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Distressing Table Gild
Distressing (or weathered look) in the decorative arts is the activity of making a piece of furniture or object appear aged and older, giving it a "weathered look". There are many methods to produce an appearance of age and wear. Distressing is viewed as a refinishing technique although it is the opposite of finishing in a traditional sense. In distressing, the object's finish is intentionally destroyed or manipulated to look less than perfect, such as with sandpaper or paint stripper. For example, the artisan often removes some but not all of the paint, leaving proof of several layers of paint speckled over wood grain underneath. This becomes the "finished" piece. Distressing has become a popular design style and decorative art form. The artisan attempts a Pastoral, rustic, attractive, one-of-a-kind appearance or vintage (design), vintage look. The final appearance is often called the patina. Distressing can be applied to a variety of surfaces and materials such as wood, glass ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Distressed Table French Style , a similar technique used on apparel
{{disambiguation ...
Distress may refer to: * Distress (medicine), an aversive state in which a person shows maladaptive behaviors * Mental distress (or psychological distress) * Distress, or distraint, the act of seizing goods to compel payment * ''Distress'' (novel), a novel by Greg Egan * ''Distress'' (1946 film), a 1946 French film * ''Distress'' (1929 film), a 1929 French silent film * Distress signal, an recognized means for obtaining help * Distressed inventory, goods or materials whose potential to be sold at a normal cost has passed * Distressing, the process of making an object appear aged ** Stone washing Stone washing is a textile manufacturing process used to give a newly manufactured cloth garment a worn-in (or worn-out) appearance. Stone-washing also helps to increase the softness and flexibility of otherwise stiff and rigid fabrics such as ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Faux Finishing
Faux painting or faux finishing are terms used to describe decorative paint finishes that replicate the appearance of materials such as marble, wood or stone. The term comes from the French word ''faux'', meaning false, as these techniques started as a form of replicating materials such as marble and wood with paint, but has subsequently come to encompass many other decorative finishes for walls and furniture including simulating recognisable textures and surfaces. History Faux finishing has been used for millennia, from cave painting to the tombs of ancient Egypt, but what we generally think of as faux finishing in the decorative arts began with plaster and stucco finishes in Mesopotamia over 5,000 years ago. Faux painting became popular in classical times in the forms of faux marble, faux wood, and ''trompe-l'œil'' murals. Artists would apprentice for 10 years or more with a master faux painter before working on their own. Great recognition was awarded to artists who c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aging (artwork)
Aging is a process by which an artwork, typically a painting or sculpture, is made to appear old. It is meant to emulate the natural deterioration that can occur over many decades or centuries. Although there may be "innocent" reasons for it, ageing is a technique very often used in art forgery. Paintings deteriorate over time because they are created using essentially incompatible materials, with each having a different reaction to the changes in the environment, including light, temperature and relative humidity. An oil painting consists of several layers, comprising the base canvas, a layer of gesso base coat, several layers of the oil-based paint and then several coats of varnish to protect the paint surface. With many different materials, it is understandable that each layer may dry at different rates and will also absorb and release moisture at different rates. When this occurs, expansion and contraction of the painting will result in a crazing of the varnish surface. Thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chalk Distressing
Chalk is a soft, white, porous, sedimentary carbonate rock. It is a form of limestone composed of the mineral calcite and originally formed deep under the sea by the compression of microscopic plankton that had settled to the sea floor. Chalk is common throughout Western Europe, where deposits underlie parts of France, and steep cliffs are often seen where they meet the sea in places such as the Dover cliffs on the Kent coast of the English Channel. Chalk is mined for use in industry, such as for quicklime, bricks and builder's putty, and in agriculture, for raising pH in soils with high acidity. It is also used for " blackboard chalk" for writing and drawing on various types of surfaces, although these can also be manufactured from other carbonate-based minerals, or gypsum. Description Chalk is a fine-textured, earthy type of limestone distinguished by its light color, softness, and high porosity. It is composed mostly of tiny fragments of the calcite shells or skelet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wood Stain
Wood stain is a type of paint used to colour wood and consists of colourants dissolved and/or suspended in a 'vehicle' or solvent. Vehicle is the preferred term, as the contents of a stain may not be truly dissolved in the vehicle, but rather suspended, and thus the vehicle may not be a true solvent. The vehicle often may be water, alcohol, a petroleum distillate, or a finishing agent such as shellac, lacquer, varnish and polyurethane. Coloured or stained finishes do not typically deeply penetrate the pores of the wood and may largely disappear when the finish deteriorates or is removed. Pigments and/or dyes are largely used as colourants in most stains. The difference between the two is in the solubility and in the size of the particles. While dyes are molecules that dissolve into the vehicle, pigments are larger than molecules and are temporarily suspended in the vehicle, usually settling out over time. Stains with primarily dye content are said to be 'transparent', while st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Verdigris
Verdigris is the common name for blue-green, copper-based pigments that form a patina on copper, bronze, and brass. The technical literature is ambiguous as to its chemical composition. Some sources refer to "neutral verdigris" as copper(II) acetate monohydrate () and to "blue verdigris" as . Another source describes it as a basic copper carbonate (()2), and, when near the sea, basic copper chloride (Cu2(OH)3Cl). Still other sources describe verdigris as .(Cu(OH)2)n where n varies from 0 to 3. The alchemical symbol for verdigris is 🜨 (unicode U+1F728). Etymology The name ''verdigris'' comes from the Middle English ''vertegrez'', from the Old French ''verte grez'', meaning ''vert d'aigre'', "green ade by action ofvinegar". The modern French writing of this word is ''vert-de-gris'' ("green of grey"), sounding like the older name ''verdet gris'' ("grey greenish"), itself a deformation of ''verte grez''. It was used as a pigment in paintings and other art objects (as green col ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Liver Of Sulfur
Liver of sulfur is a loosely defined mixture of potassium sulfide, potassium polysulfide, potassium thiosulfate, and likely potassium bisulfide. Synonyms include hepar sulfuris, sulfur, sulfurated potash and sulfurated potassa. There are two distinct varieties: "potassic liver of sulfur" and "ammoniacal liver of sulfur". Overview Liver of sulfur is mainly used in metalworking to form a brown or black patina on copper and silver as well as many (though not all) copper alloys and silver alloys (brass, for example— a copper alloy— does not react with sulfur compounds). It is sold as a yellow brittle solid (a "lump" which must be mixed with water before use) as well as a pre-mixed liquid and a gel form. The solid is believed to have the longest shelf life, though all liver of sulfur tends to decompose with time. Modern gel forms contain stabilizers that allow the reactivity to last much longer. Liver of sulfur that is kept dry, sealed from air, out of the light, and in a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trompe-l'œil
''Trompe-l'œil'' ( , ; ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface. ''Trompe l'oeil'', which is most often associated with painting, tricks the viewer into perceiving painted objects or spaces as real. Forced perspective is a related illusion in architecture. History in painting The phrase, which can also be spelled without the hyphen and ligature in English as ''trompe l'oeil'', originates with the artist Louis-Léopold Boilly, who used it as the title of a painting he exhibited in the Paris Salon of 1800. Although the term gained currency only in the early 19th century, the illusionistic technique associated with ''trompe-l'œil'' dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical ''trompe-l'œil'' mural might depict a window, door, or hallway, intended to suggest a larger room. A version o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Texturizing
Texturising or texturizing is the process by which synthetic fibres are modified to change their texture - the physical appearance of the fibre. Texturising techniques can include bulking (where thermoplastic fibres are twisted, heat set and untwisted), crimping and coiling, amongst others. Texturising takes advantage of the thermoplastic nature of synthetic fibres, and uses it to set texturised features in place. Fibres may be texturised to improve the fibre's insulation properties (as processes like bulking allow it to trap air better), to minimise a shiny, synthetic-looking appearance, to reduce the silky nature of the fibre, or to create special effects (fancy yarns). These modifications will also affect the eventual fabric, and fibres may be folded, looped, coiled or crinkled in order to improve the drape, appearance, luster, warmth, elasticity or handle of the finished fabric. Texturising can reduce the "synthetic" appearance of a finished fabric, bringing its appearance cl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Graining
Graining is the practice of imitating wood grain on a non-wood surface, or on relatively undesirable wood surface, in order to give it the appearance of a rare or higher quality wood, thereby increase that surface's aesthetic appeal. Graining was common in the 19th century, as people were keen on imitating hard, expensive woods by applying a superficial layer of paint onto soft, inexpensive woods or other hard surfaces. Graining can be accomplished using either rudimentary tools or highly specialized tools. A specialized thick brush used for graining is often called a mottler. Fan brushes, floggers, softening brushes, texture combs and even fingers are used to create various effects. The painting is carried out in layers, with the first layer being a base. Today that is usually done with latex paint in a gold or orange or tan tone, depending on the type of wood the artist is aiming to imitat. A second layer of tempera or thinned paint is applied over the dry base, by means of a spo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gilding
Gilding is a decorative technique for applying a very thin coating of gold over solid surfaces such as metal (most common), wood, porcelain, or stone. A gilded object is also described as "gilt". Where metal is gilded, the metal below was traditionally silver in the West, to make silver-gilt (or ''vermeil'') objects, but gilt-bronze is commonly used in China, and also called ormolu if it is Western. Methods of gilding include hand application and gluing, typically of gold leaf, chemical gilding, and electroplating, the last also called gold plating. Parcel-gilt (partial gilt) objects are only gilded over part of their surfaces. This may mean that all of the inside, and none of the outside, of a chalice or similar vessel is gilded, or that patterns or images are made up by using a combination of gilt and ungilted areas. Gilding gives an object a gold appearance at a fraction of the cost of creating a solid gold object. In addition, a solid gold piece would often be too soft or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gold Leaf
Gold leaf is gold that has been hammered into thin sheets (usually around 0.1 µm thick) by goldbeating and is often used for gilding. Gold leaf is available in a wide variety of karats and shades. The most commonly used gold is 22-karat yellow gold. Gold leaf is a type of metal leaf, but the term is rarely used when referring to gold leaf. The term ''metal leaf'' is normally used for thin sheets of metal of any color that do not contain any real gold. Pure gold is 24 karat. Real, yellow gold leaf is approximately 91.7% pure (i.e. 22-karat) gold. Silver-colored white gold is about 50% pure gold. Layering gold leaf over a surface is called gold leafing or gilding. Traditional water gilding is the most difficult and highly regarded form of gold leafing. It has remained virtually unchanged for hundreds of years and is still done by hand. In art Gold leaf is sometimes used in art in a "raw" state, without a gilding process. In cultures including the European Bronze Age it ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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