Inlay straws sketch. Vyatka straw inlay. Fine art from improvised material

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-2.jpg" alt="(!LANG:>n INLAY WITH STRAW - an interesting and original kind of folk arts and crafts ."> n ИНКРУСТАЦИЯ СОЛОМКОЙ – интересный и своеобразный вид народного декоративно – прикладного искусства. n Народное декоративно – прикладное искусство тесно связано с повседневной жизнью. n Потребность украшать своё жилище, предметы домашнего обихода обусловила развитие художественных ремёсел. n Приёмами декорирования изделий соломкой владели многие народы мира. В. Н. Дехтяренко. Сундучок. Дерево, соломка!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-3.jpg" alt="(!LANG:>n Until recently, the art of inlay was a household hobby, rarely made products"> n Искусство инкрустации до недавнего времени бытовало как домашнее увлечение, редко изготавливались изделия на продажу, но развивалось оно повсеместно – в Литве, На Украине, в Белоруссии, Ленинградской, Кировской, Горьковской и других областях. n Народное искусство, как правило, складывалось в деревне. n Накопленный поколениями опыт, изучение и развитие определённых приёмов и техники изготовления подняли это ремесло на высокий уровень. Н. Гурло. !} decorative panel"Wedding" Wood, straw

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-4.jpg" alt="(!LANG:>n In Belarus, straw inlay as an art craft has existed since the mid 50s - X"> n В Белоруссии инкрустация соломкой как художественный промысел существует с середины 50 -х годов. n Шкатулки !} various forms, ink devices, caskets, towel racks, decorative panels, decorated the uncomplicated post-war life. n In the 1960s and 1970s, fishing began to develop especially intensively. n Belarusian straw is widely known and popular not only in the republic. V. S. Basalyga. Decorative panel "Belovezhskaya Pushcha" Wood, straw

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-5.jpg" alt="(!LANG:>n Easter eggs, toys, photo frames, "> n In Poland, Czechoslovakia, Russia, Easter eggs, toys, photo frames, caskets, snuff boxes were decorated with straws. expressiveness T. A. Alekseeva Congratulatory address (fragment) Wood, straw

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-6.jpg" alt="(!LANG:> n A. V. Korzhun n Decorative plate. n Pressed sawdust ,"> n А. В. Коржун n Декоративная тарелка. n Прессованные опилки, соломка!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-7.jpg" alt="(!LANG:> n T. A. Alekseeva. n Casket lid (detail) n tree,"> n Т. А. Алексеева. n Крышка шкатулки (фрагмент) n Дерево, соломка.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-8.jpg" alt="(!LANG:>n E. Rusakovich. Carpet. 1983. n Satin, straw , application n Rukhovo,"> n Е. Русакович. Ковёр. 1983. n Сатин, солома, аппликация n Рухово, Минской обл.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-9.jpg" alt="(!LANG:>n altars in churches"> n В начале 20 в. в Беларуси удалось обнаружить в двух полуразрушенных церквах алтарные двери, изготовленные в 18 в. Сначала рельефные украшения на них были приняты за тончайшую деревянную резьбу с позолотой. Но при ближайшем рассмотрении оказалось, что они обиты многочисленными деталями, сплетёнными из соломы. Конец 18 в – начало 19 в Дерево, солома, плетение. Лемешевичи, Брестской обл.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-10.jpg" alt="(!LANG:>n simplest pattern master cabinetmakers who own the technique"\u003e n Perhaps the first to try to glue the simplest pattern from pieces of straw were master cabinetmakers who own the technique of mosaic wood finishing - marquetry and intarsia. n The essence of the first technique is that the details, which are elements, are glued onto The surface of a wooden product.n Modern straw inlay differs from real inlay in that its elements do not cut into a wooden base, but are glued to its surface.

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-11.jpg" alt="(!LANG:>n In addition to brilliance and golden color, the straw has another remarkable property: glued from"> n Кроме блеска и золотистого цвета соломка имеет другое замечательное свойство: выклеенный из неё рисунок в зависимости от изменения угла зрения переливается словно перламутровый. n Это явление легко смоделировать, сложив две одинаковые бумажки гармошками, и положить их в разном направлении от света.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-12.jpg" alt="(!LANG:>n In different places in Belarus, the application was technically performed in the same way. n Women in"> n В разных местах Белоруссии аппликация технически выполнялась одинаково. n Женщины в некоторых районах Белоруссии освоили изготовление методом аппликации настенных ковров. n Мастерицы вводят в рисунок симметричные элементы, обобщают детали, чтобы создать замкнутую композицию. n Ковёр имеет кайму, состоящую из розеток, растительных побегов, в центре – букеты, венки, птицы и т. д.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-13.jpg" alt="(!LANG:>n Straws of rye, wheat, oats, barley and wild"> n Для плетения и аппликации подойдёт соломка ржи, пшеницы, овса, ячменя и дикорастущих злаков. n Соломку нужно готовить в конце июля - начале августа, зависит от погоды. n Заготавливают солому вручную, чтобы не поломать стебли. n Связывают в снопы и сушат, периодически переворачивая. n После сушки снопы перебирают, обрезают колоски, хранят в сухом помещении. Л. Ш. Валеева. Декоративное панно «Колядная ночь» Грунтованный холст, соломка!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-14.jpg" alt="(!LANG:>n Knife - jamb n Thickness gauges - for drawing parallel lines n"> n Нож – косяк n Рейсмусы – для нанесения параллельных линий n Резачки – для расщепления соломки n Пробойники n Шомпол n Ножницы n Пинцет n Калька n Клей, кисточка n Лак n Утюг n Паяльник n Выжигатель!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-15.jpg" alt="(!LANG:>n Soak straws in hot water for 10-15 minutes. n"> n Замочить соломку в горячей воде на 10 – 15 минут. n Расщепить и прогладить утюгом. n Чистят соломку на гладкой дощечке, прижимая к ней лезвие ножа, лежащего почти горизонтально, и рукой тащить полоску к себе.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-16.jpg" alt="(!LANG:>n Select straw by shade. n Stick straw on tracing paper. n"> n Отобрать соломку по оттенкам. n Наклеить соломку на кальку. n Прогладить полотно утюгом, он должен едва шипеть. n Подбор рисунка и подготовка эскиза. n Грунтовка поверхности (если она деревянная). n Грунтовка бывает: клеевая, лаковая. n Грунтуют поверхность дважды. n Место, где будет рисунок, слегка смачивают водой. n Приклеивают элемент инкрустации, и притирают сверху, например, ножом или др. предметом. n Сверху можно покрыть лаком.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-17.jpg" alt="(!LANG:>n An ornament is an artistic decoration based on geometric, vegetable, animal"> n Орнамент – это художественное украшение, в основе которого лежат геометрические, растительные, животные или смешанные декоративные мотивы, а также символические изображения и атрибуты. n Геометрический орнамент был широко распространён во всех видах декоративного искусства Древней Руси. n Очень часто в качестве мотивов орнамента служат символы, различных отраслей: хозяйства, науки, культуры, искусства.!}

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-18.jpg" alt="(!LANG:>n ROSET - underlies the formation of any ornamental motif. n Evolution"> n РОЗЕТ – лежит в основе образования всякого орнаментального мотива. n Эволюция мотивов – явление историческое. n Считается, что гербы феодальной знати !} Western Europe, have the same symmetry. n More complex rosettes appear only in the Bronze and Early Iron Ages, on copper items, weapons and military armor. n On medallions and other small items, there is a motif of a swastika and other one-sided rosettes. n Decorative plate. 1983. rosettes n Wood, straw, appliqué

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-19.jpg" alt="(!LANG:>n Yellow- a symbol of wealth n Tree - the three-dimensionality of our life"\u003e n Yellow color - a symbol of wealth n Tree - the three-dimensionality of our life n Cross - a symbol of eternity n Border - earth n Zigzag lines - water n Birds - sky n Flowers - Garden of Eden n Deer with unusual horns n (tree of life) - as if it symbolizes both lush living vegetation and the relationship of all living things with nature.

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-20.jpg" alt="(!LANG:>n As we can see, the masters have achieved significant results in the search for decorative and"> n Как мы видим мастера добились значительных результатов на пути поиска декоративных и художественно-выразительных решений, обогащения и развития пластических возможностей материала, открытия новых художественных эффектов. n Развитие идеи в основном в русле !} folk traditions creatively enriched with new techniques and motives. n At the same time, the entire range of areas of folk art made of straw products has not yet been covered; appliqué with straw on fabric is poorly developed. n The development of this type of creativity would undoubtedly significantly enrich the possibilities of modern art crafts.

Src="https://present5.com/presentation/3/47262886_76908566.pdf-img/47262886_76908566.pdf-21.jpg" alt="(!LANG:>n Gazaryan S. S. Beautiful with your own hands. M.: Children's literature, 1989. n"> n Газарян С. С. Прекрасное своими руками. М. : Детская литература, 1989. n Говор В. А. , Сахута Е. М. Художественные ремёсла и промыслы Белоруссии. М. : Наука и техника. n Михнюк Н. С. Рисунок и методика его преподавания. Красноярский университет, 1988. n Первушина О. М. , Столбова В. Г. Природа и творчество. В помощь начинающим флористам. Книжное издательство, 1990. n Починова Н. В. , Дехтяренко В. Н. Инкрустация соломкой. Минск. Полымя, 1988. n Сазонова Л. Плетение и аппликация из соломки М. : Ч. А. О. и К. , 2002. n Федотов Г. Я. Узоры разнотравья М. : Просвещение, 1992.!}

Straw inlay

Straw inlay is an applique of small repeating details that are used as a decorative material. In all likelihood, cabinetmakers were the first to try to glue the simplest pattern out of pieces of straw; they mastered the technique of mosaic wood finishing - marquetry and intarsia. The essence of marquetry is that details in the form of elements cut from thin chips are glued to the surface of a wooden product. Occasionally in museums you can find the earliest samples of products inlaid with straw, which date back to the 18th century.

Modern straw inlay is characterized by the fact that individual elements do not cut into the wooden base, but are only glued to its surface. Each element, carved from the straw, rises above the background. Only in some cases are the elements tightly fitted to each other, but usually most of the base remains open and serves as a background. Whereas in inlay (in the true sense of the word) for each straw element of the pattern, it would be necessary to cut out a special nest into which it is then glued. The word "inlay" means cutting out (from the Italian "incrustio" - to cut). This technique is based on the remarkable property of the straw: depending on the change in the angle of view, the pattern pasted out of it shimmers like mother-of-pearl. This effect is explained by the heterogeneity of the straw tissue structure. From under the transparent glossy film on the surface of the culms, striated fibers appear, running along the trunk. They reflect light rays depending on their angle of inclination with respect to the light source. When the straw is turned so that the light glides along the fibers, it appears dark, as if quenched. When the light falls perpendicular to the fibers, the straw, as it were, glows due to the reflected rays. This natural phenomenon can be easily simulated by placing straw plates at different angles. In order to decorate a small product with inlay, it must be pasted over with many tens or hundreds of elements cut out of straw with different directions of the fibers. And if you slightly turn the object inlaid with straw, the inlay will flicker and begin to shimmer.

The main tool used for inlaying with straws is a joint knife. It is advisable to have at your disposal several knives with different blade angles, which can be made from old scalpels or hacksaw blades. For the handle, it is better to take durable and uniform hardwood: birch, beech, pear, apple. For a glued knife handle, you need two boards about 7 mm thick, with carefully polished wide edges - they should fit snugly against each other.

On the polished edge of one or two planks, cut out a nest in the shape of a hacksaw blade. When assembling, put the canvas into the finished nest, grease the edges with carpentry or epoxy glue, firmly clamp the planks in a vice. After the glue dries, the boards form a monolithic wooden block. It must be processed to make the future handle comfortable and beautiful shape. The handle should gradually taper towards the blade, and have a beveled end on top, which is necessary for smoothing the glued straws.

To apply various parallel lines to the inlaid product, you can use factory-made or own production. A thickness gauge is a block with through holes, one or two rods are inserted into it with strong needles driven in at the ends. A hole should be located perpendicular to the rods, a wedge is driven into it, fixing the rods with needles in the desired position.

Straws are split into strips of the same width using special cutters, which look like a round wooden stick with two thin needles at the end (points outward). The distance between the needles should be equal to the width of the straw strips. It is necessary to have several cutters with different distances between the tips of the needles. To split the straw simultaneously into 2-3 identical strips, you need to use a cutter with 3-4 needles driven in at an equal distance from each other.

On the polished edge of one or two planks, cut out a nest in the shape of a hacksaw blade. When assembling, put the canvas into the finished nest, grease the edges with carpentry or epoxy glue, firmly clamp the planks in a vice. After the glue dries, the boards form a monolithic wooden block. It must be processed to give the future handle a comfortable and beautiful shape. The handle should gradually taper towards the blade, and have a beveled end on top, which is necessary for smoothing the glued straws.

To apply various parallel lines to the inlaid product, you can use factory-made or own-made thickness gauges. A thickness gauge is a block with through holes, one or two rods are inserted into it with strong needles driven in at the ends. A hole should be located perpendicular to the rods, a wedge is driven into it, fixing the rods with needles in the desired position.

…

Separate straw ribbons are good for creating some details of complex images in contour application: roofs of houses, trunks, trees, legs and arms of little men. They can be used to create frames, letters and small texts.

The same elements of the pattern in the form of a circle, oval or flower can be cut out of straw using special punches made of steel tubes. To push straw elements out of punches, a ramrod is required, made of thick wire with a ring instead of a handle at the end.

At the end of the work, varnish or glue is applied to the surface to be inlaid with a soft brush, knitted from squirrel hair with a handle no more than 150 mm (Fig. 16).

Rice. 16. Tools for performing inlay: a) knives; b) thicknesses; c) cutters; d) punches and ramrods; e) soft brush

For inlay, straw from the middle and upper parts of the stem without knots is needed. Straw is prepared for work as follows: it is soaked in warm water for about an hour, each straw is split with pointed scissors and, unrolled, ironed until it is twisted into a large ring. Having rolled the straw rings into one roll, they are stored in a dry place.

…

From straw ribbons you can make wonderful tails, braids, skirts and leaves for flowers. It is convenient to braid such ribbons, making pigtails, bookmarks, napkins and rugs.

Before work, the straw only needs to be slightly moistened to restore plasticity. Spread it out on a wooden board front side down, carefully cut off the inner loose layer with a joint knife - they plan the straw (Fig. 17, a). At this time, the blade of the knife-jamb should be located at a minimum angle to the surface of the board, to which the straw strip is pressed. At this time, the straw itself straightens out, and a continuous, twisting chip roll comes out from under the knife. The remaining individual sections of the loose layer must be scraped off with the tip of a joint knife (Fig. 17, b). Strips of straw must be scraped off to translucency - letters in the newspaper text should be visible through them.

Using cutters from the prepared material, cut calibrated strips having a certain width (Fig. 17, c).

Identical elements of future patterns are cut off from the calibrated strips with a joint knife on a wooden cutting board or directly on the inlaid surface. When performing the operation, it is necessary to press the straw strip against the wood surface with the left hand, and in right hand simultaneously hold the joint knife and the brush (Fig. 17, d).

Rice. 17. Preparation of elements for incrustation: a) straw planing; b) removal of loose layer residues; c) cutting calibrated strips; d) cutting off elements of future patterns

Complex figures with curvilinear contours can be cut out of straw with scissors or a joint knife. Many types of inlays are made from geometric elements (Fig. 18).

Rice. 18. Geometric elements for inlay

Since fragile straws are easily split and have a limited width, they must be glued closely one to one on writing paper before cutting. Cut the edges of each straw with a joint knife along a metal ruler (Fig. 19, a), apply glue to the paper and lay the straw strips very tightly (Fig. 19, b). When sticking, carefully wipe each strip with the end part of the handle of the joint knife. Carefully remove excess glue that has come out in the gaps with a dry cloth. Dry the straw set under load. Well cut along the edges and carefully joined straw strips merge into a single straw film, on which you can draw, and then cut with scissors or a joint knife, almost any figure (Fig. 19, c). Small curly details can be cut out of the straw pasted on paper using a punch. For this purpose, trimmings left over from cutting out large figures are suitable (Fig. 19, e).

Rice. 19. Making complex elements for inlay: a) cutting straws; b) laying on glue; c) cutting with scissors or a joint knife; d) cutting out figures with a punch

The cutouts from straw film planted on a paper base do not crumble and do not fall off, they should be knocked out of the punch with a ramrod after 5–6 strokes. The mesh remaining after cutting can also be used for finishing wooden products.

Wooden objects prepared for encrustation must first be painted and primed. Adhesive primer with dye added to it at the same time colors the wood. First, apply the first layer of primer to the surface, dry it, sand it with fine-grained sandpaper and apply the second layer of primer. After the second layer dries, you can start working on the inlay.

The place where it is supposed to stick the element of straw inlay, lightly moisten with water using a brush or swab. Soaked soil containing glycerin and soap swells almost instantly and becomes sticky. Immediately you need to press and smooth the straw part to it. It is most convenient to grind the part from above with the butt end of the knife-jamb handle. After some time, the hardened soil firmly grasps the straw planted on it.

In addition to the adhesive primer, you can apply a varnish primer. For this it is better to use clear nail polish, and pre-paint wood products with various stains, ink or dyes. After the dyes have dried, alternately apply two thin layers of nitrocellulose varnish to the surface of the wood, dry each layer for 2-3 hours.

The principle of gluing the straws to the base is the same as in the inlay on the adhesive ground. But instead of water to soften the soil, you should take a thinner, in which a little varnish is added (for 3 parts of thinner, 1 part of varnish). Moisten the soil area with thinner using a brush. While it is sticky, put the tip of a straw strip on it and cut off the desired element from it (diamond, square, triangle).

Rice. twenty. wooden surface with straw ribbon inlay

Gently smooth out the element of the pattern, planted on the varnish, with the end of the handle of the knife-jamb, pressing it as tightly as possible to the surface of the object being decorated. Thus, it is necessary to stick all the other elements of the pattern, maintaining the sharpness of the coincidence of the corners of the geometric straw figures with the previously applied auxiliary lines (Fig. 20).

Straw applique and the use of straw in the decoration of wickerwork were used in Vyatka at the end of the 19th century. At the Kazan exhibition of 1890, master Ivan Vasilyevich Sadakov presents a toy cart, a table, a sofa, two chairs, painted with black paint and pasted over with straw, or, as they say today, inlaid with straw. However, the former name of the artistic technique “straw application” is more accurate, since the straw is glued to the surface of the product, and does not crash into it. However, the effect of drawings made up of pieces of straw, cut into rhombuses, squares, triangles, stripes, circles, iridescent like mother-of-pearl, is such that it seems to be inlay. This is where the current name comes from.

At first unpretentious straw pattern on children's furniture, spreading among Vyatka toys, gradually becomes more complicated. The speed of work, the simplicity of techniques, the absence of complex tools became the causal rapid development crafts. Over time, their masters appeared in this craft.

In 1952, Alexander Ivanovich Vasnetsov, who had previously worked in the Ideal artel, was invited to the Pobeda artel to learn inlay work. Vasnetsov made samples of caskets with mother-of-pearl commissioned by the leadership of the artel. For training, 5 best students from the geometric carving masters were selected. Of these, G.I. Khalturin and V.I. Pokryshkin.

In the early 1960s, Grigory Alexandrovich Zhdanov, the master of the Khalturinsky factory of religious goods (nowadays Backgammon LLC, Orlov), started inlaying caskets with colored straw. In 1961, at an exhibition in Leningrad at the Museum of Ethnography, the products of the Orel craftsmen, inlaid with colored straw, were recognized as the best of their kind at the exhibition. In 1962, a batch of such boxes went for sale in England and France.

Another master Georgy Alekseevich Kyrchanov not only updated the Khalturin box, but also created new style and straw inlay technology. Colored straws were replaced with natural, not dyed ones. Ornaments from such a straw, natural in color, create more strong effect, reminiscent of a pearlescent glow. Another innovation of Georgy Kyrchanov was the expansion of the forms of cut straw. Circles, semicircles, ovals, brackets make it possible to create an ornament of any complexity, including floral. The master also changed the technology of attaching straw patterns to wood - he refused glue and applied nitro-lacquer.

As a result, Kyrchanov became the founder of the craft that is now called Vyatka straw inlay. Craftsmen from the city of Kirov from the oldest and largest factory of art products "Ideal" (now "Ideal Plus" LLC, Kirov) came to him in Orlov to study new technology. Here, too, a straw incrustation workshop was organized, where craftsmen Z.A. Beresneva, L.A. Korkina, S.L. Bagina, G.G. Guzlaev, having mastered new technology, began to create their own "ideal" style of inlay. In many ways, they relied on the traditions that had already taken root at the enterprise - ornaments of Vyatka geometric carving. Therefore, straw patterns at the Ideal enterprise were composed only of geometric elements.

The very same technology of straw inlay is as follows. Straws are finely peeled, bleached or singed - from yellow to Brown color. The ornament is applied to a tinted dark wood. This was the merit of the artists of "Ideal", who did not blindly copy the Kyrchanov inlay, but gave it another direction. Now the traditions of the former masters of the "Ideal" enterprise are continued by the artists and craftsmen of the successor enterprise "Ideal Plus".

Straw inlay is used in the design of nesting dolls and at the Vyatsky Souvenir enterprise (Nolinsk).

In the city of Kirov, since 1991, there has been an enterprise specializing in the production of caskets with straw inlay - Vyatskiye crafts LLC. The chief artist of the enterprise, Elena Yuryevna Solonitsyna, developed her own style of straw inlay on small-sized (up to 50x50x30 mm) wooden caskets, caskets, chests, pencil cases, and boxes. Products have a dark background, geometric, but very small and elegant ornament, creating the effect of a metal notch. The new inlay technique used in the work ensures excellent quality of finished products.

Straw inlay ... To do this, we need the following: an ordinary cutting board, wood glue, paint (its color depends on the main field you have chosen - red, blue, black), metal sheet, two wooden slats 10 cm each, electrical tape, colored rods for fountain pens, straws from spikelets, a wooden block, a knife, a pencil, compasses, a carbon paper, 4 buttons, a sponge with a bath.

Creative process and preparation for it:

Let's prepare the primer for our panel. For this, wood glue granules - 1 tbsp. l., fill cold water- 4 tbsp. l., let the glue swell and heat in a water bath until completely dissolved. Add ordinary paint to the glue: watercolor, gouache; mix and prime one side of the board and its sidewall.

While the primer dries, we will make a scalpel for cutting straw from the canvas and two slats prepared in advance. We cut off 14 cm from the whole canvas and sharpen its sharp edge at an angle of 450. Then, insert it tightly between the laths and wrap the impromptu sheath with electrical tape. The scalpel is ready.

Straw preparation:

Now it's time for our straws. It is best to clean it of debris, wash it and put it in a saucepan, steam it with boiling water. It's time to move on to painting.

The straw is divided into several parts depending on colors rods you have. We remove the spouts and blow the contents of the rod into hot water, add salt 1 tbsp. l. and lower part of the straw into the colored water, boil for 10 minutes, drain the water, and immerse the straw in a bowl of cold acetic water for 5 minutes. And so we gradually color almost all the straw, leaving a small bunch unpainted. Straw should be dried fresh air in a ventilated place or sprinkled on the canopy of a non-hot bath.

Slightly damp straws should be cleaned. To get bright silky-to-the-touch stripes, the straw is cut with the tip of a knife along the entire length and opened. After, on a wooden block, along the same length, it is cleaned with a knife from the inside and outside, leading the blade along the fibers. The peeled straw should be thin and pleasant to the touch.

We take a primed board and with the help of carbon paper and a pencil we translate the drawing previously selected for inlay (we fasten the carbon paper and the sheet with the drawing along the edges of the board with pushpins). When the drawing is translated, we make markings under the frame with a compass: we draw two strips of 5 mm each along the length and width.

Inlay process:

We put a damp sponge in the bath, and you can start inlay. We take the straw left hand holding thumb, and the scalpel to the right. With the sharp tip of a scalpel, we make an incision on the straw to the desired width and lead it along the length of the straw up, then down. We wet the resulting ribbon on a sponge (it is not recommended to wet the straw strongly) and glue it, filling in the translated drawing, pressing it to the board and straightening it with the same scalpel.

When inlaying the frame along the edge, you can make a pattern by cutting the straw into rhombuses or squares. Cut the straws of the shape you need only on a bar. When cutting, it almost breaks under the scalpel in one biting movement from right to left.

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