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I was inspired to render this interior carving after having experimented with this technique when creating ‘Rialto Bridge – Venice Italy’. ‘Rialto Bridge – Venice Italy’ was created on a large piece of drywall, using drywall plaster to build a foundational layer, and carving into it after having set up. I really liked the textures I was able to achieve with this technique, especially after applying color to the surface with oil paint after the plaster had completely dried. I continued to apply and experiment with these techniques in ‘Eiffel Tower Bas Relief’, only it was a work that became a part of the interior space. Both the Eiffel Tower and Rialto Bridge were places that I had a chance to visit on a trip to Europe in 2014.
The first two steps of the process involved setting the stage for the work and prepping the surface.
1) After having created a sketch for the work (a simple symmetrical drawing of the Eiffel Tower framed in by a stone window), I grid off the main wall and match the small sketch to the proportion that I need for the relief.
2) I then start applying the drywall plaster with a large putty knife. The consistency of the plaster is similar to putty, a balance between wet and dry. I build the plaster up around areas that I want to be thick (e.g. the window frame, the flower and leaves, etc.). I, however, try not to build it up too thick because I want everything to appear consistent as a bas relief. I apply a thinner layer on other areas that will appear in the distance.
This material dries fast with a thin layer (roughly 1-2 hours). Thicker layers could take much longer (12-24 hours). So I needed to organize my time around the materials that I used for this work.
After the applied layer is dry (or mostly dry), I begin carving contour lines Into the surface to define the objects of the composition.
1) I use a range of clay carving tools, wood carving tools, Dremel carving tools, and sand paper to manipulate the surface. The reason for the range of different tools is because smaller tools help refine details and the larger tools help to shape parts of the work. A lot of the techniques I use are similar to what I would use when I carve clay.
*When I started carving this work (after having let the plaster dry for roughly 12 hours), the areas around the brick window were still a bit soft on the inside of the plaster. This is due to the thickness of the plaster when applied, however, having the plaster a bit soft in the middle made it easier to carve larger areas to refine when completely dry.
2) The main sections of the composition are 1) the stone window frame, 2) the Eiffel Tower itself, and 3) the flower and plants in front of the tower. Carving the Eiffel Tower was very different from the window frame (the window frame being more organic than the structure of the tower). I used a ruler when creating the details of the tower because every section was based on geometric and symmetrical shapes. The combination of the geometric structure of the tower and organic movement of the brick and flower helps to create a balanced composition.
Following finishing the details of the relief carving, I cleaned off the surface, making sure it was free of plaster dust (using a vacuum cleaner works very well).
1) I use oil paint to tone the surface of the mural. The palette of colors I’m using for this carving is lamp black, titanium white, cobalt blue, pale yellow, burnt Sienna, and scarlet.
2) When applying the colors, I noticed that you need to put down a color first as a base coat (similar to a canvas surface). More paint can be applied after the initial layer because the plaster seems to absorb the color very quickly (something that’s different from canvas). After letter the paint dry for about an hour, I used a piece of sandpaper to scuff up areas that have been painting to build on the texture of the composition overall. This can be applied more or less depending on the design’s need.
Also for this interior, I created a faux brick pattern (on another wall), using the same materials as I used for the base relief carving.
1) I start out by using masking tape to grid off the entire wall to make a brick pattern. The masking tape I used was 2.5 in. wide, so this is the size of the mortar between the bricks. I then apply a layer of drywall plaster over the entire surface of the wall (covering the masking tape). This doesn’t not need to be very thick, but thick enough to see a different between the bricks and the mortar (area between the bricks).
2) After the plaster has dried for about 4 to 5 hours (at this point the plaster is set up, but the surface still feels somewhat soft to the touch), the tape can be pulled off easily. After all the tape is taken off the wall, I use a flat brush to dab at each brick’s surface. This gives the surface a “brick-like” texture. *Again, this can only be achieved while the plaster is somewhat malleable and soft.
3) While the plaster surface is still a bit soft I apply color to the surface. I dab this on with a flat brush while I blend different colors to achieve a brick texture and color. Doing this, again, while the plaster is still somewhat soft allows for the paint and plaster to dry together.
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