030]FIG. 19 is a faux palette, in accordance with the present invention, in which the planar sponges thereof are particularly adapted for the generation of marble designs, when the palette is used in the manner shown in FIG. 12 above.  
     
    
     DETAILED DESCRIPTION OF THE INVENTION  
       [0031]    With reference to FIGS. 1 and 2, the prior art of faux finishing as it relates to the so-called ragging process associated therewith is shown. More particularly, in FIG. 1 is shown a liquid mixture  20  typically consisting of equal parts of paint, water and acrylic scumble glaze to thus achieve a consistency resembling that of a thin cream. The resulting mixture is held within a paint tray  22 . After the faux artist  24  had donned latex gloves  26 , a rag  28  is soaked in water (not shown) and then wrung out. The dampened rag  28  is then dipped into paint mixture  20  and any excess paint is wrung out to minimize potential dripping. Thereafter, the edges of rag  28  are bunched into a rose-like configuration with the indentations thereof pushed into the cloth with one&#39;s fingers to thereby provide it with a crushed appearance. The resulting pattern, and the desirability thereof to the artist, is tested by “pouncing” it on a piece of brown paper  30 .  
         [0032]    Ragging at a top area  32  of a wall  34  is shown in FIG. 2. The paint mixture  20  is applied with a light, “pouncing,” random movement as the rag itself will produce distinctive faux patterns. It is also helpful to move one&#39;s entire arm, as opposed to a wrist only, to thereby cover a wider area of the wall  34 . One must also constantly check the cloth to be sure that it retains its indentations to thus retain the desired pattern and, thereby, avoid flattening of the rag. It is also important not to twist the cloth on the wall in that this may cause smudging of the pattern. A typical work area for the ragging process shown in FIG. 2 is about 2 feet or 60 square centimeters.  
         [0033]    In FIGS. 3, 3A and  4  is shown the prior art faux process known as sponging. As in the case of ragging, described above, substantially equal quantities of paint and solvent are mixed to form paint mixture  20 . As above described with respect to the ragging step in FIG. 1, latex gloves  26  are used. A large sponge  36  is soaked in a bucket of solvent (not shown). The solvent is then squeezed out of sponge  36  such that it is left damp, not wet. Thereafter, sponge  36  is dipped into paint mixture  20  with the excess thereof squeezed out onto a flat portion  38  of tray  22 . See FIG. 3. In FIG. 3A is shown the sponging step of using sponge  36  to test the sponge pattern and the amount of paint mixture by pouncing it onto a piece of brown paper  40 . Said pattern will then appear either as a fine stippled effect or, by using the opposite so-called “brain” side, as a distinctive course or open pattern. In applying the sponge to wall  42  (see FIG. 4), one always holds the sponge in the same position to achieve a pattern  44  throughout the sponging process.  
         [0034]    In FIGS. 5-7 are shown the prior methods of color washing and rubbing. That is, in FIG. 5 is shown the step of dabbing patches  46  of color upon a wet wall  48  while leaving a wet border around each section to enhance ease of blending with the adjoining area. In this process, the darkest color is applied in a honeycomb pattern. Thereafter, gaps therebetween are filled in with two lighter colors.  
         [0035]    In FIG. 6 is shown the use of a damped cloth  50  in a twisting motion, starting with the palest color and then progressing to darker colors until they are fully blended. Rubbing with cloth  50  produces in a softer effect. A yet softer effect may be obtained with the use of a hake brush  52  (see FIG. 7). After allowing 24 hours for drying, a second or third rubbing may be employed.  
         [0036]    In all of the above wall contact steps described with regard to FIGS. 2, 4,  5  and  7  above, it is necessary for the faux artist to constantly leave a ladder, scaffold, or other location remote from the source of one or more paint mixtures or colors with which one may be working. The use of multi-color in faux art is common and, as such, one of the more difficult and time consuming aspects of this art form is the need to repeatedly access one&#39;s source of color whenever one wishes to employ an additional color in the accomplishment of a given faux effect, an event which is frequent in most faux treatments.  
         [0037]    The present invention addresses this problem through a multi-color palette  54  (see FIG. 8) which consists of a hard rubber substrate  56 , a plurality of planar foam-like sponges  58 , or a material having comparable properties as is the case with certain plastics. Sponges  58  are highly absorbent and retain a substantial volume of the color to be applied through one or more of the means described in FIGS. 2, 4 and  5  above.  
         [0038]    Beneath substrate  56  which, typically, comprises a hard, but flexible, rubber, is a handle  60  which is permanently secured to substrate  56 . The above elements are shown in front plan view in FIG. 9. It is to be appreciated that handle  60  may take a variety of forms including, for example, rungs or straps, while sponges  58  may assume essentially any conceivable planar geometry, as long as there are provided color dams  62  which afford sufficient separation between sponges  58  to thus preclude undesirable mixing of discrete colors which have been provided thereto when palette  54  is pushed or pounced against a surface as a step in the faux process.  
         [0039]    [0039]FIG. 10 is a top view of the multi-color palette of FIGS. 8 and 9.  
         [0040]    In FIGS. 11-17 is shown the utility of the inventive multi-color faux palette. More particularly, in FIG. 11 is shown the step of saturation and spreading of desired colors upon the respective sponges  58  of the palette using a brush  64 , spoon, or any other tool. Also, because of the large capacity of a sponge to retain liquid, color may be poured directly from ajar  66  onto sponges  58 .  
         [0041]    Thereafter (See FIG. 12), the mixed color, often termed a glaze, is applied to a wall  68  in random positions pushing three or four times depending upon the working (curing) time of the glaze or wall finish. It has been found that the inventive multi-color palette  54  may be pressed against wall  68  up to ten times before it is necessary to re-load the color (as above described with respect to FIG. 11). Thereafter (see FIG. 13) various colors which have been applied to wall  68  from the multi-color palette  54  are blended using any desirable faux tool  70  inclusive of a cloth, woolie, plastic material, or sponge. After softening the blended colors, they are permitted to dry and, thereafter, any desired color may be added to obtain darker patterns within random areas upon the wall  68 .  
         [0042]    The use of the present invention in a faux sponging step is shown in FIGS. 14-15. More particularly, therein is shown use of a sponge  72  to selectably access sponge portions  58  of the palette  54 . Thereby the faux sponging step is made far easier with less messiness and greater control of the coloration process, as sponge  72  is pressed onto the palette thereby providing only as much color or glaze as is needed. Thusly, through the use the inventive tool, multi-colors within either the same or multiple faux sponges can be employed without necessity for the artist to change lactation to access the color source, thereby saving precious time and energy particularly when working upon high walls. Therein, due to the large color capacity of the sponges  58  of the palette  54 , considerable areas can be fauxed before having to return to the source of color to re-load the palette with more color or glaze. The sponging process using the inventive palette is generally shown in FIG. 15.  
         [0043]    In FIG. 16 is shown the use palette  54  with a rag  76 . Thereby faux ragging is also made easier and accomplished with greater speed for the reasons set forth above with respect to faux sponging.  
         [0044]    In FIG. 17 is shown patterns  78  on wall  80  and its comparability to that of prior art ragging patterns  33  upon wall  34  (see FIG. 2) which is achieved only with much greater effort.  
         [0045]    It is also noted that texturing, typically as a post-sponging or post-ragging step, using either a sponge pad or brush, as well as stamping, may be accomplished with much more accuracy and versatility because more than one color can be simultaneously used when the inventive palette  54  is employed. It is to be appreciated that faux tools other than rags, sponges and brushes shown herein may be effectively employed with the present multi-color palette to achieve the same benefits above described with respect to rags and brushes described herein.  
         [0046]    With reference to FIG. 18, second embodiment  154  of the inventive palette is seen wherein random and substantially square and parallelogram-like sponges have been replaced by elongate substantially rectilinear planar sponges  158  which are separated by color dams  162 . It has been found if said embodiment of the multi-color faux palette is applied directly against a wall in the manner above shown and described with respect to FIG. 12, the result is a wood or panel-like effect or design.  
         [0047]    Shown in FIG. 19 is a third embodiment  254  of the inventive multi-color faux palette in which there are provided curvilinear sponges  258  separated by color dams  262 . It has been found that a marble-like faux pattern is readily obtainable when embodiment  254  is applied to wall  68  in the manner shown and described with respect to FIG. 12 above. Thereby, the inventive palette when used as a stamp or tool can produce unique and interesting effects. As such, the present system affords novel utility to the faux artist apart from its basic value in reducing the time and labor associated with present faux methods.  
         [0048]    While there has been shown and described the preferred embodiment of the instant invention it is to be appreciated that the invention may be embodied otherwise than is herein specifically shown and described and that, within said embodiment, certain changes may be made in the form and arrangement of the parts without departing from the underlying ideas or principles of this invention as set forth in the claims appended herewith.