TRADE OF PAINTING &

DECORATING

PHASE 2

Module 3

Imitative and Decorative Arts

UNIT: 3

Broken Colour
Module 3 – Unit 3 Broken Colour

Table of Contents

Introduction .............................................................................................................. 1
Learning Outcomes .................................................................................................. 1

1.0 Select and apply ground coats ...................................................................... 2

1.1 Care and disposal of oil impregnated rags .............................................. 2

1.2 Spontaneous combustion .......................................................................... 2
1.3 Selection of ground coats .......................................................................... 3
1.4 Selecting colour combinations .................................................................. 4
1.5 Mixing and application of glaze (water and oil based) .......................... 5
1.6 Advantages of stippling glaze .................................................................... 7

2.0 Produce broken coloured effect ................................................................... 8

2.1 Tools for creating broken colour effects ................................................. 8

2.2 Materials for decorative effects ...............................................................11

3.0 Broken Colour Effect .................................................................................. 12

3.1 Broken colour effects ...............................................................................12

3.2 Sample panels for clients choice and approval .....................................14
3.3 Working alone or as part of a team ........................................................15

4.0 Eggshell Varnish ........................................................................................... 16

4.1 Application and purpose of eggshell varnish ........................................16

4.2 Clean and safe working practice .............................................................16
4.3 Measuring and setting out panels and borders for decorative work .17
Summary ..................................................................................................................19
Suggested exercises .................................................................................................20
Self test: ....................................................................................................................20
Recommended additional resources: ...................................................................20

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Module 3 – Unit 3 Broken Colour

Introduction
The technique of broken colour finishes has been used in the painting and
decorating industry for generations.

The basic principle of the work is straight forward. By mixing a glaze which is a
thin wash of colour that will retain its pattern when applied over a dry non
porous painted ground, manipulating it with brushes, combs, cloths, paper,
plastic and sponges to achieve a broken coloured effect.

This type of work was traditionally carried out with oil based glazes as water
based ones dried too quickly and patterns were difficult to produce. But for
some years acrylic scumble glaze has been developed and this has increased the
popularity of the work as the oil based type has strong solvent odours. They
also tend to yellow with age or if hidden behind pictures cabinets etc. Water
based ones do not yellow are low odour and dry faster. This type of decoration
can transform furniture walls and woodwork and can be tailored to suit the
client’s needs.

Module 3
Surface
Preparation

Unit 1 Unit 2 Unit 3 Unit 4 Unit 5

Colour Industrial and
Clear Broken Brush Special
Coatings Colour Graining Coatings

Learning Outcomes
By the end of this unit each apprentice will be able to:

 Select and apply ground coats

 Mix and apply glazes
 Produce broken colour effect
 Apply eggshell varnish

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Module 3 – Unit 3 Broken Colour

1.0 Select and apply ground coats

Key learning points

 Care and disposal of oil impregnated rags

 Spontaneous combustion
 Selection ground coats
 Selecting colour combinations
 Mixing and application of glaze (water and oil based)
 Advantages of stippling the glaze

1.1 Care and disposal of oil impregnated rags

A clean cloth is an essential part of a painter’s equipment and should be in
his/her possession at all times. Old cloths that have been used for wiping
should be dampened and dumped immediately after use as they ignite due to
spontaneous combustion. Cloths used for broken colour glazes and graining
scumble are most dangerous and must be treated as such. Never leave them
lying around during lunch breaks or when leaving work at the end of the day.
Immerse in a bucket of water if a metal bin with cover is not available.

1.2 Spontaneous combustion

Some materials used by the painter can ignite spontaneously without flame or
spark.

 Oil or thinners soaked rag if rolled up and left in a heap or bin

 Paint soaked rubber if placed in an enclosed bin may smoulder or burn
 Recently stripped wallpaper that has been compacted.

Always remove these items from work areas and store outside as soon as
possible for removal later.

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Module 3 – Unit 3 Broken Colour

1.3 Selection of ground coats

The preparation of the surface for broken colour must be carried out
thoroughly and any surface defects must be filled, sanded smooth and touched
up before applying two coats of eggshell finish paint. The paint must be applied
without misses and brush marks. Poor brushing will be highlighted when the
glaze is applied as it will gather in any irregularities and will show as a deeper
colour spoiling the finished effect. In many cases the painter will line walls with
a good quality lining paper to ensure a blemish free surface. If the work is to be
carried out with oil based glazes then the ground coat must be oil based as well
as they do not work well over acrylic grounds. The ground colour must be
allowed to dry hard so that the action of brushing and the high content of
solvent in the glaze will not work up the ground colour.

Ready made glazes are available with recommended ground coats and
protective glaze coatings in matt or gloss. These are very good products and
save a lot of time as their catalogue’s show the finished work.

Water based glazes are best applied to an emulsion or acrylic ground

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1.4 Selecting colour combinations

The correct selection of colours for broken colour comes with experience. Care
is needed when choosing these and particular attention should be paid to using
tones of similar contrast. For example when using a white ground light
coloured glazes are best as they do not appear too stark. By using colour
harmony rules satisfactory results may be obtained e.g.

Monochrome:

Dark blue-green over light blue-green or vice versa.

Analogous:

Yellow green over Yellow

Yellow orange over Yellow and vice versa

Complimentary:

Orange over blue and vice versa

By adding in a third colour an extra dimension is given to the work. Ready

made glazes are available with recommended ground coats. These are very
good products and save a lot of trial and error

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1.5 Mixing and application of glaze (water and oil based)

Glaze:

A transparent or semi-transparent colour applied over another to give a broken

colour effect. It can be oil or water based.

Ratcliffe’s transparent oil glaze:

Transparent Oil Glaze is a medium for producing a glaze or scumble by

addition of stainers for broken colour effects such as stippling, rag rolling,
dragging, toning and wiped effects, as well as graining and marbling. It is not
intended for use untinted as a clear protective film. The material is based on
linseed oil and has a natural tendency to yellow.

1. Slowly on ageing
2. Rapidly on conditions of darkness, e.g. behind pictures, etc.
3. Rapidly at elevated temperatures, e.g. on radiators and hot water pipes.

Customers should be advised to this effect.

Stainers:

These should be good quality stainers such as artists’ oil colours, but one
should avoid the student range. Certain universal stainers are suitable, such as
Kolorit, but users should satisfy themselves as to the lightfastedness and
suitability of any stainer employed. Pigments that are affected by acid
conditions should be avoided, as the medium of Transparent Oil Glaze is
slightly acidic.

Tinting the glaze:

Transparent Oil Glaze has very little reducing power and as a result small
additions of stainers will appear to produce a deep tint. It is therefore essential
that sufficient stainer be added to ensure adequate colour and colour stability.
As a general rule the glaze should be tinted as strongly as possible and applied
as sparingly as possible consistent with achieving the desired effect. Remember
that a litre of glaze is usually sufficient to cover 30 sq metres and the amount of
colour added will be “stretched” to cover that area. If sufficient colour is added
to glaze, the “strong” colour in the tin may vanish when brushed out of the
wall.

The addition of stainer, unless reduced with white, should never be less than
2% by volume, i.e. 20ml per litre of glaze.

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For paler tints of glaze it is advisable to make a white glaze consisting of 20%
white oil based undercoat, 80% glaze and tint to shade. This will minimise the
natural yellowing of the material and allow a larger addition of tinted to achieve
the desired pale shade thus giving greater tinting control. Alternatively, a pre
tinted eggshell oil paint from tinter scheme dispenser may be added a 30%
tinted eggshell, use a slightly darker shade than that actually required as the
“transparency” added by the glaze will cause the ground colour to effectively
lighten the colour of the glaze mix.

Thinning: The glaze should never be used unthinned. Thin with white
spirit as required (20-25% is a normal addition), but care should be taken not to
over-thin, as there is a possibility of causing flocculation of the pigments. On
large areas the drying process may be retarded by the addition of small
quantities of acid refined linseed oil (100ml per litre maximum addition). Raw
linseed may impart a greenish discolouration to pale tints. Alkali refined linseed
oil should not be used as it is liable to cause the material to gel.

Drying Time: 7-10 hours. Drying will be slowed by the addition of acid
refined linseed oil. Universal Stainers will generally retard drying. Artists’ oil
colours will have varying effects according to the pigment employed.

Application: The quantity of glaze needed will vary according to the effect
required and the amount of thinners added. Normally spreading rate will vary
between 20 and 40 square metres/litre. The basis of all broken colour work is
that the ground colour grins through the applied glaze to create effect. The
ground colour should be an eggshell finish oil paint that is hard dry. Apply the
prepared glaze sparingly over the ground colour using a suitably sized
paintbrush; on large areas it may be an advantage to use a mohair or sheepskin
roller to apply the glaze and these in turn give pleasing effects. On large
unbroken areas it is advisable for one person to apply the glaze while another
creates the effect.

Acrylic scumble glaze:

A product that helps the painter produce broken colour effects with water
based mediums. There is a variety of these glazes available and they have very
similar properties.

By mixing 6 parts acrylic glaze to 1 part emulsion a working material is

produced. All broken colour mixes should be tested on sample boards and
adjustments made if necessary.

The availability of easily applied ready made products has increased the
popularity of this type of decoration. A good selection of colours and a
selection of tools for making the pattern are available from good decorating
shops.

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Spirit washes:

A recently introduced method where coloured spirit stains can be sprayed from
small hand held sprayer. This sprayer is similar to ones used for spraying house
plants.

The desired colours are sprayed on to the surface, manipulated with Brushes
and cloths until desired effect is achieved. This material being spirit based, dries
very quickly but can be re activated by spraying a clear glaze over it.

Being spirit based it is a reversible coating which is a great advantage as it can

be re activated the day after or a week after and worked on again. Seal with a
clear gloss or satin oil based varnish as water based tends to lift it.

1.6 Advantages of stippling glaze

The purpose of the hair stippler is to level out the newly applied coat of paint
and to eliminate the brush marks from it. To blend colours together in order to
obtain a gentle graduation where a blending of colour from light to dark is
required. To level out an area of tinted glaze before any broken colour effects
such as rag rolling or rubber stippling are commenced.

The method of use:

When an area of suitable size has been laid in with paint or glaze, the surface of
the wet material is patted or struck several times with the force of the stippler,
the brush being used with short sharp clean strokes. Each stroke largely
overlapping the previous one. It is very important that the stippler is lightly
coated with the glaze before commencing to avoid absorbing the glaze with the
first strokes.

It is necessary that the stippler is turned at each stroke with a series of strokes
and each stroke overlapping the other across the painted surface, and so on.

If it is used in a haphazard fashion with a series of circular motions there is a

possibility for some small area to be missed and thus show up very much in the
finished work.

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2.0 Produce broken coloured effect

Key learning points

 Use of various tools for creating broken colour effects

 Using different materials for decorative effects
 Use of sample panels to present for clients choice and approval

2.1 Tools for creating broken colour effects

The broken colour glazes are applied with flat bristle or synthetic paint brushes
therefore it is important to have a selection of sizes available to suit large and
small areas. Clean paint kettles for holding glaze and clean lint free cloths for
wiping or ragging.

Stipplers

The wet glaze is pounded with the face of a stippling brush that draws the glaze
into tiny points of colour. Surplus glaze should be frequently wiped from the
brush.

Hair stipplers

Sponges:

Sea sponges are best for this work but some nice effects can be produced by
cutting pieces out of the domestic or decorator’s sponge.

Sponges

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Dragging brushes:

Good quality dragging brushes have bristle on side and a stiff nylon type
material on the other. This gives variety to the drag lines. A pushing motion
gives a much different but softer effect.

The large dragging brush is ideal for use on large wall areas and an extension
handle can be attached to make it much easier to achieve an even drag.

Small dragging brush Large dragging brush

Combs:

Used to create many effects when working with broken colour.

Plastic combs Metal combs

Pattern Rollers:

Rolled through the wet glaze producing an overall pattern

Pattern rollers

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Some samples of broken colour work

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Trompe L’oeil:. Creating the illusion of depth on a flat surface.

This piece of decoration contains a variety of broken colour effects on an

accurately drawn architectural feature. Among the effects illustrated are
stippling, ragging, marbling, lining, shading, sponging and airbrushing.

Trompe l’oeil

2.2 Materials for decorative effects

A wide variety of materials can be used when working patterns into broken
colour:

 Light plastic
 Lining paper
 Newspaper
 Lint free cloths
 Steel wool
 Sponge
 Chamois leather
 Special Rollers

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3.0 Broken Colour Effect

Key learning points

 Broken colour effects

 Use of sample panels to present for clients choice and approval
 Working alone or as part of a team

3.1 Broken colour effects

Rag rolling

An effect produced by applying a semi transparent material over a previously

prepared semi gloss or gloss ground to give a two toned coloured effect.

A third or fourth colour can be introduced by the painter having become

becomes familiar with the materials involved to achieve a multi-coloured effect.

Procedure: Prepare surface by flush filling and bring forward to semi gloss
finish. All materials should be strained to give clean ground for working on.

Making the glaze: Using artist oil colours or universal stainers mix with white
undercoating or transparent oil glaze to the desired colour thin to a wash with
white spirits or turpentine, raw linseed oil and a little drier. Being of a very thin
nature the glaze will dry rapidly so sufficient linseed oil and transparent oil
glaze must be used to keep the glaze “open”.

When the ground colour is dry apply the glaze evenly with a full brush and lay
off in one direction. Using a hair stippler lightly stipple the material to remove
any brush marks.

By rolling up lining paper or lint free cloth and making sure no sharp or loose
edges are present roll the paper over the glazed surface in an irregular pattern.
Refold the paper or cloth to a clean face and proceed again until the glazed area
is completely rag rolled.

Great care should be taken when rag rolling as with all broken colour finishes,
touching up is practically impossible. Also do not roll paper over area in
straight lines as this will show when dry. The finished work should show no
obvious pattern.

To produce a multi coloured effect apply different coloured glazes to the

ground and soften into one another before rag rolling and if the painter has
taken care with the selection of colours then a very colourful effect can be
produced. When dry protect by applying a coat of thinned out clear oil based
varnish.

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These broken colour effects can also be produced in water colours by mixing
artist acrylic colours or universal stainers with acrylic scumble glaze. This will
keep the glaze open or workable for 1 hour giving plenty of time to create
patterns. When dry protect by applying a coat of thinned out clear varnish.

When dry protect by applying a coat of water based varnish.

Another method is to soak the cloth in the glaze and wring out. Roll over the
whole surface in a haphazard fashion. Repeat the process until the whole area is
complete. A chamois leather can be used with the water glaze to produce
excellent effects.

Bagging;

This is a good effect for large areas as it is easily carried out. The glaze is
brushed on evenly to a section of the surface and while wet a pattern is
produced by striking with a crumpled piece of plastic. It is very quickly
achieved pattern

Ragging:

Similar to bagging but a cloth is used instead of plastic.

Dragging:

A simple but very pleasing decorative effect produced by dragging a specially

designed brush or good quality dust brush through a wet glaze. Pushing the
brush can give a completely different effect. Drawing a piece of steel wool
through the wet glaze gives another dragging effect.

Wiping:

This is a useful technique where a tinted glaze is applied over a textured surface
such as decorative plaster, carvings furniture etc. An eggshell finish oil paint is
applied as the ground and allowed to dry thoroughly. The tinted glaze is
brushed over the surface and surplus material wiped from the highlights using a
lint free rag. Bring new areas of the rag into use as it becomes soiled.

Sponging:

A natural sponge is best used for this work and a variety of sized sponges are
available. Mix a glaze colour and place it in a small flat tray. Dampen the
sponge in the coloured glaze and dab it on paper to avoid applying too much
colour at the beginning. Apply the colour randomly over the ground coat and it
will transfer in small spots. Another colour can be used in the same way when
the first one is dry adding to the effect. A third one can be introduced if
necessary.

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Blending:

This is a very nice effect and can be used on any surface. This effect is achieved
by mixing a glaze of a deep tone of a colour and a light tone of the same
colour. Two in between tones can now be made by mixing portions of the light
and dark colour together. Select a clean brush for each colour.

Apply a band of the darkest colour to the lower quarter of a prepared panel and
a narrower band of the same colour to the top. Do not flood on the colour as it
will be difficult to blend.

Apply the next tone of colour against the edge of the dark colour and the same
on top. Blend together with a small stippler to achieve a soft effect. Apply the
lightest band of colour against the other colour and stipple again to achieve a
nice subtle blended effect. A selection of colours can be used in the same way
for a more colourful effect.

Combing:

This effect is produced by using steel rubber or plastic graining combs. Suitable
for small areas.

.A wide comb can be drawn down straight through the wet glaze and while still
wet a smaller sized comb can be drawn through it in a wavy motion creating a
pattern.

Many patterns can be produced and practice will develop these skills

3.2 Sample panels for clients choice and approval

Many people do not understand the meaning of broken colour when it is
recommended as a decorative effect for their home or premises so it is
important that it is explained fully to them. It is an expensive form of
decoration therefore it is necessary that they be made aware of exactly what is
being recommended. The best way is to show them the finished product so
that they are comfortable with the new scheme before it commences. If
possible bring them to a previous job. Do not force the choice on them as it
never works.

While the preparation of surfaces for broken colour is underway apply the
ground colours to piece of good quality lining paper or strong tracing paper.
When the glaze is being applied apply to the painted sample. Over a period of
time many of these samples can be used as a portfolio which can be produced
for your client’s perusal. Photographing the finished rooms etc is another way
of showing this type of completed decoration to future customers.

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3.3 Working alone or as part of a team

On large or awkward to reach areas it is very difficult to apply and manipulate
the glaze successfully on your own as it may set up, thereby showing the dry
edges. When this happens the glaze must be removed by wiping and the work
restarted.

Working with a partner and planning how the job should be organised will
make it easier and more efficiently executed. One painter should apply the glaze
and the other work the pattern. Do not swap roles as each individual will
produce a very different pattern even though the same materials are being used.

When working on the walls of a large room start on the smallest one to get feel
for the material and to check the pattern. Work out from a corner in areas of
one square meter keeping edges irregular and maintaining a wet edge at all
times.

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4.0 Eggshell Varnish

Key learning points

 Application and purpose of eggshell varnish

 Clean and safe working practice
 Measuring and setting out panels and borders for decorative work

4.1 Application and purpose of eggshell varnish

Broken colour finishes are delicate and when applied to doors , wood work,
furniture and wall areas they must be protected .

Protecting the Finish:

Areas that are subjected to hard wear and tear must be protected by two coats
of either eggshell or gloss varnish. Oil based eggshell varnish is the ideal one
for furniture as it gives a nice sheen to the finish while offering protection.
While using this product over dark colours presents no problem, it does tend
to show some discolouration over light colours. Water based varnish is best
used over these.

If oil based glaze has been applied to wall areas it will present a glossy
appearance when dry which does not suit curtains, fabrics etc. The application
of eggshell varnish to the walls will eliminate the glossy look. The eggshell
varnish should be stirred and well thinned out before applying to reduce the
risk of discolouration. Flat varnishes can also be used for this purpose.

4.2 Clean and safe working practice

Solvent Based paints are flammable materials that have to be carefully stored to
avoid accidental fire. They must be stored outside in a properly ventilated store
that has the recommended type of fire extinguishers in place. If small stocks of
paint or thinners need to be stored indoors then a metal fireproof cabinet must
be provided.

For environmental reasons it is illegal to discard paint, used paint tins, white
spirit or any thinner by placing in refuse bins, pouring down drains or dumping
in landfill areas. Specialist firms will dispose of it for you.

When working in a domestic environment select a suitable safe area outdoors

to store these materials. The working area must be well ventilated and proper
PPE equipment used where necessary. Tidiness is very important so that the
work proceeds uninterrupted and efficiently. The area should be vacuumed
clean regularly as dust will adhere to this slow drying material. A check of the
working area must be carried out each day to ensure the removal of used cloths
and papers.

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Skin Contact:

When working with broken colour a large quantity of white spirit will be used.
As white spirit tends to dissolve the skin’s natural oils, barrier creams should be
used and PVC gloves worn. Hands should be cleaned with recommended hand
cleaners followed by soap and water. White spirit should not be used for this
purpose.

4.3 Measuring and setting out panels and borders for

decorative work
Panelling can be a very decorative way of breaking up the walls of a large room
that would have been boring with a solid coloured finish. When setting out the
panels a china marker should be used instead of a pencil to avoid leaving
permanent marks. Stencilling can be added to complete the decoration.

Steps in measuring for panelling:

 Measure one wall and draw it to scale on drawing paper.

 Sketch in panels of different shapes and sizes until the one most
suitable is arrived at.
 Make a final accurate working scale drawing
 Do exactly the same for the remaining walls

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Working on the wall:

Tools and materials required: Plumb bob, level, self chalking line, china
marker and low tack masking tape.

 Mark out the top and bottom line measurements and snap lines.
 Taking the measurements from the scale drawing and using plumb bob
or level mark out the first panel and check.
 If checked measurements are OK proceed to the next one and so on.
 Tape up panels carefully and accurately.
 Apply broken colour glaze and remove tape.

Note: If working with water based glaze an additive can be mixed with the
water based ground colour to increase its adhesion. This is important
when using large amounts of masking tape as the surface can be
damaged when removing.

View of suggested panelled wall

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Summary
Broken colour as a decorative effect has been with the trade for generations
and it has become fashionable and unfashionable as other forms of decorations
do. People tire of blank coloured walls and broken colour is one method that
can be used to introduce a completely different type of decoration

To prove its popularity paint manufacturers have spent lots of time and money
developing workable glazes tools and well presented brochures promoting thei
products.

Videos and DVD’s have been produced to encourage furniture painting and
wall decoration using the traditional techniques with modern materials.

Extra treatment of broken colour with crackle varnish or antiquing varnish

adds another dimension to the finish.

Distressed finish

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Suggested exercises

 Prepare three panels and produce three different broken colour

techniques.
 Apply eggshell varnish.

Self test:
Q.1 What is a glaze

Q.2 What precautions should be taken to avoid spontaneous combustion.

Q.3 Explain the painting defect blooming

Q.4 Name four different types of broken colour.

Q. 5 Name four materials used to make patterns in broken glaze.

Q.6 List four tools used for manipulating broken colour.

Recommended additional resources:

The Handbook of Painted Decoration ISBN 0-500-01712-3

Authors: Yannick Guegan and Roger Le Puil

The Art of Faux ISBN 0-8230-0858-4

Author: Pierre Finkelstein

Paintability ISBN 0-297-78729-2

Author: Jocasta Innes

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27-33 Upper Baggot Street
Dublin 4