Eggshell mosaic paintings. Eggshell mosaic. Technique and ideas. Egg shell preparation
Eggshell mosaic. Master Class
Master Class. Working with natural material
Panel from eggshell "Amanita"
Goal: to teach how to make an eggshell mosaic by design, to be able to design work.
Application: The material is designed for grade 4 children, making birthday gifts, decorating a room, making crafts for an exhibition.
Equipment: round board, gouache paints, brush, PVA glue, colorless varnish, gold stained glass contour, toothpick, black marker.
Step-by-step workflow
The attractiveness of an eggshell mosaic is in its accessibility: you can achieve excellent results with your own hands without having any special skills or special devices. You can decorate a variety of objects, decorate any surface
1. I am using raw egg shells. For example, I'm preparing an omelet: the contents are in the pan, and the shells are in the business. Before further use, they must be thoroughly rinsed in cold water, carefully remove the films from the inside and dry.
2. Take a computer-printed drawing of our future mosaic. We translate it to a ready-made basis.
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3. The shell is easily glued to PVA. We smear a small section of the drawing with glue, break it off and lay it, choosing according to color and shape - as in a regular mosaic.
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4. Fill all the empty spaces in the picture with the shell.
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5. We spread the whole drawing with the shell.
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6. Along the edges of the board we also lay out a pattern of pieces of shells.
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7. Paint the shell with gouache paints. With a stained-glass golden outline, draw antennae near the spikelets, if desired, we put dots along the edges of the pattern. We outline the whole drawing with a thin black marker. The finished panel must be varnished and your work will sparkle!
* Observe safety precautions when working with varnish. Work in a well-ventilated area.
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8. Finished works of pupils in this technique.
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9. A product made in this technique will decorate the interior of any home; and the creative process will not cause great difficulties, it will only bring a lot of pleasure! Landscape "In the mountains".
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I wish you creative success!
Many centuries ago, Chinese and Vietnamese lacquer painting masters began to use this raw material to create their miniatures. They drew attention to the fact that when pressed on the shell, a beautiful pattern of the finest cracks is formed, making the blanks look like the surface of a cracked rock or an ancient wall. The shell began to be used in lacquer painting to depict various buildings and crowns of flowering trees. The masters of the East managed to turn the main disadvantage of eggshell - fragility - into its main artistic merit.
In general, decorating the background with a mesh of cracks is used not only in eggshell mosaics, but also in other decorative crafts. This pattern can be seen on pottery coated with a special glaze or on hand-painted fabric. Regardless of the material on which they are performed, such cracks are always called craquelure, and the technique of creating a pattern of cracks that creates an antique effect is called KRAKLE.
Unlike eggshell toys, crackle mosaics made from the same material are strong and durable. If you work carefully, carefully finish even small details of the mosaic set, you can learn how to make crafts that are in no way inferior to purchased souvenirs. Eggshell ornament is used to decorate not only flat objects - all kinds of boxes and wall panels, but also blanks turned on a lathe - vases, pencil holders, decorative dishes and plates.
Let's try to make a mosaic picture out of eggshells, or, as experienced artists say, a mosaic set. Unprepared raw materials for our mosaic look more like garbage - they are not even whole eggshells, but just their uneven fragments. It is not easy to imagine that from them it is possible to make facing plates with a special decorative property and outwardly resembling ivory. Nevertheless, it is so.
Of course, guys, you will immediately want to decorate a specific thing with a crackle mosaic - to decorate a shell box or vase. Do not hurry. Let's first practice on small boards, and then, having mastered the secrets of the craft, we will do more complex work. By the way, if any educational craft turns out to be very successful, it can be used as a basis for a small wall panel or other souvenir.
You will need:
Before starting work, you need to stock up on raw materials, that is, eggshells.
1. Be sure to rinse the shells in lukewarm water.
2. And then dip in baking soda solution to degrease their surface.
3. Now all that remains is to dry the workpieces well.
4. And for the time being put them for storage in cardboard boxes. When a large number of shells of different shades are typed, we will start making facing plates.
FACING PLATE MANUFACTURING
First of all, we will decide which glue is more convenient to use for gluing parts.
The fact is that when using PVA, the gluing quality turns out to be higher, but insufficiently experienced craftsmen often fail to firmly connect the shell to the paper.
It is easier to work with "Moment", but this glue has a pungent smell, and the strength of the connection of parts decreases over time.
If we choose PVA, then it is enough to apply a thin layer of glue to the inner surface of the shells, and gluing the parts with "Moment", we need to lubricate both the lining and the shell.
Now we are ready to flatten and smooth the shells.
If you carefully examine the shell of a fresh egg, you can see a thin film lining it from the inside. Upon impact, such a shell will not crumble into separate fragments - its pieces will be held together by an elastic film. We will use a hint of nature and glue a special lining under the fragile shells, for example, a sheet of thin paper. The workpieces supplemented with the lining are easy to cut with ordinary scissors - the shells do not crumble into separate pieces. But how do you glue semicircular shells to a flat sheet of paper? For this we need a trowel.
Lay out the prepared shell with the convex side up on sheets of paper. While doing this work, it is a good idea to sort the blanks by color - stick only snow-white shells on one sheet, yellowish ones on the other, pinkish-brown ones on the third, and spotty quail egg fragments on the fourth:
This division by colors and shades will help us when making a mosaic set.
Cover the shells with a sheet of plywood and lightly press on it - you will hear a slight crack, and the blanks will be flattened.
If the raw material was glued with PVA, we will keep the plywood in this position for about a minute, and if it is “Moment”, then we will immediately proceed to the next operation.
Take a trowel in our hands and iron each piece of shell with a little effort.
The blanks crack into many tiny pieces and at the same time adhere more firmly to the paper. Let's take a closer look - a net of cracks, almost indistinguishable to the eye, covers the shell. These are the very craquelurewhich we have already talked about. For now, they do not affect the appearance of the facing plates, and we have yet to develop the crackle pattern.
Covering plates must be covered with a protective layer of tracing paper. The protective layer will not only protect the shell from crumbling, but also facilitate the transfer of the working drawing to the material. It is necessary to glue the tracing paper with paste, it is easily washed off from the surface of the workpieces, leaving no traces. Under translucent paper, it can be difficult to distinguish the color of the prepared raw material, so we mark each glued sheet with a small shell of the desired shade. The label will tell us the color of the blanks hidden under the paper.
WE MAKE MOSAIC
And now, when we have prepared a sufficient number of facing plates, we will try to make our first mosaic set.
First, we will master the simplest kind of crackle mosaic, and then, with a little experience, and more complex ones.
The easiest way to stick on the background is the ornament details cut out of the eggshell beforehand. This method is suitable for small jobs in which the details of the image do not exceed the size of the flattened shells, and a significant amount of space is given to the background.
Now that we have prepared a sufficient number of facing plates, we will try to make our first mosaic set.
First, let's copy the ornament shown in the picture:
Put tracing paper on the page of the book and outline the contours of the image - the working drawing is ready.
It can be used many times - just put a sheet of carbon paper under the tracing paper and trace the lines of the ornament again. When making a mosaic set, the drawing will have to be translated twice - on the plate, which serves as the basis of the product, and on the facing plates.
It is easy to put an image on a smooth board - you need to put carbon paper and tracing paper on it, fasten them with buttons and carefully circle the lines with a hard, sharp
sharpened pencil.
The pattern is transferred into small, uneven pieces of the shell piece by piece.
Let's first number all the details of the ornament as shown in the figure - this will help us not to make mistakes when assembling the mosaic.
Now we will overlay the image of one of the parts of the ornament on the shell and outline it with a pencil.
Let's assign each part a number corresponding to the number in the working drawing.
Having cut out all the pieces of the mosaic from the eggshell, grease them with PVA glue on the inside and glue them to the background.
Let's wait until the glue is completely dry and remove the protective layer of paper that covers the shells. To do this, slightly moisten the mosaic set with a sponge or a wide brush. Let's wait until the paper softens and remove it from the shell.
The crackle mosaic is almost ready, and we just have to paint the background and develop the craquelures.
We use black or colored ink for painting crafts.
Our choice is not accidental - the chemical properties of the ink allow you to quickly and efficiently finish the workpiece. The bile that is part of this dye penetrates into the thinnest, invisible to the eyes cracks, carrying along the particles of paint, and the shellac contained in them, after drying, ceases to dissolve in water and turns into a kind of cement that holds the tiny shells together.
First we will ink the background of the mosaic set. And then, when it dries up, and the shell ornament. When painting the shells, it is very interesting to observe how graceful dark branches of cracks grow. Here they rush forward, scatter to the sides, branch out, filling the white background with an unusual mesh pattern.
Having developed the craquelure in this way, we wipe the plates from the shell with a damp cloth, removing excess mascara. After wiping, the paint will remain only in the cracks, and the ornament itself will again acquire a white or cream shade.
POLISHING MOSAIC SET
Grinding a mosaic set is a very demanding operation! The shell is not very thick, and careless movement of the sanding bar can easily damage the cover plate.
First, we will process the mosaic set with a wooden block wrapped with the finest-grained sandpaper. Then we start polishing. We need a very simple polishing tool - a sheet of ordinary writing paper.
In the manufacture of paper, substances such as chalk and kaolin are introduced into it, giving it a roughness. With their help, we will polish the mosaic set, which after a short processing will acquire a soft silky shine, especially clearly visible against the dark background of the ink-painted board.
Elena Artamonova "Unusual souvenirs and toys"
And it’s not far from such perfection .. 
eggshell
Mosaic history
MATERIALS AND TOOLS
Materials
Containers and tools
MAIN STAGES OF WORK
Shell preparation
Preparing the sketch and host surface
Mosaic technology
Finishing the product
FROM THEORY TO PRACTICE
Box "Autumn"
Spring Meadow Bottle
Photo frame "Rainbow"
Mirror frame "Scarlet Poppies"
Mirror frame "Crimea"
Panel "Sunflower"
Panel "Tulips"
Panel "Lotus"
Panel "Butterfly"
Panel "American Heron"
Panel "Coral reef"
Panel "Poppy field"
Introduction
For work, you do not need special skills and special tools, you probably have everything you need at home, but what you need to stock up on in large quantities is patience and perseverance. Eggshells are probably one of the most affordable and cheapest materials for creativity: they are in every kitchen, to replenish their supplies, you just need to go to the grocery store.
In addition, it is thin and light, so the items decorated with it do not add weight (unlike materials for traditional mosaics) and look very neat and elegant. It makes it possible to subtly work out the smallest details of the drawing, to make smooth color transitions even on a small area of \u200b\u200bthe surface, so that the mosaic will look like a painting. You can also lay out a mosaic on small and curved surfaces with a shell: round boxes, bottles, flower pots, vases, etc.
Eggshells have been known as a decorative material for a long time. Chinese and Vietnamese lacquer painting masters pasted it in their works to create cracked stone walls and rocks, and the flowering of spring gardens was imitated by a scattering of small pieces of shell. This only confirms the phrase that everything new is well forgotten old. However, today we have at our disposal
many aids and materials: varnishes, dyes, paints, markers, etc., which will greatly simplify the work on the mosaic. I am sure that this book will be useful to all people who have a spark of creativity and a desire to try non-traditional materials for the embodiment of their design ideas.
Metal and ceramics, wood and papier-mâché, glass and cardboard - there is no surface on which it would be impossible to make a shell mosaic. Photo and mirror frames, decorative plates, hot coasters, countertops and cabinet doors - this is not a complete list of items that can be decorated with mosaics. Having learned about your hobby, relatives and friends will begin to supply you with shells, so you will not be left without material! I hope that my experience will be useful to you and will lay the foundation for your own searches and discoveries, and that the fragile shell will take its rightful place among your materials for creativity. Laying out the mosaic is a very painstaking work, but, believe me, the result is worth the effort! However, before proceeding to the description of the technique itself, I would like to tell a little about the history of mosaic as an art form and trace the path of its development.
History mosaics
According to one version, the word "mosaic" comes from the Latin "musivum" - "dedication to the muses." On the other - from "opus musivum" - a method of covering walls and floors with small stones. It is impossible to clearly date the emergence of this technique as an independent art form. However, it is known for sure that it originates from the tradition of the ancient Sumerians to decorate the walls of their homes with plates or rods made of baked clay, glazed, sometimes painted in different colors, pebbles and shells. Located on the surface of the walls, the decorative elements made up various ornamental designs and inscriptions. Traces of this method of decoration were found in ancient Egypt, Mesopotamia, ancient Uruk and Lagash, as well as in many Assyrian and Babylonian buildings.
MATERIALS AND TOOLS
■ You have everything you need at home to try your hand at this unusual form of creativity and create your first masterpiece: eggshells, dishes for coloring it, tweezers, a piece of thick cloth, black marker and colorless varnish.
■ You will have to buy only black varnish and.
■ By mixing dyes with each other, like paints, you can give the shells any color and shade.
■ Thus, you will significantly enrich the mosaic image, make it more interesting and picturesque.
■ You can also use a variety of paints, traditional Easter egg coloring products, and much more to dye the shell, whatever your imagination tells you.
Materials
Eggshell
To create a mosaic, we need a shell of raw chicken eggs. It is almost impossible to carefully remove the shell from a boiled egg - it cracks and crumbles, remaining hanging on the shell film. It is important that we have the opportunity to break the shell into pieces of the desired shape, and not choose from what is, so stock up on more or less large fragments of the shell for work (for example, those left when breaking a raw egg in half). In addition, it is easier to remove the film from large fragments. If you want to dye the shell in bright, juicy colors, choose a white shell. Colors and shades will be clean and not distorted. For a complex color, use a light beige or light brown shell. For example, if you paint a light beige shell with red dye, you will get a deep burgundy tone, if green, then marsh. You can also use unpainted shells in your work, using its natural color, for example, to fill in white or beige areas of the picture.
Mosaic Basics
You can decorate any surface with mosaics: wood, metal, glass, plastic and others. The main thing is that it is hard enough, smooth and convenient for laying out the mosaic. As a basis for making an art panel, cardboard, hardboard or glass with a size of about 30x40, 35x30 cm is suitable.Choose a dense cardboard so that it does not deform when moisture gets in the process or when the finished product is in a damp room. Hardboard has a homogeneous structure and does not deform when exposed to moisture.
Varnish for tinting
The shell mosaic looks best on a black background: the colors become juicier, brighter and more contrasting, and the pattern becomes graphic.
Therefore, before starting to lay out the mosaic, it is recommended to cover the surface of the base with black varnish, for example XB-784 "Ebony" or varnish for external work, such as roofing. It is important that during further work it does not mix with colorless varnish. Thus, you will not only tint the surface, but also prime it: improve adhesion to finishing materials and prevent moisture absorption. Also suitable for tinting are black acrylic paint, black primer, stain (but only for a wooden surface!) And any paint for exterior and interior work, including tinting, in its pure form.
Varnish for gluing the shell and finishing the product
For these purposes, it is best to use a colorless resin-based varnish, for example XB-784 from the St. Petersburg company "Novbytkhim". It is not expensive, it dries slowly, making it possible to fix something in the work, and does not spread over the surface (especially if it is pre-dried), unlike acrylic varnish or PVA glue. This varnish can be purchased at hardware stores and building materials markets. However, keep in mind - it gives the surface some yellowness, which, in general, only benefits many colors and shades, especially warm tones. It is diluted with "Xylene" or solvent No. b4b, 647 and 648.
Also, for the surface finish, you can use a water-based acrylic glossy varnish - it is practically odorless, completely transparent, easy to apply and dries quickly. It is better to buy acrylic varnishes in art salons, since they are certainly intended for shower decorative works and are safe.
Aniline dyes for fabric
For coloring the shell, powders are excellent - pigments designed to give color to various types of fabric. They are sold packaged in 10 g sachets, have a rich color palette, are very easy to use and give a long-lasting uniform coloration, penetrating deep into the shell surface. One packet will be enough for you for a long time: after all, even a small amount of dye, literally on the tip of a knife, will give a solution of a bright saturated color. Aniline dyes mix well with each other, obeying the laws of color mixing, and give a wide range of different shades. Sold in stores of household goods or household chemicals.
Capacities and tools
Container for coloring the shell
To paint the shell, use a small, galvanized saucepan or scoop with a capacity of no more than a liter. Attention, the dishes in which the staining took place should no longer be used for cooking, so choose an old, worn-out dish for work. You can remove the shell from the dye solution using a slotted spoon.
Shell storage containers
The best way to store painted shells is in clear plastic containers. This can be food containers, blister packs (made of hard plastic film) for cookies, salads, and much more that you can find in your home. Store shells of each color in separate containers.
Tweezers with thin bent needle-like tips and an extended handle are the main tool for making mosaics. With its help, you can easily pick up and neatly place even the smallest pieces of shell on the work surface.
To make it convenient for you to break the shell into pieces with the desired edges and take them with tweezers (and it is difficult to do this on a hard surface), put a piece of dense fabric under the work: denim or flannel. Fold it in half, put a piece of cardboard inside and secure its position with a paper clip. Choose a fabric in a neutral color, such as gray or beige, so that the shell of any color is clearly visible against its background.
Shell dyeing accessories: galvanized ladle and slotted spoon
Backing for work made of fabric and cardboard, tweezers, container with painted shell
To guide the lines of the drawing on the black surface of the base, we need a universal marker "metal-face" (rod thickness 1-3 mm) of good quality - gold or silver. It may not be permanent, the main thing is that it leaves clear, noticeable lines along which the layout will be carried out. A gold-colored gel pen can be used instead of a marker. To outline the details of the finished mosaic pattern, prepare a black, water-resistant, alcohol-based permanent marker. Its shaft should be about 1 mm thick, then you can draw neat, straight lines.
To tint the surface with black varnish or paint, prepare a medium flat brush with synthetic hair. The same brush is used to finish the product.
To apply a colorless varnish on small areas of the surface before laying out the pieces of shell, use round small brushes "without a tip" (the bunch almost does not gather in a cone) with synthetic or goat hair.
Container for varnish
When making a mosaic, each piece of the shell is glued to the surface of the product using a colorless varnish. To make your work as comfortable as possible, pour the varnish into a small, low container that is comfortable for you. dip the brush, for example, in a metal mold from under a tealight. For such a mold, there are about 1-1.5 tablespoons of varnish. Before starting work, it is recommended to leave the varnish for 3-4 hours in the open air, so that it weathers, thickens and acquires a resinous consistency. It is much easier to work with thickened varnish, it does not spread over the surface and does not drip from the brush, although just in case, still place the mold with varnish in some kind of stand, for example, in a metal jar from monpensier. After finishing the work, it can be tightly closed with a lid, leaving a mold with varnish inside.
MAIN STEPS WORK
■ The technology for making mosaic from eggshell is simple and standard: tinting the base, breaking the colored shell into pieces and gluing them to the surface of the base.
■ To make the mosaic look more solid, the pieces must fit tightly to each other and to the contour of the image, for this you need to learn how to break the shell into pieces of a certain shape.
■ This process requires skill, patience and a good eye.
■ An equally exciting stage is the coloring of the shell.
■ Experimenting with dyes to get new colors and shades can even turn into a separate hobby.
Training shells
Removing the film from the shell
Before you start dyeing the eggshell, it is necessary to remove the shell membrane - a dense film from its inner side. To do this, briefly soak the shells in warm water to soak the film. Then rinse them in running water and remove the tape. If this is not done, the film will prevent them from separating during the breaking of the shell into pieces.
Dyeing the shell
Dyeing with fabric dyes
To dye the eggshell with aniline fabric dye, pour 300-400 g of water into a saucepan. Bring it to a boil and add the desired color of dye on the tip of a knife. Then place the shells in a saucepan. You can mix dyes of different colors with each other to achieve the desired shade. The color saturation of the shells directly depends on the time they spent in the dye and its concentration. If you immediately remove the pan from the heat, the shell will acquire light, delicate tones, if you keep it for 5-10 minutes on low heat, the dye will be absorbed into the shell, and you will get bright, dense colors. Use a slotted spoon to remove the colored shells from the solution and rinse with running water to rinse off the remaining dye. Dry the colored shells on newspaper and place in plastic containers for further color selection. The remaining dye solution can be reused. Pour it into a jar, close the lid tightly and leave until you need to paint the shell again. Rarely, but there are times when the shell does not stain - the paint does not penetrate into it, but only smears over the surface. This means that you have come across a poor-quality shell with low porosity and a lack of calcium.
Other means for coloring the shell
If for some reason you were not able to purchase aniline dyes for fabric, do not worry. There are many other materials for coloring the shell. Let's take a closer look at them:
Acrylic paint (in cans and tubes). In this case, you will have to paint each piece of the shell in the desired color with a brush;
Training sketch and surfaces basics
Substrate surface preparation
First of all, the surface must be wiped from dust. Glass, glazed ceramic and painted wooden surfaces should also be degreased: wipe with a cotton cloth moistened with alcohol or acetone. Smooth metal, plywood, laminated or plastic surfaces are recommended to be sanded with fine-grained emery paper to improve adhesion to finishing materials. Then cover the prepared surface with a flat brush with an even layer of black varnish (paint, stain or other means). The density of the layer does not matter, it is enough to get a dark shade
Sketching
The creation of a sketch is a very important stage, especially when typing a complex picture, since it is on the sketch that you can carefully work out the composition of the future mosaic, choose the right color solutions, the optimal ratio of volumes and color masses. It is advisable that the sketch corresponds to the scale of the base.
First, draw a pencil drawing, draw in all the details. Having brought the image to the option that suits you, go over all its contours with a colored felt-tip pen or a thin pencil. Then color in with crayons. Pay special attention to color transitions and color combinations.
The drawing on the sketch should be clear and specific so that you can see where each line came from and where it went. The more carefully you work out the sketch, the easier it will be for you to carry out the further stages of work and to fully realize your plan. As a sketch, you can use any picture found on the Internet, scanned from a magazine, etc. It is enough to enlarge it to the desired size and print it on a printer.
Transferring the pattern to the base surface
When the tinted surface of the base is dry, use a thin gold-colored marker or a gel pen to apply the pattern of the future mosaic to it. If you feel that you will not be able to “freehand” the drawing from the sketch to the base, make templates of its fragments. To do this, using carbon paper, transfer the drawing from the sketch to a sheet of thick paper and cut out all the fragments. Apply them sequentially to the base and trace along the contour with a gold marker. There is another way to transfer a picture - easily soiled, but more effective. Rub the sketch (handwritten or printed) on the back with white chalk.
Then attach it with the back side to the black surface of the base, fix in the corners with masking tape and slowly, carefully begin to trace the elements of the drawing with any sharp object: a pen, pencil, knitting needle, etc. Unfasten the sketch. Trace the printed lines with a gold marker or gel pen. When the stroke is dry, wipe off the chalk from the surface with a dry cloth.
Technology mosaics
Breaking the shell into pieces
To lay out an image from an eggshell, it must be broken into small pieces. Fold a piece of thick fabric in half, place a piece of cardboard inside and secure it with a paper clip. The substrate is ready for work. Place a piece of dyed shell on it and, holding it with your finger, press with tweezers a little further than the edge. At the point of pressure, the shell will crack and the fragment will separate.
With practice, you will be able to break the shell into pieces of the desired shape: triangles, squares, rectangles, pieces with sharp edges, etc. The better you learn to break the shell into pieces of the desired shape, the more seamless and solid the finished work will look.
Laying out the mosaic
Use a small round brush to apply the thickened clear varnish to a small area of \u200b\u200bthe base surface. Until it is dry, use tweezers to place a piece of shell of the desired color on it. Then lightly press on it with your finger so that it flattens and sticks to the base with its entire surface. If the piece is large, push it harder so that it cracks, and gently "pull" its parts with tweezers in different directions so that the gaps between them are even. Parts of the cracked piece can not be pulled apart, then you get the original craquelure effect.
Continue to spread the shell pieces edge to edge on the varnish. Try to keep the gaps between them as small as possible. Where you need to delimit fragments of the drawing, make the gaps a little larger. Attention: lay out the shell with the convex side up! Choose pieces of such a shape that they fit well with the already glued ones, or one edge fits snugly against the contour line. Slices with an even edge (square and rectangular) are best laid along the contour or edge of the base. Sharp corners of image fragments, for example, the ends of blades of grass or leaves, are well covered with triangular pieces. Don't worry if you don't have a suitable piece of shell or if you can't line up the outline of the drawing. These disadvantages of joining pieces can be easily eliminated by further drawing the image details with a black marker. Sometimes there are small gaps between the pieces of the shell, if possible, they should also be filled using the smallest pieces.
When working with pieces of different colors, do not mix them together, but lay them on the fabric in small piles so that the shape of each of them is visible. Pieces of different shades of the same color intended for a set of complex objects, for example, sky, water, greenery, on the contrary, are recommended to be mixed. Thus, you will make their choice more random, and the layout will not turn out to be far-fetched. To achieve a smooth transition from one color to another in the layout (or from a dark tone to a light one), start filling the area being worked with shells of one color, gradually interspersed with pieces of a different color, at first rarely, then more and more often. Thus, you get a color roll: one color will smoothly flow into another.
In the process of working on a composition that does not have basic details, for example, a landscape, try to fill the space of the drawing from the top edge down, moving from left to right, otherwise you will rub the already pasted surfaces with your sleeve.
When laying out a plot composition, first of all, fill in the smallest details with shells (otherwise it will be difficult to fit them into the space filled with mosaics later). Next, lay out the main details of the composition. The background is typed last. When you finish laying out the mosaic, turn the base over with the decorated side down. Poorly glued pieces of shell will crumble. Collect them and glue them again. These were the weakest areas of the work and it is better to know about them immediately than after finishing, when such shells fall off and black holes gape in the mosaic.
Finish finishing products
In order for the result to please you for many years, the mosaic must be varnished. This will protect it from mechanical damage, moisture and more reliably fix the glued pieces. Take a medium-sized flat brush and apply a layer of thickened, colorless varnish to the decorated surface. The thicker it is, the better. To get a perfectly even glossy finish, apply a few more layers of varnish, carefully drying each of them. When the varnish dries, correct the drawing: circle the fragments of the composition with a thin black marker, eliminate the layout flaws by painting over the places of inconsistencies in the shells and the outline, draw small details that cannot be completed in mosaics, for example, thin antennae of a butterfly or veins on leaves. Attention, you can draw with a marker only on a varnished surface! If you draw before varnishing, it will “eat away” the marker paint and smear it over the surface of the product. Another important point: place the finished work in the interior so that direct sunlight does not fall on it, otherwise it will gradually fade and fade. The shells of blue and lilac shades are most exposed to fading.
FROM THEORY TO PRACTICE
■ Now that you are familiar with the basic techniques for making an eggshell mosaic, it's time to move on to the practical part of the work.
■ Laying out a picture with pieces of shell, you will not only be distracted from everyday worries, but also decorate the interior of your home with unusual handmade gizmos.
■ Look for new subjects for the mosaic - it can be a rhythmically repeating ornament, pattern, landscape, a still life-shell, you can lay out almost any image, the main thing is patience and perseverance.
Casket "Fall"
FOR WORK YOU WILL NEED:
a wooden box or a box made of thick cardboard (from tea, Turkish delight, sweets)
eggshell
sheet of thick paper
gold spray paint
aniline dyes for fabric
clear nail polish
varnish brushes
tweezers and thick cloth
black and gold marker
Cover the box with black varnish and dry. Scale up the maple and elm leaf templates to the size you want, or paint any other leaves yourself. Transfer their outlines to thick paper and carefully cut out each sheet with scissors.
Place the resulting leaf patterns on the tinted surface of the box lid and trace with a gold marker. At the same time, follow the composition - the leaves should evenly fill the surface of the lid, being at the same distance from each other. First, fill in the center of the composition and then the corners.
Prepare the shell. Cover the shell with gold spray paint.
Use fabric dyes to color the shell for background filling in any shade of yellow, red, orange and brown.
Break the gold shell into small pieces, placing a thick cloth under the work. Prepare more triangular pieces to fill the corners around the edges of the leaves.
Start laying out the mosaic, coating each working area with a thickened transparent varnish. Fill in the leaves from the edges to the middle. Press with your finger on the large pieces of the shell so that they crack - this will greatly enrich the composition.
Now start laying out the background. Break the shells prepared for him into pieces of various shapes and mix together to make a multi-colored mixture. Use tweezers to take pieces from this mixture and spread randomly on the surface of the base around the leaves.
Decorate the sides of the box similarly to the background. Decorate the front side with a simple arc-shaped ornament, laying it out in gold pieces. Pre-outline the outline of the ornament with a gold marker. Paint the upper ends of the sides with gold paint.
Cover the mosaic surfaces with a layer of clear varnish. In this case, carefully "bypass" the accessories: hinges, locks, etc. It is advisable to remove it at the beginning of work or seal it with masking tape. When the varnish is dry, use a thin black marker to trace the outlines of the leaves and ornament. Draw veins on the leaves of the elm tree. The box is ready.
Bottle "Spring meadow"
FOR WORK YOU WILL NEED:
wine, cognac bottle or any other glass container
eggshell
clear nail polish
aniline dyes for fabric
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
gold and black markers
Degrease the surface of the bottle, cover with a layer of black varnish and dry thoroughly. Using a template or freehand, draw on it with a gold marker the outlines of large flowers of four petals.
Dye the eggshells with fabric dye. Give the shells for laying out flowers in different shades of purple, lilac and pink, the shell for the background - shades of light green. Also prepare some bright yellow shells to fill the center of the flowers.
Dry the painted shells on a piece of newspaper. Then, placing a thick cloth with tweezers, break the shells designed to fill the background into pieces of different shapes and mix them together. Thus, when typing, it will be easier for you to choose the desired shade.
Start filling in the background, choosing pieces of different shades of light green. Use a small brush to apply a colorless varnish to each area to be worked on. Carefully traverse the contours of the flowers. Pay special attention to the neck of the bottle - it needs to be pasted over especially carefully, using the smallest pieces. During
work gradually turn the bottle. Then use a gold marker to mark the center of each flower.
Now lay out the flowers, having previously broken the shells of purple, pink and lilac shades into pieces and mixing them together. Press each glued piece with your finger. Press the larger pieces a little harder so that they crack. Type the middle of the flowers with yellow shells.
Cover the surface of the bottle with a layer of clear varnish. When it's dry, circle the flowers with black marker. The work is over.
Frame for photos "Rainbow"
FOR WORK YOU WILL NEED:
rectangular frame with wide
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
gold and black marker
The peculiarity of this mosaic is not in the complexity of the pattern, but in subtle color combinations and a smooth transition from one color to another. The work of creating it will require a lot of concentration of your attention and a well-developed sense of color. So, tint the surface of the frame with black varnish and dry it.
Using fabric dyes, color the shells in the colors of the spectrum: red, orange, yellow, green, light blue, blue, violet. These are seven colors of the rainbow - a natural standard for color harmony. However, in reality, the spectrum is continuous, and these colors in the rainbow pass into each other with a smooth change through many intermediate shades. Therefore, prepare the shells not only of the main spectral colors, but also of their shades.
Divide the frame into sectors: with a gold marker, draw curvy lines on its surface from the inner edge to the outer. Imagine, the more intricate the lines and, accordingly, the shapes of the sectors, the more interesting and richer the finished work will look.
Having outlined a drawing, proceed to a set of mosaics. Use tweezers to break the dyed shells into small pieces. Stir the pieces of a similar color scheme and arrange in piles on the fabric. Thus, you can easily find the desired shade of a particular color and pick it up with tweezers.
Sequentially fill the sectors with pieces of shell of the desired color and shade, smearing each working area with a thickened colorless varnish. Start with the brightest red tone. Fill the next sector with pieces of a red-orange hue, then a bright orange, and so on along the spectrum (see the color wheel on page 25). Try to choose pieces of such shades so that the color transition is as smooth as possible - although this is painstaking work, the result is worth the effort. When finished, cover the frame with a layer of clear varnish.
Frame for mirrors "Scarlet poppies "
FOR WORK YOU WILL NEED:
square frame for mirror
eggshell
aniline dyes for fabric
gold spray paint
clear nail polish
black varnish (XV-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold markers
universal glue
small black beads
Cover the mirror inside the frame with a square piece of paper or mask with masking tape. Tint the surface of the frame intended for the decor with black varnish and dry it thoroughly.
Enlarge the template to the size of the frame and in any way convenient for you transfer the contours of the drawing to the prepared surface of the base, using a gold marker for stroke.
Use fabric dye to dye the prepared shells to the desired colors. To fill the image of poppies, we need shells of various shades of red (burgundy, bright scarlet, dark and pale pink). To lay out the stems, prepare some shells of warm green, light green and light green, for the background - muted yellow shells (saffron and amber). Paint a few of the shells with gold spray paint to create seed pods.
Use tweezers to break all the red shells into pieces with the desired edges and mix them. Start laying out a mosaic of poppies. The technology, as always, is simple: with a small brush, apply thickened colorless varnish on a small area of \u200b\u200bthe surface, put a piece of shell on top and press it with your finger. Press down on larger pieces a little harder so that they crack. Draw the poppies from the tips of the petals to their base. To fill in the edges of the petals, break the shell into oblong pieces. To make the poppies bright, fiery, fill a large area of \u200b\u200bpetals with bright pink and scarlet shells.
Inject burgundy and light pink where you want to make a highlight or shadow. At the same time, pay attention that the color transition is smooth: that is, the pale pink area
should surround the shells of a dark pink color, etc. Try to keep "within" each petal, keeping its contours.
Break into square pieces of the same size warm green and light green shells. Then carefully, without mixing shades, lay out the stems of flowers and buds.
Now, with pieces of gold shell, type in the image of the seed pods and their stems.
The background remains. Break the shells of yellow shades into pieces, mix them together and proceed with the layout, moving from the inner edges of the frame to the outer ones. Try to lay out pieces with an even edge along the edges of the base and the contours of the image details, then the work will look neater and more consistent.
After finishing the layout, cover the decorated surface of the frame with several coats of colorless varnish.
Then, with a thin black marker, "walk" along the lines between the fragments of the image (thus, at this stage, you can eliminate defects in the joining of the pieces), draw the conical top of the seed pods, etc.
Apply all-purpose glue to the center of the poppies and sprinkle fine black beads on top. Adjust the position of the beads with a toothpick so that they lie clearly within the contours. The stamens are ready. Remove any paper or tape from the mirror.
Frame for mirrors "Crimea"
FOR WORK YOU WILL NEED:
square frame for mirror
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold markers
In order not to stain the mirror during work, cover it with a square cut out of paper or seal it with masking tape: when removed, it does not leave any marks on the surface.
So, we start, as usual, by toning the base with black varnish and creating a colored sketch of the future mosaic. To save time, use a ready-made template and enlarge it to the size you need. Any of those suggested on p. Using the 29 method, transfer the contours of the drawing from the sketch or template to the prepared base surface. Use a gold marker to outline the image.
Use fabric dyes to add color to the prepared shells. To lay out the sky, you will need shells of blue shades, for the mountains - dark beige and maroon, for the sea - various shades of blue-green, for houses - gray. To create the crown of trees and vegetation around the houses, prepare shells in warm green shades: light, medium and dark, as well as light green. We will lay out the grass with shells of various light beige, muted yellow and olive shades, and the tree trunks will be dark brown.
Using tweezers, break the blue-colored shells into pieces
the desired shape and mix them together. Using the thickened clear polish and a small brush, start filling the sky on the frame, randomly pasting pieces of different shades. Press down on them with your finger to crack the pieces.
Then break into pieces the shells of dark beige and maroon colors and fill the perimeter of the mountains with them. This work is quite simple, as there is no color transition: the colors are uniform and specific.
The next stage of work is the creation of the sea. Break and mix the shells of the desired colors together. To give the sea depth and realism, start laying it out from the horizon using pieces of darker shades. Then, closer to the center, introduce the shells of a lighter shade into the work, finish with the lightest, almost blue.
Now lay out the houses: the walls are white pieces (for this, use an unpainted white shell), and the roofs are maroon. Place a row of gray shells on the walls along the rooftops to simulate shade and thereby add volume to the houses. As windows, you can use square pieces of black, or you can simply leave the square areas empty - then the tinted surface of the base will be visible in them. Next, start working on the vegetation surrounding the houses. To make trees and groves look more voluminous, distribute the color inside the outlined areas according to the principle of a sphere: fill the upper part with shells of the lightest green shade, as well as light green and olive. Gradually inject into the work pieces of a darker green shade, lay out the bottom rows with the darkest pieces. Remember - the transition of color within each contoured area of \u200b\u200bgreenery should be smooth, the more shades are involved, the more elaborate and natural the finished mosaic will look. Line the tree trunks with dark brown shells. The lower part of the frame is filled with withered grass. Draw each blade of grass in narrow rectangular pieces of light beige, muted yellow, and olive. At the same time, observe the direction of the stems, which, by design, sway from a gust of wind. Close the sharp ends of the blades with triangular pieces. Next, cover the finished work with several layers of colorless varnish, thoroughly drying each of them. Then, with a thin black marker, draw the outlines of the details of the composition. Remove any paper or tape from the mirror.
Panel "Sunflower"
FOR WORK YOU WILL NEED:
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
Cover the surface of the cardboard with black varnish, dry and transfer the outline of the template to it or
your sketch. Use a gold marker to outline the image.
Dye the shell with fabric dye. We need shells of several shades: yellow and orange for a set of sunflower petals, brown (up to dark brown), black for its middle, warm green and light green for the leaves and stem, lilac for the background.
Using tweezers, break the yellow and orange shells into pieces and mix them together. Start filling the sunflower petals with them from the tips, smearing the thickened colorless varnish section by section. Glue the lightest pieces first, then gradually introduce the darker ones. With orange shells, lay out the strip in the middle of the petals of the first row, as well as the spaces between the petals of the first and second rows.
Break brownish shells into pieces. Stir them together and fill the middle of the sunflower. Glue pieces of the darkest shade along the edge, then lighter. Make a shadow by placing a comma-shaped element in the center with black shells.
Break into pieces and stir the shells of warm green and light green flowers. To the leaves
looked natural, imagine where the sun is in your picture. Start filling the leaves with shells: the part facing the sun with lighter shades, and the one in the shade with darker shades. Follow the lines of the veins on the lighted part of each leaf, try to shade them with shells of slightly darker shades. Fill in the background with pieces of lilac shells, moving from the sunflower to the edges of the panel. Pre-mix all the lilac pieces together to make it easier for you to choose the desired shade. Work carefully all the areas of the background between the leaves. Cover the mosaic with several coats of clear varnish. When the varnish is dry, circle all the details of the image with a black marker, draw in the petals, move the veins on the leaves.
Panel "Tulips"
FOR WORK YOU WILL NEED:
thick cardboard sheet
rectangular
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
Cover the surface of the cardboard with black varnish and set aside to dry. Enlarge the pattern of the future mosaic to the desired size or draw a sketch yourself according to the dimensions of the cardboard base. Pay attention to the composition: there is no main accent in it - tulips evenly fill the entire space of the drawing. Therefore, the accents in this case will be color.
Paint over the back of the template or sketch with chalk, place it on the black surface of the cardboard and "walk" along all the lines of the drawing with a sharp object. Then trace the outlines that are printed on the cardboard with a gold marker.
shades of emerald and warm green.
First, fill in the tulips, starting on the left side of the panel. Break the shells intended for them into pieces. Then mix together pieces of a similar color scheme and lay them in piles on the fabric. Apply a thickened, colorless varnish to the surface with a brush, apply a piece of shell to it and lightly press it with your finger. The panel contains five types of tulips: red, yellow, orange, pink and lilac. Choose shades in such a way that you get a smooth transition of color from the bottom of the tulip to the top. Lay out the lower part in a dark shade, gradually changing it to a lighter and lighter one. Combine different colors, for example, start with dark orange shells and finish with light yellow, going through several intermediate shades.
Then fill the leaves and stems of tulips with pieces of shells of emerald and warm green shades. Lay pieces with an even edge along the contours of the leaves, then any others. Sharp ends
cover the leaves with triangular pieces. Tulip stems are thin and even - prepare square pieces to fill them.
Lastly, make the background using shells of various yellow-green hues. First, glue the pieces with an even edge along the contour of the already laid out images. Then fill in the remaining space. Carefully work out all the small areas of the background between the tulips and the leaves.
Panel "Lotus"
FOR WORK YOU WILL NEED:
thick cardboard sheet
rectangular
eggshell
aniline dyes
for fabric
transparent, black varnish (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
This work is done on the contrast of the background and the main picture. Against an emerald green background, a pale pink lotus seems to be blooming.
So, tint the surface of the cardboard with black varnish and leave to dry. First, make a sketch of the drawing of the future mosaic, determine the main composition on it and think over the color ratio of the details. Pay particular attention to the ratio of the scale of the background to the flower. It should be chosen very precisely so that the rich green background does not "clog" the delicate flower. If you are unsure of your artistic ability, simply scale up the finished template to the size you want.
The next step is to transfer the contours of the drawing from the sketch or template to the tinted surface of the cardboard. The best way for such a complex design is the chalk transfer method. Trace the outline printed on the black background with a gold marker.
Dye the shell with fabric dyes in several shades of pink
(up to crimson), yellow, emerald and light green color. The more shades of each color, the richer and more effective the image will be. Arrange the shells by color and start creating the mosaic. Use a thickened, colorless varnish as an adhesive. First of all, fill in the lotus flower shell by breaking it into pieces of the desired shape. First, lay out the middle with shades of yellow, then with dark pink (crimson) - the tips of the petals. Continue filling in the petals, gradually fading into shells of lighter pink shades (sometimes even white ones can be interspersed). The closer to the center of the flower, the lighter the petals should be.
Next in line are lotus leaves. The core of the leaf is the darkest, so start with it, using dark emerald shells (but not the darkest!). Gradually, closer to the edge, "reduce" the color shade to a lighter one. Do not forget about the veins on the leaves: lay the pieces along them so that there is a gap of about 2 mm wide. If this does not work, then in the future these flaws can be corrected using a black marker.
Between the leaves, lay out the background exclusively with emerald shells of the darkest shade, thereby conveying the depth of the water.
Collect the stems with square pieces of pale green shades. Fill in small areas on the backs of the leaves with the same tone.
Panel "Butterfly"
FOR WORK YOU WILL NEED:
square sheet of dense
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
Cover the surface of the cardboard with a layer of black varnish. To accurately and accurately draw the contours of the design, enlarge the butterfly wing pattern to the desired size, transfer it to a sheet of thick paper and cut it out. Mark the center on the tinted surface of the base, step back from it to the left and right a few centimeters and outline the body of the butterfly (its width). Carefully place the wing template over one of these marks and trace around with a gold marker.
Flip the stencil and mirror it on the opposite side of the base, at the second torso mark. This way, the wings of your butterfly will be the same.
Now, with a gold marker, draw an oblong body of the butterfly between the wings. Then draw veins on the wings and a wide hem around the edge. At a distance of 3 cm from the edge, draw a frame around the perimeter of the base.
Dye the shells with fabric dyes in the desired colors, depending on the type of butterfly. In this case, we are making a Morpho butterfly, so to lay out the wings we need shells of various shades of blue, light blue and lilac, as well as brown, dark gray and black to fill the edges of the wings and torso.
Any shades of warm green and light green are suitable for the background.
Paint the shells for laying the frame in golden color with spray paint. Remember that for the mosaic effect that we want to achieve, the shell must be laid out already painted, and not painted after gluing it to the base.
Break the golden shells with tweezers into pieces of different shapes and stick with a thickened colorless varnish around the perimeter of the base. Start from the outline and work towards the edge of the base. Try to lay out pieces with an even edge along the contour and edge of the base to keep a straight line.
Start filling the butterfly image on the left wing using blue, cyan and lilac pieces. Move from the edge of the wing to the center, laying out shells of dark shades first, and then more and more lighter ones. Follow the direction of the pattern and veins on the wing: do not fill in the entire wing at once, but in the areas bounded by the contours. Leave small gaps in veining areas. Fill the second wing in the same way.
Type the edges of the wings and the body of the butterfly with black and brown pieces. In the upper corner of the wings, intersperse a few pieces of dark gray.
It remains to make the background. It needs to be laid out from the middle of the base to the edges. First, glue the shells of light shades of warm green and light green colors around the butterfly, having previously broken them into pieces and mixed together. Then break and mix the darker shades. Gradually incorporate them into your work, imagining that a halo is shining around the butterfly. Thus, lay out the mosaic up to the frame.
After finishing work with the shell, cover the surface of the panel with colorless varnish and dry thoroughly. To make the drawing clearer, circle the butterfly with a black marker, draw all the veins, the inner edge of the edge on the wings, draw the antennae. The work is done.
Panel "American heron"
FOR WORK YOU WILL NEED:
rectangular sheet of dense
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
Cover the surface of the cardboard with black varnish and dry well. Draw a colored sketch of the future mosaic according to the dimensions of the cardboard base or increase the template to the desired size.
Transfer the drawing from the sketch or template to the prepared base surface using any of the suggested methods. Trace parts cut out of paper or "chalk" prints with a gold marker.
Dye the shells with fabric dye. To fill the background, we need shells of various shades of warm green and light green, for water lilies - several shades of emerald and pink. To lay out the bird, prepare some shells of burgundy, light and dark scarlet, yellow, brown, orange and blue. To set the branch on which the bird is sitting, give the shells various shades of reddish-brown.
Start making a mosaic by breaking the shells of the desired colors into pieces just before filling in one or another detail of the image. This time, we will not fill the entire surface of the base with mosaics, but lay out only the main drawing in the middle of the composition. First of all, type in the smallest details of the drawing - the beak and eye of the bird, using the yellow and brown pieces of the shell. If you fill in such details last, it will be very difficult to do it neatly: fit into a small space, while maintaining clear contours.
Then line the bird's head with pieces of burgundy, dark and light scarlet shells. Transition
there is no color here - the borders of the colors are clear, laying out the pieces, just fill in the necessary areas.
Moving on to the plumage. To make the bird look more voluminous, break the blue shells into pieces and create a shadow by placing them along the inner edge of each feather. Also, use blue pieces to shade the upper part of the right wing. Fill the rest of the space with pieces of unpainted white shells. Line the heron leg with orange shells. Now, with shells of red-brown shades, type the branch on which the heron sits: the upper part is light, the lower part is dark. Try to let the shades flow smoothly into each other.
Then lay out the water lily flower and the back of the leaves with pink shells of two shades. This will give them volume. Fill the upper side of the leaves with pieces of light and dark shades of emerald color.
Space around the heron - background - pick up in pieces of warm green shades. First, lay out the darkest shades around the heron, then a little lighter and lightest around the edge of the composition. The closer you come to the edge, the more sparsely glue the shells so that the background does not break off abruptly, but disappears smoothly.
The panel is finished. Cover it with two or three coats of colorless varnish, drying each one thoroughly. Then, with a black marker, outline all the details of the image, draw the plumage, set the pupil, etc.
Panel "Coral reef"
FOR WORK YOU WILL NEED:
a rectangular sheet of thick cardboard (a piece of hardboard, plexiglass, etc.)
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
As always, we start by toning the base with black varnish and creating a colored sketch or increasing the template to the desired size. Then, in any way convenient for you, use a gold marker to transfer the contours of the drawing from the sketch or template to the black surface of the cardboard.
Dye the shells the desired colors and shades using fabric dye. Prepare shells in a variety of shades of beige (from lightest to darkest) to fill the image of tubular corals. For the algae, you need some warm green shells. For fish - shades of blue, orange and yellow (from bright to pale). For branching corals, paint the shells bright red. For the background, prepare shells of various light shades of blue and cool green.
Dry the shells, place a container with thickened varnish on the table, a thin brush for applying it, tweezers and a thick cloth on which you will break the shells into pieces with the desired edges. Begin creating the mosaic by filling the foreground, moving from left to right. Lay out the tubular corals first. To give them volume, to emphasize the cylindrical shape, use light shades of beige to fill the upper part of the shell and darker shades to fill the lower part. Line the holes in the middle with the darkest shade.
Then move on to filling in the algae behind the corals, as this is one of the finer details of the composition. Try to type them not in one solid color, but with a transition: the lower part is darker, the upper part is lighter.
Now it's the fish's turn. Start filling them in with the hardest part - the fins and tail. They need to be laid out in strips, so their texture will be better visible. For the dorsal fin and tail, use two colors of shells: dark yellow and dark orange. Break them into thin, long pieces of equal width. Alternate colors to fill the stripes on the fins.
Similarly, line the bottom fin of each fish with bright blue and light blue shells.
Then, with pieces of blue, blue and yellow shades, lay out the small details of the image of the fish: the lateral fins and nose, and also in blue shades - the edge along the edge of the dorsal fin and tail.
Now lay out the left and right parts of the fish body with shells of various shades of blue. Start at the top edge using pieces of the lightest shades, towards the middle start interspersed with darker shades, ending with bright blues. In the same sequence, lay out the area in the middle of the body with shells of yellow and orange shades.
Fill the branch corals with chunks of bright deep red. It remains to type the background - the water column. Use shells in a variety of light shades of blue and cool green for this. Break them into pieces and move them between you. Start filling in the background from the top edge, choosing the lightest pieces, gradually, towards the bottom, introduce darker shades into the work, thus showing the depth and transparency of the water.
When finished, cover the mosaic in two or three coats with clear varnish. Then, with a thin black marker, draw the outlines of the image, set the points-eyes for the fish. The work is finished, it remains to place it in the frame.
Panel "Poppy field"
FOR WORK YOU WILL NEED:
rectangular sheet of dense
cardboard (a piece of hardboard, plexiglass, etc.)
eggshell
aniline dyes for fabric
clear nail polish
black lacquer (ХВ-784 "Ebony")
varnish brushes
tweezers and thick cloth
black and gold marker
Tint the base with black varnish and dry thoroughly. Make a preliminary sketch of the drawing of the future mosaic with colored pencils. The size of the sketch must match the size of the panel. If you want to completely repeat the given composition, enlarge the template to the desired size.
In any way convenient for you, transfer the drawing from the sketch or template to the prepared surface of the base, using a gold marker for stroke.
Then start dyeing the shell with fabric dyes. The color palette of this image is very rich, so you will need a large number of shells of various colors and shades. To create the sky, paint the shells blue and pale blue. For the mountains - in shades of emerald, cold and warm green, light green, dark blue and blue-green. For the field, road and tree trunks, you will need shells of a rich yellow color, as well as shades of orange and light brown. For lilac bushes - shades of lilac (from light to dark). For a poppy field - shades of red (burgundy, bright and pale scarlet). For the house - gray and red-brown.
Start filling the drawing from the sky. To do this, break the blue, pale and dark blue shells into pieces and mix them together. Place the thickened, colorless varnish in a small container and a brush on hand. Then use tweezers to spread each piece on the surface of the base, having previously coated the corresponding area with varnish. In order for the sky to be “light” and natural, and not just a blue background, it is necessary to make it the most complex in terms of the ratio of tones, while not forgetting about the aerial perspective: that is, the closer to the horizon, the brighter it should be.
Having finished laying out the sky, proceed to the mountains covered with greenery. Fill the farthest mountain with pieces of emerald-colored shells - from light to dark. The next two mountains are in shades of deep blue. The next mountain is a mixture of pieces of blue-green and emerald hues. The two nearest mountains are in shades of warm green and light green (one in light shades, the other in dark). Irregularities along the upper edge of the mountains - depressions - lay out in the darkest shades, imitating natural shadows on the mountainous terrain. Fill the rest of the mountain space along the gradient, changing the shade to more and more
and lighter, so that the image does not turn out to be simple and monochromatic.
The middle of the panel is a yellow field crossed by a road. First of all, line the road with shells of light brown and orange shades, and the vegetation along it with shells of emerald hue. Thus, you will greatly simplify the work of "joining" the boundaries of the field and the road. Then fill the field with pieces of yellow shell. In this case, there is no need to be afraid of a bright uniform color, since we need to make dominant color accents in the work. Lay out a grove behind the field with orange and bright scarlet shells.
So, we got to the middle of the panel. Now we have to fill in many small areas of the image. Let's start with the apple trees in bloom. First, lay out the tree trunks, breaking a dark brown shell into rectangular pieces. Then, with pieces of white (unpainted shells) and a pale scarlet color, as well as several shades of light green, fill the crowns of apple trees. Please note: the crown of the tree in a simplified version has the shape of a ball, respectively, to give it volume, filling the lower part, use more light green shades.
Now lay out the house: the wall in the shade of the apple trees is in gray pieces, the other wall is white, the roof and windows are red-brown.
There are lilac bushes behind the house. To fill them, break the shells of different shades of lilac into pieces and mix them together. Collect the lilac bushes in the same way as the crowns of apple trees: smoothly from a dark shade at the bottom to a light one at the top. Lay out the yellow tree between the lilac bushes with yellow shells, interspersed with green, slender cypresses with dark shades of emerald, and the flowers in front of the house with shades of yellow.
The last stage is the field of poppies. Break the shells in different shades of red, warm green, and emerald into pieces. Stir them together and fill the field with pieces of bright and pale scarlet, often interspersed with light green pieces. Determine the areas where the apple and cypress trees cast shadows and fill them with burgundy and dark green pieces. Lay out the space around the house and under the apple trees on the opposite side of the road with shades of green, and the vegetation along the road with a mixture of pieces of green and emerald shades.
The work is done. Now it remains to cover the panel with varnish. The more layers of varnish you apply, the stronger and more durable your mosaic will be. After the varnish is dry, trace the main areas of the image with a thin black marker. Thus, you will make them clearer and give the work graphicality.
A creative person doesn't waste anything, not even an eggshell. There are eggs in every refrigerator, but most people do not even suspect that a real work of art can be created from their shells. In terms of its hardness, many professionals compare it to marble. The surface of a hen's egg is very difficult to scratch. This is why the eggshell mosaic is so highly prized and looks amazing. With the help of eggshells, you can create magnificent panels and paintings, make decoupage, create original mosaics and much more. Eggshells are a wonderful material for creativity, and we will prove it!
The creation of picturesque paintings from broken shells is called Crackle. In the East, this technique has been known since ancient times. Today, with its help, you can interestingly transform any object. This creates the effect of a cracked varnish.
Eggshell decoupage
Let's make a decoupage with an eggshell using the example of such a box. By this principle, you can make decoupage shells of any surfaces.
To do this, we need objects that are difficult to imagine together under any other circumstances: eggshells, paints, a manicure stick, PVA glue, a brush and the cardboard box itself.
There was an old cardboard box, and they decided to give her a new life! First, you need to "sand" the entire box outside and inside with large enough sandpaper, and then walk again with a "zero".
For decoupage, we need: eggshells, a brush, PVA glue, a manicure stick
First, apply glue to a small area of \u200b\u200bthe box (we work with small areas, since PVA dries quickly enough). Then we take a small piece of the shell, apply it to the surface and lightly press the stick on the shell, so that it cracks, as shown in the photo:
With the sharp end of the stick, move the shell fragments to the desired distance, thus forming a mosaic pattern. The fragments of the shell, as well as the distance between them, can be large or small at your discretion. After the shells are moved apart to the required distance, they must be pressed to the surface with the flat end of the stick.
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