Gilded ceilings with scrolling border

In this home there is a formal dining room and a formal living room on either side of the entry. We gilded-or gold-leafed-the ceilings in both rooms and created the chinoiserie scroll border.

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The ceilings were first base coated in red to mimic the traditional bole clay used in gilding. We used a chalk line to create a grided guide to keep the individual leaf in straight lines. I used dutch metal (a brass alloy) rather than gold, applied with Aquasize water-based size. After burnishing, the leaf was finished with multiple layers of shellac.

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The formal sitting room on the opposite side of the entry. Here you can see the beautiful asian-style painting above the mantle that we took inspiration from.

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In this detail you can just make out the silver flower detail that we applied in a staggered pattern over the gold. I designed the scroll stencil and hand-cut it from thick mylar. We used an adhesive spray with the leaf for the border. Incidentally, we did the second ceiling in half the time of the first. I am always amazed how quickly the work goes once the problem solving has been worked through and the order of operations has been established. Whenever possible I do things assembly-line style. Architecture and design by Robert MacArthur.

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Rustic color-washed accent wall

This color-washed finish is evocative of the aged lime-washed exteriors of the Southwest and Mexico. As an accent wall, the color and texture provide a rich setting for the rustic furniture and primitive objects. This color-wash finish consists of two transparent layers of brushed and ragged acrylic glaze.

Mantle makeover

For many years this mantle had been painted in a generic semi-gloss white paint. We wanted to make it an elegant focal point for this living room and so it was base-coated in medium grey (above) in preparation for a gesso and gilt inspired finish.

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Detail of the gesso and gilt inspired finish. It was created by dry-brushing and dragging layers of off-white acrylic paint over the grey and then pouncing and fly specking in warmer tones to create depth and aging. The moldings were bronzed using Modern Masters metallic paints. First they were painted a deep charcoal and then shades of gold metallic were applied.

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The final look is soft and elegant. In my opinion, aged finishes should always look lovingly worn-never harsh and dirty.

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Color Schemes: analogous and complimentary

Detail, "Birds and Urns" decorative panel commission. Painted on cracked plaster with acrylic and lime-wash, on stretched muslin.

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I love analogous colors together-especially blues and greens. So when I created these decorative panels, I pushed and pulled the blues in the "Birds and Urns" painting toward periwinkle and robin's egg, anticipating how the colors would play off the honey-due walls.

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The designer did a beautiful job of complimenting the pale-green walls with russet-red fabrics and rich accessories. A view into the adjacent family room continues the analogous theme with a blue-grey wall color.

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For this family room I chose a warm blue-grey, off-white trim paint, and a warm neutral for the ceiling.

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Red accents bring it to life.

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I love this glazed red chest with the silvery blue wall color. Interior Design: Lynn Stoner

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Dutch landscape inspired painting

Original watercolor-sketch, approved by the client.

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Finished painting. Oil on canvas with crackled varnish.

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The commission, set in place.

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Location shot. A romantic focal point for the living room. I love this classic colour palate of celadon blues, greens, and browns. Interior Design: Lynn Stoner.

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L' Apres Midi Au Lac

My original sketch approved by the client for an impressionist-style painting inspired by Maurice Prendergast's, "The Picnic".

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Before shot of the immense wall the painting was commissioned for.

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Because of the large scale of this painting and our concern about warping, I ordered custom built aluminum frame canvases from Lucious Hudson in California. They were perfect and worth every penny.

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Applying multiple coats of Utrecht gesso with a sponge. Serenaded by fellow artist Steve Larson.

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Drawing out the composition using a grid method.

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Painting in progress using Utrecht lightfast acrylics. The canvases barely fit on the longest wall of my studio. There is a large mirror strategically placed on the opposite wall which I used to observe the effect of distance, since I knew that the painting would never be viewed close up because of its location.

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Early detail shot.

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Completed painting, L'Apres Midi Au Lac, 15' by 6'6", acrylic on canvas with UV varnish finish coat, 2009. This was a very special project created exclusively for La Bastide de Neige in Deer Valley, UT.

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Location shot: Installation by preparer Ben Weimeyer, using a French cleat hanging system. Ben is truly an expert!

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Hung in place. View from the sitting area.

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View from the upstairs balcony

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View from the entry.

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The adjacent rotunda with faux marble columns, that I painted.

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The grand entry with faux marble columns. I love this classical European color scheme: earthy pinks derived from French ocher or Italian red sienna, with red and green marble.

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