CAMOUFLASH OF A FISHING BOAT

FROM A FISHING BOAT TO A HUNTING BOAT

Capturing the process of converting the paint job on a “fishing” boat to a “hunting boat”.  The boat is a  1970’s era 14’ aluminum Sea King that was abandoned. Apparently, the boat had been used for fishing and our intent was to use it to hunt waterfowl in the marsh.  For that, we needed a camouflage pattern that would blend into marshy areas when viewed from any angle, but especially from above.

              We began by adding some stainless nuts and bolts and “5200 Marine sealant” to bolster the structural integrity.  The paint upgrade followed.  Initially, the boat exterior was bare aluminum and the interior was faded blue paint.  We began by thoroughly cleaning the boat with soap, water, and a pressure wash.  The next step was to apply two coats of primer, allowing sufficient drying time in between coats.  We were careful to eliminate any shiny or reflective spots.  After the primer coats, we applied camouflage spray paint  to the exterior using marshgrass stencils and five different camouflage colors.  We allowed sufficient drying time between the application of each of the five colors.  By starting with the darker paint colors and moving to the lighter colors, we were able to create depth in the pattern, making it appear three-dimensional.  After completion of the exterior, we flipped the boat and repeated the process on the interior.  For the final touch, we used one more small, random application of black spray paint to break up the pattern and strengthen the three-dimensional effect.  The end result—water tight, seaworthy, and “invisible” in the marsh.

FOR MORE INFORMATION HOW TO GET YOUR BOAT PAINTED BY THE ARTIST. CONTACT ME ANABELA FERGUSON ANABELA7973@AOL.COM

We would love to talk with you about the service, pick up and delivery available.  571-594-3717

https://www.youtube.com/channel/UCE_9ypldX00um6I5LFEz_V

ANABELA FERGUSON
ANABELA7973@AOL.COM
WWW.ANABELA-ARTIST.COM

PUTTY TO AN AGED PAINTING

PUTTY APPLICATION

WE ALL HAVE KNOWN GREAT ART CONSERVATORS AND RESTORERS IN OUR TIME.  WE HAVE ALSO KNOWN OF SOME UNFORTUNATE DAMAGES DONE TO BEAUTIFUL WORKS OF ART ALL OVER THE WORLD THROUGHOUT THE YEARS.   

STUDYING THE ART AND ARTIST FOR A PARTICULAR DAMAGE PAINTING IS CRUCIAL AND MUST BE DONE. I HAVE ALWAYS MADE A PRIORITY TO INFORM THE CUSTOMER OF ANY BEFORE, DURING AND AFTER PHOTOGRAPHS TAKEN OF THE PIECE I AM WORKING WITH AND GIVING THE CLIENT A VIEW FROM MY STUDIO TO THEIR HOME AND PROVIDING THEM WITH NEW OR APPLYING TECHNIQUES PROMISED TO THE CUSTOMER. I USE UV LIGHT TO EXAMINE THE WORKS GIVEN TO ME INFRONT OF THE CUSTOMER AND BEFORE TAKING IT WITH ME TO MY STUDIO.

THE CUSTOMER OR CLIENT MUST FEEL COMFORTABLE WITH YOUR EXPLANATION OF BEFORE AND AFTER PROCESS BEFORE UNDERSTANDING WHAT I PROMISE TO DELIVER.  YOU CAN FIND MORE INFORMATION IN SEE MORE PHOTOGRAPHS

ONE OF THE MAIN TOPICS IS FILLING IN A MISSING PAINTED AREA WITH NEW ELEMENTS SUCH AS PUTTY JUST TO FILL IN.  THE PUTTY I USE IS FROM A CONSERVATION SUPPLY COMPANY AND I HAVE LEARNED HOW TO APPLY IT AFTER PRACTICING IN PAINTINGS OF NO VALUE OR PIECES I HAVE PICKED UP IN A THRIFT STORE.  THE PUTTY IS KEPT IN MY REFRIGERATOR WITH A FEW DROPS OF NEUTRALIZER AND SEALED AND KEPT IN A ZIPLOC AWAY FROM HEAT.  

WHEN I COMPLETE THE PROCESS OF LINING THE AGED PAINTING IS AFTER THE STUDY I SUBMIT MY OWN CONCLUSION THAT IF CRACKLING APPEARS IN THE PAINTING, OR IF THERE ARE MULTIPLE AREAS OF MISSING PAINT, OR TO MANY AREAS THAT NEED STABILIZING BEFORE ANY CLEANING IS DONE TO IT.  ONCE I COMPLETE THE CLEANING PROCESS, AT THIS TIME IT MAY TAKE MORE THAN A FEW DAYS, IT COULD VERY WELL BE AS LONG AS A FEW WEEKS, I MAKE SURE THERE ONLY THE SIGNATURE AREA IS NOT TOUCHED OR ALTERED FOR AUTHENTICITY.  SOME ARTISTS FROM 1800'S TO EARLY 1900'S SIGNED AFTER THE PAINTING WAS VARNISHED, THE CLEANING OF THE SIGNATURE COULD VERY WELL REMOVE THE HAND SIGNATURE GIVEN BY THE ARTIST.  TO VIEW MORE SAMPLES OF MY CLEANING YOU CAN VIEW MY PAGE FOR BRUSH STROKES FINE  ART LLC   https://www.youtube.com/channel/UCE_9ypldX00um6I5LFEz_VA  

WHEN I AM FINISHED APPLYING PUTTY WITH A PALETTE KNIFE THAT IS SMALL ENOUGH NOT TO TOUCH AREAS OF BRITTLENESS, I PROCEED WITH NEW UNPRIMED CANVAS AND GIVE THE AREA WITH ALMOST CURED PUTTY TEXTURE BY PRESSING GENTLY ON THE PAINTING.  ONCE COMPLETELY DRY I WILL SAND DOWN THE SMALL AREA AND CONTINUE WITH SEMIGLOSS VARNISH TO ISOLATE THE OLD TO THE NEW PAINT. THE REASON WHY I CHOOSE TO DO THIS IS TO MAKE SURE THE COLORS AROUND THE AREA THAT NEED PAINTING ARE PURE AND VIBRANT IN COLOR SO THAT I CAN MATCH CORRECTLY THE MISSING PAINT AREA.  

For more information please go to www.anabela-artist.com/artrestorations/