"Faux" is, as least partially, a negative term if we translate it literally into the meanings "false" or "phoney". A European painter would wince if his or her wood graining or marbling efforts were termed "fake." It's best to associate the term with our English word, "imitation." A faux finish should be a realistic copy or parody of a natural material or texture.

Now, 45 years after beginning my apprenticeship, I realize my good fortune having then, as a young journey man, often been called upon to create such finishes. Although I'm primarily a mural and scenic painter, I make part of my living from the results of theses early experimentations and what glazes have taught me since.

Wood and stone imitations are simply another challenge to me as a painter. To mimic and copy is after all, at least in part, what creative people do. A successful rendering of colors and textures of cut wood or stone requires skills equal to those needed in painting other realistic subjects. Thus, this is part of my frustration in the past years when "real" painters appeared to view "faux" painters as being "fake."

Over-the-Counter periodicals, on the other hand, have presented faux finishes as camp, quaint renditions. These generally resemble deluxe pizzas topped with an array of the most vulgar shades and shapes of poisonous hues. They appear to be created as a misguided, in-your-face-type fashion statement of our times, or, worse, to be revolting. The fact is, that with a little honest effort, time and love for what we do, we can all learn to paint much better.