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Monday 30 March, 2020
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Modified Burins 10 tools PROMOCI?N 14.88? 9.67?
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Modified Burins 10 tools PROMOCI?N We present new burins, similar to our usual burins but on which we made a modification cutting the tip end. This modification is very interesting for modelling flowers and is a great advantage when we have to make small flowers and hope that we remain the centre of the flower more perfectly than using a tip end burin. It is convenient to do, with the modified ones, at the bottom of each petal a slot different from the slot done by the unmodified burin, changing this way the finish of our flowers. This litle cut allows that, on the inner side of each petal on which scissors and burin technique is employed, a small bowl-shaped crack is left giving a completely different finish, and also provides the possibility of putting in each cavity a pistil or few grains of seed for a different finish of these flowers. In our "Formation" section, we have explained the advantages of always having a set of modified burins. It's easy to make them, just cutting back the tip with scissors. Each one can be prepared, naturally it is desirable to have two sets of picks. Thinking that some people do not dare to make this change we are putting at their disposal the ability to acquire them.
Used to model, to give form or depth to petals, flowers, leaves and figures. There are a great variety of models with different shapes to mark the texture of petals and its contour, to deepen its center and to get the looseness of the edges. The palette knife is used for modelling clay, porcelain in cold, ceramics in cold, rustic paste, marmolina and alabaster done with Lydia products. The top end of the burins is also useful, we can use it to deepen the centre of a flower and to nail in this centre stamens, by the hollow that we made. A different effect is reached when we paint this zone because we can concentrate more watercolour that, when dry, will give us a stronger colour tone. To see another example of use of the top end of a burin in Narcissus and babianas, kindly see the magazine #18, page 5; in this case we took advantage of the top of the burin to mark a slight slot at the top of the stigma. PLAIN BURINS: Two, one of them a little thinner than the other and, in the thicker one, the line of union is more prominent to let us give a striated texture, while working on a flower, whether in a petal or leaf. The leaves have different finishes when their edge looseness takes a little over. View "Shell with red roses", magazine #21 pages 14 and 15. THICK BURIN with CUTTING GROOVES: It is very useful when we want the edge of the petals, flowers or leaves, slightly cracked. Depending on the pressure exerted on the mass and thickness of it, we have more or less sharpness. View rev Margaritas and mimosas, magazine n? 3, page 9. In "Fantasy Logs" we have used this punch both for leaves, petals and curled cones we use to fill holes, mgz. #13, page 9. THICK BURIN with CROSSED GROOVES: To give different textures to petals and large flowers. FINE BURIN with CROSSED GROOVES: To give different textures to small or medium petals and flowers. SUNK ONDULATED THICK SLOT BURIN: This burin can be used by three parts. The point, being rounded, serves as a tiny hollower, the sunk undulated slots will excel the mass, marking textures different to the two previous burins. Being very large the extent of engravement, we can use it for very large petals or to mark the veins on deep tubular flowers. Finally, on the other hand, we have a slot made on the burin that allows us to take off a piece of dough from a roller, always the same size, then turn it a tear-drop shape to make it roll with your fingertips and have a petal to widen it with the punch or place it flat on a petal veiner and get this way a petal flower for flowers in miniature, if we turn it we can make a leaf. This system is very useful for the thumbnails as always involve a large amount of material and so we go faster. If we want to put seeds in the centre of the flower, we must press repeatedly to separate the dough around the centre and form a seed yet incorporated. Then if we wish we could embed some stamens. Very useful for modeling jobs, to make textured effects in Papier Mache, clay or ceramic to simulate grooves on mud and clay to make decorative motifs or textural effects. Also to mark the tiles on the roofs onto houses so fashionable nowadays, and for those for which facade are employed natural tiles. BURIN LANCE: Allows you to mark the centre of the petals, pressing softly so the separation between both sides of the petal stay marked. For edge looseness in petals and leaves. Having square angles, some undulations are get in the dough, different to the effect obtained with a plain or a grooved burin. LITTLE NAIL BURIN: For inner markings on the base of each petal, making a slight depression. In small flowers allows us to mark at the bottom a slot that gives depth. When we have made it to all the petals it should appear in the centre of the flower a shape of dough simulating the seed. It also allows us to drag the mass, with the peak, in the middle to simulate the seeds of some flowers, to help in the modelling of figures. It helps us go putting together and smoothing the dough onto the work, also to mark and press over the folds of dresses or laces, and to draw pictures on fabrics made with cold porcelain, to mark grooves in mouth corners and nostril holes, animal fur, etc. ... LARGE NAIL BURIN: The same use than the small one but for little larger flowers. PALETTE KNIFE: Used to signal modelling and textures on the work with Papier Mache. It helps us to go putting together and smoothing the dough onto the work, to mark and press the folds of the dresses or lace, to make folds on fabrics made with cold porcelain, mouth corners and nostril holes.
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