Annie Sloan Paints Everything E-Book

Annie Sloan

• Herausgeber: CICO Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

Decorative paint expert Annie Sloan shows how paint can transform any surface in your house.

Das E-Book wird angeboten von und wurde mit folgenden Begriffen kategorisiert:

Leseprobe

annie sloan Paints

EVERYTHING

annie sloan

Paints

EVERYTHING

Step-by-step projects for your entire home, from walls, floors, and furniture to curtains, blinds, pillows, and shades

I would like to dedicate this book to all of my stockists; I couldn’t do this without you. Thanks for all your support and love.

Published in 2016 by CICO Books

An imprint of Ryland Peters & Small Ltd

20–21 Jockey’s Fields 341 E 116th St London WC1R 4BW  New York, NY 10029

www.rylandpeters.com

10 9 8 7 6 5 4 3 2 1

Text © Annie Sloan 2016

Design and photography © CICO Books 2016

The author’s moral rights have been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of the publisher

The Chalk Paint trademark is owned by Annie Sloan Interiors Ltd. and is registered in the United States Patent and Trademark Office.

A CIP catalog record for this book is available from the Library of Congress and the British Library.

ISBN: 978-1-78249-356-3

eISBN: 978-1-78249-618-2

Editor Caroline West

Design concept Geoff Borin

Designer Sarah Rock

Photographer Christopher Drake

SenÚr editor Carmel Edmonds

Art director Sally Powell

ProductÚn manager Gordana Simakovic

Publishing manager Penny Craig

Publisher Cindy Richards

CONTENTS

Introduction

Tools and Materials

Chapter 1

FURNITURE AND LIGHTING

Lino-print Chair

Textured Paint Radiogram

Reverse Stencil Folk Table

Smooth and Textured Cabinet

Tile-effect Stencil Table

White Wax Bureau

Making an Arc

Black-waxed Japanese-style Table

Ombré Coffee Table

Transfer Image Chair

Wet Paint Drawing

Crackled Lamp Base

Gilded Sofa

Brush-shape Patterns

Stenciled and Hand-painted Chest of Drawers

Painterly Dining Room Table

Warehouse Rustic

Painted Chandelier

Chapter 2

FABRIC AND OTHER SURFACES

Printed Footstool

Warehouse Leather Chair

Printed Pillow

Painted Rope Shelf

Printed Table Runner

Shibori Lampshade

Dyed Lace Sheer Curtain

Painted Upholstered Chair Seats

Folded and Tied Painted Fabric

Dyed Dust Sheet

Painted Glass Bowl

Washed-out Striped Drapes

Swedish Painted Blind

Stenciled Rug

Alphabet Transfer Banner

Chapter 3

WALLS AND FLOORS

Random Stencil Wall

Emperor’s Silk Waxed Wall

Washed Wood

Paris Grey Parquet

Fabric Wall

Frottage Wall

Rough and Luxurious Wall

Useful Addresses

Paint Colors and Materials Used

Index

Acknowledgments

INTRODUCTION

I don’t expect many books have been named after the words printed on a paint-mixing stick, but that’s what happened in this case! I was at the planning stage of the book and explaining to my publisher that one of the things I wanted the book to be about was how you can, in fact, paint everything! Across the table were the mixing sticks we had just launched. One thing led to another and the book was named!

Because it is true that, as the book’s title suggests, Annie Sloan paints everything! Throughout the preparation of the book, “Paint Everything” has been the rallying cry. But I didn’t want it to be about all the weird and wonderful things people paint—skateboards, tubas, and even caravans!—nor just about all the multitude of surfaces that can be painted, such as fabrics, concrete, plastics, melamine, marble, and metal, as well as all the usual surfaces like wood. This is an important point, of course, and one that I certainly took into account: you’ll see how I have painted as many different types of wood, both old and new, as I could (namely, oak, mahogany veneer, parquet flooring, scaffolding boards, and pine), along with metals, leather, glass, and fabrics as diverse as lace, burlap (hessian), dust sheets, canvas, and different linens, including my own Annie Sloan Coloured Linens. I even painted rope!

In this book, I wanted to excite you and encourage you to paint everything. I wanted to show how my own range of paint, Chalk Paint®, which I developed in 1990, has retained its classic identity and continued to evolve and develop with new techniques and treatments. It is part of a greater story about interior decorating, involving fabrics, walls, and floor treatments, which can be used to transform your home in a natural and stylish way.

I have gilded and tarnished metal leaf; I have lino-printed on furniture; I have painted, tied, dyed, and dipped fabrics. I have printed, stenciled, and reverse-stenciled on fabrics, walls, and furniture. I have painted in a painterly, freehand way and in a controlled way. I’ve used colored waxes and crackled paintwork. I’ve used transferred images and decorated chairs, tables, chests of drawers, lamp bases, and lampshades. And there were still plenty of ideas that didn’t make it into the book!

I have been inspired by art and artists, fashion and design, and I’ve thought inside the box and outside the box, been conventional and unconventional. I have done lots of easy projects and a few projects that will need a little more skill. I decided at an early stage that if a project didn’t push my buttons, then it wasn’t going in the book. This is also a huge shout-out for the power of color and how colors can be combined. If any thing gets my juices going, then it’s how color and texture work together.

I think this is my most personal book yet and it comes very directly from me, with my color palette and style. Please enjoy it, be inspired, and, above all, paint everything!

TOOLS AND MATERIALS

Using the right tools and materials is, of course, absolutely essential if you are to achieve the best results! Everything I’ve painted in the book uses my Annie Sloan paints and materials.

PAINT

There are many paints on the market, but I have designed the projects in this book with my purpose-made Chalk Paint® in mind (see Useful Addresses on page 158 for stockists). The paint can be applied to most surfaces or used as a dye for fabrics (see www.anniesloan.com for information on unsuitable surfaces). It has a very matte texture and absorbs wax easily, and has been specially created to be used in a huge variety of ways—for example, as a wash, with or without texture, applied thickly, on fabric, or as a dye—which is why it lends itself so well to painting everything.

One of the great bonuses of using this particular paint is that there is no need to prepare furniture first by priming or rubbing down, which means you can start painting easily and quickly while you have the urge. The paint, despite being water-based, even mixes easily with the solvent-based wax too, so you can color the final finish to get the exact color you want. As a general guide, you will need 1-quart (1-liter) cans of paint for large projects and small project pots for painting and decorating smaller areas. For the most part, you only need to apply one coat of Chalk Paint®, but where two coats are necessary, apply the first one with a big brush.

COLOR

Don’t be shy to use colors. Color scares most people and suggesting that they use colors can conjure up a circus-like array of hues, so they err on the side of caution and end up with a lot of neutrals, which can be disappointing. Perhaps it would be better to focus on some neutrals and then add some color. For instance, when thinking of what color to paint a piece of furniture for a particular room, you could start with a palette of neutrals with, say, one or two stronger colors for interest and focus. In other words, either paint a piece of furniture in a defined color with neutral walls or vice versa. Remember that colored waxes can change the color too, so take this into consideration when you are applying your chosen paint.

My paints are made so that they can be mixed together, which means you can also create your own colors. To do this, begin by mixing different paints together on paper, in a paint roller tray, or on an Annie Sloan MixMat™. Use your fingers or small brushes to work out the proportions of each color. Once you have determined the ratio of colors, you can go on to make larger quantities, using this as your guide. Start with the greater quantity and then add the second and third colors, testing all the time to see where you are in the mix.

Color is extraordinary as it changes so much according to the context within which it is used—a color that looks great in one room could look like dirty pond water in another because of the light levels (either artificial or natural) and the surroundings. If you are painting a piece of furniture for a particular room, it might be a good idea to make up your paint colors in that room.

If you want clashing colors, then use adjacent primary and secondary colors. These colors can also be mixed together if you wish to make adjustments—for example, add Barcelona Orange to Emperor’s Silk to make it more of a tomato-red.

THE COLOR WHEEL

A lot of the color wheels you come across are abstract and technical-looking. For that reason, I have created my own triangular color wheel, using my paint colors. The neutrals are positioned separately. Each neutral is a mix of colors—for instance, Paris Grey is a mix of blue and orange.

To find a color’s complementary color, look at its “opposite” color on the other side of the wheel. Facing English Yellow, for example, are Emile and Old Violet. Use a little of either of these to darken English Yellow, or use the two colors together but alter their tonal values by adding Old White. This means that you could have creamy pale yellows alongside lavender/lilac colors, although not in equal amounts. For example, use Old Violet and Old Ochre—which are opposite each other on the wheel—together in a room or on a piece of decoration.

BRUSHES

I have created a range of brushes for painting furniture to achieve the wide range of marks, textures, and flat surfaces needed for painting different styles. You can use any brush you wish, but it does need to have certain qualities, because working with bad brushes can be very frustrating. The hairs should be fairly long and flexible, with a little bounce to allow you to be expressive in your work. Don’t choose brushes that are too short, since the paint will not flow well, and don’t use a brush with hard and inflexible bristles, because the paint will look scratchy. Don’t have a floppy brush, because you will have to work too hard to make the paint spread.

Some projects also use artists’ brushes. These are softhaired brushes from artists’ suppliers. Cheap craft brushes will only result in frustration, as they are not responsive and the hairs quickly become floppy or fall out. The most expensive artists’ brushes are made from sable hair, which are very good, although squirrel hair and high-quality synthetic brushes don’t cost as much and work extremely well, offering the right amount of strength and spring.

Throughout this book I have recommended brushes for each project (see Brush Types and Sizes, below), but it’s important to pick a size that feels comfortable for you to use and suits the size of the piece of furniture or the wall or floor you’re working on.

BRUSH TYPES AND SIZES

Where possible, I suggest you use my range of brushes. In addition to the Annie Sloan brushes listed below, I also use a selection of artists’ detail brushes. For the projects in this book, I have used the following equivalents:

OVAL BRISTLE BRUSHES

Annie Sloan Pure Bristle Brushes in Small, Medium, and Large

FLAT BRUSHES

Annie Sloan Flat Brushes (made of synthetic fibers) in Small and Large

WAX BRUSHES

Annie Sloan Wax Brushes (made of pure bristle) in Small and Large

STENCIL BRUSH

Annie Sloan Stencil Brush (made of pure bristle)

WAXES, SANDPAPER, VARNISHES, AND CLOTHS

I wax more or less everything I paint to get the right finish for my furniture and walls. It makes my projects strong and practical, and gives them a beautiful, workable finish. I recommend you choose a soft wax that can be applied easily with a brush. I often use a 1in (2.5cm) brush to apply wax, but you can use a large brush to get it done quickly if that feels more comfortable. After adding a layer of clear wax to a piece, you can then start applying dark wax or coloring the clear wax with some of my paint to alter the finish. (For details on different waxes, see Types of Wax, opposite.)

For the distressed look, or for achieving a very fine finish, you need to be able to sand the waxed surface to reveal the wood or another coat of paint—so have a range of fine-, medium-, and coarse-grade sandpapers at hand for this purpose. I produce an Annie Sloan range of Sanding Pads in all three grades. I find that using just the fine and medium grades is usually enough, but sometimes move on to the coarser paper if I really want to distress the furniture.

The only time I use varnish is on floors, when I am doing découpage, and for transfer work. I prefer to apply wax to my work at the end because it has such a soft finish, can be colored and changed as you work, and stops the work chipping.

Make sure you also have a good supply of cloths: use old rags for general use and clean, dry, lint-free cloths for removing excess wax, polishing, wiping brushes, applying and wiping off paint, and general cleaning.

TYPES OF WAX

My Annie Sloan range also includes a selection of waxes, which are used in some of the projects, as follows:

CLEAR WAX

Annie Sloan Clear Soft Wax

DARK WAX

Annie Sloan Dark Soft Wax

BLACK WAX

Annie Sloan Black Chalk Paint® Wax

WHITE WAX

Annie Sloan White Chalk Paint® Wax

ADDITIONAL ITEMS

These items are not essential, but I use them regularly and they will prove helpful for many of the projects in the book:

• Table protector

• Paint roller tray

• Annie Sloan MixMat™

• Mixing stick

• Pencil

• Sketchpad

• Scissors

• String

• Yardstick (meter ruler)

• Tape measure

• Masking tape

• Sponge rollers (the Annie Sloan range includes small and large)

• Latex (rubber) gloves (entirely optional, as these are not something I use)

The following items are used less regularly, but are needed for specific projects:

• Lino cutter

• Hot glue gun

• Annie Sloan Coloured Linen (for soft-furnishing projects)

• Batting (wadding)

• Iron and ironing board

• Stencils (see the Annie Sloan stencil range)

• Stencil brush

• Annie Sloan Découpage Glue and Varnish

• Water-based gold size, such as Annie Sloan Gold Size

• Lacquer, such as Annie Sloan Lacquer

• Annie Sloan Craqueleur

• Large sponge (for cleaning large surfaces)

• Newspapers (for the frottage technique)

• Old pail (bucket) or bath tub (for dyeing projects)

CHAPTER 1

FURNITURE AND LIGHTING

Discover imaginative pieces of furniture with each one painted using a different technique, including stenciling, painterly paint, gilding, and distressed paint. Included are dining tables, as well as a coffee table and console table, chairs, a French-style sofa, chests of drawers, a wooden lamp, and a brass chandelier. Styles range from classic to contemporary, with graphic, warehouse-rustic, and folk influences, among others.

LINO-PRINT CHAIR

I’m very fond of this type of chair because it lends itself to so many techniques. This is the story of how the painting of a piece of furniture can evolve—I often know exactly what I want to do; at other times, the piece develops more slowly.

I needed a blank canvas to start with, as the dark wood was distracting, so I painted the chair in Paris Grey, a classic, mid-tone color that is neither dark nor light. Painting with a neutral color such as this is a good idea as it provides a perfect base for bright or pale colors. The chair now looked acceptable, but needed a little more to make it interesting. I tried frottage (a word I use to describe the technique of rubbing crumpled-up newspaper over a thin wash of paint—see page 152) in Greek Blue and the effect was great.

I still wasn’t convinced, though, so I left the chair alone for a while. I went on a lino-printing workshop and returned with a design of a cup and saucer. Lino printing is a method used by many artists, including Picasso and Matisse, and was very popular in the 1950s. It’s recently returned to favor, as it has a retro look but, best of all, the hard, old lino has been replaced by a softer material that’s very easy to use.

I found my teacup design used upside down worked very well, as it looked quite abstract, and that I could wrap the lino around the chair legs and back. I used the oval part of the design to create a symmetrical focus, while the textured pattern of the rest of the design combined well with the frottage to give a random but even effect.

YOU WILL NEED

• Chalk Paint® in Napoleonic Blue, Paris Grey, and Greek Blue

• Pencil

• Piece of soft-sided lino

• Lino cutter

• Small flat brush

• Sketchbook

• Medium oval bristle brush

• Paint roller tray

• Newspaper

• Small wax brush

• Clear wax

• Clean, dry, lint-free cloths

1Make a drawing of whatever you want to feature on the piece of furniture, whether this is abstract or naturalistic, copied or taken from a book. Trace the drawing onto the lino with a pencil (you can also draw the design freehand if you wish).

2Take the lino cutter and dig gently and smoothly into the lino. I cut some of the lines twice (i.e. a double line) to strengthen and emphasize the design. Remember that you can always go over the cutting again once you’ve done a test print.

3Once you are happy with your design, use the small flat brush to paint a thin, but undiluted, coat of Napoleonic Blue onto your lino print.

4Do a test print in your sketchbook to check that you are happy with the effect. Make sure you press down gently and evenly. Some people like to use a roller to make sure the pressure is applied evenly.

5Use the oval bristle brush to paint the chair in Paris Grey—I painted every which way to create texture. Paris Grey started out as a mid-tone, but ended as the lightest tone, against the bright Greek Blue and the deep Napoleonic Blue.

6Once the coat of Paris Grey is completely dry, add a small amount of water to some Greek Blue in the paint roller tray to create a thin paint. It should be quite drippy.

7Using the oval bristle brush, apply a thin layer of the diluted Greek Blue over the Paris Grey. (You should still be able to see the gray underneath.)

8Scrunch and crinkle up some newspaper and lay it flat on the painted surface. There should still be some crinkles left in the newspaper.

9Push the newspaper down and then quickly peel it off. Repeat quickly over the rest of the chair, remembering to work into the joins.

10Take the piece of lino, paint it with Napoleonic Blue (or a color of your choice), and position it on the chair. I placed the print upside down in some areas to create a design that is a little more abstract and interesting.

11Keep printing until you are happy with the overall look. I added stripes down the side of my lino design to create some variation in the image. The lino can be wrapped around the chair splats to create different patterns.

12Once the paint has dried, use the wax brush to apply clear wax to the chair. Remove excess wax with a clean cloth.

TEXTURED PAINT RADIOGRAM