Faux finishes

Graining, wood graining, or faux bois (French for "fake wood") is often used to imitate exotic or hard-to-find wood varieties.

Trompe l'oeil, "trick the eye" in French, is a realistic painting technique often used in murals, and to create architectural details.

Venetian plaster is a smooth and often shiny plaster design that appears textured but is smooth to the touch. Venetian plaster is one of the most popular and traditional plaster decorations.

Color wash is a free-form finish that creates subtle variations of color using multiple hues of glaze blended together with a paint brush.

Strié, from the French for 'stripe' or 'streak', is a glazing technique that creates soft thin streaks of color using a paint brush. It is a technique often used to simulate fabrics such as linen and denim.

Rag painting or ragging is a glazing technique using twisted or bunched up rags to create a textural pattern.

Marbleizing or faux marbling is used to make walls and furniture look like real marble. This can be done using either plaster or glaze techniques.

FAUX PAINTING the Meaning

Faux painting or faux finishing are terms used to describe a wide range of decorative painting techniques. The naming comes from the French word faux, meaning false, as these techniques started as a form of replicating materials such as marble and wood with paint, but has subsequently come to encompass many other decorative finishes for walls and furniture.
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Indoor painting

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Popular Venetian & Italian Plaster Finishes

Veneziano

This popular upscale plaster is resin based and burnishes to a beautiful high gloss finish. It is smooth and cool to the touch and is washable, patchable and very durable. Veneziano can be applied in any color or as a bicolor finish.

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Ceramics as wall decoration

Ceramics as wall decoration

The earliest evidence of glazed brick is the discovery of glazed bricks in the Elamite Temple at Chogha Zanbil, dated to the 13th century BCE. Glazed and coloured bricks were used to make low reliefs in Ancient Mesopotamia, most famously the Ishtar Gate of Babylon (ca. 575 BCE), now partly reconstructed in Berlin, with sections elsewhere. Mesopotamian craftsmen were imported for the palaces of the Persian Empire such as Persepolis. The tradition continued, and after the Islamic conquest of Persia coloured and often painted glazed bricks or tiles became an important element in Persian architecture, and from there spread to much of the Islamic world, notably the İznik pottery of Turkey under the Ottoman Empire in the 16th and 17th centuries.
Transmitted via Islamic Spain, a new tradition of Azulejos developed in Spain and especially Portugal, which by the Baroque period produced extremely large painted scenes on tiles, usually in blue and white. Delftware tiles, typically with a painted design covering only one (rather small) tile, were ubiquitous in Holland and widely exported over Northern Europe from the 16th century on. Several 18th century royal palaces had porcelain rooms with the walls entirely covered in porcelain. Surviving examples include ones at Capodimonte, Naples, the Royal Palace of Madrid and the nearby Royal Palace of Aranjuez.^[3] Elaborate tiled stoves were a feature of rooms of the middle and upper-classes in Northern Europe from the 17th to 19th centuries.
There are several other types of traditional tiles that remain in manufacture, for example the small, almost mosaic, brightly coloured zellige tiles of Morocco. With exceptions, notably the Porcelain Tower of Nanjing, tiles or glazed bricks do not feature largely in East Asian ceramics.

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