Painting – How to Do a Ragging Technique Applying

    Published: 06-16-2009
    Views: 30,690
    Professional painter Donnalynne Lefever discusses faux painting and demonstrates how to do a ragging technique applying.

    Donnalynne Lefever

    Donnalynne Lefever is the owner of Lefever Designs and has been in business now for more than 10 years in which she creates faux finishes, murals, tromp l'oiel and artwork of any kind in homes and businesses on walls, floors, ceilings, furniture,etc. mostly in the Metropolitan Washington DC area. She graduated college with a theater degree at the University of Maryland and moved to NYC shortly afterwards to make costumes for Broadway. Upon returning home to Northern Virginia, she met a designer who introduced her to her current field and has been painting ever since. Starting in 1990 she worked with that designer for 3 years, then with a business specializing in faux finishes, murals and tromp l'oiel for an additional 3 years before branching out into her own business. She's taken faux finish classes in the materials she currently works with and numerous art classes as well. One of her favorite materials to work with is leafing; gold, silver or copper. This year, summer 2007, one of her clients/designer had her home featured in the magazine, Washington Spaces, in which a few of the rooms Donnalynne worked on are photographed. She mostly works with designers and by word of mouth which keeps her quite busy. When not creating for others, she creates her own artwork on canvas, clay or other various things. She belongs to the local art organizations of Del Ray Artisans in Alexandria, Virginia and Springfield Art Guild in Virginia in which she is currently co-president.

    Hi, my name is Donnalynne Lefever and now, we are going to move on to the next kind of ragging which is the applied method. Again, it is just putting it over a base paint that's already there. We are going to start with the rags and I actually don't think I have talked it about them in the time before but let me just explain where the rags are that I came from. These are old sheets. This is an old linen. There can be anything what's best for the sheets or the rags that you use especially in this particular one, is that they be all cotton. The polyester doesn't absorb the paint right and it reacts a little peculiarly.

    So, what you do with the dabbing on method is just ball it up into a funky little ball just so that you got some imprints' base and I am going to use the interference gold paint again, dab it in, swirl it around. This one may take a little bit more than the plastic because this is actually going to absorb the paint versus the plastic which didn't. So, as you go to put it on. You can get the same thing. You just want to watch out to make it that you don't make it too blobby but at the same time you need if you get not enough paint on there, it gets really, really thin. So, you will just have to keep going back and putting some more on and not slinging it all over yourself like I am.

    So, anyway and also this one can be not as tricky as the plastic in getting in the corners because the plastic is little more uncontrollable, but when you do go into a corner, you want to just dab like that once. If you - and then don't push too terribly hard or you will end up with a big blob. There is one thing that this one and well, this one is the most forgiving even though I think you can do with the plastic as well. You can plastic or rag your basecoat color back on top of if it's too big and thick and blobby and that will help prevent that so that you don't have that as your overall look.

    So, that is with the interference gold which is a full strength paint. Let us see where it goes if we use the glaze. It shouldn't be an issue. This one should actually read a little better than the plastic. Again, we will just take that, ball it up again; get a nice imprint that you want to look at. Yeah, there we go and you can see that if as you do it, if you liked it really thin you would have to go back over with your basecoat with this. But you can always go and vary it. The other good thing and especially with this one because you can see it easier is the way to even out your darks to your lights. It's just to go back and put a dark in the middle. So, if it is too light at some place just put a dark there and then that helps to make it look a little better and as you will go, you rag will eventually, especially if you are doing it over a whole wall will get saturated and you won't like it. But you just keep twisting and twisting until you have used your rag to a point where you can't stand it any longer and that's it for this one.