Most people display preferences for certain colors or combinations of colors. Often, we are unaware that we are reaching sympathetically to a soft blue or a bold red. Recently, studies in Chromatherapy have affirmed that color schemes exert a marked influence on our moods. Incorporating the correct colors into a home's interior can stimulate the senses and generate a pleasant and invigorating ambiance.

This theory became the guiding force for Ellen Benson and her faux assistant, Ed Barrios, of Fauxtastic Wall Finishes and Randy Ingram and Brian Townsend of Classical Art Studios when a client was recently referred to them. A general description of the project indicated that the centerpiece was to be a mural, accompanied by distinctive wall treatments dispersed throughout the two-story residence. The colors and color scheme were left to the imaginations and expertise of the artists.

When the quartet entered the New Jersey seaside home, they found that the architectural layout was ideal. Besides the excellent spatial element, several other features of the home were evident: honed marble floors, effective lighting, elegant window treatments, and attractive and timeless furniture and fabrics. The missing component, the element that would enhance the beauty of the entire home, was the wall treatments.

After strategizing, the design team concurred that it would be most effective to start with the wall embellishments. Beginning in the dining room, Ellen and Ed utilized a three-color "faux crème" glaze to apply a faux stripe, the glaze being manufactured by Faux Effects International Inc. Moving to the family room, they selected and Fax Effects International product, the textured "faux stone pull-off," which Ellen and Ed combined with an acrylic "faux crème" glaze to generate a warm and cordial atmosphere.

Choosing to work within the framework of the home's existing colors, the team finished the wall treatments for the rest of the house with a variety of multi-color glazes, textures, and plasters. One of the team's most distinctive achievements was the transformation of the first floor powder room. Through their use of a complex process, Ellen and Ed created the illusion of dimensional stone block walls, imparting a dignified aura to a room that is usually treated more prosaically.

When the wall treatments were completed, Randy and Brian were ready to move on to the focal point of the home-the mural. The mural was intended to sweep up the wall of the foyer staircase. Since they had to decide to delay its production, they were now prepared to create a mural that complemented and grew out of the already established colors. However, the soft color palette employed throughout the house, which evoked the serenity and tranquility desirable in a shore house, presented a momentary dilemma. Both artists were not used to thinking in terms of delicate, subdued colors. Their signature style had always been Classical Realism, and both men were given to "swinging for the fences" when they painted, employing bold and vibrant colors. Their belief was that realism in art is achieved through an exploration and expression of the full spectrum of colors. However, in this case, their personal style would have to be subservient to the demands of the house. Internal harmony could only be achieved through color continuity.

The solution to the problem lay in the selection of the soft colors assigned to the stone blocks and areas of the stone that were designed to sweep up the foyer's semi-rotunda-shaped wall. By keeping the hues of the stone elements soft, a certain delicacy was achieved. This delicacy of tone was also extended into the landscape section of the mural. All colors were muted; even the deepest of the dark colors were not allowed to be intrusive. More significantly, the established color scheme of the entire house was effectively preserved.

To facilitate the entire process, Randy and Brian created a miniature color study that the client approved prior to the inception of the project. Normally, a study of this type would be converted into a grid that would be transferred directly onto the wall. This proved unfeasible in this case. The study had not been drawn to scale, as it had been produced solely in the interests of color continuity. Furthermore, the shape of the staircase walls, which had two natural ledges, made the application of an entire grid impractical. Randy and Brian were able to utilize a transfer method on certain sections of the wall, such as the five balusters. In the case of the balusters, half of each baluster was drawn and then traced onto the tracing paper, which in turn, was replicated through the use of transfer paper. This procedure not only resulted in an effective use of time, but it ensured symmetry.

Once the drawing had been transferred to the wall, a five-color "faux crème" glaze (also available from Faux Effects International) was applied to the stone and stone block section of the wall, washing the entire area in subdued color and providing a slightly mottled effect. To cut down on production time, we used 3M's Scotch-Blue Painter's Tape for Delicate Surfaces to define and protect the stone blocks, grout lines, stone molding areas and railing.

Next, the darker hues of the mural were washed-in, using raw umber tint cut with paint thinner. Not only did this mixture result in a dynamic translucent effect, but it also afforded the artists better brush control. The mottling of the "darks" was postponed until later, more propitious time. Note: When beginning a landscape, choose a wash of color that most effectively conveys the primary color of each shape that you plan to render. It is important that this process be sustained throughout the entire landscape, as it is not only efficient, but will help to preserve the integrity of your vision. From the standpoint of perspective, colors in the foreground should be darker and gradually lighten as they recede into the background.

The duo then proceeded to render the front pillars of the mural, washing them in the selected combination of colors and mottling in patterns and texture after they had dried. In order to achieve a rounded effect on a flat wall, front pillars always require at least three applications. Roundness is also dependent on the artist's use of shadow and light, as each pillar is composed of a shadowed side, a midtone side, and a substantially lighter middle area. A homogenous blend is achieved through the use of balanced scales of the same color between the three areas. The finishing touches, the ones that enable a painting to achieve a lifelike quality and really "pop," are the various highlights and reflective light effects.

The foreground's rear pillars required a slightly different approach. To effectively render these pillars, which should appear to be shadowed, they were painted using what is termed "rim" light. "Rim" light can best be defined as the rendering of an object that is perceived to be approximately 85 percent or more in shadow. In this particular mural, the sunlit area is located behind the archway. Theoretically, and according to the laws of physics, the sun's rays could only be allowed to illuminate the edges of the pillars and their capitals. In order to properly mottle the pillars and prepare them for the sunlit effects, the value ranges of the "darks" in the columns needed to be closely maintained. Then, the effect of the illuminated edges of the pillars was simply applied to the edges o the objects, resulting in a potent and evocative effect. Through the use of "rim" light, a realistic balance between the front and rear pillars and the background was attained.

Finishing the stone blocks entailed the use of the original five colors, and each block was mottled individually. The stone blocks that constitute the façade of the wall were mottled with cleaner, bolder strokes, and incorporated more illusionary effects, such as cracks, veins, and pits. In order to convey a sense of distance, the rear walls were mottled in a smoother, less textured manner. Shadowed and sunlit areas were portrayed through the respective use of mid-tone dark and light hues in the creation of grout lines.

For the portrayal of the sky, blue was immediately ruled out as an option, as the color above the railing and balusters had to gracefully and unobtrusively transition into the original color scheme of the foyer walls, which was bone white. The yellow-orange quality of the sky was achieved through the selection of three soft, monochromatic colors: cadmium yellow medium, which served as a base, and a slight infusion of cadmium red light and white.

The illusion of a series of placid clouds that were sunlit from above was achieved through the selection of softer colors for the top of the clouds that generally gave way to darker colors as they proceeded downward. The ephemeral quality of the cloud tops was conveyed through a mixture of white and cadmium yellow medium, while a deep purple, composed of white, alizarin crimson, and raw umber, was used to portray the more substantial clouds in shadow. Note: Use a clean, large brush to soften edges, but do not overly blend colors or the transition will be lost. Also, do not soften the edges of all objects in the sky. For optimum effect, whites in clouds should be harder edged than their darker underbellies.

Another note: When painting a mural, adopt the habit of developing the painting from its focal point, or from the objects that are closer to the viewer. A concentration on areas that recede into the background is counterproductive and often results in the artist's vision being compromised.

Turning their attention to the water and the mountains, Randy and Brian focused on the spatial relationship between the objects. Just as the natural relationship between the clouds and sky was established though transitional techniques, the water as a reflective force was realistically conveyed. To paint the mountains and their watery reflections successfully, they employed the recommended technique, "wet into wet." From a practical standpoint, this method allows the artist to paint both areas without having to remix the colors. More significantly, the artist is in complete control of the transitional area between the mountains and water, allowing him to eliminate the hard edges between the objects or soften them, as he deems appropriate.

The final step in the completion of the mural involved the depiction of the trees. Since the evergreen, which peeks out at the viewer from behind the fight column, is situated in the foreground, it was rendered in fairly dark green tones, but in a way that does not draw focus. The deciduous trees, painted using earth tones such as raw sienna and ochre yellow, traverse the wall but due to their subdued nature, do not dominate the mural. These trees act as a transitional force between the mural and the home's adjacent walls.

Unable to resist the impulse to bestow on the mural a touch of Classical Realism, Randy and Brian elected to paint the capitals and pinecone a true vibrant gold. Interestingly enough this little "touch" had a beneficial effect on the landscape and areas of stone, as they now appeared even more delicate to the viewer. The color scheme truly flowed, and color continuity had been maintained throughout the home.