Photo Gallery: Annie Sloan’s Colour Recipes For Painted Furniture
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Sloan used an old Swedish trick of painting lines to replicate panel moudling, lending the staircase wall in her home an old-world feel. She worked out beforehand where the panels should be on the stairway by doing a rough drawing and making some notes about the colours. She used Old White for the centre panels, Country Grey (a soft brown-grey) on the outer areas, and Aubusson Blue lightened with Old White for the lines. She painted the lines around the centre panels thicker than those of the outer frame.
Sloan wanted to replicate the look of a worn, weather-ravaged piece that had been exposed to the elements. She painted the entire armoire in Graphite, then painted over that layer with Old White using a dry brush, to create a grey tone. Scandinavian Pink, used on the insides of the drawers, is a beautiful, warm contrast with the cool mix on the outside.
To begin, Sloan painted this antique armoire a dark grey called French Linen, then brushed on a layer of clear wax. Over this, she added a second, paler coat made from a mix of Paris Grey and Old White, thinned down with water. Before the paint was completely dry, she brushed on another layer of clear wax, wiping it over with a clean, dry cloth to create a washed, dragged and distressed effect.
Sloan had this handmade piece of furniture in her studio for years, and finally decided to put it to use in her home. She started by repainting the piece in white and grey, then tapped into the typography trend, using a stencil-like method to add lines from James Joyce’s Ulysses onto each drawer.
The artist painted this matching pair of rather dull and fairly recent reproduction bedside cabinets and then chipped the paint to add a distressed look. To balance the cool tones in the room, she added warmth to the pale Country Grey cabinets with a narrow decorative line around the top of the ledge and around the drawer front, painted in diluted Burgundy.
This old kitchen table had experienced a few years of wear and tear, which had made the wood look a bit too distressed. To remove stains and scratches without losing the grain of the wood, Sloan gave the table a wash of Old White paint. The finished table still retains its character but there is now a refined elegance about it, reminiscent of Swedish painted furniture.
This bureau dates from the 1950s and Sloan felt it would benefit from a slick and shiny modern look, rather than a distressed and shabby one. This style of writing desk is a great opportunity to create a bright interior and make some surprising colour contrasts. She painted the exterior black and added a pop of red inside. The inside of the bureau is now rather like the red silk lining of a tuxedo, states Sloan in her book.
To add a glamorous element to this feminine berge?re chair, Sloan added some DIY gilding and paint. She started by painting the wood of the chair in Aubusson Blue, then applied gold leaf to the more intricately carved parts of the chair. The last step
Like so many old farmhouses with small windows, Sloan’s own kitchen is quite dark. In order to brighten it up, she wanted to introduce some colour by repainting these wood chairs from Brittany. It is a common misunderstanding that when a room is dark, it should be painted white, but white can just look grey and dull in the shadows, outlines Sloan in her book. Painting with strong pastels, on the other hand, will make a room look lively and bright. She used sandpaper on the chairs after the paint dried to give a worn, vintage feel.
Instead of purchasing a copper bathtub, Sloan covered the outside of her enamel roll-top bath in copper leaf. Copper is a very warm, rich colour and emits plenty of light because of its shiny quality. To soften its appearance, she used Florence — a coppery green paint — underneath.