Category Archives: Ecclesiastical

PITCH PINE WOOD GRAINING WITH DONAL QUIGLEY

Donal Quigley is an Irish painter and decorator who has a passion for wood graining and tells us about his process and techniques for reproducing pitch pine.

ABOUT DONAL

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Donal Quigley is a third generation painter and decorator from County Kilkenny in Ireland.  His apprenticeship was served under the guidance of his father in the eighties and after completing his training, Donal founded his own decorating business in 1992.

Besides the standard painting and decorating work, Donal found himself working in more and more specialized areas such as hand painted signs, gilded hand-carved signs and sandblasted glass signs as well as different wall finishes.

In 2014, Donal studied at the SWR Decart Studio in Dublin under the tutelage of Michel Nadai, the respected French decorative painting artist.

For the past five years, Donal has found himself focusing on wall panelling systems due to their growing popularity in Ireland.

WHAT IS PITCH PINE?

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Indigenous to the United States and the eastern seaboard in particular, the Pitch Pine can grow upwards of 60 feet and has a lifespan of some 200 years.  A hardy species, not even fire or severe trauma can destroy it.

The reason for its centuries old popularity is due to its high resin content.  Indeed, as well as being used for woodwork, the pitch pine is a source for turpentine and tar, otherwise known as pitch!

These days it has a less glamorous purpose, being used for fuel, pulping and making crates.  In the past however, it was used to create anything from railroads and wooden ships to church pews, panels and flooring.

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Pitch pine is not a strong wood and has a rough texture to the grain, however the high resin content leaves it resistant to decay, hence its popularity.  The resinous nature of the wood has its down side however, as it makes it difficult to machine and sand.

Previously pitch pine was sought after due to the vibrant shades and figuring of the grain, however since the boom of railroads and mass planting and forced early foresting of the trees, the quality of the grain began to suffer which is why it is currently used for less elegant tasks.

As a result, the only way to obtain finer specimens is through reclamation, which means in turn that demand has outweighed supply causing a worldwide shortage and rising prices.

This has led to a resurgence in demand for painted reproductions to match already present architectural elements.

DONAL’S PROCESS

Materials and Tools

Colours Used: Raw Sienna, Burnt Sienna, Burnt Umber

Water Based System:

Base colour B.S. 06.C.33.

Johnstone’s pine woodstain.  

Floetrol paint conditioner

Tint with powder colour.  

Work into a paste and thin as required with water.

Tools required

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To start brush on a wash  of the above and obliterate all brush marks to leave a translucent effect.   Allow to dry.

  1. Use a S.1210L. Duck Signwriter’s brush to pencil in figure.

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  1. Begin to form the figure.

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  1. Join the sap and continue up.

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  1. Main figure is now formed.  It is important to soften after each line is drawn to avoid smudging into the next line.

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  1. Now using some burlap begin to do the side grain.

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  1. Glaze the other side.

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  1. Then burlap to form tight side grain effect.

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  1. Finished central panel.

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  1. Next tape off top rail.

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  1. Pencil in figure and soften as you go.

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  1. Finish rail.

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  1. Repeat process on lower rail.

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  1. Last two styles to do.  These can be plain straight grain if you prefer.

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  1. Same process, pencil in grain and burlap side.

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  1. And same on other side.

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  1. Allow to dry.

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  1. Add a thin line of colour to emphasise the joints.

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  1. Overglaze with same colour, adding some Vandyke brown to create      highlights and moirés.  Then badger lightly.

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  1. Panel overglazed.

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  1. Finished panel varnished.

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For more examples of his work and to contact Donal, please click the following Facebook link: Donal Quigley Painting and Decorating

 

 

 

 

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Methods and Techniques for the Ecclesiastical Restoration of a Statue of St. Joseph

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Raimonds Karveckis has completed advanced gilding at FlorenceArt studio of decorative arts in Florence, Italy and studied restoration techniques under the tutelage of Laurent Hissier, former restoration specialist at the Palace of Versailles in France and now a freelance master craftsman. Originally from Latvia, Raimonds has been based in Ballina, Co.Tipperary, Ireland since 2001, where he is well known in the area for his artistic abilities and he is the owner of Ecclesiastical Restoration Workshop.

http://ecclesiastical-restoration.ie/

ECCLESIASTICAL RESTORATIONS WORKSHOP

Using restoration techniques and materials sympathetic to the period in which the objects were made, the creative team in the workshop can undertake the repair and restoration of religious artefacts.

This includes specialist paint effects on walls such as frescos and gilding on dados and plaster trims as well as repairs to paintings and frames, furniture, metal ware, gilded objects, candelabras and other furnishings.

Of particular interest is the restoration of Church Statuary which includes nativity sets, statues, saints, altars and more.

Ecclesiastical Restorations is also an associate member of a network of antique restorers who work throughout Europe and America on government and privately backed restoration projects.

EXTENSIVE RESTORATION OF A STATUE OF ST. JOSEPH – METHODS AND TECHNIQUES

A local priest found this statue in a shed, where it had been neglected for 20 years and brought it to Raimonds for repair and restoration. Raimonds immediately saw the quality of the statue, only a high quality of plaster and workmanship could have resulted in its survival in such conditions. He puts the age of the piece at between 100 and 150 years old.

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The biggest repair job was to reattach the head. Raimonds first had to gain access into the statue, this was accomplished by cutting a section out from the rear, and he then made a wire armature and attached this first to the head and then the body after seating the head correctly with a two part epoxy resin.

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While working inside the statue, the chest area was found to be extremely thin. This was reinforced with plaster of paris and the gaps around the repaired head were filled out, taping the outside to hold the plaster in place.

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The panel was then replaced in the back of the statue and plastered in.

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The statue was missing a hand, so Raimonds commissioned a local sculptor to create a mold, from which a replacement was cast and attached using an armature and epoxy. The repair was again made good with plaster of paris.  The flower had a replacement stem made of plaster over a wire armature attached and was fixed to the statue.

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Cleaning, Painting and Gilding

After cleaning the statue with a specially made solution it was discovered that the paint on both faces could be saved. The rest of the statue was carefully sanded and hoovered before priming in a white basecoat.

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The paintwork on the heads and faces was touched up with casein paint as this was the paint most likely to have been used originally, unfortunately at the time casein paint proved hard to source so Raimonds used chalk paints on the main body of the statue. As the statue was to be placed up high on the wall of the church it was not necessary to seal the chalk paint.

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Raimonds moved onto the gold leaf ornamentation of the statues, a process that was to take a month to complete. The designs were laboriously hand painted in yellow ochre casein paint before being sized and gilded, a testament to the patience of the craftsman!

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To finish, a wooden base was commissioned from a local carpenter and this was finished in an old master technique by Raimonds. The wood was sealed with hot rabbit skin glue, then 12 coats of gesso were applied and carefully sanded before painting with casein paint, distressing, hand painting the ornament and sealing with shellac.  The base was then attached to the statue with evo bond universal pva.

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From start to finish the entire restoration process took a total of three months. The statue can now be seen on display in Our Lady & St. Lua church, Ballina, Co. Tipperary, Ireland.

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