The art of painting on fabric. Technique Overview

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Clothing not only protects against the vicissitudes of the external environment, but also helps to emphasize individuality, set off bright personality traits and muffle figure flaws. This is not always possible, especially in mass production. But if you dream up a little and not be too lazy, then painting on fabric with acrylic paints will turn the most inconspicuous thing into a masterpiece of design ideas.

Acrylic refers to polymer paints. This type of dye does not penetrate into the fibers, but covers them from all sides, as if enveloping them with a protective film. In this case, the original threads become denser, and the fabric itself loses its elasticity.

The advantages of acrylic paints include:

• availability;
• the possibility of dilution with water;
• ease of use;
• resistance to washing off after drying;
• the possibility of mixing different colors with each other to obtain new shades.

Important! To fix the acrylic coating, “dry” heat is used: this is usually done with an iron. When applying several layers of dye, each is fixed with heat.

Before starting work, you should take into account the following disadvantages of acrylic dyes:

• when mixing several colors at home, it is difficult to get a “pure” shade;
• long-term storage of the coloring material is not recommended, as its properties deteriorate;
• high fluidity, which makes it difficult to obtain clearly traced ornaments without the use of additional protective contours.

Choosing the right material

There are no special restrictions on the choice of fabric for painting with acrylic paints. It can be both dense textiles and delicate. But you should not forget that the dyed areas will have a denser texture.

Depending on the desired result, acrylic paints are selected for a certain type of fabric:

Is it possible and how to paint with acrylic paints on fabric

Acrylic coatings are used in several types of fabric dyeing:

• cold batik based on the contours of the reserve compositions. These contours keep the acrylic from flowing, giving the patterns a crisp, graphic look. The quality of work depends on the quality of the application of the reserve circuit. Often used for contouring ready-made stencils for drawing on fabric with indelible acrylic paints;

• nodular batik. This type of staining lies in the fact that the pattern of the pattern is formed using small knots. The field of staining some knots, they are removed and new ones are made, painted again. Instead of knitting knots, pieces of fabric are often twisted tightly before dyeing;

• free painting allows you to simply create on matter and get drawings (more precisely, paintings) close to those made in watercolor. At the final stage, reserve compositions are used to prescribe shades. The selection of threads when using the technique of embroidery and painting fabrics is usually difficult, however, if you remember what free painting on fabric is, there are more opportunities when choosing this option;

• airbrush method. The principle of operation of this tool is based on spraying the smallest particles of paint. By changing the angle of application of the dye, tones of different saturation are obtained.

What to consider at work

Regardless of the technique in which it is supposed to apply acrylic dyes, several points should be taken into account:

• when diluting acrylic with water, its adhesion to fabric fibers is reduced. Therefore, it is worth using branded thinners;
• an impenetrable base is placed under the surface to be painted, protecting the work surface;
• for work, brushes with synthetic bristles, a roller, sponges are used;
• stencil drawings require the application of paint in several layers. Each subsequent layer is applied after the previous one has completely dried. For better coloring, it is recommended to fix each layer of paint;
• fix the dye 24 hours after coating with an iron. The drawing is covered with a cotton cloth and ironed for at least 5 minutes;
• first of all, light tones of paint are applied and then each layer will be darker;
• Before starting work, be sure to read the instructions for using the dye from this manufacturer.

When all these requirements are met, drawings are obtained that do not wipe off during washing.

application of acrylic paints on fabric: painting on crepe satin

Painting fabric using stencils

The procedure for applying acrylic paints using a stencil:

• a stencil is drawn (or selected on the Internet and printed out);
• a drawing is cut out along the contours;
• a place is being prepared on the fabric for applying the image;
• a stencil is applied to the fabric, fixed. Then, on the fabric for drawing through the stencil, the outline of the drawing is drawn either with paint or an acrylic marker (you can use a simple pencil);
• the stencil is removed.

Then you can fix the contour with a reserving compound or circle it with thick acrylic paint with a thin brush. The inside of the pattern is covered with dye with a wider brush or sticks with sponges. In the case of clear geometric patterns, the contour can be limited with adhesive tape. After 15-24 hours of paint drying, a fixing procedure is carried out.

An unusual way of hidden reserve

This option for using acrylic paints allows you to create even those who are “you” with drawing. For example, I want to draw some flowers. Procedure:

• drawing fabric is stretched over the frame;
• depending on the type of flowers chosen, several light-colored spots are made;
• spots are dried with a hair dryer;
• with a reserve colorless composition, the middle of the flower is drawn in the form of an asterisk around the spot and dried with a hairdryer;
• in a darker tone beyond the boundary of the reserve, paint is applied with a brush and dried, a colorless contour is outlined again.

This is done until the required flower size is reached.

You can not limit yourself to hand-painted acrylic on clothes. It could be fabric painting. , bags or bedspreads on the sofa or tablecloths. The main thing is to make a little effort and not limit your imagination.

Painting on fabric with acrylic paints (photo)

The art of painting fabrics gave the world sundresses of Russia, painted fabrics and saris of India, and unusual kimonos of Japan. Many years ago, on the islands of Indonesia, one of the methods of hand-painting fabric appeared - batik.

History of batik

The technique of batik has more than one hundred years, during which it has become more and more complicated and improved. This is a very ancient artistic craft. In different countries, the technique of batik, or drawing a pattern on fabric, has its own characteristics, but in any case, water and wax are used.
Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay. They are applied manually, using paper cone-shaped bags, by “chanting”, and wooden or copper stamps, stencils made of wood or high-quality paper are used to repeat the pattern.
The concept of "batik" first appears in Dutch texts of the 17th century. The Javanese call batik "ambatik" which means drawing and writing. Although clothing from India can be seen in patterns reminiscent of batik painting, early examples of such fabrics have not been found. The oldest examples were found in Egypt, they date back to the 5th century AD. e.
Among other ancient finds are Japanese screens from the Nara period (646 - 794). It is believed that they were painted either by Chinese artists who emigrated to Japan, or in their homeland.
The art of batik is very ancient. The earliest references to the use of textile dyes can be found in Chinese texts dating back to around 2500 CE. e. The invention of silk is also attributed to the Chinese (although there is an opinion that even in the 1st millennium BC it could well have been produced in India). BUT the fact that batik was used in China during the Sui Dynasty (710 - 794) is absolutely known. In any case, history strongly links this art with China, because it was from there that it spread throughout the world - along with silk. Delicate, light matter was then worth its weight in gold and was exported from China to Japan, Central Asia, and from there to the Middle East and India. That is why this trade route was called the Great Silk Road. There is evidence that by 1677 the silk trade from India had spread to about. Java and Persia.
During the Chinese Sui (581 - 618) and Tang (618 - 907) dynasties, Japan was under great influence of China, so it is quite possible that it was then that batik from China was exported to Japan. Screens dating back to the Nara period (646-794) also testify to this. Batik was widespread in Japan in the 8th century. Everyone knows that this country has always been famous for its beautifully finished kimonos.
In the old days, the Japanese spent a lot of time sitting cross-legged, so they need clothes that do not restrict movement. In addition, in this country, as, indeed, everywhere in the East, it was not customary to demonstrate one's figure. But the social status had to be somehow marked, so the decoration of clothes became a common thing for the Japanese.

Painting on fabric using wax in Japan was often combined with other dyeing techniques, such as the knotting technique, which made it possible to create very complex patterns.
At the beginning of the 19th century, Miyazaki Yuzen (according to other sources, Miyazani Yuzen) created his own style, using both stencils and dyeing with a protective composition. His work can be immediately distinguished: magnificent drawings are located within clearly defined areas.
Batik gained particular popularity on about. Java, where experts in this field have reached unprecedented heights of skill. Yojakarta, Solo, Cirebon, Pekalongan, Tegal, Taximalaya, Indramayu, Garut, Lezam and Semarang - such sonorous "names" are the major centers of batik production on the island. At first, only aristocrats wore clothes made of fabrics with patterns made using the batik technique. They devoted their free time to painting fabrics. Gradually, servants began to be connected to this delicate and very laborious work.
On about. Java traditional patterns and the technique of applying them were passed down from generation to generation, and in each family they were called differently. For example, cheplokan (with repeating patterns) or kawung (with circular elements). In Central Java, darker colors are used than on the northern coast of the island, where fabrics are painted mainly for the purpose of sale.
North Java was frequented by Arab and Chinese merchants coming from across the sea. Traditional motifs here have changed somewhat to suit the tastes of potential buyers. In addition, in bright colors - pink, yellow and blue, which skillfully depict birds and flowers, the influence of China is clearly visible.
Islam forbids depicting people and animals, so when it spread to the island of Java, the images on the fabric became more stylized, and among the colors, the sacred green color for Muslims began to prevail. At the same time, Dutch merchants preferred European motifs - they were attracted by bouquets, butterflies and birds. Interest in batik in Europe was spurred on by a book on its history, written by the Governor-General Fr. Java by Thomas Raffles.
In 1835, the first batik factory was opened in the Dutch city of Leiden. Following her, such enterprises appeared in Rotterdam, Apeldoorn, Helmund and Haarlem. A new technology has been developed to generate the most profit at the lowest cost in reproducing complex Javanese patterns. To train the workers, the Dutch were not stingy to hire Indonesian craftsmen. Returning to Java, these specialists, in turn, set up the production of batik in their homeland. At that time, wax was applied using printing stamps, which significantly reduced the cost and made it possible to obtain very complex patterns. For fabrics with a repeat pattern, the stamps were adjusted to each other.
After the collapse of the global economy in the 1920s, batik went from being industrial production to becoming a solitary craft once again. A school of batik was opened in Holland, it turned into an applied art. The often intricate and stylized batik pieces have strongly influenced Art Nouveau and artists such as Madame Pangon, Chris LeBeau and Charles Rennie Mackintosh.

Materials and tools

Textile - from natural silk (crepe de chine, chiffon, toile, georgette crepe), but cotton fabrics (cambric, staple, thin poplin, voile) can also be used. The fabric can be bought by the meter and in the form of ready-made shawls, ties or scarves.
Paints - The choice of colors for painting on silk is quite large. Some paints are diluted only with alcohol, others are also diluted with water. They also differ in the method of fixing - ironing, hot air, moisture or steam, and each of them has both its advantages and disadvantages. And yet, connoisseurs give indisputable preference to high-quality paints from the French company Lefrans & Bourgeois, which are fixed by steaming. You can use aniline dyes, both domestic and imported. High-quality paints of the Italian company "Maimeri" and "Maimeri idea" are fixed with an iron. Paint for painting marabu fabrics from Deagle Design (silk, textill). To date, there are many similar dyes on the market. From domestic dyes, the set for painting fabrics "Batik", "Student" of the company "Gamma" is convenient to use. Of course, it is inferior to imported dyes, but for beginners this is a great option.
contour composition - Each paint is suitable for a certain contour composition, usually a textile paint company produces a contour composition suitable for it. As a rule, the reserve composition has a transparent color, in order to make the composition of a certain color, a gold, silver or colored outline is added.
Wooden frame - can be bought in a store or made to order in a framing workshop. There are special professional frames for batik with nuts, which makes it possible to fit it to any size.
Palette and pipettes - make it easier to take the paint from the bottles and mix them. The palette should be with recesses and always white.
Glass tubes or a plastic bottle with a pipette at the end - serve to draw thin lines using the cold batik technique. Glass tubes can be found in a specialized store or in a set for working with batik. You can use glass drafting pen, medical droppers with thin tips bent at 135 degrees. The plastic bottle at the end has a metal cap-nozzle with a hollow needle or a narrow hole. Chanting is a metal tool for drawing contours.
Adhesive tape - needed for gluing the top side of the frame before starting work, thanks to this the tree will not be able to absorb paint and will not stain your next job.
Hairdryer - speeds up the drying process. It also helps to create wonderful pictorial effects in the technique of free painting.
Buttons -(stationery) for stretching the fabric. It is better to use three-pronged buttons or pins, since only small punctures remain after their removal. You can use a stapler.
Brushes -(squirrel or kolinsky) If you decide to come to grips with batik, you will need professional brushes:

1. Wide squirrel brush;
2. fan brush;
3. Squirrel brush "Petit Gris pur" international number 11;
4. Red marten hair brush Extra - international number 5;
5. Polyamide brush - international number 4;

Tracing paper and aluminum foil - Tracing paper is used to wrap a painted product when fixing paints over steam. The foil is placed on top of the pressure cooker when fixing paints. It prevents condensed moisture from getting into your work.

Alcohol - for faster drying of the surface of the fabric after dyeing in paints diluted with water, you can add a drop of alcohol.

Salt - it is sprinkled with painted and still wet areas. Possessing the ability to absorb moisture, salt binds and dissolves coloring substances in water - pigments. As a result, original patterns appear. Try working with different grinds of salt. There is also a special salt for obtaining original stains, it can be found in specialized stores.

Distilled water - necessary for dilution and lightening of paints. Do not use tap water for these purposes - even a slight lime content in it can cause ugly changes in the pattern over time.

Cocktail straw - in a simple way, you can achieve an amazing effect: blow through a straw on a drop of paint applied to silk.

Iron - you will need to fix the coloring layer or remove wax from the product using the hot batik technique.

Pencil - preferably very soft, used to transfer the motif to the fabric. Or a tailor's pen, which is washed off with water.

Threads - suitable for work in nodular technology.

Wax- universal wax for batik is sold in the store. There are special recipes for making wax.

Fabric Dye Tray- you can use a deep tray, both plastic and metal. Any bath will do, as the fabric must be completely straightened when stained.

Crucible with thermostatic control will allow you to heat the wax to a certain temperature and maintain it at the same level. But you can successfully melt the wax in a water bath. It is best to use a small single burner stove or gas burner.

Batik technique

All the many existing batik techniques can be divided into two main groups.
hot batik - a technique using molten wax as a reserve composition.
Cold batik - technique, where it is used as a separating and drawing composition.

Hot batik technique

The hot batik method differs from the cold batik method in that wax (paraffin, stearin or a mixture thereof) is used as a reserve agent. Hot wax with a bristle brush or a special copper watering can is applied to those places of the fabric that should remain white (the wax stain should be transparent and dark, not white and matte). Then the entire surface of the fabric is filled with highly diluted dye solutions. After drying, the fabrics cover with wax those areas that should remain light-colored, and the rest of the space is painted over in darker tones. The cycle: reservation - dyeing - drying is repeated several times and ends with the application of black paint.
For hot batik, melted wax is required; a white household candle can serve as wax. There are special wax recipes for hot batik:

Wax for chanting:

6 parts pine resin;
4 parts of paraffin;
1 part beeswax;
0.25 parts of dammar resin;
0.25 parts of fat.
Wax for covering large areas:
2 parts beeswax;
1 part pine resin;
0.5 parts of dammar resin;
0.5 parts of paraffin;
0.1 part fat.

Wax for crackle:

5 parts of paraffin;
5 parts pine resin;
1 part dammar resin;
0.2 parts fat.

Hot wax can not only separate color from color, but also leave large spots unpainted, because. the paint does not lay down on the hardened wax.

Stages of work in the technique of hot batik:

Stage 1: transfer the pattern to the fabric.
Stage 2: those places in the drawing that must be left unpainted, cover with a brush with hot melted wax.
Stage 3: after drying, paint the fabric according to the pattern in light colors.
Stage 4: wait until the painting dries and wax the darker color spots and so on until the darkest places in the picture.
Stage 5: remove the wax from the drawing with an iron and newspapers, placing fabrics between them. After removing the wax, the fabric acquires its original plastic properties.
Stage 6: additional texture is obtained by re-waxing the entire surface.
Stage 7: re-remove the wax from the finished drawing with an iron and newspapers.

Also applies to hot batik technique "Crackle". It consists in the following, the fabric painted with a colorful layer or clean, covered with wax in several layers, then it is removed from the frame and breaks, creating various cracks on the wax surface. Then the fabric is stretched again on the frame, degreased with alcohol, and then the resulting cracks are filled with any dark color of paint. We are waiting for complete drying. With a hot iron with a lot of newspapers or paper, remove the wax from the surface of the fabric. At the junction of the surface of colored and white spots, a bizarre texture is formed.

Technique "Stamp"

Stages of work in the "Stamp" technique:
Stage 1: create a composition of the picture from simple shapes, preferably geometric.
Step 2: Cut out a sponge stamp with a cutter or knife. For greater convenience, glue a piece of plastic or a simple handle to the sponge.
Stage 3: heat the wax and use a sponge or foam stamp to apply wax to the fabric. Then you can dye the fabric and continue to experiment. If you come up with a variety of stamps from different materials, then the effect may be the most unexpected.

Cold batik technique

The technique of cold batik is more diverse:

Free painting technique on fabric is very similar to working with watercolors on wet paper. It is also called watercolor technique.

Free painting on fabrics implies the absence of any reserve substances that limit the spreading of dyes over the fabric. Since it is difficult to obtain a clear pattern without them, as a rule, the fabric is primed before free painting, using a concentrated solution of common salt, solutions and emulsions of macromolecular compounds (starch, PVA, CMC, solvose, gelatin, analgin, etc.). For a batik hobby set, CMC is best suited, which is sold in stores as wallpaper glue. CMC powder is well diluted in warm water, liquid glue is applied to the fabric with a bristle brush, the fabric is dried and then you can work on it like on watercolor paper. Another method of free painting is presented below.

Stages of work in the technique of free painting:

Stage 1: the fabric stretched over the frame is evenly wetted with water, but so that there are no puddles, it is better to do it with a sponge.
Stage 2: application of paint with a wide flat on the wet surface of the fabric in accordance with the pattern (stretches of color from light to dark and from warm to cold).
Stage 3: drawing an image on a slightly damp cloth with a dark color in large strokes.
Stage 4: working out the details of the drawing on dry fabric with small strokes.
Stage 5: additional effects are created by drops of paint blown through a straw (for a cocktail). These drops can be turned into bizarre outlines of trees, shrubs, etc.

Knot technique. Unexpected effects and all the time different arise when working in this technique.

Stages of work in knot technology:

Stage 1: free painting on the background.
Stage 2: the dried fabric is removed from the frame and with the help of pebbles or other similar things, with threads according to the pattern, several knots are tied on the fabric.
Stage 3: the entire piece of fabric is twisted very tightly on both sides and folded into two or three layers, tightly tied with threads again (the density of twisting and tying significantly affects the future pattern).
Stage 4: the tied fabric is lowered into a container with paint.
Stage 5: carefully remove the fabric from the solution, let it drain, untie the threads and dry.

Technique "Gutta"

This technique was developed at the beginning of the last century by Russian artists who worked in silk painting. The technique with the use of the contour composition guarantees success even for beginners.

Stages of work in the Gutta technique:

Salt technology

Or the etching technique using salt. The bizarre patterns and amazing structures resulting from the use of salt when painting paintings, scarves, clothes in this technique are literally mesmerizing. The reason for this is the hygroscopic properties of salt: it absorbs moisture. The result depends on the size of the salt crystals.

Stages of work in salt technology:

Stage 1: Salt is sprinkled on a wet fabric painted in free technique.
Stage 2: it is important not to overdo it, salt is sprinkled where the color spot needs to be enriched with an interesting texture.
Stage 3: after the paints have completely dried, carefully remove the salt crystals.

Monotype fabric technique

The technique is rich in effects, but the difficulty is that it is impossible to predict what will happen in the end. It is impossible to repeat the episode you like.

Stages of work in the technique of monotype on fabric:

Stage 1: applying paint to a dry surface of the fabric with a foam sponge in random order.
Stage 2: when the fabric dries a little, remove it from the frame and lay several large and small folds on it in different directions and iron it with an iron, repeat this several times until the desired effect is obtained.
Step 3: Smooth out the fabric completely. When ironing a damp fabric in the folds, peculiar color transitions from dark to light are obtained, forming an interesting textured pattern.
Stage 4: you can additionally print any texture on top with ink, for example, a leaf of a tree.

Screen painting technique

Very similar to the "Stamp" technique in hot batik.

Stages of work in the technique of screen painting:

Stage 1: paint the background using the free painting technique in bright and light colors.
Stage 2: Apply a pattern cut out of paper or cardboard to the dried surface of the fabric (you can also use pieces of tulle, lace or other similar materials). The template holes are covered with textill marabu paint with salt (the top paint layer does not mix with the bottom one).

Painting technique in several layers

Stages of work in this technique:

Stage 1: free painting of fabric with bright and light colors.
Stage 2: drawing the contour of the picture.
Stage 3: prescribing individual places with dark or contrasting background colors to complicate the color palette.
Stage 4: drawing a new contour to work out the details of the drawing.

stained glass technique

The technique got its name from the strong similarity of color perception with stained glass windows. The only difference is the material used.

Stages of work in stained glass technique:

Stage 1: drawing a black, gold or silver outline on a white fabric according to the pattern.
Stage 2: after drying the contour, fill the image with various color spots (the contour will separate color from color, preventing the colors from mixing).

Displacement technique

This technique can be called impressionism in silk.

Stages of work in the displacement technique:

Step 1: Immerse the silk fabric in lukewarm water, then wring out the fabric well. Silk can be easily twisted, as the forming creases give an additional interesting effect.
Stage 2: Lay a well-moistened cloth on a glass or plastic wrap.
Step 3: Move the fabric so that some folds overlap the others. And spray them on top with your chosen paints from a spray gun or with an airbrush.
Stage 4: before each new spray, change the position of the folds by shifting the fabric. And each new stage must dry out.
Stage 5: having applied the darkest paints, they need quite a bit for the depth of the picture, you need to let the silk dry completely.
Stage 6: iron the fabric well before fixing the painting.

Technique "Thermal batik"

The easiest way to get patterns on fabric.

Stages of work in the technique of thermal batik:

Stage 1: Pre-soak the fabric.
Stage 2: Placed on a surface resistant to moisture and high temperatures (wooden or metal), folded in small folds and diluted dye solutions are applied with a brush.
Stage 3: The fabric is covered with tracing paper, and a hot iron is placed on top, gently moving it from one section of the fabric to another until the product is completely dry.
Stage 4: After the fabric is unfolded and ironed from the inside and face. Without steaming, the product is washed with water and washed with soap.

Additional decorative effects:

We have already got acquainted with such decorative effects as "crackle" and "salt technique", but there are many others that you can create yourself. But those that already exist: Light areas on the fabric can be obtained using grains of urea (urea fertilizer); graphic elements can be obtained by mixing a dye solution with CMC glue and using a thin brush to apply the thickened dye solution to a dry fabric. The composition that reserves can be made not only colorless, but also colored. To do this, squeeze a small amount of oil paint onto paper and leave for 2 hours, and then mix with a colorless reserve.
For the final stage, it is very important to properly fix the product and wash it. Rinse first with cold water, then hot and hand wash with soap. After washing, a natural silk fabric is treated at room temperature in a solution of vinegar (2 tablespoons of 9% vinegar per liter of water) for 10 minutes. Items made of cotton, viscose or linen after hand washing should be boiled 2 times for 5 minutes in a solution of washing powder intended for washing colored laundry. You need to iron the products while still damp, first from the inside out, and then from the face.

1. Organization of the work of the association;
2. Educational and material base;
3. General guidelines:
4. Safety precautions;
5. Approximate thematic plan of the association "Art painting on fabric";
6. Lesson plans-summaries of the classes of the Association "Art Painting on Fabric".

Organization of the work of the association

Association "Art painting on fabric" can be created at various centers of creativity, schools, clubs, summer camps, etc.
Children of middle and senior school age can engage in the association, since it is not recommended for junior school age to work with aniline dyes and hot wax, as well as with a reserve that has a specific smell.
The association program is designed for 72 teaching hours per year, 2 hours per lesson once a week.
Recruitment of students should be carried out at the end of the summer holidays and at the beginning of the school year. Prior to the recruitment, preliminary work should be carried out to attract schoolchildren to the association; for this, posters and announcements are distributed with an invitation to enroll in the association and a brief summary of its content.
In the room where registration for the association will be held, you need to arrange a showcase or stand with the work of the circle members. When enrolling schoolchildren in an association, it is necessary to conduct an introductory conversation, when compiling a list of candidates for the association, indicate the basic data: last name, first name, age, school, class, home phone number and address. Students enrolled in the association are given a memo indicating the name of the circle, the schedule of classes, the place and time of the first lesson.
It is recommended to include no more than 15 people in one group. In each group, a headman is chosen, who is an assistant to the head, he appoints attendants, keeps order. At the end of the lesson, he makes sure that the students put their workplaces in order.

Educational and methodological base of the association

Room and equipment. Work should be carried out in a well-ventilated area with exhaust ventilation. Lighting should be placed on the left side and in front, and falling shadows should not interfere with work.
Work tables should be wide enough so that they can accommodate not only a frame with a stretched fabric, but also tools, fixtures, paints. Conventionally, the desktop is divided into three zones. In the center is a frame, to the left of it are tools and fixtures, to the right are jars of paints and a reserve composition. On a separate table there should be an electric stove, a fan or a hair dryer and an iron.
There should be a wall board in the office for performing graphic works, hanging flat visual aids.

Visual aids. Visual aids are shown when explaining a task or during a conversation. The main types of visual aids used when working on batik include:

Tables with a graphic representation of the sequence of performing a particular painting technique;
Samples of painting on fabric, made in various techniques; samples with different types of marriage;
Various illustrative and photographic materials, which usually accompany a story or conversation about artistic painting on fabric, its history, and decorative and applied art.
A good visual aid can be the previously completed work of students in the association.

Materials, tools, devices. The best fabrics for painting are natural silk fabrics - crepe de chine, chiffon, toile, georgette crepe, but you can also use cotton fabrics - batiste, staple, thin poplin, voile. For painting, the fabric is stretched on a frame, a hoop. To apply a pattern to the fabric using the cold batik method, glass tubes of various diameters are used. But for this purpose, it can be used as glass drafting pen, medical droppers with thin tips bent at 135 degrees. Tools for working in the technique of hot batik are very diverse. These are funnels, brushes, stamps, wheelchairs, tubes, etc.
In painting fabrics using the batik method, aniline dyes of both domestic and foreign production, both dry and diluted, can be used. Some dyes are fixed in a steam bath, others are simply enough to iron with a hot iron.
The reserve composition can be used ready-made, or you can cook it yourself. The program provides for the production of a reserve composition. In the technique of cold batik, for its manufacture you will need: paraffin, rubber glue, gasoline, rosin. For hot: paraffin, beeswax, technical vaseline.
Brushes may be needed in different sizes, both squirrel and hard bristle. In addition to all of the above, there must be an iron available - for evaporating wax from the fabric; rubber gloves - the paints are intense and, if it comes into contact with the skin, are poorly washed off; buttons - to fix the fabric on the frame; newspapers - for evaporating wax with hot technology.

Depending on the tasks set in the classroom, various teaching methods are used (verbal, visual, practical), most often combining them.
Each lesson on the topics of the program, as a rule, includes a theoretical part (10-20 minutes) and a practical assignment. Theoretical information is an explanation of new material, information of a cognitive nature.
The main place in the classroom is given to practical work, which includes making sketches, preparing the necessary materials for painting (reserving composition, making the frame itself, painting itself).
It is necessary to think over the content and course of each lesson so that the practical part is a natural continuation and consolidation of the theoretical knowledge gained by students. So, when going through each new painting technique, you first need to acquaint the children with the history of the origin of this technique, then teach the students to correctly and consistently stretch the fabric on the frame, transfer the image from the sketch to the fabric and instruct the students in the sequence of the painting itself. Only after that you can start working on the product.
When explaining new material or a task, they mainly use methods of frontal work. Frontal display is a demonstration of tables, figures, visual material, as well as various technical methods of work. The explanation of the theoretical material and practical tasks is accompanied by a demonstration of various kinds of visual materials, and the execution of graphic works on the board. Demonstration of the sequence of performing a specific task gives the most complete picture of the process of working on the product, of its appearance.
The performance of a task in a group of students usually goes unevenly: some are in the middle of work, others are just starting, so individual work is very important. Summing up the results of the work, its analysis and evaluation is of great educational importance. It must be remembered that only one critical remark deprives the child of joy, may cause unwillingness to continue work, therefore, one must be extremely careful with criticism of work or a teacher. Students should know that the task should be done independently if possible, it is better if it is based on an individual sketch or it should be a well-executed copy of the sample.
The most appropriate form of evaluation is an organized review of completed product samples. So the viewing can be arranged as a temporary exhibition. Collective reviews will teach you to objectively evaluate the work of your own and others, to rejoice not only in your own, but also in common success.

Approximate thematic plan of the association "Art painting on fabric" ( for 1 year)

Lesson plans-summaries of the classes of the association "Art painting on fabric"

Topic of the lesson: Production and application of a reserve compound using the cold batik technique (continued work).

Target: to study the features of the technique of cold batik, to master the method of applying a reserve composition to the fabric.

Tasks:

• To develop students' interest in this type of creativity, to promote the development of aesthetic and artistic taste.
• Cultivate patience, accuracy, diligence.
• To acquaint with the possibilities of the reserve composition and the study of various additional effects in the technique of cold batik.

Equipment and materials. Silk and cotton fabric, hoops, squirrel brushes, glass tubes, samples of work, coarse salt, urea, aniline dyes, soda, distilled water.

Lesson plan:

1. Organizational moment (3 min.)
2. Explanation of new material. (15-20 min.)
3. Practical work. Applying a reserve to the fabric. (30 minutes.)
4. Physical minute. (5 minutes.)
5. Showing the head of additional decorative effects. (15 minutes.)
6. Completion of the lesson. Independent use of decorative effects on their works. (15 minutes.)
7. Summing up, analysis of work. (7 min.)

Course progress.

1. - Hello guys! Today in the lesson we continue to study painting on fabric. Let's repeat and remember what we learned in the last lesson. Before you is not a big crossword puzzle that will help us with this. ( Appendix 6 ).
- you are not yet familiar with the last word at number 3 in the vertical, let's leave it until the end of today's lesson, and when we get acquainted with this concept, we will write it down in a crossword puzzle.
2. - In the last lesson, we made a sketch for the cold batik technique, let's proceed to the next stage of our work and stretch the fabric on the frame. Look at the Stretching the Fabric on the Frame poster to help you get it right, but before we start stretching the fabric, let's take a closer look at another Safety Precautions poster. ( Annex 5 ) (Comments and answers to questions).
- The next thing we need to do after we have stretched the fabric is to transfer the sketch to the fabric. See how I will do it. We turn the fabric on the frame so that the fabric fits snugly against the sketch, so we clearly see the entire sketch in full size and it is convenient for us to transfer it with a simple soft pencil to the surface of the fabric.
- The drawing has been translated and is on the fabric, now we can use a glass tube to apply a reserve composition along the pencil line so that the line does not interrupt. It is very important that the reserve lies on the fabric continuously, otherwise the paint will run out of the pattern.
3. - See how to correctly draw the reserve into a glass tube, it is best to do this with a rubber bulb. Remember the content of the poster "Safety" another very important point, so that the reserve does not run out of the tube, when you do not lead it along the pencil line, hold the tube with the spout up.
- It is important to remember not only that the contour of the drawing must be closed, but also that if you hold the tube for a long time in one place without moving along the line, a puddle will form. You need to work quickly with a tube. To make the line even.
- After you have circled the entire drawing, look at it in the light, so you can see where the gaps or too thin lines have formed. And best of all, turn the work on the reverse side and work out the drawing in reserve on the left side. After you are convinced of the integrity of the circuit, you need to let the reserve dry. In the meantime, we'll rest. Let's go out into the corridor, spend a physical minute, and in the meantime, the office will air out.
4. Physical Minute.
5. To make your work interesting and unusual, I want to introduce you to additional decorative effects. For decorative effects, salt technique, the “Crackle” effect, and the effects obtained when applied to a wet urea fabric are used. When using the latter, be very careful to wash your hands with soap as urea is a fertilizer and can be poisonous. (Show).
6. Practical work. Students work with aniline dyes directly on their sketches using the knowledge they have just learned.
7. Summing up the work done. Discussion of successful moments, resulting decorative effects and mistakes made. We are removing jobs.

Topic of the lesson : Painting on fabric using a colorless reserve composition in the work on the composition "Fairytale Flowers" in the technique of cold batik (continuation of work).

Purpose of the lesson: creation of the composition "Fairytale Flowers" in the technique of cold batik.

Tasks:

• Raising interest in this art form.
• Development of creative abilities and artistic taste.
• Formation of skills and abilities of painting on fabric.

Equipment and materials: aniline dyes, squirrel brushes, water jar, paper, pencil, eraser, work samples, glass tube, reserve.

Lesson plan:

1. Organizational moment (5 min.)
2. Explanation of new material (15 min.)
3. Practical work (30 min.)
4. Fizminutka (7 min.)
5. Continuation of practical work (30 min.)
6. Summing up (3 min.)

Lesson progress

1. - Hello guys! Let's check your jobs and get your sketches.

2. In the last lesson, we worked on creating a sketch for a product using the cold batik technique. Today you have to paint the product yourself, based on previously acquired knowledge. Let's repeat the sequence of work in the technique of cold batik.

Stage 1: washed silk, dried, and well-ironed, pull it onto the frame. Cover the frame with masking tape first.
Stage 2: then transfer the drawing from the sketch with a soft, not sharp pencil.
Stage 3: the next thing you need to do is to use the reserve to draw the end line of the pattern along the entire perimeter of the fabric, the line must be closed, then the paint will not go beyond it.
Stage 4: circle the pencil drawing with a reserve composition, here it is also very important to remember that all lines must be closed.
Stage 5: after the reserve has completely dried, painting the picture using aniline dyes diluted to the desired tone.
Stage 6: after the paints have dried, they need to be fixed. This can be done with an iron or waxed and then ironed through several layers of newspaper.

When painting this composition, we will use aniline dyes from the Gamma company, a ready-made kit for painting fabric "Batik - student". These dyes are very concentrated, require dilution with soda solution. With the help of pipettes, you can take the required amount of paint and dilute it in the cells of the palette until the desired tone is obtained. Now let's start painting. Every beginner needs to know the basic rule: go from light to dark areas, in this case, any accidentally placed spot can be painted over with a darker paint following it. Dip the brush into the paint about halfway and then freely, without pressure, move the tip of the brush over the fabric. The fabric itself "takes" the paint from the brush, so that magical color stains appear without much work on your part. You can fill the reserved areas with water, and then paint them with paints. With this method of filling, it should be remembered that the colors will become less saturated, but you will get a smooth transition from a darker to a lighter tone. (The whole story is accompanied by a demonstration).

Soft color transitions can be created by brushing over an area filled with paint with a brush dipped in alcohol. After that, in some places the paint will lose its saturation, in other places it will become brighter and the transitions from one to another will become smooth. You can use additional decorative effects. After finishing the painting, it is necessary to dry it.

3. Practical activities is carried out in line with individual work specifically with each student.

4. Physical Minute should divide the practical work into two parts. Since work on painting requires painstaking and perseverance. To unload the spine and eyes, a warm-up is performed.

5. Practical work continues after a physical minute.

6. At the end of the practical work, the results are summed up, the students exhibit their compositions and collectively discuss what was successful and where mistakes were made.

Bibliography:

1. Allahverdova E.E. Batik. Clay. Wood. Home needlework. - M .: LLC Astrel Publishing House; AST Publishing House LLC, 2004
2. Stock Susie. Batik. Practical guide./ Per. from English. - M .: Publishing house "Niola 21st century", 2005
3. Magazine: "Valentina". Painting on silk. - M .: Publishing house "OVA-PRESS". No. 1; 1995

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fabric acrylic paint batik

Fabric painting is an ancient art that came to Europe from Indonesia. The earliest information about the coloring of fabrics dates back to the 1st century AD. This art was especially developed in China and Japan. When the British occupied Java in 1811, they decided to distribute English cotton calico throughout the South Asian region, but ran into an insurmountable obstacle, which was the quality of the dyeing of local batik. It was much higher than European, vegetable dyes did not fade when washed, as happened with chintz dyed with aniline. So the local tradition strengthened its position, and perhaps this factor influenced the further popularity of this art form in Europe.

Since the beginning of the 20th century, interest in the East and its peculiar culture has led to a powerful wave of interest in painting on fabric. Exotic motifs, mysterious ornaments, interesting color schemes, ethnic flavor - all this began to attract the attention of professional artists and designers of fabrics and clothes.

Modern fabric painting techniques are very diverse. For myself, I decided to master one of the most traditional types of artistic painting with acrylic paints. Why acrylic? A very significant moment influenced my choice, the pattern will be applied to a piece of clothing, namely a synthetic T-shirt. Since this is a product for everyday use, it will be subject to washing, namely, acrylic withstands exposure to temperature and water.

There are various drawing motifs. The theme of painting for my product is the stylization of the image of an animal, namely a cat.

Scientific research part

Hand-painted art fabrics - a kind of design of textiles, rooted in antiquity. The first mention of obtaining colored decorative effects on fabrics is already found in Pliny's Natural History. The most famous are the methods of painting fabrics using various reserving compositions. The essence of these methods lies in the fact that the areas of the fabric that are not subject to dyeing are covered with various resins or beeswax, the latter, being absorbed into the fabric, protect it from the effects of paint. The fabric prepared in this way is dipped into the paint, then the reserve composition (reserve) is removed and as a result a white pattern is obtained on a painted background. This method of decorating fabrics was known in Russia, in Armenia, Azerbaijan; in Indonesia it still exists.

In addition to this method of drawing a pattern on fabric, printed patterns on fabrics have also been known from time immemorial, obtained using carved boards, and now mesh patterns - the so-called heels (from the word “stuff”, when a carved board moistened with paint was applied to the fabric , it was tapped with a wooden mallet for better printing of the picture).

The origin and meaning of the word "batik" is not exactly known. In Java, there is the word “ambatik” in everyday life, which translates as “engrave”, “write”, “draw”.

Batik is a method of dyeing fabrics based on the use of a reserve, a special substance that does not allow dye to pass through. According to the classical technique, after a pattern is made on the fabric with a reserve, and the free areas are dyed, the reserve is removed, and an intricate pattern remains in its place.

The way of preparing fabric for painting was multi-stage: soaking, bleaching, then boiling. The process itself, consisting of the following operations one after another: hot wax coating - dyeing - drying, repeated for each color, was complex and time consuming, required skill and patience. It took many months, and sometimes even years, to create one piece.

In Europe, batik began to be used in the manufacture of decorative fabrics from the first half of the 19th century, and the ubiquitous Dutch became the pioneers in this matter, and the methodical Germans first put production on stream. Modern batik is distinguished by a variety of techniques. Along with the traditional “hot” method of wax reservation, the “cold” method is widespread, in which gutta, a mixture of rubber and gasoline, is used as a reserve.

The invention at the beginning of the 20th century in Russia of a reserve composition that did not require heating made our country the birthplace of cold batik. Ease of execution, a clear “stained glass” contour make this technique interesting for beginners.

Cold batik is based on the fact that with this method of painting fabrics, all forms of the pattern, as a rule, have a closed contour stroke (reserving composition), which gives a peculiar character to the pattern.

Acrylic paints appeared about 50 years ago and immediately received wide recognition. The success of these modern paints is mainly due to their ease of application, versatility and quick drying. In recent years, advances in the development of acrylic emulsions containing ever smaller and light-fast particles have made it possible to obtain ever better paints. Acrylic paints dissolve in water, but after drying they become completely insoluble. In addition, they are very resistant to chemical and physical influences. All Ferrario acrylic paints are based on an aqueous suspension of synthetic resins, to which natural or synthetic pure pigments, coalescents and stabilizers are added. As a result of the processing of these raw materials, very elastic and bright paints are obtained, which perfectly adhere to any non-greasy surface: canvas, cardboard, paper, wood, plywood, faesite, plaster, clay, fabric. All acrylic paints can be applied with a brush or a spatula, and with appropriate dilution - with an airbrush. In order to ensure a consistently high standard of quality, the Ferrario Factory _ controls fineness, viscosity, color consistency for each paint. In addition, for each paint, the degree of covering power, light fastness and the pigment used are indicated. Given the speed of drying, it is recommended to close the tubes immediately after use and rinse the working tools with warm water. With the help of numerous thinners from the Ferrario factory, the artist can work in a wide variety of techniques.

1. The main characteristics of acrylic paints

Drying of acrylic paints occurs as a result of evaporation of water; while the paint forms a chemically stable elastic film consisting of a pigment and a binder. Unlike oil paints, dried acrylic is more durable (less brittle); the paint does not crumble, its layer does not form cracks, the surface does not peel off. Over time, acrylic paint does not wrinkle, it is not susceptible to the effects of normal temperature changes and changes in humidity conditions. Paints have been around for over 50 years, so their light fastness is quite obvious. Acrylic dries fairly quickly. If you prefer to work in thin layers, it will dry just as quickly as watercolor. Thicker layers dry more slowly - within a few minutes (if the layer is very thick and thick, the drying time increases significantly). Dried acrylic paint cannot be removed with water and is barely amenable to scraping or sanding.

2. Paint thinning

The pigment particles of acrylic paints are interconnected by a liquid, milk-like plastic mass, which becomes transparent after drying. Acrylic dissolves in water, which can be used as a thinner and remover to clean brushes and palettes. Unlike other water-based paints, acrylic becomes insoluble after drying. This is his positive quality, since the finished work is no longer affected by water, except for _

In addition, you can apply paint on dried layers. The downside is that acrylic can ruin your brushes if you don't wash them thoroughly on a regular basis. Water is not the only agent that dilutes acrylic paints. Most manufacturers produce their own tools that can change the "behavior" of acrylic paints. The most important of these are glossy and matte thinners. Glossy thinner helps to improve the covering qualities of the paint and, when dried, gives it the character of a shiny surface; matte has the same consistency, but dries to a matte finish. A good property of these paints is the drying speed. Acrylic dries as soon as the water contained in the paint evaporates. The usual drying time for acrylic is about 30 minutes, then you can apply another layer of acrylic paint. These wonderful qualities of paint are used by artists who need to work quickly to capture the rapidly changing landscape. You can create a pasty underlay with little to no interruption to your work, and it doesn't take long for the paint to dry, as is the case with oil paint.

3. Acrylic as a primer

Acrylic paint can serve as the basis for work in other types of equipment. It is possible to combine acrylic and oil paints by underpainting or texture preparation with quick drying acrylic and then painting in oils. This approach allows you to make a general solution of the composition with acrylic, and then work it out in detail with oil. (Remember, you can apply oil to acrylic, not the other way around.) Combining acrylic and oil paints is a good way to work outdoors, allowing you to finish your oil painting in a studio setting. This approach is close to the manner of the old Flemish masters, who created the basis of works in egg tempera, then painted over this layer with oil glazes. In addition to fast drying and water resistance, acrylic has good adhesion. This quality allows it to be successfully used in outdoor painting, paints are not affected by weather conditions and fit well on most surfaces. Acrylic paints are great for collage as they can be used as glue for paper or fabric. Textured acrylic pastes (gels) and modeling agents have strong adhesive properties and can be used to create relief surfaces.

4. Acrylic texture

You can achieve almost any painting surface texture with these paints. Acrylic "under watercolor" reproduces all the characteristic qualities of watercolor paints, while thick acrylic paints are often indistinguishable from oil paints. Among artists, one can often hear the following comments regarding the external properties of acrylic painting, colors, allegedly too flashy, rough, or, conversely, too dull and inexpressive. This is a very shallow view, based on primitive experience with acrylic.

5. Acrylic paints in airbrushing

All acrylic paints are usually applied with a brush made of kolinsky hair, synthetics, bristles, or with a palette knife (thin elastic steel (less often horn) plate in the form of a spatula or knife), and when the paint is diluted with water by 50%, they are suitable for airbrushing. Acrylic paints can also be used in watercolor painting technique.

Artistic acrylic paints can be used mainly on canvas, as well as cardboard, wood, metal, coated with special primers (easel oil painting). And also work on dry surfaces plastered with lime mortars (tempera painting).

Drying time of the work in a thin and medium layer on paper is 1 hour, and with the addition of a drying retarder - up to 3 hours. Given the speed of drying, it is recommended to close the tubes immediately after use and rinse the working tools with warm water.

The properties of the paints can be adjusted using auxiliary materials based on the same acrylate aqueous dispersions as the paints. Such materials include: various types of binders, thickeners, thinners, drying retarder gel, texture pastes, top coats.

6. Kinds of acrylic paints on sale

Acrylic can be purchased in tubes or jars. Paints in a tube in general terms resemble the consistency of oil and, compared to paints in jars, are used more widely.

Liquid paint in cans is often used on large surfaces.

Tube sizes vary by manufacturer.

The most popular is a 60 ml tube. Some paints are also sold in tubes with a capacity of 140 and 205 ml. Not all manufacturers offer paints in large tubes. Although they are economical, use small tubas in the open air, as their weight and volume can be a heavy burden on your shoulders. The most commonly purchased paint in a large tube is titanium white, which is constantly needed for mixing.

Acrylic tins are produced in a range of several sizes; there are containers equal to 55, 250 g, 0.5 liters and containers equal to 1 and 4.5 liters. If you work with paint even more liquid than in cans, prepare mixing utensils so that you can later dilute the paints with water or special auxiliaries.

After work, tightly close the tube with a bouchon, and the jar with a lid. In addition, carefully clean the neck of the tube or jar of paint residue so that the next time you open it without much effort. Remember, acrylic is a reliable adhesive.

7. The main types of painting on fabric with acrylic paints

hot batik

A quivering feeling seizes a person when he touches with a brush a white fabric well stretched over a frame. The fabric pliantly accepts the paint in its arms, and, grateful, it begins to work wonders. But the paint has its own character - it is skittish and does not know the boundaries of its run. And then the creative sorcery begins. With a hand and a brush with paint and at the behest of reason and fantasy, they create a miracle. And you find yourself in the magical world of artistic painting of fabrics. Once started, it is impossible to part with it.

There are several ways of artistic painting of fabric. It is cold, nodular and hot. The most interesting is hot batik. Products made in this technique are very expressive and colorful. Only in this technique can one achieve the development of a color that is infinitely diverse in structure, shades and color combinations.

Ways of painting fabric with hot batik, like no other, mobilize creative imagination, thinking and will, provide great opportunities for self-expression.

Hot batik is the most complex technique of all types of painting, but also the most interesting. Having mastered it, you discover that wax is a fertile material for all kinds of experiments, the search for unusual artistic techniques, and improvisation. Even the unusual smell of hot wax awakens creative imagination.

Cold batik

Cold batik is based on the use of reserve compounds that limit the flow of paint over the canvas. The artistic feature of this method of painting is that the obligatory color outline gives the drawings a clear graphic character. The number of colors is not limited.

The reserving composition is applied to the fabric in the form of a closed loop. Good penetration of the reserve into the fabric is the most important condition in contour painting. If gaps and gaps remain when drawing the contour, the paint will run out of the picture. The thickness of the pickup contour and the consistency of the reserve composition depend on the density of the fabric, its texture, as well as on the absorbency of the fabric. Dense materials, due to their structure, require a wider contour and a liquid reserve composition for better impregnation. Often, for tissues of this type, a reserve is induced on both sides. When working on a dense fabric, a thick contour is drawn, and on transparent, light fabrics, a thinner one. After the contour of the drawing is drawn, it is allowed to dry.

Before applying the paint, it is necessary to check the quality of the induction of the reserve on the wrong side of the sample by dropping water inside each form. If in some place water breaks through the reserve, this section of the sample should be dried and the reserve should be restored a second time, but already on the wrong side. Then check the line quality again.

At the beginning of the line and in areas where the hand moves more slowly, drops are usually obtained. To avoid this, you should guide the tube or tip of the tube over the fabric as evenly as possible, and at the beginning of work, either quickly lower the end of the tube to the surface, or start applying the reserve composition directly from a sheet of paper previously applied to the working surface of the fabric.

Start filling with color should be from the lightest tones, so that it is easier to cover the unwanted marriage with a darker tone. At the same time, one should not forget that the areas of the drawing must be evenly saturated with paint so that stains and halos do not form.

Knotted batik technique ("bandana")

Batik in the bandana technique is perhaps the most ancient type of textile painting. One of its types - the plangi technique - was common in India. The unpainted canvas was covered according to the pattern with very small knots, tightly tied with a thread. Then the fabric was dyed and the threads were removed, resulting in a pattern of white "peas". If necessary, it was possible to dye the fabric several times in this way, removing old knots and adding new ones. The dressing threads were removed from the dried fabric, but the finished product was not ironed, due to which the “tightness” effect was preserved for a long time.

Nowadays, nodular painting means simpler options. For example, a pattern in the form of a circle ("sun") or several circles. This pattern is done like this. A heat-resistant button, pebble or pea is placed under the fabric, tightly tying the fabric from below with threads. Then they tie up in one or two more places and paint again. The fabric is dyed sequentially and in several colors. The easiest option is two colors. To do this, areas with tied objects are immersed in a dye solution, the rest of the fabric is placed on sticks placed on top of the paint container.

When dyeing a dry fabric, you get a sharper border between the dye and the undyed fabric, but if the fabric is wet (moistened and well wrung out), you get smoother borders of the transition. After the fabric sections have been dyed, they must be rinsed and, in turn, place the remaining undyed part of the fabric (product) in a dye of a different color, placing the already dyed part on sticks.

One more way. Tightly twist the product or individual sections with a tourniquet, securing its position with threads so that the tourniquet cannot turn around. The binding threads must be tightened very tightly. Depending on the location and number of dressings, different patterns are obtained. In the same way, you can dye the fabric (product) in several colors. In this case, tying knots. And plaits, dye the fabric in the most (lightest of the intended colors). For example, it was decided to paint products. In the following colors: white (original), yellow, orange, red and dark brown. To do this, you need only three dyes - yellow, red and dark brown. Having first painted the fabric (product) with knots and bundles (the location and number of which depends on the design) in yellow, we get a white pattern on a yellow background. After rinsing and wringing out the unfolded product, we untie those knots and bundles, the fabric under which should turn red, and _ tie new ones, which will eventually remain yellow. Now dipping the fabric in red dye. The areas of fabric under the binding threads and inside the bundles will remain white and yellow, the background will turn orange, and the places where the threads were removed after the first dyeing will turn red. After rinsing the fabric again, we repeat the whole process, creating an already orange pattern. And finally, color in the darkest dye. The result is a complex multi-color pattern, in which not only the colors of dyes shimmer, but also all sorts of options for their mixing and interpenetration.

After rinsing the product in running water (first with knots, then without them), the slightly damp cloth is dried with an iron. Your product is ready.

This is one of the advantages of nodular painting - dyes are fixed during the dyeing process and do not require additional processing.

One of the types of nodular painting is the so-called folding batik. Here, the effect is also achieved by bandaging and dyeing, but the result is more predictable, since the fabric is folded in a certain way, and not twisted with a tourniquet.

Using the embroidered batik technique, you can create an even more subtle ornament. The end result is always known here.

Choose an ornament and draw it on the fabric. Walk along its lines with a “forward needle” seam. Stitch length -- 0.5-- 1 cm. Use only strong thread. Lay it according to the pattern, gather the fabric as tight as possible and fasten the thread with a needle or tie the fabric. After dyeing and removing the thread on the fabric, a pattern of small rectangles or rays will be obtained, perpendicular to the line along which the needle moved.

The folds formed on the fabric are very small, the dye easily penetrates into them. Therefore, these products must be painted quickly in a hot solution. You can fix them by drying with an iron through paper.

free painting

The method of free painting, which is produced without the use of a reserve composition, differs significantly from contour and nodular, both in the method of work and in the appearance of the finished product. This technique is close to watercolor painting. Soft, picturesque transitions of tone without sharp outlines of the form are possible here. painting reveals the originality of the author's handwriting and gives the products an individuality characteristic of manual labor.

Pull the fabric over the frame. Choose from a range of colors to suit your vision. Treat the fabric with paints in an arbitrary pictorial manner, using not a specific pictorial motif, but some kind of associative image: autumn, winter, spring landscape, early morning, twilight, fog, etc. In accordance with the plan, you need to choose a range of colors. The pattern is applied to the fabric with free strokes and only the final finishing is sometimes done using a cold reserve compound.

8. Method of hidden reserve

In painting fabrics, in addition to the main methods described above, there are many additional techniques and nuances that allow you to embody artistic ideas as accurately as possible, paying more attention to the creative side of the process, and not to the features of the technology. Some of these techniques can eventually be invented independently, but having the whole arsenal initially, it is much easier to achieve the desired result. The combination of techniques in various variants further expands the range of possibilities.

A characteristic feature of cold batik is the obligatory presence of a contour. This is the basis of all technology. However, a colorless reserve applied to the surface of the fabric not only creates borders that are insurmountable for the dye, but also leaves an outline of the color of the fabric. And since the fabric is usually white, the pattern turns out to be outlined in white. This is not always desirable.

Imagine that an openwork pattern of branches should stand out against the background of the crown of a tree. If you do the work in the usual way, each branch will be circled on both sides with a white line. How to avoid it? In this case, it is enough to first paint over the crown area, dry it, and only then apply the contour of the branches with a reserve. The colorless reserve will merge with the background color, and the darker dye of the branches will hide the paint of the crown underneath, acquiring an additional slight shade of its color.

As an example, let's take a look at the sequence of two jobs.

On the first one, we will depict a vase full of large bright flowers. Even those who think that they can’t draw at all can do this work.

The fabric is stretched over the frame and several spots are applied in the upper half with a light bright dye. When choosing dyes, imagine what flowers you will draw - asters, chrysanthemums, dahlias. There should be as many spots as there are flowers. After drawing the stains, dry them with a hair dryer.

Within each color spot, with a colorless reserve, draw the middle of the flower, similar to an asterisk. The shape of the rays-petals depends on the type of flower. In aster and chrysanthemum they are sharper, in dahlia they are rounded. Dry the reserve with a hair dryer.

Now mix in a dye a little darker than the center of the flowers. For example, if the middle is light yellow, you can take a bright yellow paint or add a little orange, a darker pink color is selected for the pink middle. Having decided on the paint, apply it with a brush around the reserved petals. Try to ensure that the paint completely penetrates into the narrow gaps between the petals. You will get light stars on a darker background. Dry the fabric again with a hair dryer.

Draw in reserve the second row of petals, trying to place them between the petals of the first row. Dry and circle again with a darker dye. Repeat this until the flowers are the desired size.

9. Painting fabric with an airbrush

The airbrush (improved spray gun) has great potential in creating an interesting effect in painting. When working with this device, small silhouette images are obtained on the surface of the fabric, as if melting in a fog. One of the main methods of work is spraying paint at an angle. This allows you to create smooth light and shade transitions. By directing the jet of paint onto the stencil at different angles, you model the shape of the motif.

Accessibility, simplicity, efficiency of the final result have earned this technique great popularity. Often there are postcards, delicate, shimmering motifs made with an airbrush, complemented by separately traced motifs.

Before working with an airbrush on fabric, you need to do a few experiments on paper. You can experiment with plants. Some of them, withering, do not lose their shape, but acquire softness, which allows them to be given the desired direction or bend. When working with an airbrush, it was necessary to take into account that a strong jet of air coming out with the paint can move the decomposed plants. Therefore, they must be held with a rubber-gloved hand. It is more convenient to direct a jet of paint at an angle along the stem of the plant. To obtain a clear sharp edge of the sheet, the ink jet should be directed from the middle to the edges and slightly up. The airbrush is kept at a distance of about 30 cm, then the paint lays down evenly, without forming spots.

Plants can be successively applied in two or more layers. Then the composition will be complex and voluminous. First, large leaves and "secondary" plants are placed on the sheet. They are airbrushed. Then the following plants are applied and stained again. The composition can be built in this way. Plants of the main motif are placed on a sheet of paper if they are supposed to remain white. Attach them with a tailor's pin. Spray with dye. The following elements are applied, attached and stained. You can repeat this operation several times. When solving in black and white, all transitions will be represented at work _

white to black. When using several dyes, it is necessary to ensure that they are combined and complement each other.

Another option for creating an interesting texture, the leaves of which can also serve as gift paper or book covers, is very simple. A sheet of paper is crushed into a ball. Then straighten, but do not smooth. A jet of dye from an airbrush is directed almost parallel to the plane of the sheet. The planes facing the dye will be painted over with different intensities, and the reverse sides will remain almost white. Then the paper is carefully smoothed. If the work is done with water dyes, it is simply ironed, dried with an iron. If automobile enamels were used, the paper is moistened with a sponge and ironed.

An apparent three-dimensional pattern appears on the surface of the sheet, reminiscent of the view of mountain ranges from an airplane.

This type of painting is perhaps the easiest to perform. All you have to do is choose a color scheme. Spread the damp cloth on a cellophane film, collect randomly in folds. Folds can be random or ordered, large or small. It depends on what pattern the result will be on the fabric. Then I sprayed green paint. Without changing the position of the folds, she again applied the dye - yellow, but from the opposite side. You can shift the folds for richer color tones. When choosing colors for painting, you should not get carried away with their number. Superimposed on each other, dyes give new colors, so it is important to choose them so that when applied one on top of the other, ugly spots do not form. It is better to use related colors of the color wheel. Having applied the last, darkest color, it is necessary to leave the fabric without straightening until it dries. You can not get carried away with a dark color, let it only shade the beauty of other colors.

When painting a finished product in order to update it, add color or simply add an addition to a smoothly dyed fabric, you need to lay a plastic film between the layers of the product and paint first one side before drying, then the other.

In this technique, fabrics for the interior are painted - curtains, bedspreads, etc. If you use dyes that are fixed with an iron, the fabric can not be steamed.

In this technique, you can paint fabric for clothing and interiors using live and specially dried plants. The plant must be dried in the form in which it will be used, i.e. all extra leaves and petioles have been removed, which, when painted, will distort the silhouette of the plant. Unlike painting with live plants (more airy and voluminous), painting with dried plants is silhouette and planar.

Working with dried plants is somewhat easier than with living ones, especially with herbs, which are voluminous and hardly lie on the plane of the fabric, making it difficult to convey their elegant pattern. Therefore, in the summer, a bunch of herbs should be dried under pressure and, choosing the right ones from it, inserted into compositions with live plants.

Plants in the painting of postcards and panels, it is better to place them “with their roots down”. Depending on the size of postcards or panels, the size of the plant is also selected. The graininess of the surface of the fabric gives the product an additional texture. Postcards are issued in the usual way, if desired, supplementing with inscriptions.

When applying paint with an airbrush, a stain may appear, you can try to draw a leaf, a blade of grass, etc. from this stain, which is more suitable for this composition. Or, if this is not possible, cover with an additional element of the composition with a darker dye. If the fabric is rapport, try to introduce the corrected element into all the motifs of the painting or alternating them through one. You can add new elements to an easel thing or a postcard.

10. Modern approach to fabric painting

Since ancient times, fabric has been used by man for a variety of purposes. One of the functions of the fabric is to give beauty and comfort to human existence. In order to diversify the natural, not the most attractive colors of the fabric, people have always sought the opportunity to dye it.

Modern fabric paints fall into two broad categories: industrial paints and amateur or "hobby" paints. The latter incorporate acrylic paints, which are widely used by amateurs and professionals. This type of paint contains synthetic resin. Acrylic paints dry extremely quickly. In addition, they do not discolour over time and come in an excellent range of colors. Even water is quite suitable for dissolving acrylic paints. However, once cured, the paint has excellent water resistance. Complete with this paint, special solvents are often sold that improve the quality of painting. Acrylic is great for creating relief images.

Hobbyist fabric paints must meet the stringent requirements of numerous standards. The thing is that people work directly with this type of paint. There are serious requirements for environmental friendliness, lack of allergenicity, and the availability of proper certificates. Paints that meet all these standards simply cannot be cheap. Complete with paints, additional improving compositions are often sold. Some of these compounds muffle the brightness of the color, others, on the contrary, contribute to the brightness, some thicken the consistency. An important component in painting with paints on fabric are special compositions that limit the spreading of paint. With their help, areas of the fabric that are not intended for painting are protected from ink.

For normal work, the fabric dyeing master needs to stock up on the required set of tools, which include: a frame, a set of brushes, hooks and pins to secure the fabric, a spray gun, pipettes, palettes, stencils, and more.

11. Materials and tools

Decola paint set for fabric

Fabric, pre-washed, ironed

Wooden frame or hoop

Palette for mixing paints

Buttons or tension hooks

Reserve for textile dyes

Fabric paint thinner

Soft brushes

Tanks for water and paints

Sticks with a foam tip ("sponge")

Cotton buds

Workplace

The ideal workspace should be well lit and well watered, with enough space to move around the stretcher and draw from either side. It is important that the whole palette of colors available to you be in front of your eyes. So it is possible to choose the right colors.

Acrylic paint technology

The proposed acrylic paints for fabric are diluted with water. It is recommended not to add too much water, so that the dyes do not spread on the fabric and reduce the coloring power. Rinse brushes and accessories with water until the paint dries.

Fabric dyes are designed to decorate natural fabrics such as linen and cotton. The structure of natural fabrics allows dyes to penetrate the fabric into the depths of the fibers and firmly attach to them. If you use fabric dyes for synthetic materials, be aware that they are more sensitive to washing, as synthetic fabrics do not provide a strong adhesion to the paint.

To obtain intermediate colors, fabric paints can be mixed with each other in any ratio. When using new fabrics, wash before applying dye to the fabric. Wrinkled fabric should be carefully ironed to eliminate all wrinkles.

The fabric can be stretched over a frame or simply laid out on the desktop, placing a sheet of paper or cardboard under it to protect the table. Penetration of dye through the fabric to the back of the fabric is a positive factor contributing to the best fixing of the pattern. If you're decorating a T-shirt or pillowcase, you need to isolate the front from the back with paper or cardboard. To simplify the work, the fabric can be fixed on the table with adhesive tape.

To create a durable pattern on the fabric, you should avoid imposing paint on the fabric in dense layers on top of each other.

There are several simple ways to apply paint on fabric to material. When working with a brush, you first need to use a colored pencil or carbon paper for tailors (it does not leave stains on the fabric) to apply any design to the fabric, for example, taking it from an embroidery magazine.

To perform color tests, keep a piece of canvas or similar fabric handy. When working with shades, it is important to remember that it is more convenient to start with light tones, gradually moving to dark ones. Light colors are obtained by mixing white paints on fabric with colored ones to the desired shade.

The contours of the drawing are applied with light paint using a soft thin brush. Coloring inside the contour and the transition of tone from light to dark is carried out using a larger brush. The drawing will turn out to be the most successful if you make a large number of transitions from light to dark. Try _ to work as quickly as possible, then the paints that have not yet penetrated deep into the material will mix on the fabric, leaving no noticeable boundaries between the tones.

Screen printing is another way to apply a pattern to a fabric. It is necessary to fix the selected stencil on the fabric, making sure that it is tightly applied. Depending on the size of the jewelry, choose a tamping brush or use a foam swab. Lightly dipping the swab in the paint, carefully process the slots of the stencil so that the paint penetrates the fabric into the depths of the fibers. You can use both pure and mixed colors in the same or different slots. At the end of the work, carefully raise the stencil, let the pattern dry for 12 hours, and then fix the work with an iron.

After completion of work, it is necessary to wait 12-15 hours, then fix the pattern by ironing it with a hot iron from the wrong side for 2-3 minutes. Be aware that fabric dyes contain a heat-setting resin that only becomes indelible after heat treatment. The temperature of the iron should correspond to the type of fabric, iron slowly and continuously, do not hold the iron in one place. Protect the board with a cloth while ironing. At the end, the fabric must be turned over and quickly iron the pattern, covering it with material.

The decorated fabric is the result of handwork, therefore, the patterns created with the help of paint on fabric need to be treated with care during washing. When using a machine wash, it is better to choose programs for delicate fabrics with a temperature not exceeding 40 ° C. Do not use a long spin, this leads to premature wear of the pattern. If the product is small, it is better to wash it by hand. Do not use bleach so that the dyes on the fabric do not lose color.

We will need a T-shirt, brushes, acrylic paints, a simple pencil, a drawing, a glass of water, a hoop, a bag or a file, two towels, an iron, a hair dryer.

We transfer the drawing with a simple pencil to a T-shirt. Or just put the picture inside the T-shirt and outline it, if it is light, it shines through well. And insert the pattern into the hoop.

We put a file or package under the picture

And now we decorate our sketch. Paints are diluted with a small amount of water. If you want to get a blurry picture, then apply paints on top of each other without letting them dry, if clear lines are needed, then the layers need to be dried a little, otherwise everything will spread. When finished drawing, we need to dry our creativity until the paint dries completely.

When the drawing dries, we take out the bag and put a towel folded in several layers inside and put a towel on top of the drawing. Now put the iron on 2 and turn off the steam. We iron for about 3-5 minutes

Now the T-shirt can be washed to remove the remnants of lines from a simple pencil. You can wash it by hand washing at a temperature of 30-40 degrees, they say you can also use a typewriter, but it is not desirable.

12. Sample making

Acrylic paint on fabric from the Decola series from the manufacturer: Nevskaya Palitra Artistic Paint Factory (Russia, St. Petersburg) was chosen for the manufacture of our sample ball. Paints based on water acrylic dispersion. Paints are intended for painting natural cotton and silk fabrics, as well as fabrics made of synthetic fibers and threads, this group includes fabric for making this sample. The set can be used for free painting of fabrics, decoration of fabrics using the "cold batik" method.

The set includes 12 colors in 20 ml jars: white, medium yellow, orange, red, medium green, turquoise, sky blue, dark blue, light violet, black, silver, gold.

When painting synthetic fabrics, it is recommended to make sure that the pattern is firmly attached to the fabric sample in accordance with the instructions for use. Pre-wash the fabric, iron it, stretch it on the frame or lay it out on the desktop. Paints are applied directly to the fabric with a brush, stamp or stencil. They have good spreadability. Do not fade, lightfast. Dry quickly.

Dry the painting for 24 hours. Iron with an iron without steam for 5 minutes. through a cotton fabric at a temperature corresponding to the cotton fabric. After _ 48 hours after ironing, the product can be washed with mild detergents at a temperature of 30 to 40 degrees without strong mechanical stress.

A black T-shirt made of synthetic fabric was chosen as the subject of artistic painting using acrylic paints. The choice was influenced by the idea, the essence of which is as follows, the drawing is a stylized image of an animal, namely a cat. The choice of the black color of the T-shirt is also not accidental, it is a night cat.

The preparation of the drawing for the T-shirt was edited more than once, the initial version of this option was not chosen very well, since it was a nocturnal cat according to the idea. As a result of changes in this picture, we made adjustments to the cat's muzzle, namely, we changed the grin, or rather, added an evil grin, making the cat a night hunter, as well as eyes. The cat's changes are shown in the figure, but we didn't stop there. Where did you see a night cat with a tail pressed to the body. And this is what we got as a result of our numerous adjustments. The color of the cat was red and white, the eyes are green, and the paws are white on the claws of the cat - blood. His bow already hangs on his neck like during the day, but is under his paws.

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Reading time: 5 minutes

How to add personality to a typical home interior? What will become a distinctive detail of your own image? Only a detail made in a single copy. There are several ways to paint on fabric, which will turn a simple scarf into a designer item.

It is worth starting work by studying the features of dyeing fabric in various ways. For drawing a picture on a canvas, there are several time-tested techniques:

• . A layer of molten wax is applied along the contour of the drawing, which will not allow the colors to mix. Cover the material with a brush of multi-colored paint. If it is necessary to obtain a monochromatic coloring with a fantasy ornament, the entire product is completely immersed in the dye;

• marble painting or marbling. Characteristic stains are obtained due to the spreading of the dye over the surface of the water into which the matter is lowered;

• artistic painting. This technique is used to obtain unique designs on silk. To separate paints of different colors, a special reserve composition is used after applying each tone.

Features of working with dyes

The problem of painting on fabric is the uncontrollability of the spreading of paint on matter. To stop this process, reserve compositions, wax, stopping primers are used.

Wax for separating colors in a pattern on fabric has been used for hundreds of years in the batik technique. It can be applied along the contour of the drawing or a special stamp is made from it. The chemical industry produces modern reserve compounds that act in the same way as wax. Under such compositions, the fabric remains undyed.

It should be remembered that the more liquid the dye, the more it will spread. Many paints can be artificially thickened with a synthetic additive. The use of paints of different densities allows you to get soft transitions, shades, watercolor painting.

The choice of fabric for painting

The material is selected depending on the purpose of the product and the chosen staining technique. There are several rules, the implementation of which will allow you to get a truly unique thing:

• a fabric with a uniform composition is selected. In this case, the staining will be at any point of the product of the same intensity;
• hot wax will not damage plant fibers, viscose. The most suitable for working in the "hot batik" technique are cotton, linen, woolen fabrics;
• the reserve composition must penetrate through the fabric through and through. This property is possessed by,, fine wool;
• acrylic paints can be used to paint not only fabrics, but also leather;
• if a clear distinction between colors is not expected, a material that absorbs moisture well is selected. In this case, the paint spreads quickly, and when mixing colors, soft, original transitions are obtained.

In order not to make a mistake in choosing a fabric, they take a small flap and make a trial drawing.

In order to get an original thing, it is not necessary to master the complex nuances of painting on fabric. You can simply tie a few knots on a piece of cloth and boil it in the dye.

The order of tying knots allows you to get any pattern from circular divorces. If you tie an object with a square, triangular or other geometric shape, a more complex ornament is formed.

It is easy to get an unusual pattern using the "shibori" technique. It is also called "origami for fabric". Before painting, the material is folded in a certain way so that each bend defines the outline of the pattern.

It is very convenient to use a stencil for drawing the outline of the future ornament with gold, silver, black / white paint. After it dries, the gaps are filled with the necessary colors. In this case, the colors do not mix due to the contour.

For real painters

Anyone who knows how to draw should try their hand at free painting. This technique does not involve clear contours of the same color. To slow down the spreading of the coloring matter, priming the material is used.

If the primer is not used, paint can be applied to a damp cloth in wide stripes with a broach from a light tone to a dark one. Then, with large strokes, complete the basis of the drawing. To detail the future picture, small strokes are used. Special effects are obtained in several ways:

• if you blow on a drop of paint through a thin tube (for example, a cocktail tube), it spreads. With certain skills, specific images are obtained;
• adding alcohol to the dye, allows you to speed up its drying. This changes the speed of spreading, mixing colors;
• salt has good moisture absorption. When applying a mudflow pattern to an already painted thing, an unusual texture of the image is obtained.

What else…

The most convenient to use. They are easy to use and affordable.

After finishing work, perform a number of mandatory actions with the finished product:

• drying of matter up to 3 days;
• washing in cold and hot water;
• hand wash with soap;
• silk is placed for 10 minutes in an acetic solution. To prepare a solution, 2 tablespoons of vinegar are diluted in a liter of water;
• cotton, linen, it is necessary to boil for no more than 5 minutes with washing powder;
• wet ironing from the wrong side, and then from the front side.

The pattern is chosen depending on your own taste. You can come up with it yourself, purchase it in a specialized store or find it on the World Wide Web.

There are several ways of artistic painting of fabric. It is cold, nodular and hot. The most interesting is hot batik. Products made in this technique are very expressive and colorful. Only in this technique can one achieve the development of a color that is infinitely diverse in structure, shades and color combinations.

Hot batik. A quivering feeling seizes a person when he touches with a brush a white fabric well stretched over a frame. The fabric pliantly accepts the paint in its arms, and, grateful, it begins to work wonders. But the paint has its own character - it is skittish and does not know the boundaries of its run. And then the creative sorcery begins. With a hand and a brush with paint and at the behest of reason and fantasy, they create a miracle. And you find yourself in the magical world of artistic painting of fabrics. Once started, it is impossible to part with it.

Ways of painting fabric with hot batik, like no other, mobilize creative imagination, thinking and will, provide great opportunities for self-expression. Hot batik is the most complex technique of all types of painting, but also the most interesting. Having mastered it, you discover that wax is a fertile material for all kinds of experiments, the search for unusual artistic techniques, and improvisation. Even the unusual smell of hot wax awakens creative imagination.

Cold batik. The appearance of oriental fabrics in Europe led at the beginning of the 20th century to a passion for hand-painted fabrics. Batik experienced a rebirth. But it was difficult for Europeans to reproduce the classical process of making wax batik, so a different, more accessible and simple type of painting appeared: a cold reserve and, accordingly, other dyeing techniques. However, this technique differs from hot batik not only in the temperature of the reserve, its composition, tools for its application, as well as the style of painting have changed. For painting on silk, the most characteristic are white and colored lines that separate one color space from another, all the details of the pattern have a clear border and are painted with colors only inside the reserve line. As a result, the drawing acquires graphic clarity. Unlike hot batik, this method does not require the removal of the reserve after dyeing, is simpler and safer, and therefore is one of the most popular fabric painting techniques. In Russia, the cold batik method has been used since 1936 in industrial artels. In this way, scarves, scarves, ties, coupons for dresses, interior items: curtains, tablecloths, napkins, lampshades were made. Later - decorative panels, painting on fabric. Cold batik became widespread in many countries in the 70s and 80s.

Style - "cold batik", this is a European invention of the Art Nouveau era. A clear "stained glass" outline makes this technique attractive. Cold batik is based on the use of reserve compounds that limit the flow of paint over the canvas. The artistic feature of this method of painting is that the obligatory color outline gives the drawings a clear graphic character. The number of colors is not limited.

The reserving composition is applied to the fabric in the form of a closed loop. Good penetration of the reserve into the fabric is the most important condition in contour painting. If gaps and gaps remain when drawing the contour, the paint will run out of the picture. The thickness of the pickup contour and the consistency of the reserve composition depend on the density of the fabric, its texture, as well as on the absorbency of the fabric. Dense materials, due to their structure, require a wider contour and a liquid reserve composition for better impregnation. Often, for tissues of this type, a reserve is induced on both sides. When working on a dense fabric, a thick contour is drawn, and on transparent, light fabrics, a thinner one. After the contour of the drawing is drawn, it is allowed to dry.

Before applying the paint, it is necessary to check the quality of the induction of the reserve on the wrong side of the sample by dropping water inside each form. If in some place water breaks through the reserve, this section of the sample should be dried and the reserve should be restored a second time, but already on the wrong side. Then check the line quality again.

At the beginning of the line and in areas where the hand moves more slowly, drops are usually obtained. To avoid this, you should guide the tube or tip of the tube over the fabric as evenly as possible, and at the beginning of work, either quickly lower the end of the tube to the surface, or start applying the reserve composition directly from a sheet of paper previously applied to the working surface of the fabric.

Start filling with color should be from the lightest tones, so that it is easier to cover the unwanted marriage with a darker tone. At the same time, one should not forget that the areas of the drawing must be evenly saturated with paint so that stains and halos do not form.

Free painting. The method of free painting, which is produced without the use of a reserve composition, differs significantly from contour and nodular, both in the method of work and in the appearance of the finished product. This technique is close to watercolor painting. Soft, picturesque transitions of tone without sharp outlines of the form are possible here. painting reveals the originality of the author's handwriting and gives the products an individuality characteristic of manual labor.

Pull the fabric over the frame. Choose from a range of colors to suit your vision. Treat the fabric with paints in an arbitrary pictorial manner, using not a specific pictorial motif, but some kind of associative image: autumn, winter, spring landscape, early morning, twilight, fog, etc. In accordance with the plan, you need to choose a range of colors. The pattern is applied to the fabric with free strokes and only the final finishing is sometimes done using a cold reserve compound.

Free watercolor painting. Free watercolor painting is based on the use of saline or special watercolor primers. The fabric stretched over the frame is impregnated with an aqueous solution of table salt or watercolor primer, and after drying, it is painted with paints. Since the saline solution limits the spread of the paint on the fabric, you can work with free strokes. The painting is carried out according to the principle of watercolor painting: from light to dark, from the top edge to the bottom.

Free painting with salt crystals. Another method of free painting of fabric is based on the use of salt or urea crystals. The fabric is stretched over the frame and processed with liquid dyes. Then, on the still wet fabric, in accordance with the design of the pattern, salt crystals are poured, which actively attract the dye to themselves, thereby darkening those areas of the fabric on which they are applied. The effect obtained largely depends on the size of the crystals. After drying on the fabric, the salt is removed. The effect achieved with dry urea is similar to salt. However, if salt, attracting the dye to itself, concentrates it on the fabric, then urea, on the contrary, bleaches the dyed fabric. This method is very simple and affordable, and most importantly - gives a wide scope for experimentation. A softer effect can be obtained by using not dry urea, but its concentrated solution (1 teaspoon of urea per 50 ml of water), into which a brush is dipped and a pattern is applied to the fabric in the manner of dot or line art.

Glaze. This well-known method of oil and watercolor painting can be successfully used when painting fabrics. The technique is based on the fact that the paints are mixed not on the palette, but on the fabric, layer-by-layer superimposing one on top of the other, which leads to a color change. Transparent aniline dyes are just right for working in this technique.

You can use the glazing technique in any work, but as a workout, it’s good to depict a stylized still life of glasses, decanters and other containers of an interesting shape. Imagine that in front of you are several glass vessels of different colors. Moreover, they stand in such a way that their edges seem to overlap one another. At the same time, it is easy to see that when applied, pink and blue colors will give a lilac tint, blue and yellow - green, etc.

First, prepare your drawing and transfer it to the fabric. Outline the contours with a reserve. Paint over any object with the chosen color. Color the neighboring object in two steps: first, its main part, then the intersection with another object. Continue working until the entire still life is painted.

If the color of any object seems too light to you, apply a second coat of paint. Particularly interesting effects are obtained in places where two or three objects overlap.

The background is painted last. Colors for such a painting must be light and transparent. Mixing more than three colors is not recommended. It is also not advisable to mix contrasting colors, such as red and green, blue and orange, yellow and purple. Often this combination gives a dirty gray or brown tint.

Nodular batik technique ("bandana"). This is one of the first ways to decorate fabric. It has been known in the countries of the East since ancient times. In Indochina, knot technology existed even before the 7th century. In India, it is still widely used today under the name bandhey (bandhana, bandhini), which means "tie-dye". The drawing consists of many white and colored dots. Similar patterns are found on ancient frescoes and sculptures. From such fabrics make wedding and festive clothes. In Malaysia, Indonesia, the nodular technique is called plangi, which means "space, spot". In Sumatra, fabrics are complemented with beadwork, in India - with beads, in Africa - with embroidery, pearls and shells. This staining method was known in pre-Columbian America, in the Caucasus, in Tibet, in the countries of the Middle East and North Africa. Creating a pattern by stitching fabric is a more sophisticated technique. In Indonesia, this technique is called tritik. In Europe, knot dyeing became known at the beginning of the 20th century; it was used in clothing and interiors: for bedspreads and curtains. In the 70s, the revival of interest in the East made the knotting technique fashionable again, it was widely used to decorate clothes in the hippie style.

Batik in the bandana technique is perhaps the most ancient type of textile painting. One of its types - the plangi technique - was common in India. The unpainted canvas was covered according to the pattern with very small knots, tightly tied with a thread. Then the fabric was dyed and the threads were removed, resulting in a pattern of white "peas". If necessary, it was possible to dye the fabric several times in this way, removing old knots and adding new ones. The dressing threads were removed from the dried fabric, but the finished product was not ironed, due to which the “tightness” effect was preserved for a long time.

hidden reserve method. In painting fabrics, in addition to the main methods described above, there are many additional techniques and nuances that allow you to embody artistic ideas as accurately as possible, paying more attention to the creative side of the process, and not to the features of the technology. Some of these techniques can eventually be invented independently, but having the whole arsenal initially, it is much easier to achieve the desired result. The combination of techniques in various variants further expands the range of possibilities.

Painting fabric with an airbrush. The airbrush (improved spray gun) has great potential in creating an interesting effect in painting. When working with this device, small silhouette images are obtained on the surface of the fabric, as if melting in a fog. One of the main methods of work is spraying paint at an angle. This allows you to create smooth light and shade transitions. By directing the jet of paint onto the stencil at different angles, you model the shape of the motif.