Decorative painting apparatus and method

Apparatus, kit and method for painting a marbleized pattern on an essentially flat interior surface using paints with a plurality of colors. Before beginning the process, if necessary, the surface is cleaned and prepared. This can include applying masking tape around the periphery of the area to be painted. Splotches of paint of one color are then applied to a portion of the total area to be painted using a stiff bristled brush. Splotches of other paint colors are then applied interspersed with the previous colors. The brush is then used to preliminarily blend the various splotches of paint. A special blending tool faced with wool is used to complete blending the paint. The wool face is moistened before use, and blending is completed by patting the paint with the wool face of the tool while changing the angles and locations of the tool between each contact. Accent veining lines can be added to the blended paint surface using a feather dipped into a paint of a different color than the blended surface.

BACKGROUND OF THE INVENTION 
1. Field of the Invention 
This invention relates to an apparatus, and a method of applying color 
media to any paintable surface, particularly walls, to create multiple 
decorative painted effects in an unprecedented fast and easy manner. 
2. Description of the Prior Art 
Faux finish is an art form of illusion achieved through an act of painting 
or a particular form of decorative painting. Traditional faux finishes are 
accomplished utilizing highly skilled and artistic decorative techniques. 
These techniques were designed to replicate many natural surfaces, such as 
granite, marble, aged European stucco, and suede. Typically, such known 
techniques have been used to decorate interior surfaces that would 
otherwise be impossible to manufacture or install with natural materials 
because of the shape of the surface or the extreme expense. Today, the 
faux finish process is used because it overcomes these problems and also 
permits utilizing colors which harmonize with other interior elements. 
In the past, faux finish techniques required specialized paints, solvents, 
coloring agents, brushes, sponges, and other specialized elements. In 
addition, the finish was applied in a multi-step process involving several 
layers which required highly skilled craftsmen, typically requiring 
several days. 
The traditional faux finish methods allow the artisan to work with several 
layers of thinned, translucent paints, called glazes, applied on top of an 
opaque base coat. Every color represents a separate layer which applied on 
top of the previously dried layers, making this a painstakingly complex 
and difficult process. A desirable factor to these techniques is the speed 
of application. If the artisan does not move fast enough or is delayed in 
the process, the work will be destroyed unavoidably due to the glazes 
drying before the work is finished. 
Applying color media onto a surface in a two color pattern intended to 
resemble a marbleized finish has been taught in Jones, U.S. Pat. No. 
4,919,975. Obtaining a painted finish on an exposed surface such as a wall 
or ceiling is taught by that document. The approach of Jones has a number 
of disadvantages including a limited number of options to create different 
effects, it requires a base coat, incorporates a limiting two colors that 
requires an applicator tool for each color used, it requires another tool 
and step to "fill-in" areas, requires a step of stamping the applicators 
together, and it incorporates another step of going over dry painted 
surface to reblend irregularly painted areas that result in many time 
consuming steps. 
SUMMARY OF THE INVENTION 
This invention provides an apparatus and a method of creating several 
painted faux finish effects using a plurality of contrasting colors in a 
single coat application. It is intended for any paintable surface, however 
interior walls are the primary focused surface. The method uses a 
plurality of contrasting colored paints which define the faux finish. 
While two to ten paint colors can be used in this method, the use of two 
to six is recommended for the novice. The apparatus and the method is 
specifically designed to reduce the complex, multi-layer process of 
traditional faux finishing, eliminate the base coat step, and eliminate 
the need to incorporate additional steps of blending corners and edges 
with the overall surface appearance. Prior to initiating the steps to 
acquire the subject method, standard surface preparation may be required 
prior to painting, a universal process necessary prior to any type of 
painting (such as wall repair work), removal of wallcovering paste residue 
or anything that would affect the adherence of paint to the surface. 
Uniform sheen is important by making sure that a preexisting coat of 
primer exists on the entire surface. Protective 2" masking tape can be 
applied to the adjoining woodwork and ceiling prior to painting and drop 
cloths should be used to protect the flooring. 
As mentioned earlier, no prior base coat of paint is required to use this 
method. The patterns of this faux finish are produced using different 
color water compatible paints, i.e. a paint which can be diluted by water. 
A small amount of water dilution allows the user to create the illusion of 
texture without adding undesirable and unnecessary texture to the surface 
when it is dry. Latex paints provide a representative type paint which can 
be diluted by water. 
In this method, adjacent portions of essentially uniform width extending 
from edge to edge across the area to be painted are selected, in turn, for 
painting. The paint can be applied and blended to selected portions 
approximately five feet in width and four to five feet in height. During 
the blending process, each newly painted portion is blended with the edges 
of adjacent previously painted portions. After the first portion has been 
processed, adjacent portions are selected, painted and blended in the same 
manner until the entire area to be painted has been covered. Previously 
painted portions can be dry or wet when blending the new portions with 
them. The nature of the apparatus, method and the consistency of the paint 
allows this to be possible. 
Each color paint is applied in heavy splotches using a very large (i.e., 
6") paint brush. The paint should be applied so heavily, that it will 
sometimes drip. Appropriate spacing should be left between splotches 
according to the number of subsequent colors to be used, i.e. if using 
more paint colors, space splotches further apart, if using fewer paint 
colors, space splotches closer together. After splotches of the first 
color paint are applied, splotches of each subsequent contrasting color 
are applied to the surface until all of the desired colors are applied to 
the surface area using the same brush. From two to ten colors can be 
applied in this manner until the entire selected portion has splotches 
evenly dispersed. 
After all the colors have been applied to a selected portion, a preliminary 
blending of paints is accomplished using the same brush while each color 
of paint is still wet. This consists of brushing over all the splotches 
and areas between the splotches to spread the paint evenly across the 
selected portion of the surface and spread any possible paint drips. This 
also includes spreading the paint into the outer edge of adjacent 
previously painted portions, edges or corners. 
After preliminary blending, the blending process is completed by using a 
special hand-held blending tool which has a wool facing. Blending is 
completed by patting the painted surface with the wool facing and into 
adjacent portions, ceiling line, woodwork line, or corners, therefore 
avoiding any unnecessary tools or steps to complete the edges. The edges 
of adjacent previously painted areas are also blended with the current 
selection portion to create an attractive unidentifiable transition of 
color. 
When two-step blending the paints, if a slight amount of blending is done, 
the highly textured effect of granite is created. If blending is continued 
considerably more, the effect of aged European stucco is created. A great 
amount of blending will create a soft transition of colors found in suede. 
In another version, the paint splotches are applied in a diagonal pattern 
by applying the first color in diagonal splotches, followed by applying 
the subsequent colors in diagonal splotches using a large brush. 
After all the colors have been applied to a selected portion, preliminary 
blending of the paints is accomplished using the same brush. This 
preliminary blending consists of brushing over the diagonal splotches and 
area between the splotches, including brushing into the outer edge of 
previously painted adjacent portions as well as corners and edges adjacent 
to selection portion. 
The blending process is completed, by patting the painted surface with the 
blending tool, with the wool facing, producing a completely blended 
surface to desired effect. The patting of the blending tool with surface 
creates the desired transitions of color and illusionary texture without 
undesired repeating imprint patterns shaped like blending tool. The 
boundaries of painted portions adjacent to previously painted portions are 
lightly blended to create an attractive transition and flow. 
After all of the diagonal portions of the complete surface to be painted 
have been painted, blended, and allowed to dry, accent marble veins can be 
painted over the dried paint. Accent marble veins are created by dipping a 
large feather into paint mixed with a considerable amount of water than 
that resulting from the blended paints and freehanding the desired accent 
line patterns. These accent lines can be made to resemble veins in genuine 
marble. 
A dramatic effect can be provided after the complete surface has been 
painted and allowed to dry by attaching a number of equally spaced tapes 
to the surface extending generally perpendicular to opposed edges. For 
vertically extending surfaces, these tapes will also be oriented 
vertically and extend between the top and the bottom edge of the painted 
surface. These tapes define a plurality of adjacent parallel areas. 
Alternate parallel areas are then painted by the large brush with a paint 
which contrasts with the previously blended paints, and then blended by 
brush and then by the blending tool as before. After the paint applied to 
the alternate areas has dried the tape is removed. The previously blended 
parallel areas, interspersed with the contrasting blended paint, provide a 
dramatic effect. The amount of contrast between the two can be varied by 
changing the color of paint, which also changes the emphasis.

DETAILED DESCRIPTION OF THE INVENTION 
The present invention relates to an apparatus and a method of producing 
several decorative painted faux finishes on any paintable surface, 
particularly on walls, using a number of contrasting paint colors, but 
with no new base coat required, in an efficient, consistent, fast, and 
aesthetically pleasing manner. Blending tool 10 is shown in FIG. 8. Tool 
10 was specifically designed for this use, and is required to complete the 
blending process. Tool 10 has a body 12 of plastic formed into a generally 
planar, rectangular shape with a handle 14 formed in the center. Wool 16, 
which consists of wool with its skin, is attached to the face of body 16 
to provide the facing. Wool 16 covers the face of body 10 opposite handle 
14 and extends around the sides of the body to allow for efficient edge 
and corner painting. Wool 16 is secured to the handle side of the body 
with the skin innermost and the wool outermost. 
The paint used here is a water compatible paint, such as a latex paint, to 
permit slight dilution by water. This permits slight diluting of the 
paints to a thickness that will provide the best results. A plurality of 
contrasting paints of two to ten in number can be used. Prior to this 
process, standard paint preparation may be required. This may include such 
things as removing any previous coverings and adhesive, filling and spot 
priming any holes and sanding any glossy surfaces to provide a sound 
surface of uniform sheen. Such priming is required only when the prepared 
surface would otherwise be nonuniform in appearance. For new surfaces, 
initial prime coating is necessary as with any type of painting. 
Protective 2" masking tape is applied to the adjacent woodwork and ceiling 
of the surface and drop cloths used to cover flooring. 
The total area to be painted is processed as a plurality of selected 
portions of essentially equal width extending from edge to edge 
perpendicularly across the surface to be painted. When the painted surface 
is vertical, the total area will be processed in sequence in a plurality 
of generally equal width vertical portions extending from the top to the 
bottom of the areas to be painted. A portion is selected and processed, a 
second portion adjacent to the first portion selected area is selected and 
processed, a third portion adjacent to either the first or second 
processed portion is then selected and processed until all of the portions 
making up the entire surface have been processed. 
In this description only three paints are used, however, the process 
remains the same regardless of the number used. After the paints have been 
slightly diluted with water, the process is begun in the step shown in 
FIG. 1, by applying the first color in separate splotches 20 followed by 
applying the next color in splotches 24, and third color 26, using a large 
brush 22. After this step splotches 20 and 24 and 26 consume substantially 
all of the selected portion 28 of the entire area to be painted, with 
splotches 20, 24 and 26 each covering essentially equal areas of the 
selected portion. 
After all the colors have been applied to a selected portion, the next 
step, a preliminary blending of the paints 30, as shown in FIG. 2, is 
accomplished using the same brush 22. This preliminary blending consists 
of brushing over the splotches and area between the splotches also to 
include brushing into the outer edge of any previously painted adjacent 
portions as well as corners and edges adjacent to selected portion. 
The blending process is completed, as shown in FIG. 3, by patting the 
painted surface with blending tool 10, with the wool facing 16, producing 
a completely blended surface to desired look 32. The patting of the 
blending tool 10 with surface 32 creates the desired transition of colors 
and illusionary texture without undesired repeating imprint patterns 
shaped like blending tool 10. The boundaries of painted portions adjacent 
to previously painted portions are lightly blended to create a consistent 
transition and flow. In FIG. 12, adjacent ceiling line 52 and woodwork 
line 54 are protected with 2" masking tape 50 to allow blending tool 10 to 
evenly and consistently decoratively paint. The user will immediately 
learn how much blending is necessary to acquire their desired effect with 
little practice. 
After the first selected portion has been painted and blended using the 
two-step process described above, an adjacent portion is then selected, 
painted and two-step blended in the same manner. All of the remaining 
portions are selected, painted and two-step blended in turn in the same 
manner until the entire area to be painted has been covered. An advantage 
of using opaque latex type paint instead of transparent glazes is that one 
portion can be painted, blended and if necessary, allowed to dry before an 
adjacent area is painted and blended in with the dry paint of the 
previously painted portion with no inconsistencies in the final result. 
When blending the paints, if a slight amount of blending is done, the 
highly textured effect of granite is created. If blending is continued 
considerably, the slightly textured effect of aged European stucco is 
created. A great amount of blending will create the mildly textured soft 
transition of color found in the appearance of suede. 
In another version, the paint splotches are applied in a diagonal pattern 
as shown in FIG. 4, by applying the first color in diagonal splotches 20 
followed by applying the next color in diagonal splotches 24, and third 
color 26, using a large brush 22. After this step, diagonal splotches 20 
and 24 and 26 consume substantially all of the selected portion 28 of the 
entire area to be painted, with diagonal splotches 20, 24 and 26 each 
covering the selected portion. 
After all the colors have been applied to a selected portion in a diagonal 
pattern, the next step, a preliminary blending of the paints 34, as shown 
in FIG. 5, is accomplished using the same brush 22. This preliminary 
blending consists of brushing over the diagonal splotches and area between 
the splotches also including brushing into the outer edge of any 
previously painted adjacent portions as well as corners and edges adjacent 
to selected portion. 
The blending process is completed, as shown in FIG. 6, by patting the 
painted surface with blending tool 10, with the wool facing 16, producing 
a completely blended surface to desired look 36. The patting of the 
blending tool 10 with surface 36 creates the desired transitions of colors 
and illusionary texture without undesired repeating imprint patterns 
shaped like blending tool 10. The boundaries of painted portions adjacent 
to previously painted portions, edges and corners are lightly blended to 
create a consistent transition and flow. 
After the entire area to be processed has been diagonally painted, two-step 
blended, and surfaces 36 have dried, a large feather 38, dipped in paint 
diluted with a considerable amount of water which contrasts with surfaces 
36, can be used as shown in FIG. 7 to freehand the appearance of marble 
veins 40 or leather creases on the surface. Practice with the feather will 
result in a close mimic to actual veins in marble which greatly enhance 
the results. 
Another version, after the entire area to be processed has been painted, 
two-step blended and surfaces 36 have dried, a dramatic effect can be 
provided by first attaching a number of equally spaced and parallel tapes 
42 to the surface, as shown in FIG. 8. Tapes 42 are shown being applied 
which extend across surface 36 generally perpendicular to opposed edges. 
These tapes define a plurality of adjacent parallel areas across the 
entire area which was painted. When the surface is vertical the tapes will 
also be vertical dividing the surface into a plurality of essentially 
equal width parallel stripes defining parallel areas running between the 
upper and lower edges. 
As also shown in FIG. 8, a parallel area 44 is being painted and then 
blended using brush 22 over the parallel area using paint which contrast 
with the previously blended paints. The parallel areas 44 of FIG. 8 are 
then blended using blending tool 10 as described earlier producing a 
completely blended surface 46, as shown in FIG. 9. 
The process described above illustrated by FIGS. 8 and 9 using brush 22 and 
blending tool 10 is repeated for alternating parallel areas 44 over the 
entire previously painted surface. 
After surface 46 has dried, tape 42 is removed as shown in FIG. 10 
resulting in surface 48 over the entire previously painted surface. The 
previously blended areas 36 are interspersed with the contrasting paint of 
areas 48 which provide a dramatic effect. The amount of contrast between 
the two areas can be varied by changing the paint contrasts to change the 
amount of emphasis. This method produces a faux "fantasy finish" with no 
base coat required. The new blending tool enhances the faux finish effect 
greatly with the minimum of effort and with the minimum of training. 
Creating authentic surface replications through faux finish decorative 
painting is easy to learn and to accomplish using this apparatus and 
method. 
While this invention has been described with reference to illustrative 
embodiments, these descriptions are not intended to be construed in a 
limiting sense. Various modifications of the illustrative embodiments, as 
well as other embodiments of the invention, will be apparent to persons 
skilled in the art upon reference to this description. It is therefore 
contemplated that the appended claims will cover any such modifications or 
embodiments as fall within the true scope of the invention.