How to make a box in an oriental style using decoupage technique with your own hands. History of decoupage: Japanese style? Decoupage in Japanese style

I twisted and turned it for several days, I kept thinking how I could decorate it. And then in Auchan I came across unusual three-layer napkins. So it started spinning on its own... And I decided to film the process, maybe it will be useful to someone. So:

You will need:

*Wooden box

*Sandpaper

*Beautiful napkins for decoupage

*Decoupage varnish glue

*Pencil

*Thread approx. 30cm long

*Sponge for washing dishes

*Synthetic brush small and medium

*Liner for drawing

*Acrylic contours

*Black and lilac acrylic paints

*Furniture varnish

STEP 1

First of all, we sand our workpiece, smooth out various irregularities. Then we think about what colors to use where and start painting. I decided to take black as the main color, and inner part make the boxes playfully lilac. Moreover, ATTENTION! The napkins are so delicate and transparent that it is necessary to leave the color of the wood in the places where they are glued, otherwise we risk ruining the box. Thus, we paint the bottom, and the entire inside of the box, its “TELLY”. Let it dry for an hour. I’ll tell you more about the sides separately.

STEP 2

Now a pencil and a ruler come into play. Using a ruler and a pencil, measure out the place where our beautiful napkin will be pasted, paint the space around it with black acrylic. Let it dry for about 40 minutes.

STEP 3

We cut out a napkin of the same format as we measured on the box. Separate outer layer napkins, grease it with glue and glue it. Smooth our part with a piece of sponge or iron it with a roller (those who have one are lucky ones) Leave it to dry.

STEP 4

Now let's work on the lid of our box. As you remember, we left it untouched with paint. We measure out a place for the central square, cut it out of a napkin and glue it. Leave it to dry. Then we paint the area around our napkin square. After drying, we correct the flaws on the box itself with black paint and its lid.

STEP 5

Then you can varnish our box (1-2 layers if desired). The varnish will be a good basis for dot painting. After the varnish has dried, we begin painting. First, we apply dots to the joints of the napkin and the paint, this will add completeness and mask the flaws. For this I took pearl - gray outline. For those who find it difficult to place dots exactly, you can do it using a ruler. To decorate the lid, we make several rows of dots. For me, these are pearl gray, lilac, and silver rows.

STEP 6

Then we select interesting ornament for the lid. I took one of the Japanese ornaments as a basis (Yes, I have one magic book on ornaments!) And we make a pattern, mine are leaves. We arrange them to our liking. We outline. We leave to dry. I first outlined, then added a nice “snake” when touched; the leaves immediately became carved.

STEP 7

Now we take our thread. And our thread is not simple, but completely magical. We will have it as a curved and plastic ruler for our dots. Lay it out like a snake in a chaotic order, but so that it is beautiful. And we put dots along the thread. In a circle. After each circle, we let the dots dry. The first circle of dots I had was lilac, then pearl gray, then silver and so on... That's all. We leave our oriental splendor to dry, varnish (the more layers, the better), then You can even polish it with felt for extra shine and you can safely use it!

1. We print the picture we like on a laser color or inkjet printer with baked ink (I use Epson), print it on photo paper (I use Lomod 150), let it dry for about 3-6 hours (depending on the type of printer), cover it with 2-3 layers acrylic varnish. We apply each layer of varnish perpendicular to the previous one, without waiting for the previous layer to dry, this will allow the layers to adhere well to each other. Next, we dry our picture.

2. While the picture dries, unscrew the hinges, disassemble the box, remove any unevenness, chips, or cracks. Wood putty here indispensable assistant. We sand, removing excess putty.

3. If you have a light picture, then it is better to cover the lid of the box with white paint or just white primer, then the picture will retain its brightness and will not seem faded. But my picture is a little dark, so I skipped this step.

4. Immerse the printout in warm water for 10 minutes, take it out, put it back front side up, separate the layers of photo paper by picking up the corner of the top layer with a needle. This will be the same varnish layer with the picture that we need to stick on the lid of the box. We carefully pull it, separating it from the rest, trying to ensure that the part to be separated is perpendicular to the table, so the picture is less likely to tear. Glue it onto the lid of the box.

5. Be sure to expel all air bubbles and smooth out wrinkles! Otherwise, the picture will rear up - and goodbye, beauty... You can use a roller for these purposes or a universal remedy - your own sensitive fingers)))), this is exactly what I do. You can speed up the drying process with a hairdryer.

6. Next, we apply structural paste or wood putty to the places where the pages should be, whatever you have available. We are looking for something that will help us imitate the pages of a book. You can do this with a toothpick or a wooden kebab skewer, but it takes a long time, and I decided: I’ll be creative! I found an old comb and measured it out. desired length, and voila!

That's how it was

And that's how it happened

7. We make an imitation of embossed metal loops. Stencil, paste, palette knife.

Apply the paste in three steps to avoid stencil shifts:

top - dry, bottom - dry, middle - dry.

Masking tape works very well here.

Well, here it is, very important tool in action: kebab stick. It is very convenient for removing excess paste, putty, etc. Next you will see that the tool is really important))))

It is not necessary to remove irregularities on the loop itself; they will help create the illusion that these are embossing irregularities.

8. Now the paints come into play. First, let's color the pages of our book. Mix white, ocher and burnt umber. We try to get the color to look like the pages of the book have darkened over time. Like that:

It is better to use a coarse bristle brush; it gives good grooves and creates the desired texture. Hairdryer, dry.

9. Next, we’ll figure out how we’ll decorate our book. I wanted to scatter jewelry around the perimeter))). Let's draw with a simple pencil, correct, draw again. Then apply structural paste (or putty with PVA) in small capacity(from the same PVA glue) and, carefully squeezing it out of the tube, draw patterns. Remove the excess with a skewer.

Here, too, there is no need to achieve perfect evenness and smoothness, the box is a la antique, and therefore any unevenness looks appropriate. Let it dry thoroughly.

10. Then we need to paint the box in the color you have in mind. Mine is black. We paint and watch closely. If you don’t keep track, then things like this can significantly spoil appearance"very expensive" item:

It is better to look at such places from different angles and, having noticed them, touch them up with a thin brush.

11. After the paint has dried, we cover the work with 1-2 layers of parquet varnish. I have it inexpensively, I use it for intermediate varnishing. Firstly, it will protect the work from possible errors during further drawing. If something doesn’t work out, your hand is in the wrong direction, there’s a lot of paint, etc., all this can be easily removed from the varnish coating with a damp cloth. And secondly, varnish saves the amount of paint used for decoration and prevents it from being absorbed into the wood.

12. Well, then - gold. I painted the loops with a brush, and carefully touched the raised areas with a sponge. After the hinges and pages of the book have dried, we cover them with bitumen; this will give depth and age the places that require it. As a replacement for bitumen, you can use antique medium, patina, or simply mix acrylic: burnt umber with black and dilute with water to the consistency of low-fat cream. We remove the excess with a cloth.

13. Now comes the fun part! Creation of precious and not so precious)))) stones. I recently purchased Prisma paints as an experiment. Why not try them? It turned out to be more than exciting! Just meditative, I would say. They mix with each other, creating unusual combinations and color transitions.

I used the same skewer (remember, I said that this is indispensable universal tool?). I dip it in paint and transfer it to the box. With another skewer I take another paint and mix it, helping the paint flow into one another.

The color combinations can be any, everything will turn out beautifully, the colors are simply magical.

The only negative is that they take a long time to dry; the manufacturer specified a time of 72 hours. I honestly waited)))), although it seemed to me that after a day I could continue working.

14. The next component in creating jewelry is epoxy resin. No, not the one sold in hardware stores, but the one used to create jewelry. Follow the instructions, mix, pour, mix again. And, using a skewer, we transfer the resin, creating the effect of a convex stone. By the way, the epoxy resin I have holds its shape very well and does not spread, even if there are no restrictions in the form of a structural paste. But this is also a minus, and this overseas young lady takes a long time to dry - 72 hours. 3D gel can be used as a substitute. But, in my opinion, it is not very hard after drying. I can’t say with certainty, because I haven’t used it myself.

16. And again gold, this time let's lightly brush across the pages, add gold to all the bulges and bulges, we have an expensive thing!? Let's not be shy!

17. It's time finishing coating varnish. I use Ferario varnish; products coated with this varnish are so pleasant to hold in your hands! If you don’t have such a varnish in your arsenal, it doesn’t matter, you can get by with another, less expensive option, but you’ll have to work with sandpaper)). Let the work dry for about 10-12 hours.

18. Now let's get started internal part. It seemed to me that there would be some kind of fabric inside. Of course, you can paint it too, but it still won’t be the same...

So, we take paper of a suitable size, apply it to each side of the box and separately (this is important!), draw each wall on the paper. Why do we do this? Because our workpiece is not perfectly flat, and a difference of 1-2 mm will be very noticeable if we cut the lining incorrectly. It is important that all the cut parts come together end-to-end, forming flat surface without spaces. We pin the paper patterns of the sides onto the selected fabric and cut out the details. I do this as follows: cut out one part, glue it, then another, glue it, etc. Paste over better with glue Moment the crystal in the following order: walls, then bottom.

19. And now the most exciting moment, we collect our precious, unique box, admire and rejoice together!

Decoupage boxes in oriental style- mk Author: Tatyana Korobkova For a long time I promised to post a master class on decoupage of my oriental boxes. In principle, there is nothing complicated or unusual about this. Standard decoupage process. To be honest, this was actually my first attempt at writing. All the salt here is contained in the design of the napkins. They were just perfect for bringing my idea to life. So, master class. We take a regular box blank for decoupage work. First, I wipe it with a damp cloth to remove any dust that has settled on the future antique beauty. Then we take the paint that will be visible through the cracks of the base paint. In my case it's gold acrylic paint. I apply it with a brush to the inner and outside boxes. To be honest, to save material, I do not apply gold paint and craquelure to the sides inner surface boxes. I then coat them twice with brown paint. Let the first layer dry well. I leave it for 2 hours, then check if it sticks. To speed up the process, you can use a hairdryer. After gold paint When dry, I apply a thick layer of craquelure. If you apply it thinly, the cracks will turn out to be a fine mesh. And I achieve the effect of large cracks. I leave it until completely dry. If you don’t let it dry well, the next layer of paint may simply smudge and wash off the craquelure. As a rule, I leave it to dry overnight and continue working the next morning. I take brown paint and, using a wide brush or foam brush, quickly and carefully apply the paint to the surface of the box. In some places, cracks appear immediately, and in others as the top layer dries. It is important not to touch the already painted areas so as not to disturb the layer of craquelure varnish. I painted the side walls and bottom (on which I did not apply craquelure) twice. I wait several hours until the surface is completely dry. Now it’s time for decoration and actual decoration, let’s move on to clean and exciting work. Take a napkin with a suitable pattern. Separate the white layers, leaving only the top colored napkin. Then carefully cut out the required ornament. Now we need to glue the motif to the box. To do this, you can use special decoupage glue or take regular glue PVA, diluting it with water. Using a brush dipped in glue, carefully glue the ornament. At the same time, using a light tension, we try to smooth out all the wrinkles and expel air bubbles. Let the ornament dry and cut off the “excess” with a breadboard knife. Now it’s time to add volume and gilding to our box. To do this, I use a gold outline (of all the ones I’ve tried, I like this one the most, although it’s intended for fabric. But it has proven itself perfectly on wood (I used it to paint nesting dolls), and on canvas, and with acrylic paints. I paint ornament with a gold outline. Is it true that the box immediately begins to become covered with the dust of antiquity and mystery? In some places I go beyond the boundaries of the ornament to create the integrity of the picture. I leave the outline to dry for 24 hours. And as a finishing touch - matte spray varnish