HOW TO CREATE A FAUX AGED-BRONZE PATINA & FINISH Sculpt Nouveau

Hey guys, John Burns with John Burns Fine Art. Fine Art. In this video we're going to cover how to do patinas on our Hydrostone castings. I used some products from Sculpt Nouveau. So this is an acrylic based bronze powder paint. I will show you how I do it and you will see the results that I get. So without further ado, let's get to it. Let's interject here. If you like this video, please, come on, thumbs up. You're not reserved for the best. If you like it, thumbs up. And please subscribe for more fun videos like these and I'll keep them coming whether you like it or not. So let's get going. And it's a faux finish that is French for fake. So this part of it, I just want to say that if you want to stop this process, this has probably been about an hour or so since I put this on and touched it up. There is Krylon Crystal Clear. It's in the description if you want to follow this. Anyway, this is how you stop the process and not only stop it, but it will keep it from chalking off on your fingers. Also, this will discolor this. So if you like this look, just let it go. But if you put this on it, it will darken this a little bit so it's not quite as bright. You'll see what I mean. I am going to spray this outside so you're going to miss out on that part. Just trust me, when I go, the color is going to change. The color is going to look the way it is when I bring it back. Watch this. Three, two... Okay, so this is the original from the Lincoln Park Zoo. And there's mine. So they're different. They're close, but different. I made it mine. And so what I've done so far is put down the acrylic and then I hosed it with the Tiffany Green, the acrylic bronze powder, and then the Tiffany Green. And where the Tiffany Green didn't take, it was evidence that the acrylic had already dried. So I got those parts wet again and sprayed up the Tiffany. And anyway, so I had the whole thing kind of aging, or with a patina. And then I took the Kiwi Black shoe polish with a brush and went over it. And especially in some of the areas that were recessed, now you've just got to think about this differently. The feet, I didn't want the green. I felt like it would show best with the black shoe polish. Now some of these areas, like in here, or like here, where you would expect the weather, you know like the rain and such, to run and settle. I went ahead and left that. But for the most part, I was trying to knock back the green. I didn't want it to be so dominant. I wasn't so much worried about the base, but on the figure itself, you know, I wanted to kind of subdue it more. Oh, before I put on the black shoe polish, I put on the acrylic paint. And you can see how that kind of darkened some of that Tiffany. Anyway, so, what else did I want to mention here? Oh yeah, the foot. You saw me bust that foot off, I applied too much pressure with that brush. And the break did not occur where the glue was, close, but not quite on it. So anyway, I just reapplied that and I'm sure whatever glue it would have been, it would have broke in that same spot anyway, because I think what happened is when that foot originally broke, it had had several fractures. And the one that was the weakest is obviously where the break occurred, but the other two had already had stress. But the glue couldn't access that, so when I put it on there, it still had those original stress fractures, and that's what happened there. So it is what it is. So you can kind of see this iridescent kind of quality where it looks like, you know, you can see the metal, it's the black shoe polish. What I'm going to do at this point is take this Bronze B again from Sculpt Nouveau, Bronze B, and I'm going to highlight some of the areas, and hopefully I can pull this off because sometimes it looks good, and sometimes you wish you would have left it black, but I think the black is too heavy, it's too Victorian, like some of the sculpture over in England, that wasn't the intention for this piece, so I'm going to do more of a Renaissance Brown style on this, and then maybe for some of the other ones in the future, I'll do black to have more of that type of French Impressionist type of finish, like Rodin, okay? Okie dokie, here we go. So I was just taking the cloth and trying to touch down on these spots, you know, just blot it, and I was really trying to highlight areas, boy that looks really warm, I might go back and subdue that a little bit with the black, but it really looks a lot better in person than it does on this camera, I suppose that's everyone's excuse, isn't it? So this is what I want to show, is how to suggest the metal coming through the patina, you know these edges always kind of highlight, they tend to get rubbed the most, the recessed areas tend not to, and this is really what I was going for, this looks a lot better than the far away shot. Okay, you can see how much better that looks just knocking that bronze back, this actually looks like a bronze that's aged, that's maybe been exposed to some high humidity, not necessarily rained on, and I think that looks really, really good. Pretty close. Here we go, so I believe it was 1922 this sculpture was first erected over there at the Children's Zoo in Chicago, and ever since I saw it, one of my trips to Chicago, I don't know if it was the first or the last, but I've just loved it, and of course I can't take the sculpture home, but I can recreate it, God's blessed me with that talent. So I hope that this demo inspires you all to try and create faux surfaces for yourself, I think to have this cast in the foundry would probably run, if I were to bring them a mold and have them make the wax and what not, this would probably run in the ballpark of about $1,800 to $2,000 to have that cast, so then the gallery rate for a bronze like this being fitted on a granite base or a marble base would probably run, you multiply it, the old school method is by three, so it'd be somewhere about, I'd say that, yeah, this is likely that this would retail for somewhere in the neighborhood of $55,000 to $6,000 in a gallery if this were bronze. If the client wants it, the client doesn't want it, you're not going to get a penny. Now that the sculpture is done, you can see how I did it, and I am thrilled with the results, and next time you see it, I will be assembling my clock, and I will put my sculpture on top of my clock, and it will be finished, it will be done, so that will be in the next video, stick around for that one, subscribe, and make sure you get notified as soon as it's released. Thanks for coming along, as always, check out the description, and make a comment down below. Appreciate it.