Your ceilings are an opportunity for decoration. There is a lot of space up there, unfettered by windows and doors. Since it is hard to paint upside down, you can do it the easy way and paint on boards which you glue and screw when they are finished. Fit lights as normal if you like, just drill a hole and thread the wire through.
Here I am, painting a ceiling for the Pip. It will be of Ferdinand von Mueller bringing conifers to the Botanic Gardens, an event which happened in the 1800s. I like storytelling through images. Look at the little wombat on my left. She is a tiny story on her own.
It was just having a little look at what was happening… I painted these on thin MDF (about the only tine I will use MDF). I have tried canvas in the past, and kind of wallpapered it up. Not so good, problems with bubbles and unevenness, since you can’t stretch it. You could draw on paper and glue it up too I suppose, anything goes. I put a couple of coats of gesso on first, then I paint with artist’s oils.
This is what my scetches look like. Very loose, more like ideas really. The rest happens on the painting itself. It I was to do a detailed sketch I would already be sick of it before painting it, and the element of surprise which I need will be gone, depriving me of pleasure. This is pretty much how I do most things, a loose idea in my head and then I work it through as I am doing it.
Starting a different one. The long bits on the left are to extend my cornices, making them more impressive. No, I don’t stencil. I find it just as quick to paint straight on, and give me the bonus of a general unevenness which is something I always strive for. I have looked very hard at Albert Pictor for my borders and general style. He was a medieval church painter and pearl embroiderer in Sweden, and he did borders JUST like these. Being a church painter, he also filled all the wall space with stories.
Starting a fill of greeny-yellowy tendrils, with leaves and exotic blooms. Yes, I have changed clothes, twice now. It takes a little while to do a ceiling like this, I usually keep several things on the go as you have to wait for oilpaint to dry or you put your hand in it.
I have roughly scetched out the tendrils in pencil. I use a coloured art pencil as a lead one will dissolve and smudge into the oilpaint, leaving it dirty looking.
The nuances and colour shifts in the paint are very simple to achieve. Simply squeeze out a little of three colours or so, along with a little medium (dilutes the paint), Put some on your brush without mixing with any great intention, go back for more, brush it out, repeat. Every time you go back for more the paint gives you a little different look for those strokes as you brush them out. Oil blends easily.
The ground looks far more yellow in the photo than in real life. The men are two gold panners having a conversation. What about? Gold, of course. I attached the tendrils to the ground next to the miners, to grow out from them and take flight in their fancy gold dreams
Here is another one, again with the same borders. Though I vary the insides, I feel it gives greater cohesion to maintain a similarity of theme. I have changed clothes again, and appear to have lost my hat. What’s the inside of this one? Who knows! I do round ones too, for more images head to the permanent page of ”the art” in the menu.
You need help putting them up if there is wiring to pull through. I can do them by myself unless they are very big and if there is no wiring, but usually there is a central ceiling light to navigate around.
Use liquid nails or similar building adhesive, have a long stick handy with a cloth at the top end to jam the painting to the floor with and work fast.