Török Károlyné Miszori Marianna (szerk.): Virággal ékes. A népi bútorfestés hagyományai (Zalaegerszeg, 2012)
Az elsajátított technika és a visszatanítás mozzanatai
Once the paint is fully dry the real decorating may commence by using a variety of colours to paint the yellow motif. Ahead of this the pupils should be shown how to colours, because the changes are much smaller here. We have to start using a tempera, naturally with the 50/50 ratio of added adhesive and removing all clods. It depends on the pupil's habits or on the master’s choice if the petal or leaves will be painted first. This is not relevant. The bottom line is that the learners understand the logic of this process, meaning that on the already yellow motif the chosen e.g.green areas need to be painted first and everything from leaves, offsetstwigs,and gets painted. Naturally we should point out that the sequence is important, we need to take the top-down approach, and otherwise we maysmear or need to wait extra for the paint to dry off. If we started the process of decorating with the green colour then we may carry on using the red and so on, of course, after we should wait for the paint to dry off after every application of a new colour. The more the better, but at least a couple of hours should be given to the paint to dry. Using our sense of touch we may determine if the painting is dry enough. The process of applying colours should be repeated at least once. In this was the yellow coating will not be visible, even if by any chance the yellow coating would break through the first layer of paint. Pupils commonly paint the current year encased in a heart on the bottom side. This can also be a pleasant gift as well as reminder of the year we painted it. The stage following the decoration is the contouring. Again we must only mix black and white colour with adhesive. Now comes the most daunting task of furniture-painting for every pupil; using a thinbrush, with precise paint deposits, we draw black contour lines on the left side of the lines, while we draw white contour lines on the right side. The result speaks for itself, the painted motif; the flower, heart,bouquet, tree of life becomes alive, the contour lines add such a gorgeous dimension This is the decisive moment, where we find out if the future furniture-painter is assiduous. In order to properly paint the lines a lot of practice and patience is required. Finally, tomake the work of art more appealing and more decorated, we need to coat the perfectly dry wood chest with linseed oil. Commonly this takes place a couple of hours after finishing the contour lines, but at least a day later. The goal is not simply extenuation, but also preserving and conserving the object because once the linseed oil is wiped diy, the object is immune to any external influences. Every moment is worthtreasuring, The linseed coating allows the joy of accomplishing to make up for the effort put into creating something own, it outweighs the intense practice, hours waiting for the paint to dry off and the seemingly never ending chiselling. The furniture-painting, as the majority of other crafts, surrounds itself with quietness. Creative quietness. The quietness heard by the coming generations. The learning stages, techniques andprofessional secrets can be found in this publication. Taught by the masters, passed on to pupils from pupils. Let the art work of new generations be decoration rich. 49
