Hello my dear! I want to share small tricks that I discovered for myself during the painting of natural silk and not necessarily natural. I am self-taught, it came to everything yourself using samples and errors.
I encountered many problems, consider one of them.
Subframes for tensioning fabric for painting I do myself, the desired size.
1. If the subframe is great and the fabric of Mala. I adapted the clothespins for the curtains, small metal with the tooths on the edges. Very convenient. I enclosing a rubber band of the desired length that I fix it to the subframe using the button. Look below for the photo. I think it clearly explained.
2. The backbone of the background of the background, which at the beginning I was very scared. This jewelry work but should occur at speeds so that the pouring paint does not heat up and did not form a terrible "steps". I came up with a way out of the position. Why not paint the whole background And then apply a picture!
3. It turns out that after applying the background the fabric is almost not transformed and the template is not visible under the fabric! From here I concluded: first we transfer from the pattern to the fabric and then paint the background !!!!
4. Salt about salt. You write yes and I myself write in MK- using a large seaside salt - it is not necessary. You can use any salt, only from the size of the crystals the formed pattern of salt is dependent. This is all learning experimental way Large crystals with shallow salt, but it is for the desired effect, individually for each work.
5. MEEVERY - Used to form droplets, very cute. I like to lay out them with a walkway on a freshly stained surface. But not in the puddle of paint, I want to warn it. I can catch a moment! You will see them in the photo and immediately understand what I am not clear what I am not clear , ask.
Dry painting process in the photo.
Size 150 / 70cm. It may be pareoa and can palatine, is made on the tightness of the aniline paints on batche.
They pulled the cloth, put the template of the work, circled with a simple pencil on something!
Fill the background, just notice at once !!!
We proceed to the painting of the background. The widespread brush from the brightest, constantly increasing the concentration of paint to the desired one.
Sprinkle a salt fresh-stained surface and lay the urea in the desired place. On the photo you see the clothespins and rubber bands. We have a complete drying of the fabric !!! It is advisable not to move work and not shake, urea can point and will not be neat!
Figure on the light side, do not confuse !!!
After drying, you can proceed to reserving the pattern. By switching the tube to the reserve and supply all the patterns of the drawing without breaks and klex !!!!
This is what happens upon closer, visible and salt effect and urea left abstract drops!
We draw aniline paints selected by the tone of work. Everything happens intuitively.
We work from light to dark as in watercolor.
Slowly born flowers.
It is necessary to work carefully, one drop will spoil all our work!
It's time to draw butterflies and leaves.
Greens is not bright, whatever I climb your eyes!
Gradually comes to life.
Butterflies are circling in dance.
The unspecified drop almost spoiled all the work. The pains had to trim, and droplets remained on the mustaches, almost not noticeable when drying.
The work was performed in 2010, a long time has found a hostess. Today rummaged in the archive and found these photos! Now I have gained experience with the background and I am not afraid to paint large areas. I thought it would be interesting to begin to learn little tricks. I apologize for the discolor photo, myself The process from this I think it will not suffer. He's good! I will try to answer any questions on the topic!
Sincerely, Victoria Ignatova (Lyakhu) .www.v-iktori-a-65.Handhand.ru