Most owners of apartments and private houses dream of ensuring that their home reflects the individuality of the owner, that it differs in design, is, as they say, “with a twist”. But for this you can simply create a bas-relief on the wall. Such a decision will absolutely transform the room, bring something new into it.
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What can be a bas-relief on the wall?
As they say, tastes don't argue. Depending on the design solution the bas-relief on the wall can be very simple. For example, baguettes of paintings of different sizes look respectable.
Modest luxury emanates from the bas-reliefs, which are located on the panels, launched in the form of a border at the top of the wall.
Some are inclined to decorate the wall with a floral bas-relief.
Such decorations look luxurious in combination with lighting.
The bas-relief on the wall, made with your own hands in the form of a corner of nature, will add originality to the room: a tree trunk, part of a rock, a park, a shore of a reservoir.
The most difficult are plot volumetric paintings.
They usually occupy either the entire wall or a corner in the room.
What if it doesn't work?
Many creative people begin to tingle in their hands when they see a bas-relief on the wall in front of them, captured in the photo. But fear prevents you from starting to realize your desires: what if nothing happens? Get it, definitely get it! And the master class offered here will help in the implementation of the creator's plan. Following step by step instructions, applying diligence, even those who do not have skills in sculptural modeling will be able to cope with the goal.
There are options when a bas-relief is immediately executed on the wall. With his own hands, in this case, the master sculpts a sculptural picture from a plaster mixture, comparing his creation with a sketch. However, this method is more suitable for experienced craftsmen. For those taking only the first steps in this field, you should not immediately take on monumental work. Yes, and correcting errors in this case can be quite difficult.
Consider the option when the bas-relief on the wall is first made separately by casting in molds, and then attached in finished form. In this case, you must first prepare a silicone mold for casting parts. And the first step will be just a master class for making molds for casting plaster parts for a bas-relief. With their help, you can create an imitation of ancient stucco, baguettes of paintings, ornaments.
Master class for making molds for casting plaster parts for bas-relief
The best are considered Silicone forms. For their manufacture, you can use several options.
Silicone sealant
In this case, simply cover the multiplying sample with the mass from the tube, having previously lubricated it with soapy water or grease. Sometimes a mold is required for casting not a whole object, but only a part of it. Then the unnecessary part is sunk in clay, plasticine, salt dough - in a material that can then be easily removed without damaging the object.
First, a layer is applied to the sample, carefully working through small details. Then the structures are allowed to dry well and covered with a second even layer. The mold is then carefully removed from the sample.
However, as a result of these manipulations, a very fragile product is obtained. Such forms rarely manage to be used more than 2 times.
Filled silicone
Therefore, experts advise making the so-called dough from one part of starch or talc and the same amount of sealant.
Filler is poured onto the board in a slide. A certain amount of sealant is poured into the middle of it and thoroughly kneaded in the same way as regular dough is made. You can use the container and make mass in it.
To make a mold, the sample is pressed into a piece of silicone mass. Before use, the sample is lubricated with soapy water or grease.
Using such a mixture, it is tightly wrapped around the sample, trying to prevent air bubbles and voids. The structure is dried for about a day.
Silicone compounds
Taking, for example, "Silagerm-7000", the master, according to the instructions attached to it, will easily prepare the material for making the mold.
To do this, a hardener is added to the bulk.
Mix thoroughly.
Then take a box without slots, a container or a bowl. The size and shape of the container depends on the sample part.
Before pouring silicone, the original is pre-lubricated with wax, grease or soapy water to ready product could later be easily removed without damage.
At the bottom of the container, the part is laid on which it is planned to create a mold for casting. Carefully pour the resulting composition so that it completely covers the part.
If the form is to be removed not from the whole original, but only from its part, you should first pour the silicone mixture into the container, and then lower the object into it, immersing it as much as the master's plan requires.
The container is tightly closed. To do this, you can use a piece of glass.
After 15 minutes, you can get the finished form. One has only to check if the silicone composition sticks to the fingers.
If the master wants to create a bas-relief according to his own plan, the master class "How to make a template for a mold with your own hands" will help him in this.
Gypsum bas-relief on the wall using silicone molds
In order to cast a bas-relief on the wall with your own hands, you need to prepare the necessary:
- · pure form;
- · gypsum;
- · water;
- · lubricant.
Grease is applied to the dry area of the mold with a brush. It is prepared from vegetable oil, in which wax is melted in a water bath.
Gypsum (it is better to take GVVS-18, intended for artistic modeling) is bred according to the recipe attached to the package. Use water at room temperature. Under no circumstances should it be added to the composition of cement or sand, plaster or other material!
So that there are no air bubbles in the cast part, the master first applies with a brush to inner part forms a gypsum composition, and then fills it all.
To prevent the formation of air voids in the product, the form with the contents must be vibrated for some time. You can achieve this effect if you cover the form with corrugated glass and move it over the surface for a couple of minutes.
Usually, the recipe indicates the time required for the product to dry completely. But it is worth noting that in this case it is better to overdo it than to remove the part ahead of time.
After the specified time has elapsed, the master carefully removes the bas-relief detail from the mold.
Attached to the wallusing acrylic plaster, diluted to a thick cream or acrylic glue. You can also glue small parts of the bas-relief using PVA.
This is interesting! Instead of gypsum, you can use papier-mâché mass. Both figurines and bas-relief are obtained no worse than plaster ones.
Do-it-yourself bas-relief on the wall - video
Using this material, you can make a bas-relief on the wall with your own hands. The site also has a master class "How to make a swing with your own hands" with step by step photos and video.
Do not rush! Make me feel better, drop a few words in the comments!
And on the site there are simply killer materials that are sure to interest people whose hands grow from where they need to.
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A bas-relief is a three-dimensional relief on the wall surface - an ornament or pattern that protrudes above the plane. It helps to create an exclusive interior, because each work is unique, and it is impossible to repeat it exactly.
Advantages of a bas-relief on the wall
Not a single type of finish can be compared in terms of aesthetics with a bas-relief. It attracts attention at first sight, looks unusual and interesting. You can create a drawing yourself. The advantages of the bas-relief are:
- originality and showiness of finishing;
- the ability to mask the unevenness of the walls;
- the ability to act as a means of zoning a room.
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You can create a bas-relief in the interior with your own hands, and this is another advantage of this type of wall decoration.
I don’t want to glue wallpaper, and painting the walls seems not an interesting enough way to finish - complement it with a bas-relief, which can be created from various materials:
- gypsum;
- plasters;
- clay.
The base can be made of wood or metal - they are poured or processed, creating original compositions on the wall.
Types and themes of bas-relief
Not every relief pattern on the wall is called a bas-relief, but only one whose elements protrude from the surface by no more than half. If more - this is a high relief.
The wooden bas-relief looks original in the interior, if you choose it according to the design style of the room, the color that matches the color of the furniture. In this case, it will harmoniously fit into the overall style.
Bas-relief ideas can be varied. Depending on the style, these can be plant and animal motifs, abstract elements or antique scenes look aesthetically pleasing. Size, plot and difficulty will depend on:
- the volume of the room;
- decoration style.
Often a three-dimensional image is made directly on the wall, however, it is possible to install pre-prepared plates with a ready-made relief. We also recommend looking at finishes. decorative panels on this site http://mirstrojka.ru/dekorativnye-paneli/
DIY bas-relief
Many people order wall decoration with volumetric drawings from specialists, however, knowing what to make a bas-relief from, you can do the work yourself.
For a bas-relief based on putty, you will need:
- putty;
- glue;
- putty knife;
- cutter;
- acrylic paints;
- brushes;
- stained glass outline.
At the first stage, a sketch of the future three-dimensional picture is transferred to the wall surface. It is transferred to paper, covered with a film and the contour is transferred to it. An abrasion-resistant marker or felt-tip pen is suitable for this.
Foundation preparation is the second stage. It is necessary to apply acrylic putty, fine-grained gypsum is the basis of the future bas-relief. They need to be leveled and allowed to dry, but not completely. After 15 minutes, you can get to work - transfer the drawing to the wall.
Fix the film on the wall with masking tape, circle the pattern so that the image is printed on the wall. Simple Ways creating a bas-relief for beginners involves the following steps:
Putty is applied along the contour on the wall - one layer after another. Subsequent layers are applied only after the previous ones have dried.
Then, with the help of palette knives, they cut through the image, outlining every detail. The largest and most convex elements must be reinforced with self-tapping screws. So the image will be strong.
When all the details are drawn, the panels need to be dried well, treated with sandpaper. It is necessary to smooth out all the roughness, corners, convex and concave elements. Work at this stage requires accuracy and caution.
After finishing, the drawing is primed and painted. use better water-based paint. In order for the surface around the three-dimensional drawing not to look unnaturally even, apply a small layer of plaster and treat it with crumpled paper, polyethylene, so that the surface becomes rough.
Do-it-yourself gypsum bas-relief has a slightly different manufacturing technology. It is better to use ready-made molds for casting elements from a mixture of gypsum and PVA glue. The mass should be like plasticine.
Using ready-made molds, you can cast individual elements ornament, dry and stick on the wall. Those parts for which there are no molds, or they are too small for casting, can be molded by hand.
When the whole drawing is ready, all the cracks are sealed with white sealant. Further, as in the case of putty, the bas-relief is coated with a primer and painted. You can apply paint, wax, add gilding.
Bas-relief in the interior
The bas-relief goes well with many finishing materials:
- plaster;
- marble;
- skin;
- tree;
- mirrors.
Numerous photos of the bas-relief on the living room wall or ceiling, in arched openings, niches, in bedrooms of different styles indicate that it looks harmonious both in a classic and in a room stylized as an antique interior.
A bas-relief that is simple in shape and pattern will give an original look to a modern minimalist interior, while a classic one is appropriate even in a loft style.
The bas-relief will be appropriate in different rooms:
- in the living room, with the help of a bas-relief, you can recreate the interior of an ancient castle, palace, or, conversely, complement a modern interior with it;
- in the bedroom, an original solution would be to place a large panel above the head of the bed or in the entire wall;
- in the kitchen, a three-dimensional panel is appropriate in the dining area or on the kitchen apron. You can decorate a whole wall or a free niche in this way;
- in a spacious bathroom, a bas-relief can complement the decoration of the walls with marble.
- in a large hallway, you can decorate part of the wall with stucco molding; for a small room, it is better not to use three-dimensional images.
Small stucco elements can complement plain wall if others contain paintings, photographs, shelves with souvenirs, collections. This way it won't look empty.
Volumetric floral pattern fills the space well, without overloading the interior.
The room can be transformed if you complement the design with a few stucco elements on the walls or ceiling. Sometimes a bas-relief can become a compositional, organizing center of a room.
When creating a bas-relief, it is important to provide the right lighting so that the three-dimensional image “plays” - this will achieve the maximum decorative effect.
Photo of a bas-relief on the wall
A bas-relief is a conditionally three-dimensional drawing that adorns the internal and sometimes external walls of a house or apartment. Unlike frescoes and sculptures, the bas-relief is made directly on the wall, thanks to which it fits into the interior or exterior of the house much more organically. In this article we will tell you what tools, knowledge and skills are needed to create a bas-relief, and also give detailed instructions to create such a scenery that will allow you to decorate your home with various paintings.
What skills are needed to create a bas-relief
To create a bas-relief, you will need the following skills:
- draw;
- create three-dimensional images;
- work with alabaster and gypsum mortars;
- create stencils and work with them;
- work with wire and create structures from it.
Any bas-relief is a partially three-dimensional picture, which should create a sense of three-dimensional drawing. If these are leaves and flowers, then they should not be two-dimensional, but create the illusion of volume. If this is a more complex image, then it should also create the illusion of full volume. Therefore, without the ability to create three-dimensional images and draw beautifully, it is better not to even try to make bas-reliefs, because later you will have to eliminate the consequences of your creativity. No less important is the ability to work with gypsum and alabaster mortars, because it is necessary to clearly know the life time of the mortar, the optimal density parameters for various jobs, and the possibility of mixing with dyes.
Indeed, to create a bas-relief, solutions are needed, which, although slightly, differ in density. The ability to create stencils is very important, because without them it is very difficult to outline the contours of a future picture, especially if you do not have great artistic talents and highly qualified plasterer-painter. To create three-dimensional images with a thickness of more than 10 mm, and if the thickness and viscosity of the solution is 5 mm incorrectly selected, it is necessary to create a frame that will prevent cracking of gypsum or alabaster.
Instruments
For work you will need:
- paint brushes of various shapes and sizes, including a brush;
- palette knives; sculptural stacks of different sizes;
- trowel;
- measuring spoons;
- container for mixing putty;
- perforator drill with a set of drills for wood and concrete;
- screwdrivers flat and Phillips;
- pliers;
- clean rags;
- powerful light source;
- strong goats or forests;
- overalls, respirator and goggles.
Wall preparation
Wall preparation includes two stages:
- alignment;
- Primer.
During leveling, you plaster the wall with a sand-cement mortar, then level it with gypsum or alabaster putties to give it the necessary evenness. If you want to make a bas-relief on wooden wall, you will first have to fix the reinforcing mesh, then plaster. Be sure to use beacons (guides to help make the surface even). For a primer, use acrylic, alabaster or gypsum compositions with a high content of sand - this will create the necessary surface roughness and improve the adhesion of solutions to create a bas-relief. Use only those primers that say they are suitable for alabaster and clay compositions. It is very convenient to apply the primer with a brush-brush due to the large width. When priming the surface of the wall, do not leave streaks, because after drying they will be difficult to clean, and the left streaks will negatively affect appearance bas-relief.
There are no clear recommendations for creating bas-reliefs, because each master uses the combination of actions that is most convenient for him. Some create a bas-relief directly on the wall, others first cast its elements from plaster or alabaster, then fit them into the overall design of the picture. Some make a pseudo-volumetric image with a thin layer of solution, others create completely three-dimensional paintings with a thickness of 30 centimeters or more. It all depends on the qualifications, artistic taste and talent of the master. Nevertheless, we will give one recommendation - in order to fill your hand and not spoil the wall, create a bas-relief on a piece of plywood, chipboard or OSB, which, after completion of work, can be hung on the wall. If something goes wrong and you ruin the bas-relief, then take a new piece of plywood and train on it.
Below we describe several techniques that will help you create beautiful bas-reliefs:
- work with stencils;
- use of sculpted stacks, cutters and loops;
- mold casting;
- fastening the wire frame to the wall;
- film work.
Working with stencils
For a stencil, you can either draw it yourself or download it from the Internet by printing it on paper. After that, you need to decide on the stencil material and its thickness, as well as the manufacturing method, so we recommend using ready-made stencils that can be purchased at stores selling decor goods. The stencil is needed to create the contours of the future picture, after which you can use the stacks to give these contours the desired volume. Working with a stencil is not difficult - place it on the wall and fix it in any way, then fill it with thick plaster or alabaster mortar. Remember, the thicker the stencil, the thicker the solution should be. If you use a solution that is too thin, then after removing the stencil, the contours of the bas-relief will be smeared, so it is advisable to practice on the board first so that you do not have to re-prepare the wall.
Using Sculpting Stacks, Cutters, and Loops
These tools can be purchased from the respective stores. If you have well-developed spatial imagination and artistic skills, then you can effectively use these tools without even being a professional sculptor. Indeed, with their help, excess solution is removed, giving a certain area of \u200b\u200bthe bas-relief the desired shape. Using these tools, you can create any volumetric images, it all depends on your imagination, artistic taste and spatial imagination. These tools will not be superfluous when creating three-dimensional bas-reliefs, because with their help you can trim the edges, giving each layer of the mortar the necessary shape.
mold casting
The use of pre-cast molds greatly simplifies the creation of three-dimensional compositions. For example, leaves are cast in molds, which are then attached to the wall and create the trunk and branches of a tree. The result is that the trunk and branches are part of the wall, while the leaves are separate, which improves the visual perception of the bas-relief and the effect it produces. Shops sell silicone and polyurethane molds of any size and pattern. To create a bas-relief, it is necessary not only to cast molds from gypsum or alabaster, but also to make a reinforcing frame inside them - this will prevent cracking of the resulting part and facilitate fastening to the wall, because not only glue or putty will hold the part, but also wire.
Some forms need to be lubricated with castor oil (this should be written in the instructions for the form), other forms do not need such an operation. For pouring into molds, it is necessary to use a much thinner solution than for working directly on the wall. In most cases, the solution is made similar in density to liquid sour cream, which makes it possible to fill the mold with high quality and ensure good strength of the part. Metal carcass can be inserted into the mold both before and after pouring plaster or alabaster, both methods provide the same strength, so it all depends on personal preference.
Attaching the wire frame to the wall
The wire frame makes it possible not only to fasten heavy hinged decorative elements, but also to prevent cracking of gypsum and alabaster if the layer is too thick (over 7–10 mm), which makes it possible to create figures of great thickness. The thickness of the wire depends on the place of its application and purpose - for fastening external decorative elements use steel wire 2-3 mm thick. It has high strength and rigidity, thanks to which it effectively holds the external structure until the gypsum or alabaster coating dries. To reinforce parts of large thickness, you can use steel wire with a thickness of 0.7–2 mm, which has less rigidity and weight, so it is easier to work with. To attach the wire to the wall, it is convenient to use dowel-nails, for which a hole is drilled under the dowel with a puncher, then 1 turn of wire is wound on a plastic clip and the dowel-nail is hammered to the stop. If you fasten the wire to a wooden wall, then the technology is different there - 1 turn of the wire is wound on a wood-carved screw, after which it is screwed into the wall until it stops. If necessary (if you have to use a self-tapping screw of a large length / thickness or the walls are made of solid wood), a hole is drilled in the wall with a diameter 2 times smaller than the diameter of the self-tapping screw, which makes it easier to screw it in, but does not weaken the fixation in the wall.
Film handling
The film is used to create pseudo-volumetric compositions on a layer of asbestos or alabaster plaster of small thickness. First, a drawing is applied to the film with a marker on a scale of 1: 1, then a layer of plaster 3–6 mm thick is applied to the selected section of the wall and the film is applied on top, orienting the drawing in space. After that, outline the contours of the drawing with a pen and remove the film, and the drawing remains on the plaster layer. Now you can use stacks to clean up the excess, creating the selected pattern and giving it volume.
Gypsum and alabaster, if it comes into contact with the skin, dry it too much, so it is advisable to work with rubber gloves. In addition, be sure to use safety glasses, this will protect you from getting plaster or putty in your eyes. When dosing the solution, pouring it into a mixing container and stirring, wear a respirator - it is not very convenient to work in it, but if you spill the solution or otherwise raise dust, it will protect your bronchi and lungs from damage.
To create a beautiful bas-relief, you need to properly organize the workflow. A powerful light source will help to detect the slightest flaws, so you can easily fix them before the mixture hardens.
If a defect is found after the mixture has solidified, then it will be much more difficult to eliminate it, because the frozen gypsum or alabaster will have to be processed not with stacks, loops or hooks, but with sandpaper. You must learn to "by eye" determine the amount of solution that you can process before solidification, otherwise you will constantly throw out the frozen excess. The life time of the solution depends on its composition and is indicated on the package, the optimal ratio of the dry mixture and water is also indicated there, so correctly determine the amount of solution required for a particular operation, and also adjust its density by changing the amount of water. A clear understanding of the required amount and density of the solution comes only with experience, so first practice on pieces of plywood or chipboard and don’t worry if something doesn’t work out, you will learn over time.
Once upon a time, interior decoration with stucco and bas-reliefs was available only to the highest nobility, the rich and large temples. Nowadays, making a bas-relief with your own hands is only a matter of labor and patience. Achievements modern technologies allow to bypass the technical difficulties of creating stucco at home for people who do not have an art education, but are not devoid of artistic taste and imagination. Create bas-reliefs like those in fig. below, quite within the power of a patient and attentive amateur.
Bas-reliefs of modern work
New materials
In addition to the traditional material for stucco molding - gypsum - do-it-yourself stucco molding can be created from modern building mixtures with polymer additives; they are often combined under the general name "acrylic plasters". How to gain the volume of a bas-relief with building putty compounds can be found in the video:
Video: sculpting a bas-relief from putty
Amateurs also use the basic composition of architectural gypsum, acrylic plaster and PVA glue in a ratio of 1: 1: 0.5 by volume. Gypsum and plaster mixture are mixed dry and closed with water, i.e. water is added to the mixture, and not vice versa. Bring to a consistency from dough to yogurt or fat-free kefir and add PVA, stirring thoroughly. The density of the mixture is selected according to the type of work with it, in which case which mixture is needed, see below.
The bas-relief on the wall is made in low relief (top left in the figure) or high relief, with protruding figures (top right). A high bas-relief is also called a high relief. Technically, high relief differs from low bas-relief in that the figures are molded like a round sculpture (see below). A low bas-relief looks good in any light, except for very dim, and a high relief is more advantageous in diffused light.
Types of bas-reliefs
In residential areas, most often lit quite brightly and evenly, it makes sense to use a mixed bas-relief technique (bottom left), without making the figures very convex. How to fashion a bas-relief "Klimt Tree", see for example. video tutorial below:
Video: master class bas-relief "Klimt Tree"
The peculiarity of this work is that it uses almost all the techniques for creating bas-reliefs at home. Having become acquainted with them visually, it will be easier for you to understand what follows and apply them in any of the techniques described below.
Note: at one time, the Austrian artist Gustav Klimt created the composition "Tree of Life". Her style is so peculiar that the expression "Klimt's tree" has become winged.
The reverse bas-relief, or counter-relief (bottom center in the upper figure) is no longer stucco, but stone carving (the contours are cut deep), which is technically much more complicated. Therefore, we only note that the counter-relief needs a bright and sharp oblique light, because. the image actually draws a shadow. There is also a special type of bas-relief - shadow, at the bottom right, where the entire pattern is formed by shadows from small and smallest protrusions and depressions of a certain shape. When changing the direction and angle of incidence of light, the pattern changes, up to a change in facial expression during the day. Shadow bas-relief is the highest art and, alas, short-lived: protrusions and depressions become clogged, and from cleaning they lose their shape. The picture fades, blurs, disappears.
Bas-relief techniques
Stucco molding on the wall at home can be done in one of the following ways, in ascending order of technical complexity:
- Plastering free, i.e. not initially fixed on the supporting surface, non-removable models;
- Plastering non-removable models on the supporting surface. These methods are especially good for beginners, because. allow you to get acc. high and low relief, without risking the need to redo all the work again in case of failure;
- Reverse casting from plaster according to the model to be removed. The method is somewhat more laborious, but also suitable for beginners, because. you can pore over the model as much as you like until it is brought to the ideal. In addition, up to 20-30 identical products can be cast in one mold (mould, mold) made according to the model;
- Artistic plaster molding in place, i.e. directly on the supporting surface. It requires solid skills, but it makes it possible to create large relief panels on the entire wall, with a contour of corners, going to the ceiling, and complete freedom of creative expression.
In place or on a sheet?
It is possible to make a bas-relief in 2-4 ways both in place and in parts on a table or floor. An excellent basis for fragments of a prefabricated bas-relief - drywall sheet, GKL. It is prepared as a base surface (see below), parts of the overall picture or finished compositions are displayed on separate sheets or their pieces of the desired shape (see figure), and mounted on a leveled wall.
Relief panels
The fastener heads and the joints of the fragments are puttied with the base composition, then they are plastered and rubbed under the base texture. Another good thing about prefabricated bas-reliefs is that a piece spoiled by inexperience can be redone without touching the rest. And the bad thing is that the whole composition turns out to be heavy; it is impossible to fasten a prefabricated bas-relief to weak walls (plasterboard, partitions made of PGB, etc.). however, it is generally not recommended to load weak walls with bas-reliefs - the supporting base should be stronger than the material of the composition.
Tool
Making a bas-relief will require you to acquire some special tools. Not very expensive, but you can not count on the success of work without it. First of all, half a rubber ball for kneading the next portion of the working mixture. Everything falls out of it at once, if you turn it inside out, and the dried residues fly off in the same way. The bas-relief will be stronger and more beautiful, the faster it is formed, i.e. the further the working solution is from the start of setting. The kneading ball reduces the wastage of shaking, scraping, etc. to zero. It is also more convenient to collect the solution in small portions from the ball, because. there are no corners inside. For the same reason, the batch turns out to be more homogeneous (homogeneous), and this is one of the most important factors in the final artistry of the bas-relief.
Tools for making gypsum bas-reliefs
Next, you will need spatulas for modeling - palette knives. Set of 6 (pos. 1 in the figure) is enough for a start. For the formation of bunches of grapes, scales, etc. still need convex-concave spatulas. Sets with such are expensive, up to 30 thousand rubles. (!) For a set of 48 items, so lovers often use spoons of different sizes instead of them (coffee, tea, dessert, table), with rounded and pointed tips. However, you can’t just bring out a low relief with spoons, the bend of the handle interferes. Therefore, for each spatula, take 2 spoons of aluminum and other plastic metal. One is used as is, it will be a convex spatula. And the other handle at the scoop itself is twisted 180 degrees and bent back, a concave spatula is obtained.
Note: good convex-concave palette knives come out of disposable plastic spoons and forks. To get concave spatulas, their handles are heated with a lighter at the scoop itself, twisted and bent back when heated.
You will also need another palette knife - an artistic knife, pos. 2. Painters clean them off old paint from the palette, and the sculptors trim the edges, cut off the burr, induce a fine texture. A palette knife is perfectly replaced by a wide shoe knife.
Next essential tool- a confectionery syringe with nozzles (pos. 3 and 4) and, possibly, a 20 ml medical syringe without a needle. It is highly desirable to take a confectionery syringe with a trigger drive (pos. 4). Mixtures for bas-reliefs are far from being as fluid as cream for cakes, and you need to form twigs, roses, leaves with a syringe (well, how cakes are decorated, everyone has seen) holding it with 2 hands; hold the tool at the tip with the left.
Finally, you will need 2-3 flat painting brushes different size and the same number of round ones, the cheapest ones, made of bull's-ear bristles. It makes no sense to buy expensive squirrel and kolinsky for a bas-relief "steepness for the sake of", they are too soft. You will also need a very hard and rough children's nylon brush for drawing. Brushes induce texture (see below) and gypsum small areas of the bas-relief.
Working with the tool and caring for it
Palette knives and brushes are dipped in water before a set of the next portion of the mixture. Remains and drips on the working body are a guarantee of spoiled work. After work, the syringe is disassembled and lowered in parts into water; palette knives with brushes are also placed there. When the tool sours, the remnants of working materials are thoroughly washed off from it. clean water. By the way, a properly cared for confectionery syringe after working on a bas-relief is also suitable for use for its intended purpose. All instruments must be kept absolutely clean.
Bas-relief technologies
The creation of a bas-relief on the walls in the apartment (or on sheets of plasterboard, if the bas-relief is prefabricated) is carried out in stages as follows:
- The base surface is cleaned of the old finish, leveled with an accuracy of at least 2 mm / m, primed and covered with a base composition or any decorative plaster (see also below). GKL under the prefabricated bas-relief does not require alignment;
- A background texture is applied to the base coat: with a foam or fleecy roller, by “slapping” with foam rubber or felt, etc. At the same stage, the base is tinted, see below. If the base coat is decorative plaster, texturing and toning is not required;
- In one way or another (from the above and described below), a relief is formed. During the formation of the relief, toning is possible similar to that for the base;
- If necessary, after complete drying, the relief is painted on top. It is convenient to do surface staining with special paints for gypsum stucco - they are immediately shaded into very thin halftones with a damp sponge. Sharper color transitions will give acrylic paints;
- The completely dried relief is covered with styrene-butadiene latex (sold in hardware stores). Paints on dried plaster moldings fade, as on frescoes, and latex treatment restores their colors;
- After 1-2 weeks, so that the excess latex is completely absorbed and evaporated, the finished relief is varnished with acrylic varnish as needed.
How to tone stucco?
From the video above it is clear that you need to form a stucco bas-relief in layers. To tint the base for the relief and, if necessary, its details, layers are applied thin, 1-2 mm each. Usually, layers of kneading the density of low-fat sour cream are applied with a brush and smoothed with a palette knife. The batch for each layer is tinted with color (pigment) for gypsum; the deeper, the darker, or vice versa. For example, for the bark of a tree, a brown pigment is taken in ever-decreasing concentration, and for leaves, green is added as it moves outward. The next layer is applied to the previous one that has set, but is still wet. The texture with shades can be applied immediately with a brush or then rubbed with sandpaper-zero or, rough on large areas, with a metal brush. For more information about toning plaster moldings, see the next video.
Video: how to cover the bas-relief on the wall
"Free" plastering
This method is used to create high floral bas-reliefs or low patterned overlays from disposable paper napkins. From the latter, using as a model an inverted and lanolin-lubricated plate or bowl, you can get a plaster vase, but its practical meaning is more than doubtful. The stock solution described above is not used. It is strong, holds its shape well, but its color is not pure white. Also, tinting is not applied due to excessive material consumption; finished elements are painted.
For gypsum, a liquid, almost watery solution of architectural gypsum is prepared. A model (an artificial flower, a napkin) is dipped into it and placed on a board covered with a plastic film. Flowers are placed in the position in which they will be in the finished composition, see fig. When the solution sets, it is dipped again, then again, until the model is plastered with a layer 1-1.5 mm thick.
Drying artificial flowers during the plastering process
Flowers for drying are placed each time in the same position. Thus, flat areas are formed on them, allowing them to be firmly glued to the base. Glue with acrylic plaster of sour cream density or acrylic glue. You can also glue PVA.
Plastering in place
This is perhaps the most affordable way to make, say, a stucco ceiling for a chandelier (see Fig.) without experience. Plastering a model in place differs from the previous method in that the model is first glued in place and plastered with a brush. Gypsum mortar is made thicker, like sour cream. If the stucco is on the ceiling, the layers are applied very thin, translucent, so that there are no drips. Accordingly, layers will be required up to 10-15 or more.
Stucco ceiling under the chandelier
The main snag here is the material of the model. Usually they are made of polystyrene, penofol, polyurethane and other soft plastics. But over time, they all decompose. This happens very slowly, but anyway, after 3-7 years, dirty gray or yellow-brown spots that cannot be removed begin to appear on the stucco molding. Therefore, models for plastering on the spot are best sculpted from salt dough, the very one from which Christmas tree decorations are made with their own hands. To plaster, stone and other mineral building materials salt dough is glued with acrylic glue or any mounting glue. Stucco molding on non-removable models from salt dough retains its appearance for 30-50 years or more.
Reverse casting...
This is the most common way to create stucco with your own hands, which allows you to get results of a completely professional appearance and quality without excessive work and skill. The classic gypsum backcasting procedure is shown step by step on the left in fig., pos. a-e. Model 1 made of gypsum, plasticine, plastic, etc., or a model product that is desirable to be repeated/replicated, is placed on a flat board 2. Now, to facilitate the removal of the mold with the model, the board is covered with a film.
Reverse casting from plaster
Then the model is smeared with a thin layer of lanolin. It is undesirable to use medical vaseline, the model may stick to the mold. Gypsum and any other porous (wooden, salt dough, stone, etc.) model is smeared several times, allowing the lanolin to soak for an hour or two, until a solid oily sheen appears on the surface.
Next, the model is coated with a layer of gypsum or alabaster mortar of 3 dough density with a thickness of approx. 1 cm, immediately forming protrusions-anchors 4 and stiffeners 5. Seized and almost hardened, but still slightly pliable coating is tied with a frame of soft (annealed) steel wire 6. The branches of the frame are fastened with bundles 7 of thin copper wire.
The next step is to coat with 9 thick cement-sand mortar from M150 with a layer up to 5 and a few more cm thick, this already turns out to be a casting mold. Here you need to remember to form the supporting surface of the mold 8. After a set time of 3/4 strength with a cement-sand mortar (7-20 days, depending on external conditions), the finished mold 10 is separated from the shield using a wedge 11. Well, if the shield was covered film, the mold is simply removed.
Finally, the inner surface of the mold is cleaned with a copper brush 12 and, if necessary, defects are corrected with gypsum or alabaster mortar. Flash is removed from the side of the mold 13 and, from its inner edge, a chamfer of approx. 0.7 mm. In a mold without a chamfer, the casting will almost certainly get stuck. Before casting, the inner surface of the mold is smeared with lanolin, like a model. The casting mass fills the mold layer by layer. As soon as its penultimate layer begins to set, eyelets with a mustache are inserted into it (top right in the figure), for which the casting is then pulled out. For small ebb lugs can be made from paper clips. The last layer is poured when the eyes are already sitting tightly in the penultimate one, i.e. when it is quite firm, but still slightly moist. It is unacceptable to test the strength of the fit of the lugs by rocking!
Currently for circulations up to 15-20 pcs. in the old fashioned way, they don’t pour from gypsum, the mold for such cases is cast from silicone (bottom right). The model prepared, as in the previous. In this case, silicone is poured over in layers, in layers 1-2 mm thick, until a mold thickness of approx. 1.5-2 cm. In addition to technological simplicity, the silicone mold allows you to obtain castings with shallow recesses, it is elastic and stretchable.
Gypsum Mini Reverse Casting
Also, small rounded gypsum parts are poured into silicone molds: berries (see figure), acorns, mushrooms, etc., up to small fish. In this case, a tray-flask is molded from plasticine, the model is also molded from plasticine. Silicone is poured into the flask all at once; the flask and the model are not smeared with anything. After the silicone hardens, the flask is simply torn off, and the model is picked out. This is the so-called. mini - reverse casting of gypsum.
…and not vice versa
The mini-gypsum casting already uses a model to be removed; in a sense, the model disappears and for the next batch of castings it needs to be done again. A silicone mold can also be made for plaster casting according to an investment model, then it will be possible to obtain up to 100-200 or more castings from it, but already convex, without cavities. In this case, the flask is made in the form of a box without a bottom made of plywood 2-3 cm higher than the height of the model and the size is such that the gap between the flask and the model is at least 1-1.5 cm.
The model is formed from wax on a shield covered with foil. Then they put a flask and cover the gap along the bottom with plasticine. Next, the model is layer-by-layer doused with silicone, as in the previous. case, and when its last layer hardens, silicone is also added layer by layer along the contour until the flask is filled to the top. As soon as the last layer is poured, the plywood bottom is stuffed. The model is smelted with a household hair dryer: the lousiest silicone holds 140 degrees, which a hair dryer does not give.
Sculpting a bas-relief in place allows, as mentioned above, to achieve the maximum artistic effect, but requires certain skills. You can buy them without signing up for the evening department of an art university or courses. It is enough to practice with plasticine; the technique is the same, only in working with gypsum time is limited - work with the next section must be completed before it sets. Technically, gypsum modeling is distinguished between low (flat) and high (round).
The technique of flat gypsum modeling is shown in the selection of photos below. The rules are like this. First, the material of the thickness of the dough or fatty sour cream is applied in layers. Second, each layer is first smoothed out, forming a relief at the same time, and then its contour is trimmed. Third, the next layer, as in general in layer-by-layer filling with gypsum, is applied to the previous one that has set, but is still wet. Fourth, as the layers build up, they move to more small tool. And fifth, in each layer, work is carried out from the thinnest and smallest details to the thickest and roughest. In this case, from the denticles of the leaf to its petiole.
Low plaster molding
Branches on bas-reliefs are best removed with a confectionery syringe or, very thin, medical. The thickness of the branches is regulated by pressing the piston more and more weakly (pos. 1 in the figure). In this case, the texture is induced with a brush, and the kinks are formed with the tip of a palette knife. The syringe is filled with the base solution, and for painting and for snow-white it is plastered as a non-removable model in place.
Branches on plaster bas-reliefs
Strongly winding branches (pos. 2) can be obtained by soaking a cord or twine in a gypsum solution of sour cream density, laying it out on a shield covered with foil, along the contour, and after drying, sticking it on the wall. If the bas-relief is prefabricated, the cord is laid out immediately, it will dry firmly. To get branches of decreasing thickness, part of the strands are removed or, conversely, 3-5 branches of twine are twisted at the butt, then 2-3, then one is left. If the cord shines through the plaster, the branch is plastered in place, applying the solution with a brush
Note: branches for bas-relief made of gypsum cord can be soaked several times in tinted batches. The desired color is obtained by grouting with a zero sandpaper.
sharp ribs
In the pictures with bas-reliefs, you probably saw sharp ribs. They are formed by the folded thumb and forefinger, and the large ones are formed by the fingers bent back of both palms folded. The height and thickness of the rib is changed by smoothly shifting/spreading the fingers (palms) in motion along the rib formation. Fingers, as in general for hand sculpting, should be slightly damp.
The basis of round molding is a wire frame anatomically similar to the object, i.e. with the proportions of the object and the location of the branches where the main bones of the skeleton are. The frame in a round figure works in the same way as the skeleton of a living being. Information about skeletons can be obtained from any course in the plastic anatomy of humans, animals and birds. Plastic anatomy is not a discipline of medical, but of art education. The material there is presented from the point of view of how to sculpt, and not how to heal, and is designed for listeners who are not disposed to the subtleties and rigors of science.
Figure height approx. from 30-40 cm is molded along the frame as shown in pos. 1 fig. For smaller figures, the frame is simplified (pos. 2), but following the principle of anatomical similarity. In humans, by the way, it is not so complicated: we divide the height by 8; 1/8 of its part will be a dimensional module of a harmonious human body, pos. 3.
Plaster molding on the frame
Frames of small animal figurines are made in a similar way (pos. 4a and 4b). It is desirable to reduce the weight of larger figures so that there is less fuss with fixing the bas-relief (see below). In this case:
- The base frame (pos. 5a) is made voluminous approximately along the contours of the body minus 1-3 cm for modeling, with the help of additional. branches from the same wire (pos. 5b). Auxiliary branches are attached to the main ones and fastened together with a winding of thin copper wire, and even better - soldering.
- Rolls of a medical bandage are soaked in a liquid, like fat-free kefir, gypsum solution, as for gypsum fractures of the limbs (see, for example, the film “The Diamond Arm”), and the frame, pos. 5th century It is the rolls that need to be soaked: as soon as the bandage starts to peel off badly from the skein, it means that the gypsum began to harden and the rest of the roll went to waste.
- After the plastered frame has completely dried, it is covered in layers with a base solution (tinting can be used), adjusted in shape and texture with a tool and sandpaper, and plastered to pure white (if necessary) with a solution of architectural plaster.
Note: for frames of unfolded wings of birds, butterflies, elves, bats, ghouls, dragons, etc. convenient to use thin and small metal mesh. Another option is the branches of the main branches, pasted over with paper or scraps of nylon tights.
Support for figures
Figures for home-made high reliefs are molded separately; locally is too difficult. Therefore, each figure must have a flat area, and on the base surface - resp. plane so that the figures can be glued into place.
How to fix bas-reliefs
The high relief with round figures turns out to be quite heavy. If for 1 sq. dm. its supporting area accounts for more than 1.5-2 kg, the bas-relief needs to be reinforced. Corrugated nails 80-120 mm driven into plastic dowels are best suited for this. Attachment points are marked in advance under the thickest places, distributing them as evenly as possible over the area. The nail in the dowel should sit in the wall at least to a depth of 50-60 mm. The protrusion above the wall is 1.5-2 cm, for which the nail driven into the dowel is bitten. The mass of the bas-relief above the protruding fixing pin should be at least 1-1.5 cm.
Superbas-relief
And in conclusion - how to try yourself in the elite technique of shadow bas-relief. All you need is a piece of drywall with a layer of fresh stock solution of approx. 0.5 cm and nail 100-150 mm. From the edges of the tip of the nail, you need to carefully remove the flash to get the correct 4-sided pyramid.
We prepare the sample as follows: we prick with a nail with a slight slope along the still plastic GKL coating even rows of holes in a checkerboard pattern and close to each other. The slope of the nail and the orientation of the edges of its point relative to the directions of the rows must be maintained as accurately as possible so that the holes are equally asymmetrical.
The next step is to take the sample into direct sunlight and, turning this way and that, and somehow, we observe the play of chiaroscuro. At the same time, we try to imagine how it would be necessary to prick the holes in order to get a changing pattern. And, who knows, maybe you will find the ability to this rare, but extraordinarily spectacular art - shadow bas-relief.
Application from plasticine Bas-relief. preparatory group. Master class with step by step photos
Sredina Olga Stanislavovna,
educator, CRR MDOU No. 1 "Bear cub", Yuryuzan, Chelyabinsk region.
Target:
Creation of educational or creative work
Tasks:
Acquaintance with the concept of "bas-relief" and with the image of a bird in photographs various kinds bas-reliefs
Learning how to work with plasticine on a plane.
Development of fine motor skills
Improving compositional skills
Nurturing neatness
Materials:
Waste wax plasticine
The basis for the bas-relief is thick black cardboard glued with adhesive tape.
Stacks for working with plasticine
Introduction:
After sculpting, pieces of plasticine often remain, which are no longer good. They accumulate. You can mix them until a homogeneous mass, or you can use them in such a “variegated” form.
QUOTE:
Bas-relief (fr. bas-relief - low relief) - a kind of sculptural convex relief, in which the image protrudes above the background plane by no more than half the volume. If more - the relief is called high relief (high relief)
Sculptors make bas-reliefs from wood, metal, plaster, paper and other materials. They can be found on coins, medals, plaques on the walls of houses, on the pedestals of monuments. Are there any bas-reliefs in our city? (answers)
bas-relief
High relief
Guess: where is the bas-relief, and where is the high relief?
Colored bas-reliefs of birds:
Plasticine preparation:
Each piece is rolled to a certain length, put together and twisted. Now you can work with him.
Working process:
1. We take a plasticine briquette about the same as a regular, factory one. We cut it in half. We put half aside, it will come in handy for the frame.
Dlim plasticine in half. Roll out one half in the form of a droplet (or carrot). I fold the workpiece approximately in half (a torso and a neck are formed). The sharp nose of the carrot slightly bends to the side. It turns out a beak.
We spread the blank in the middle of the cardboard and press it. We press the torso and head more strongly, the neck is weaker.
The remaining plasticine is cut into several small pieces. We need to sculpt the paws, crest and tail. The number of feathers in the tail can be arbitrary.
Lay out the first tail feather with an arc. We press it lightly and with the index finger, as it were, lubricate it with movements from top to bottom and obliquely.
The first pen is followed by the second, third and subsequent ones.
Now it's up to the paws. Roll out plasticine thinly and divide in half. Lubricate fingers with claws.
We spread a crest of several feathers.
The plasticine set aside for the frame is rolled into thin flagella. First, lay them out, repeating the rounding in the corners, and lubricate a little inside.
We lay out vertical and horizontal lines with finger pressure in several places, without stretching inward.
Progress:2
A fiery bird will turn out if you take warm shades. We put them together, roll them out a little. The next step is twisting. The colors mix even more.
The body, tail, tuft and other details are first fashioned separately and laid out on the board.
The last stage is laying out the bird on cardboard, followed by pressing. In this picture, we do not make frames, because the details turned out to be quite large.
Note:
Cardboard, "laminated" with adhesive tape, can be reused.
CHILDREN:
preparatory group
