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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 Pathina

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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!

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

Crakellates (Krakl) are cracks in paint layers on painting works. We offer to familiarize yourself with the sketches of the mosaic panel for the pool, the manufacture of which can be ordered from us.

Initially, artists used various ways to avoid cracks on their works, but time took their own, paint dried and cracks appeared. The pictures were covered like a web consisting of cracks and thereby emphasized their old origin.

The addition of egg yolk as a link in the composition of the paints, partly prevented the layers of painting from cracking.

Modern artists apply crabeller technique to make an effect of artificial aging with their work. Today, it is often splashing furniture objects, ceramic dishes, wall panels, painting walls of cafes and houses, frames of paintings and photographs.

To protect the niche and the entrances to the basement of your home, we recommend ordering the coating of a veil from a cellular or monolithic polycarbonate in our company. We will produce and mounted metal structures at your order.

Machinery cracker, artificial aging of modern painting

In modern painting, learned artificially to achieve the effect of the composition.

To do this, specially cause crackling of the paint layer on their works. Craquelur gives the work of a certain charm and the spirit of the antiquity.

The technique of cracker (krakle) provides cracks by applying the surface layer of special collaborate varnishes on the surface of the colorful layer. To highlight and underlined the resulting cracks, patin formulations, oil paints, pastel, mascara or gold powder are additionally rubbed.

The use of each of the materials for rubbing creates its effect of giving the antiquity. The greater the layer of the crockel varnish is applied to the surface of the painting, the more cracks will be deeper later.

The craklera obtained by artificially always differs from the cracks of the colorful layer of the work created by time, and this quality distinguishes fakes from the original.

Application of various artificial aging techniques Krakl

For one-step and two-step cracker techniques (krakl), respectively, one-component or two-component compositions of collaborated varnishes are used.

The use of various Krakl technician, for artificial aging of modern painting, allows for artificial works with a shade of special originality and value.

Krakl techniques are somewhat different from each other in the composition of the collected varnishes used and how it is applied to the decorative subject.

One-component cracker lacquer and one-step cracker technique

After applying the background color to the decorated surface, it is necessary to give it to completely dry. It is further applied single-component cracker lacquer, it is applied with simple movements and in one direction.

If the direction of movements change, then the cracks will acquire a chaotic order or will be small and ugly.

When the surface of the varnish dried, the background color paint layer is applied to it. The raw paint begins to act on a dry layer of varnish and its surface begins to crack together with the top background layer.

In the resulting cracks, the first background layer also breaks.

Double craklera technique and two-component varnish varnish

The difference between the two-step cracker technique is that the first and second component of the crockel varnish is applied to the decorating painting surface itself.

When drying the varnish, transparent cracks are formed, in which the paint of dark tones is rubbing to give them visibility. For the subsequent strengthening of the cracks, the surface is fastened with a transparent varnish intended for acrylic paints.

Applying two-component crochelle varnish with layers of different thickness and change in drying intensity with a hairdryer, allows you to get the cracks of the desired size and frequency.

The advantage of using a two-haule cracker is that it retains the original image of the work, on the surface of which there are also cracks that create an antique effect.

Pictures can be a great way to decorate the interior. At the same time they look very noble. There are a lot of techniques that make up the work. Some of them require a skill, and therefore try on some material, and then proceed to processing the picture.

You will need

• -picture;
• - angry camera;
• -hold camera;
• -Lak;
• -sandpaper;
• -Realous welding.

Instruction

Try to make a sharp change of temperatures. First place picture In the hot dry chamber for 24 hours, and then the same to hold it in the chamber with very low temperatures. Repeat the procedure several times until the paint cracks, then cover the painting by varnish with the effect of the patina.

Another possible way is to read some places of the picture with sandpaper (with small grain) before the formation of cracks, and in some places to completely broken pattern, and then cover the product with a varnish with a patina effect.

Purchase lacquer with cracker effect. Such a varnish gives the effect of cracks on the surface of the picture. You will need two-having crackelors, but do not apply it to the picture immediately - try on other surfaces to feel the material - it is quite capricious. Then apply the lacquer to the picture only in those places where you want to add an antique effect, do not cover the whole picture with such a varnish, it won't look good.

If you draw yourself, you can get a good effect with a simple varnish. Cover them an uneteble picture and paint will go cracks.

The effect of the old picture can be obtained from the reproduction printed on a sheet of paper. Split a sheet, stick it to another surface, slightly collected some places of the picture (as if folding). Some areas will sweep the sandpaper. Give the picture to dry. And then cover her lacquer with the effect of patina.

Panel can try to be as follows: Sut the picture with tea with a teaweed (it is welding, and not a twisted bag), and then allow the panel to dry, then cover it with a varnish.

You can use several varnishes with different bases. Apply the lacquer on the picture, made on acrylic, and then lacquer on an oil basis, and so several times. After drying, cracks are formed.