the past fascinate with its paints, the game of light and shadow, the relevance of each accent, the general condition, color. But what we see now in the galleries, preserved to the present day, differs from the fact that the author's contemporaries were challenged. Oil painting has a property to change over time, the selection of paints, technique of execution, finishing work and storage conditions affects it. This is not given the minor mistakes that could allow a talented master experimenting with new methods. For this reason, the impression of the canvas and the description of their kind over the years may differ.

Technique of old masters

Oil painting technique gives a huge advantage in the work: the picture can be written for years, gradually simulating the form and prescribing the details with thin layers of paint (lescing). Therefore, a cabinet letter, where immediately trying to make a complete picture, is not typical for the classical manner of working with oil. The thoughtful phase of applying paints allows you to achieve amazing shades and effects, since each previous layer during lescing is shifted through the next one.

The Flemish method, which so loved to apply Leonardo da Vinci, consisted of such stages:

• On the bright soil, the drawing was made in one color, sepia - contour and basic shadows.
• Then a thin submarine with the plowing volume was made.
• The final stage was several lescing layers of reflexes and detail.

But the dark brown is surrendered by Leonardo over time, despite the thin layer, it became a lot of coming through the colorful image, which led to the darkening of the pattern in the shadows. In the main layer, he often used Lugged Umbra, Yellow Ohru, Berlin Azure, Yellow Cadmium and Loggy Siena. Its final applying paints was so subtle that it was impossible to catch it. Actually developed sFUMATO method (Shading) allowed to do it easily. Her secret in highly diluted paint and work with a dry brush.

Rembrandt - Night Watch

In the Italian method, Rubens, Velasquez and Titian worked. He is characterized by such stages of work:

• Applying color soil on the canvas (with the addition of any pigment);
• Transferring the contour of the pattern to the ground with chalk or coal and fixing it with suitable paint.
• Podmuelov, places are dense, especially in the illuminated places of the image, and in some places completely absent - left the color of the soil.
• Final work in 1 or 2 reception by armores, less often with thin lescing. Rembrandt Bowl the layers of the picture could reach a centimeter in the thickness, but it is rather an exception.

This technique was of particular importance to the use of overlapping additional colors, which allowed the rich primer to neutralize in places. For example, a red primer could be leveled with a gray-green submarine. Work in this technique was faster than in the Flemish method, which was more like customers. But the wrong selection of the color of the soil and paints of the final layer could spoil the picture.

Coloring paintings

In order to achieve harmony in a picturesque work, use the full effect of reflexes and complementing colors. There are also such small tricks as the use of colored soil, as is customary in the Italian method, or a painting painting with a pigment.

Colored soils can be adhesive, emulsion and oil. The latter are a pastous layer of oil paint required color. If the white base gives the effect of the glow, then the dark gives the depth of the paints.

Rubens - Union of Earth and Water

Rembrandt wrote on dark gray soil, Bryullov - Based on the Pigment Umbra, Ivanov toned the canvas with yellow okra, Rubens used the pigments of English Red and Umbra, Borovikovsky preferred for portraits a gray soil, and Levitsky -Sero-green. The darkening of the canvas was waiting for everyone who used earthen paints in excess (Siena, Umbra, Dark Ozz).

Bush - gentle flavoring of the gun blue and pink shades

For those who make copies of the Grand Artists in digital format, this resource will be interested in this resource, where the artists web palettes are presented.

Laco coating

In addition to earthen paints, darkening with time, coated varnishes based on resins (rosin, digging, amber) also change the lightness of the picture, giving it yellow shades. To artificially give an old canvas, a figment of ocher or any other similar is specifically added to the varnish. But the strong darkening will rather cause excess oil in operation. He may also entail cracked. Although such the effect of the craklera is more often associated with the work on the sevenpiece paint.It is unacceptable for oil painting: they write only to dry or still raw layer, otherwise it is necessary to scrape it and register again.

Brullov - the last day of Pompeii

Another of the very interesting directions of our activity - reproduction of artists of famous artists In the technique of "Krakle". The essence of this technique is as follows: the coating of printed canvas with a special varnish that gives the effect of cracking. 100% handmade. Varnish is applied in 2 layers. The first layer creates the basis, the second one turns into cracks, creating the effect of an old varnish - cracker. Hence the name of the equipment. After the lacquers dried into the resulting cracks rubbing oil paint, with a specially disheveled coller. In dark places - light, bright - dark. After drying the paint, the reproduction of the picture is covered with a lacquer lacquer in 2 layers.

The use of this technique is very popular to create reproductions of paintings old masters and realistic photo installations (connection of the photo and paintings in a single integer).

Immediately note that the reproduction of paintings with the effect of crackering is alas. The pleasure is not cheap, since all the materials that are used in this technique are very expensive. In addition, it is added to the need to comply with the temperature regime in the room in the manufacture of such paintings.

Samples of reproductions of paintings with the effect of aging ( craquelure) We are presented in our workshop. If you are interested in this service, we will be happy to show them to you!

Reproduction of paintings with the effect of aging (cracker) Price

Included in cost:

• printing reproduction on canvas selected category
• making a subframe, canvas stretching on a subframe
• dual-having cracker + grout oil oil
• covering the finished canvas with a lacquer

Picture size	Canvas Solo Hard Cotton	Linen canvas art
20x30 cm	900 R.	1370 R.
30x40 cm	2320 R.	2670 R.
40x40 cm	2750 R.	3100 R.
40x50 cm	3040 R.	3390 R.
40x60 cm	3410 R.	3810 R.
50x60 cm	3880 R.	4320 R.
50x70 cm	4370 R.	4870 R.
60x80 cm	5540 R.	6350 R.
60x90cm	6050 R.	6860 R.

Standard execution deadline 4-5 days
Urgent orders:
- less than 1 day + 100% per value;
- 1 day + 35%;
- 2 days + 10%.

According to the story of the artist and the historian of the Renaissance George Vazari, the sculpture of the brilliant Michelangelo "Sleep Cupid" was buried to the ground, then digested and issued for an antique statue. The sculpture was recognized as genuinely antique and sold Cardinal San Georgio Rafaello Riaario for 200 dukatov, which once again confirmed the exceptional skill of Michelangelo.

Modern fakes are not made by no means to confirm the skill of their author. The price of the question (from hundreds of thousand to several million dollars for a picture of a recognized genius) is such that one successful attempt to fake from the hundreds can enrich the dexter. Therefore, together with the development of the methods of examination of authenticity, which all the standing pictures are necessarily exposed, and methods of which can be accessed with which they can be destroyed.

For obvious reasons, the participants of this "race" are art historians, technologists and, of course, the fake authors themselves are not looking for more than fame and do not rush to disclose their methods. For "popular mechanics", a specialist of one of the leading Moscow laboratories made an exception by told about the basic methods of examination of painting works.

First glance

The study of any painting includes art historical and technological expertise. To establish authenticity, specialists work in two main directions - determining the date of manufacture of the picture and the search for creative and technological techniques used for a particular artist. With the date, everything is clear - Rafael could not write with paints invented in the middle of the 20th century. Dating information, as experts say, may be contained in each part of the picture, and classic masterpieces are not as simple as it seems at first glance.

The picture is written on the basis - it can be canvas, wood, metal, stone. A simple canvas already contains a datched moment - with the spread of new types of weaving machines, the quality of the canvas changed radically.

Canvas The artist covers the soil to give him smoothness. The degree of smoothness and the number of soil layers are determined by the fashion quite certain times. In cases where the soil can absorb the binding base of paint (most of the paints are a powder pigment and a binder - for example, walnut or linen oil), it has to put the insulating layer - an imperture. Typical imprimature is a thin layer of oil paint.

The first layer of paintings, entrusted actually to painting, is lecherous submarike. Belil - the optical base of color, a kind of "backlight" from the inside of the picture. It is not visible to the viewer, but is of great importance - the final colors are obtained by overlaying transparent paints. For example, when the artist performs a portrait, the form of a face first builds a thick layer Belil. Belil not only create a beautiful optical effect, but also help to save an expensive pigment, a significantly smaller amount of which is required for transparent paints.

The following layers create the visual content of the picture. They are written with paints that contain more varnish than oils, and therefore transparent. These layers of technologists are called lescing. A varnish is put on top of the lescing - a transparent protective layer.

For each of the described layers, there are research methods indicating the date of manufacture of the picture. At the same time, experts wave a mass of pitfalls. For example, a picture written in the Life of the Great Master does not necessarily belong to his Peru. During the time when the aesthetic value of the paintings was considered higher than the collection, from the workshops of Geniyev, there was a mass of copies performed by students, and signed by the maestro signed. Finally, on the creation of an unknown contemporary of the Great Artist, our contemporaries could simply fake signature. Art historians carefully analyze the similarity of the painting studied with the famous works of certain periods of artist's creativity, taking into account technical and stylistic techniques, the subject of work, the details of the master's biography. However, an atypical picture may be a "sample of pen" or "joking genius" ...

Unfortunately, absolutely accurate ways to determine the authenticity of the picture today does not exist and is not foreseen. Nevertheless, an experienced specialist, looking at the picture with a naked eye, can already tell a lot about it.

Armed eye

When studying paintings, experts use several types of microscopes. Picture of the picture, enlarged in 20-50 times, - the spectacle is hardly no more beautiful than the picture itself. The canvas turns into a series of hills and depressions, the lessed strokes acquire the form of whether the sea waves, or the mountain canyons. A binocular microscope is especially good, which allows you to look into the depths of the picture, feel the thickness and quality of varnish and, of course, consider restoration interventions or defects. In the broken cracks filled with dust, the long life of the masterpiece is reflected, or attempts to form it artificially (heating and sharply cooling).

In such a microscope it is useful to look at the signature of the author. Washing and changing the signature is one of the simplest and at the same time effective ways to fake paintings. In the microscope, it is perfectly visible, whether the signature under lacquer, above it or "truck" between the two lacquer layers. The so-called "signature in the test", which the artist put on a low varnish, should be slightly drowning. The aforementioned cracks on the old varnish are called cracker. If the signature lies on top of the crack or checks into them, is the fake indicator. Although the genuine signature could simply be unsuccessfully circled (as a rule, the signatures are not restored).

Under the polarization microscope (600 times and more), the sample from the picture looks like a stove of sparkling precious stones. These "gems" are nothing more than a pigment particles. The overwhelming majority of pigments in classical painting are minting into powder. The view and combination of pigments gives an expert a submission not only about the date of manufacture of the picture (different pigments were used at different times), but also about the individual "handwriting" of a particular artist: Different masters received the same color shades, mixing different paints on the palette.

In invisible rays

One of the main instruments of experts - ultraviolet, X-ray and infrared radiation. Ultraviolet rays allow you to determine the aging of the lacquer film - more fresh varnish in ultraviolet looks darker. In the light of a large laboratory ultraviolet lamp, the renovated areas appear with darker stains (it is clear that the pictures intact with restorers are valued significantly higher than those add-written) and manifold signatures. True, this test is easy to get around. Experienced restorers retain the tampons with which they wash off varnish before restoring lost areas of the canvas. Washing subsequently these tampons in the solvent, they get ... the same old varnish identical to the original one. Currently, varnishes are not darkening in UV rays, even produce serial.

X-rays are delayed in the most severe elements. In the human body, this bone tissue, and in the picture - Belil. The basis of Belil in most cases is lead, in the XIX century began to apply zinc, and in the XX-M - Titan. All these are heavy metals. Ultimately, on the film, we get the image of the leaf podmuelka. Podmuelok is an individual "handwriting" of the artist, the element of his own unique technique, part of the painting he did for himself, and not for the customer. For analyzing submarine, radiogram bases of the great masters are used. Unfortunately, their publications play not only experts.

Infrared rays, on the contrary, allow you to see another part of the picture spectrum. Experts use special thermal imagers that perceive waves with a length of over 1000 nm. The infrared light shows the underlying pattern made by the artist with black paint or pencil, or ... the coordinate grid, with which the exact copy of the original picture has been written.

Chemical weapon

Chemical analysis in painting is divided into two categories: with selection and without sampling. Studying the picture without sampling is carried out using an X-ray fluorescent analyzer (RFA). This device determines the metals contained in the substance. It is the metals that are chromophores, that is, they are responsible for the color of certain substances, reflecting certain light waves (for example, lead - white, yellow, orange; copper - blue, green; iron - red, yellow).

A more accurate and detailed elemental analysis of the substance gives a micro-generation-effect analyzer, or microzzle. For microprod from the picture, the sample is closed. It is so small, which is not visible to the naked eye, but contains parts of all layers of the picture. For each of them, the microzond is a spectrum of the elemental composition of the substance. In addition, the microzzle can operate in the electron microscope mode. For chemical analysis, such methods are used as emission spectral analysis, emission spectral x-ray phase analysis and many others.

Chemical composition - extremely useful information. To assist experts produced detailed directories, indicating the date of the release of factory paints, varnishes, soils made by a particular recipe.

Currently, inorganic chemistry is currently in the expert service. The binders of paints representing organic matter, all over the world began to be engaged relatively recently. Some advanced methods of organic chemistry that could be applied in the examination already exist, but are at the disposal of military, criminologists and academic institutions that are in no hurry to share technologies with art historians. In the examination of paintings, methods of liquid and gas chromatography, IR spectroscopy are already used.

It so happened that experts were always leading in the "Racing Technologies": manufacturers of fakes had to respond promptly to the emergence of new expertise methods and try to bypass them. Specialists say: "If we manage to finally understand the organic chemistry of binders, we won 50 years ahead!"

Piggy bank of creative ideas

How to Agreements: All Equipment Equipment

The current trend is currently: transformation of various furniture items, their decorative finish and formation.

Methods of exposure to the surface are chosen in accordance with the interior, preferences or simply by mood. In this article, we tried to describe the main techniques, materials, sequence of actions and their results.

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Consider options:

Dry brush
. Patinating
. Glaze
. Spray
. Krakle
. Equipment "Furiousness" (Shebbi Chic)
. Etching (firing)
. Braching
. Additional mechanical impact

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Dry brush

Dry brush - reception borrowed by decorators from painter artists. And if in painting this method create an image, then in a practical decoration, this is a great way to make an item, add it to the years.

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Essence of technology: A little paint is recruited on a flat synthetic brush, surplus wipes, it is done on paper (palette, rag) until every hair brushes will not give a separate line.

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And now with light movements, slightly touching the item, "pack", by paying the main attention to the protruding parts: ribs, convex pattern, etc.

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Thus emphasizes relief and imitate scuffs.

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Patina or Patinating

Patina - This is a greenish-brown raid, which is formed on the items from copper and bronze as a result of oxidation under the influence of the environment. In a broader sense, under patina, traces of aging on any items created from any materials are understood.

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Patinating in decorating - This is an imitation of dimming surface, which in natural form looks like changes in color after a long period of time and frequent contact with hands. Patin is dark, colored, metal, white (limeing).

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The patinishing composition is applied on the verge, the corners of the subject or the opposite, in the deepening of the relief parts. There are several types of patination.

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1. Bituminous Patina

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Bituminous varnish is applied to the surface and surplus are also erased. Varnish remains only in the recesses, shading surface. Fastened by shellaic varnish.

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2. Patina based acrylic

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Highly diluted with water acrylic paint is spilled in the deepening of the relief, and the excess is erased with a clean cloth.

3. Chemical Patina

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A special oxidizing agent is applied to the paint with fine metal particles, which causes the metal surface to perform (oxidize) within a few minutes.

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4. Shellaic varnish

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Shellaic varnish gives surfaces warm light yellow shade or red-orange shade. Widely used in woodworking, to underline wood texture, used as protective and coating.

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5. Wax Patina

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Crops over the surface and tinting selected areas. Such considerable time. Gives the surface soft silky gleam.

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Glaze

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Lesstation is a picturesque technique, At which the lower layer of the colorful layer shines through the top translucent. The technique is widely used not only in painting, but also in the design of interiors, including it applies to painting items. The technique allows you to get deep intellectual colors due to translucency of the lescing layers.

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Various paints and coloring compositions are suitable for lescing: watercolor, oil, acrylic paints, firmly brewed tea. It is convenient to use the acrylic paint solution. A wide palette allows you to get the desired color.
Paints are easily mixed with each other, bred by water or diluent acrylic paints to the desired consistency, quickly dry after application, after being resistant to moisture and mechanical effects and can be used on any surface.

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Technological process: A synthetic brush or sponge is applied to the prepared surface, waiting for drying and evaluate the result. The lesing does not allow to completely paint the structure of the base or the previously applied image, it only sets the tonality. To enhance the effect, you can apply a re-layer of the lesing paint, and then the color intensity will increase.
If you apply a few translucent paint layers of different colors, as a result we will get different shades that translucent each other.

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Spray

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Spray - Droplets-splashes on the surface of the decorated product that create the image of the stuff over time reflect the history of its use.

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The artistic blurred thing in such a simple way receives a unique visual charm and pleasant with tactful relief perception. This is all very important, since items selected for decorating are made for your favorite house and for expensive people's heart.

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The process itself is very entertaining. Before proceeding, you need to prepare a workplace. For example, to store the surface with a newspaper or cloth.
From the tools need toothbrush or rigid brush. From materials: paints and water in a cup.

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Progress:

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Tassel wet the water and score a small amount of paint on it. We try the nail or toothpick to start the drops on the still the test surface of the sample, simply by taking the tool in the bristle.
If you have a small comb, you can experiment with it, spend a brush with paint treasuries.

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With a wide brush, you can simply shake the drops or knock on your hand, then small colored droplets break off with the brush and fly down. Deciding with the process of application, it's time to conjure.
Sprinkle is the last operation before varnishing. The drops of the same lacquer will differ from the total glossiness of the surface of the subject, this effect will make an additional breaking effect over time.

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Krakle

Krakle - artificial formation technique, creation of cracks in a colorful or varnishing layer.

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1. Craques are divided into one-step (single-phase) and two-having (two-phase)

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Single cracker It looks like a cracked layer of paint, through the cracks of which the lower layer of paint or the base of the product is visible. The basis can be any: glass, metal, plastic, wood and similar materials to it.
Dual-step cracker looks like a thin crack mesh (cracking lacquer) on the surface of any image or coating.

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2. Krakle from egg shell

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Gives a bright high-relief effect of configuring. The clean shell is glued on PVA or acrylic lacquer with pieces at some distance from each other. Sometimes the relief is additionally emphasized by patinating or a "dry brush" technique.

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3. Fucking lacquer

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Colored self-cracking varnish. It is applied to the surface with a thick layer and left to dry. Forms large cracks.

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4. Microcrability two-component

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Gives the effect of thin cracks - cobwebs. Transparent, so often applied on top of images. After drying, the crack is often emphasized by patinating.

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5. Paint cracker

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Self-taking paint with the effect of one-step cracker.

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SHEBBY SHESHBY SHEBBER VOLOSTABLE WITH CALLING SHEBBY

Technique is simple and consistent. The corners, the sides, the joints of the prubounding planes of the object are covered with a saturated shade, the colorful layer is rubbed by paraffin, then overlaps with light paint, most often 2 layers are required.

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Now the mechanics: Entry paper in the places of paraffin and the 1st layer of paint is removed the top layer. Thus, failure, imitation of use, effect effects.

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In this technique, gentle pastel tones are traditionally used. With the "sweet" shades, as if burnt out on the sun or sweatful of time:

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Light pink;

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Ivory;

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Creamy;

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Hyacinth;

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Lavender;

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White (but not snow-white, but as if lightly yellowed from time);

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Pistachio;

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Linen.

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You can add "shabby chic" with painting, motifs from decoupage cards or napkins, add spray. The finish coating will serve several layers of acrylic matte varnish.

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Etching

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Suitable for items of any size made of wood . Best of all the processing method is amenable to breed of deciduous trees. In this way, you can give wood noble, saturated shades, without losing the natural beauty of the material texture.

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Etching produce various compositions - rubbing . Some of them have complex names or strong smell, but along with them there are many recipes available for cooking with their own hands, such as tea, coffee, compositions of leaves, bark; There is a mangartan, blue, vinegar. For those who feel a little chemist, quite a suitable event - tint wooden surfaces.

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The process can occur in two ways:

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1. Manual staining with a tampon from a tissue that does not leave fibers or a synthetic brush.

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2. Staining with soaking in composition for etching.

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Most often, the process takes place at elevated temperatures. After the selection and acquisition (mixing) of the desired composition, the wood is purified from extra and cleaned with sandpaper. Then the etching-filling process itself. As a rule, the recipe for the adhesive is attached to the exposure time and the estimated result. Mostly, the control is made visually and, of course, the very place is the place of creativity.

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Braching

The most common method of mechanical composition of wood - brash. His name happened from the word Brush - "Brush".

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The surface is treated with metal brushes, choosing the upper soft fibers, leaving only solid.

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The perfect way to make up if furniture from:

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Larch

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This method is not suitable if the furniture is made of:

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Wood winning with firing or bribing

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It is performed using either open fire, or, which is much more convenient, with a soldering lamp or gas burner.Directing the flame on the surface of the tree, you can achieve a different shade of wood - from light golden to black. Color depends on the initial color of wood and on the number of passages with fire. Then the brushing is performed - processing the surface of the wood with a rigid wire brush. At the same time, softer, burned parts of the wood are cleaned, and more solid (annual rings) remain in place.

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More way - firing in hot sand
Small clean sand is poured into a metal container and heated to a temperature not higher than 200 degrees C. In hot sand, put harvested products harvested for firing and withstand it until they darken. If the tone of individual parts of the product must be blighted gradually, these parts are immersed in the sand vertically. The lower layers of sand are stronger than the top, respectively, the lower part of the piece will be darker top. Thus, the tone turns out from light yellow to dark brown.
The surface treated with brushes and light can be toned, applying the lesing method or dry brush, add images of a decoupage technique or add color spray.

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Additional mechanical impact

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Sometimes time comes in the form of a bug-tree. To simulate similar damage left by insects, the masters use a seboard, drill and even a laser. In the same way, small damage is applied - chips or scuffs are similar to those that surfaces are obtained by decades.

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Another way to apply noble damage - Put the nuts, bolts in a cloth and beat it with this bag. And further artistically add to the desired result.

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Simulation of past decades Equipment and techniques in combination of chemical and machining, give excellent decorative results.

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For practical decoration, most in the arsenal of materials deservedly occupy compositions on an acrylic basis. It is convenient to use them in operation: almost odorless, diluted with water, easily washed off from the tools. They have a variety of effects (imitation of metals, oil paints, matte tempera) and various textures. The color scheme can inspire on the alteration, even if she did not flood. They are durable, water resistant and to the effects of sunlight.

Sebilkova Anna

24:1709 How to just make the dial aged.

All the beauty and beauty of products in the Decoupage technique consists of their compilation, napkins or cards are bright stains on the texture of the coating, the dark base breaks through the new paint. Such places are called "the extends", "chips", or "scratches". This is achieved by speaking over dark paint before applying white, main.

This time we decorated the watch from the "Herbarium series" popular in our workshop. Decor technology is similar to a box, but for the dial we applied stencils. Stencil was made to order, it is reusable. And we will make the dial with the "extends" too.

Now I'll show you how I achieved it.

The surface is ready for screen work.

We apply stencil.

We rub the numbers inside the wax candles.

Then we bring brown paint sponge.

We are waiting for the paint to dry, remove the stencil.

Now we take a rough skirt and scratch the cracks, and the numbers become uneven, you can also raise their edges!

The clock is ready, it remains to cover them with varnish!