#paintbrush manufacturer

[paintbrushmanufacturer]

paintbrush manufacturer

[weepaintbrush]

Luxury Synthetic Hair 11pcs Makeup Brush

[blueiscoool]

Steve Silver stands inside his 5,000-square-foot loft in the Williamsburg neighborhood of Brooklyn, New York. Silver, a painter, moved into the loft in 1979.

A Look Inside New York’s Historic Artist Lofts

The Last of Their Kind.

They used to be printing shops, garment factories and flophouses. Now they’re some of the coolest artist spaces you’ll ever see.

These unique, expansive lofts, rarely seen by the public, are all over New York City.

For decades, they’ve been occupied by painters, sculptors and other artists who moved in when manufacturers started leaving the city in the second half of the 20th century.

“When people think of New York City as a cultural epicenter, these are the artists that they’re envisioning,” said Joshua Charow, a photographer and filmmaker who has spent the past few years documenting the artists and their studios for his book “Loft Law: The Last of New York City’s Original Artist Lofts.”

Artist Claire Ferguson moved into her loft in the city’s Tribeca neighborhood in 1981. At the time, the building in Lower Manhattan had a mix of artists and industrial tenants. “The floor below me was a paintbrush factory,” she told photographer and filmmaker Joshua Charow. “The floor above me put lines on paper before they had offset printing, and they had these huge machines. They had a guillotine that cut through the reams of paper every morning. At 6 a.m., they would turn it on, and it was this noise, aargh!”

JG Thirlwell’s loft in Brooklyn’s Dumbo neighborhood doubles as his home recording studio. “Loft living is not for everyone,” he told Charow. “You’re responsible for everything in here, and not everyone wants a life like that.”

A cat rests inside the Tribeca loft of Ken and Flo Jacobs, experimental filmmakers who moved into the space in 1965. At the time, the monthly rent for the 2,000-square-foot loft was just $70.

For the first half of the 20th century, New York City was a major manufacturing center. Factories were all over, producing everything from ice cream to torpedoes.

But when companies started finding it profitable to move their operations to other parts of the country and the world, many buildings were abandoned. By the 1960s and ‘70s, industrial neighborhoods, including those we now know as SoHo and Tribeca in Lower Manhattan, were largely deserted.

Landlords were desperate to find tenants. A big problem, however, was that the buildings were not zoned for residential use. Many of them didn’t have kitchens or showers, or even electricity or heat.

“The only people that would rent the space were artists,” Charow said. “And that’s because (the buildings) had tall ceilings, so they could make big work. They had big windows to let in lots of light. The spaces were completely raw, in many circumstances.”

Anne Mason sits in front of one of her late husband’s paintings in the loft they lived in together in the Little Italy neighborhood of Lower Manhattan. Frank Mason died in 2009, but his wife preserved his studio and his paintings.

Plants thrive in the natural light of the Midtown loft Bob Petrucci and Ray Bailey call home. It’s on the 16th floor of a building previously used as a necktie factory.

Artists would move into the empty factories and warehouses and make them more livable spaces. It was technically illegal, of course, but everyone was benefiting and the once-abandoned neighborhoods started to thrive again.

By the end of the ’70s, however, loft living had become quite fashionable and some landlords were looking to cash in, pushing out the artists for a wealthier clientele.

The artists pushed back, and in 1982 state lawmakers enacted Article 7-C of the New York Multiple Dwelling Law, which is commonly known as the 1982 Loft Law. This legislation gave protection and rent stabilization to people who had been living in these spaces. It also required landlords to bring the units up to residential code.

When the law was enacted, Charow says in his book, there were tens of thousands of artists living in lofts across the city. Now just a few hundred remain.

Noah Jemison moved to his Williamsburg loft in 1980. He remembers his neighborhood not having as much traffic as it does now. “You could walk down the streets and see nobody,” he told Charow. “It was a place where you could hear yourself think. It was perfect for artists.”

A scan of a 1913 blueprint shows one of the Manhattan buildings Charow photographed. New York City was a major manufacturing center for the first half of the 20th century.

Painter Betsy Kaufman walks inside her Tribeca loft. She uses the front half as her studio. It still has its original wooden floors.

Legislation enacted in 1982 allowed loft residents in New York to establish legal residence and have their living spaces brought up to code. It also stabilized their rent and protected them from eviction.

Charow wanted to document these artists — and their extraordinary lofts — before their numbers dwindled even more. He found a map of the remaining protected buildings and went door to door to see whether their tenants would be willing to share their story with him.

He was often rejected at first. But over time, more doors started to open up as people he met would introduce him to others.

Over the past three years, Charow has photographed 75 artists — 30 of whom are in his book.

“My life has been greatly enriched by meeting some of these artists and learning about their lives and their stories,” Charow said. “It’s had a big impact on just my life, and I can’t imagine how much of an impact this group of people has had on the city as a whole.”

Art created by Carolyn Oberst and Jeff Way adorn the walls of the loft they share in Tribeca. They live on the top two floors of a building they started renting in 1975. “I won’t tell you what it cost, but it was very cheap. We’ll just leave it at that,” Way told Charow. “But that was an incentive to fix it up. It was sweat equity, they called it.”

Ellen Christine makes new hats and restores old ones. She’s one of the last milliners in New York City. “In the 1930s, you could walk down any street, and there would be at least 30 milliners,” she said. “It was just (that) everybody wore hats, you see… So they needed new ones all the time.”

Curtis Mitchell remembers when he first walked into his loft in the Dumbo neighborhood of Brooklyn. The building used to be an ice cream factory. “It looked just like a dream,” he said. “To me, it still is a dream. It’s a fantastic place. Cold as hell in the winter and hot as hell in the summer, but I don’t care.”

One of Charow’s favorite spaces was the Bowery loft of Carmen Cicero, who is now 97 years old but moves with the energy of someone much younger, Charow said. Cicero lives in the loft with his wife, the art historian Mary Abell. Filling the space are hundreds of Cicero’s paintings, some bigger than he is.

“When you dream of what a painter in their loft in New York would be like, it’s Carmen,” Charow said. “And he’s filled with incredible stories. He has such phenomenal stories of his time as an artist here.”

Cicero’s work can be found in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art and the Smithsonian American Art Museum.

He told Charow the story of how he got his big break: “I had a lot of friends who thought I was a really remarkable painter. One day, they said, ‘Carmen, you’re going to a gallery.’ And they had two guys grab my feet, and two guys grab my arms — they threw me in the car and said, ‘We’re going.’ We went to four or five galleries, and almost every one of them wanted my work — I was lucky.”

Carmen Cicero lives in the Bowery, which has one of the highest concentration of Loft Law-protected buildings in the city. The painter moved to New York in 1971, after his home studio in New Jersey went up in flames

Charow says it has been a thrill to meet these artists and listen to their stories.

“The spaces are beautiful and interesting and historic in their own ways. But without the artists, these spaces lose the significance and the interest to me,” he said. “The artists are the ones who are giving the spaces meaning. Their decades of life and working there is what makes these spaces sort of a sacred thing.”

Through June 29, Charow’s photos are being exhibited at Westwood Gallery NYC, alongside the art of many of the people he photographed.

“I’m really excited that people get to see the paintings and sculptures and and see where they’re made,” he said.

Filmmakers Ken and Flo Jacobs have lived in their top-floor Tribeca loft for more than 50 years. “Once, we staged a live shadow play with a stretched curtain in the loft. Our audience consisted of just two people: Yoko Ono and John Lennon,” Ken told Charow.

Sculptor Marsha Pels lives in what used to be a glass factory in Brooklyn’s Greenpoint neighborhood.

Even though the book is already published, Charow’s project will continue. After he began sharing his photos and videos, more artists started reaching out to him so that they could tell their story.

He now has a list of artists to photograph over the next few months.

“This isn’t just a thing of New York’s past. This is the present,” Charow said. “You can walk down the street and look at a window and you might see (an artist), and they’re still working and they’re still making their paintings and sculptures.

“I think it’s a beautiful part of our city, that this exists. It took a lot of resilience and ingenuity to stay in these spaces.”

Kimiko Fujimura, a painter, moved from Tokyo to New York City more than 50 years ago. She has lived in this Chinatown loft since 1979. It was the top floor of a former bow-and-ribbon factory.

The Lower Manhattan skyline is seen from a loft in Brooklyn.

Joshua Charow’s book, “Loft Law: The Last of New York City’s Original Artist Lofts,” is published by Damiani Books. The exhibition at Westwood Gallery NYCis taking place through July 13.

Photographs by Joshua Charow. Story by Kyle Almond. Published June 16, 2024

[thehazbins]

Starter for @copaceticjillybean from Marion!

Marion was painting- it was in her meager section of the city. A part that seemed to be a bit more haphazard. Under no one in particular's rule and she had a few souls- enough souls to earn a bit of power of her and have a s small apartment building under her care as well as a shop front. A front for people who wanted a teensy bit of joy in hell. She enjoyed the arts, and sometimes would renew her status as a lawyer if they needed one. Though there wasn't much in the way of court it was more for contract writing. The one part of being a lawyer she could tolerate down here.

However today was not a day she planned on playing contract negotiator and intended to paint. So she was. She was painting hell in a very, very odd color swapped scheme of blues and greens with pops of the odd red. It was a painting just for fun and she mostly just used the place as a studio, so she enjoyed the quiet solace of being alone.

Just when she thought of how much she enjoyed being in the quiet of the shop front section of the building she heard the little bell on the door. She set down her paintbrush, walked over to the counter and placed her doll like arms on the counter.

"How can I help you?" The tone and inclination of what she said was quite pleasant, but also quite manufactured.

[rassicas]

Have you ever considered making a post or video about weapon brands? As some who’s fallen down that rabbit hole I can say that the weapon brands are both very cool and fairly big players in the Splatoon world.

it's crossed my mind, but it's honestly not super high on my to-do list (idk if id ever get around to it unless we get some insane jp only lore drop about it)

related, im surprised by how many people that ive seen think that the weapons used in turf are modified human artifacts or literally the only versions of those kinds of objects in the inkling world (as in inkbrushes being the only kind of paintbrushes the inkling world would have access to for example) and not specially manufactured weapons based on normal sized household objects

[lozislaw]

Sorry if u been asked this before but what brushes do u use? And what app 😭🔥 also ur art is DIVINE 🙏🙏

Oh my gosh thank you, you're so sweet! I can answer all of that in a convoluted little tutorial I shall give now without anyone asking~

I use Autodesk Sketchbook for Windows, as it is free and versatile enough for a digital art babychild like me to adapt. Here's a basic run-through of my work process:

Sketching:

As a self-employed rule, lineart is fucking dead to me and I'll never use it because it'll always show off my shaky hand and blase drawing style as less of a quirk and more of a deficiency. Sketching however is my best friend in the whole world and I'll usually use a thin rough pencil brush (see above) to keep a traditional look about it. I'm oldschool what can I say.

Colouring:

Although for the example work I actually dove right into building tones without adhering to my usual system, I always use the stock paintbrush to fill in the form. Call me a troglodyte because I certainly am one, but hey it gets the job done, and I can always have fun later with the groovier brushes.

Now this is my favourite part, making the form look less like an unevolved slime worm was here, by utilizing the super ultra groovy brushes, like my favourite two shown here (and usually the only two I'll bother with). The Synthetic flat bristle brush I use as a substitute for the blending tool (another one I heavily depend on in the stock brush phase), because it makes the work look less manufactured and more real, like a real life human did it. Typically, I use it for hair and clothes, but sometimes skin too, when I want it looking raw.

And the rake brush! Not a single work of mine will be without it, I'm fully obsessed, and I'll use it wherever I can get away with. It looks fantastic with hair and using it as a soft highlight.

Editing:

Actually I lied, THIS is my favourite phase. Editing baby!

Although a brush isn't involved in this stage I'll mention it anyway to shout out Photopea, which is a free online photoshop substitute with nearly all of the same features, without that hefty pricetag. I use it to enhance or muck around with colours and tones, or sometimes just for ideas. It's goddamn brilliant and I couldn't recommend it enough.

Finalising:

After playing around with values and tones, I can go back to sketchbook and finalise my work, adding anything it needs before I put my pen down and say enough. Sometimes the process is helpful because I can take a break, look back, and see elements I need to fix and improve that I didn't see before, and huzzah! She's complete!

Anywho I hope you found my drabble helpful, and someone please help me find the torrent to procreate for windows because goddamn I wanna try it so fucking bad. But not enough to let the fly out of my wallet, it's currently the only thing in it XD.

[somediyprojects]

DIY Cabinet Makeovers

Project by Max Tielman:

Keeping up with the latest trends in design can often be overwhelming, especially when you’re pinching pennies, your budget too tight for the occasional furniture splurge. Working on a budget, however, doesn’t mean you have to forgo style — especially if you’re feeling crafty. To prove our point, we teamed up with our pals over at Target and completely revamped one of their most simple, flat-packed cabinet designs (retail price: $34.99) in three different popular styles. The best part? Each of these projects are easy enough to be accomplished in less than a day and without breaking the bank. Check out all three styles, plus directions for crafting each look after the jump! —Max

INDUSTRIAL CHIC

Materials

1 Room Essentials 2-Drawer Organizer (White finish)

About 13 feet of copper piping, 3/4 inch diameter (more or less based on desired height)

8 copper 90-degree elbows (3/4 inch diameter)

4 copper T-joints (3/4 inch diameter)

2 2-hole conduit straps (3/4 inch)

8 #10 3/4 inch wood screws (for attaching conduit straps)

Roughly two feet of rope

Power drill with bit to match rope thickness

Painter’s tape

Miter saw with blade made for cutting metal

Phillips screwdriver

1) Assemble cabinet according to manufacturer’s directions. Do not attach drawer pulls.

2) Cut copper piping using miter saw into the following lengths (you may want to adjust these based on the height you need):

8 inches (4 pieces)

21 inches (8 pieces)

19.5 inches (2 pieces)

3) Insert 2 21-inch pipe pieces into the top and bottom of each copper “T” joint.

4) Attach a copper elbow at the end of each 21-inch piece. Connect other side of elbows together with 8-inch pipe pieces. This should leave you with two separate long loop-shaped pieces of piping. These are your table legs.

5) Attach each 19.5 inch piece to the leftover center hold on each “T” joint in order to create a central brace that holds the table legs together (see photograph for reference).

6) Put cabinet on its side (face up) and attach legs to cabinet bottom with metal conduit straps.

7) Cover the screw holes on the drawer fronts with painter’s tape. Drill through each hole using a bit that corresponds with the thickness of your rope. Remove painter’s tape.

8) Cut rope into two evenly-sized pieces. Feed each rope piece into the drilled holes. Adjust size as desired. Affix rope pulls by tying a tight knot on each end on the drawer interior.

9) SAFETY NOTE: Because the cabinets are fairly light weight, you will need to use the wall-mounting attachment that is provided with the cabinet hardware. This prevents the cabinet from tipping over if rattled or opened too quickly. If you’d rather not see this bit of hardware, simply affix it to your cabinet on its underside. Done!

RETRO REVIVAL

Materials

1 Room Essentials 2-Drawer Organizer (White finish)

1 Room Essentials Chesapeake Sketch Window Panel in Yellow

Threshold Jessina Knobs in Aqua

Devine Color Paint in Horizon

4 Waddell Straight Top Plates

4 Waddell 5 1/2 inch Round Tapered Legs

Mod Podge (or similar craft glue, in glossy finish)

Shellac-based primer

Sand Paper

Wood Stain

2 Foam paintbrushes

1 regular paintbrush

X-Acto Knife (or similar craft knife)

Phillips screwdriver

1) Wash and dry curtain panel according to provided washing directions. Iron out any wrinkles with a warm iron.

2) Sand the outward facing surfaces of the cabinet frame (4 sides total).

3) Apply shellac-based primer to outward facing surfaces of cabinet frame and allow to dry. Follow with 2 coats of Devine Color Horizon Paint. Allow to dry.

4) Apply 2 coats of wood stain to tapered legs according to stain manufacturer’s directions. Allow to dry.

5) Sand the front-facing side of the drawer fronts.

6) Lay drawer fronts face-up, parallel to each other.

7) Apply a generous layer of Mod Podge to both drawer fronts.

8) Lay curtain panel fabric face-up on top of drawer fronts. Wipe firmly across drawer surfaces to remove any air bubbles and to secure fabric to drawer fronts.

9) Gently apply layers of Mod Podge on top of the portions of fabric that are covering the drawer fronts. Allow to dry thoroughly.

10) Cut excess fabric away from drawer fronts, leaving about an inch around the edges of the drawer fronts.

11) Flip drawer fronts upside down and gently cut away all remaining excess fabric with your X-Acto blade. In order to protect your floors or work surface, use the disassembled box that the cabinet came in as a cutting surface.

12) Attach Threshold knobs to the center of the cabinet, using the two pre-drilled knob holes as a guide. If you have a power drill handy, it’s helpful to drill a pilot hole before you screw the knobs in. Because the cabinet panels are thinner than most wood, use the knob screws provided with the cabinet rather than those provided with the Threshold knobs.

13) Assemble cabinet according to manufacturer’s directions.

14) Place cabinet on its side and drill four top plates into the corners of cabinet underside. Screw in tapered legs. Presto! All done!

VINTAGE GLAM

Materials

1 Room Essentials 2-Drawer Organizer (Espresso finish)

Pack of paper lunch bags

Kiwi Shoe Polish in Brown

4 4-inch Bun-Foot Table Legs

Threshold Vista Square Drawer Pulls in Oil-Rubbed Bronze

Dritz Nailhead Trim in Antique Gold

Mod Podge (or similar craft glue)

Sand paper

Wood Stain

Foam paintbrush

Phillips screwdriver

1) Stain table legs according to stain manufacturer’s directions. Allow to dry.

2) Assemble cabinet frame according to manufacturer’s directions. Leave drawers unassembled at this time.

3) Sand all portions of cabinet that will be visible, including drawer fronts.

3) Decoupage your “faux leather” finish onto all outwardly visible parts of cabinet frame and drawer fronts. To create a distressed leather look, tear brown paper bags into non-uniform pieces, making sure there are no creases or straight lines. Crumple paper in your hands, uncrumple paper, apply a generous amount of Mod Podge to cabinet surface and place paper piece onto primed surface. Secure with a thin layer of Mod Podge. Repeat until entire cabinet frame and drawer fronts are covered.

4) Apply two layers of brown shoe polish to decoupaged surface. Create a uniform look by applying in small, circular strokes. Allow to dry.

5) Apply nailhead trim to the border of each drawer front, following the trim manufacturer’s directions.

6) Attach drawer pulls to drawer fronts using the pre-drilled holes. Because the cabinet material is thinner than most wood panels, use the knob screws that are provided with the cabinet, not the screws provided with the drawer pulls.

7) Assemble cabinet drawers and attach to cabinet frame following manufacturer’s directions.

8) Place cabinet on its side (front up) and screw in top plates at corners. Attach table legs. Done!

[foolcrum57]

im gonna be frank here the paintbrush plush tease has got me really conflicted.. like as a dedicated self-proclaimed objshow plush collector [as in i own all the ii and bfdi contestant plushes] the ii ones just... suck compared to the bfdi ones? like this obviously depends on the goals of the seller and the manufacturer but the bfdi plushes are big, soft, huggable and really fun to use . even ignoring the ethics of selling the yy plush the ii plushes feel specifically built to be a collectors item you keep on a shelf and honestly i do not like that and i dont know if i wanna spend money on paintbrush!!!

[zenosanalytic]

Paintbrush, PlasGlue, and Holy Clippers: Elf Rangers: Day 2: You've Got 90 Minutes -_-

I DIDN'T HAVE ALLOT OF TIME TO PAINT TODAY! GUESS HOW MUCH TIME I HAD TO PAINT TODAY!!

Being Temporally Contrained, I focused on finishing the bits of the base-layers I hadn't done yet, including deciding what I wanted to do with their hair and skin

I decided I'd give the guilliman flesh a shot for the skintone since, it being just a thicker-than-average wash, I can always just paint over it with a base or layer paint if I decide I don't like it. One coat wasn't dark enough for my liking, so I ended up doing a second after I finished painting everything else I wanted to today.

I made Archer a redhead and Handbow Raven-haired( u.u u.u), mostly to give me a chance to see how Blood Angel Red and Black Legion work as base coats. They worked fine though, again, I had some trouble applying them to such textured parts of the sculpts. I ended up doing two coats of the red, and maybe 1.5 coats of the black? It's plenty thick enough out of the pot but I overcorrected for this by watering it down a bit too much.

I decided, instead of Black Legion for my secondary leather color(the belts and straps occasionally cross other leather objects so it's necessary for visibility) I'd use Dryad Bark instead. It's a VERY dark, inky brown so it's Basically black anyway u_u u_u u_u This is a VERY thick, rich paint, and I had a wee bit of difficulty gauging the proper water-to-paint ratio at the start. I also painted Handbow's namesake in this color.

I didn't really like how the sepia looked for the bow strings, after watching a few vids on historical bowstring manufacture, I decided I'd paint them a light beige to simulate flax or linen string, and chose Morghast Bone, the one on the end there, for the purpose. I also decided I'd paint the fur-lining on Archer's boots in this color for the same reason. I used the Screaming Skull to paint Archer's bow and arrow shaft as I wanted it to look like Yew. Here's how it turned out

I'm liking the progress so far, though I think I need to do a bit of a higher angle for the pics in future so you can get a better look at the handbow. I think the two beiges/ivories will work well as base layers, though I haven't decided which wash I want to use on them yet. BA Red is also a nice, dark red, and Im hoping it'll make a good base for the brassy color I'm ultimately aiming for with Archer. With Handbow I really want a black with blue tones, so I'm going to experiment with a blue shade to see if that lets me create it(I LOVE purple toned black hair, but I really want her's to have a cooler quality to it so silvery-grey highlights will work later). I'll keep the wraps Emerald for now, but I'm thinking I might like a darker Jade-like color better; we'll see.

Ok so: Tomorrow ought to be me getting the metallics knocked out and then making some shading Decisions. Seeya then: Same Paint-time, Same Paint-place >:> >:>

[despondent-beauty]

CS major here. Taking a course on ethical CS practices. Have to say that software being seen as copyrightable is fucking stupid to me. It's a product. A tool. Patentable, sure. Copyrightable? I don't think so. The imagination and design process going into software is much more similar to that that goes into designing a manufacturing process, not that that goes into producing a character or writing a novel.

Anyway, this is a bit tangential to the above post. The thing is that I do believe in intellectual property to some degree or other; I think producers of intellectual property should be rewarded for that production. So I don't agree that all software should be open-source. You wouldn't use a paintbrush without paying for it, after all.

However, I do agree that software should be transparent. Making it impossible or nigh-impossible to see inside of the box that does the shiny yay funtimes for you is wrong, regardless of if it's for copy protection or not.

Having said that, I also acknowledge that this would make using the tool without providing recompense to the developer much easier -- you could just remove the code that requires an access key, for instance.

Still, I'm more on the side of 'the program should be reviewable by outsiders to check for malicious activity,' and that might not necessitate making the base code 100% visible to everyone. I think there's some middle ground that we can pursue that protects intellectual property (the same ownership type that allows digital artists to make a living or authors to sell books, just fyi. You don't want to get rid of this, trust me) while also forcing software to be more transparent and easily reviewed for malicious conduct.

PS: Feel free to debate. My mind isn't fully decided on this issue tbh, and I'd love to hear more perspectives. Just miss me with the standard Tumblr aggressiveness, please. I don't respond well to aggression.

all software should be open source wtf. u expect me to run this on my own computer without knowing what its doing???

car manufacturers dont weld the hoods shut to keep ppl from copying their engines. books arent written with a military-grade cipher to avoid plagiarism. and we dont let food have "secret formulas" anymore bc too often one of the "secret ingredients" was fucking lead

when ur distributing a product to the public u forfeit the right to hide whats inside it, u dont get to hand out a black box and expect ppl to just trust u when u totally swear it doesnt have a microphone inside

[weepaintbrush]

Triangle handle detailing paint artist brush

[stonevalleyworksurfaces]

How To Polish And Restore The Shine Of Granite Worktops?

Granite worktops are a popular choice for kitchens and bathrooms due to their durability, beauty, and resistance to heat and scratches. Over time, however, even the sturdiest granite can lose its luster due to daily wear and tear. But fear not! With the right techniques and products, you can easily restore the shine of your Granite worktops Warrington  and keep them looking like new for years to come.

1. Clean The Surface

Before you begin polishing, it’s essential to thoroughly clean the granite surface to remove any dirt, grease, or grime. Use a mild dish soap or a granite cleaner diluted in warm water and a soft cloth to wipe down the worktops. Avoid using harsh chemicals or abrasive cleaners, as these can damage the granite’s surface.

2. Remove Stains

If your granite worktops have stubborn stains, such as coffee or wine spills, you’ll need to treat them before polishing. Create a paste using baking soda and water and apply it to the stained area. Gently scrub the paste into the stain using a soft-bristled brush or a sponge, then rinse with water and dry with a clean cloth. For oil-based stains, you can use a poultice made from powdered whiting and hydrogen peroxide.

3. Choose The Right Polish

When it comes to polishing granite, not all products are created equal. Opt for a high-quality Granite worktops Warrington polish specifically formulated for natural stone surfaces. These polishes typically contain a blend of natural oils and sealants that penetrate the granite to restore its shine and protect it from future damage. Be sure to read the manufacturer’s instructions carefully before applying the polish.

4. Apply The Polish

Once the granite surface is clean and dry, apply the polish according to the manufacturer’s instructions. Most granite polishes come in spray or liquid form, which makes application quick and easy. Use a soft cloth or a buffing pad to evenly distribute the polish across the surface of the worktops. Work in small sections, buffing the polish into the granite in circular motions until the entire surface is covered.

5. Seal The Surface

To prolong the shine and protect your granite worktops from future damage, consider sealing them after polishing. Granite sealers create a protective barrier that helps prevent stains, scratches, and water damage, keeping your worktops looking beautiful for longer. Apply the sealer according to the manufacturer’s instructions, using a clean cloth or a paintbrush to ensure even coverage. Allow the sealer to dry completely before using the Quartz worktops Blackburn.

6. Maintain Regularly

To keep your granite worktops looking their best, it’s important to maintain them regularly. Wipe down the surfaces daily with a damp cloth to remove any spills or crumbs, and clean them weekly with a mild granite cleaner to prevent buildup. Avoid using abrasive sponges or scrubbers, as these can scratch the granite’s surface. Additionally, reapply polish and sealer as needed to restore shine and protection.

Conclusion

With proper care and maintenance, you can easily polish and restore the shine of your granite worktops, bringing them back to their former glory. By following these simple steps and using the right products, you can keep your granite surfaces looking beautiful for years to come, adding value and elegance to your home. So why wait? Give your granite worktops the TLC they deserve and enjoy the dazzling results!

Source URL: https://joripress.com/how-to-polish-and-restore-the-shine-of-granite-worktops

[linesanddots123]

How to Preserve and Care for Your Acrylic Paintings at Home

Acrylic paintings are beloved for their vibrant colors, versatility, and quick-drying properties. Whether you’ve created a masterpiece or purchased an artwork, knowing how to preserve and care for your simple acrylic painting is essential to ensure their longevity. With proper care, your acrylic artwork can last for decades, retaining its beauty and vibrancy. Below are some practical tips on how to protect and maintain your acrylic paintings at home.

1. Protect from Direct Sunlight

Sunlight, while beautiful, is a major enemy of artwork. Ultraviolet (UV) rays from the sun can cause acrylic paint to fade and degrade over time, reducing the vibrancy of colors and causing cracking or discoloration. To protect your acrylic paintings:

Avoid direct sunlight: Hang your painting away from windows or places that receive direct sunlight.

Use UV-protective glass: Consider framing your painting with UV-protective glass or acrylic to shield it from harmful light exposure.

2. Store Your Paintings in a Safe Environment

The environment in which your acrylic paintings are kept plays a significant role in their preservation. Humidity and extreme temperature fluctuations can damage the paint and canvas. Here’s how you can store your artwork safely:

Control the temperature and humidity: Keep the room temperature stable (ideally between 60–75°F or 15–24°C) and avoid humidity levels above 50%.

Avoid damp areas: Do not store acrylic paintings in damp places like basements or attics, as moisture can cause mold growth and weaken the paint layer.

Store upright: If you need to store paintings for an extended period, keep them upright, similar to how you would store books on a shelf, and make sure they are not leaning or stacked directly on top of one another.

3. Clean Regularly and Gently

Dust and dirt can accumulate on the surface of acrylic paintings over time, dulling their appearance. Here’s how you can clean your artwork without damaging it:

Use a soft brush: Gently dust the surface using a soft, lint-free brush (such as a paintbrush or a microfiber cloth). Avoid using harsh chemicals or abrasive materials.

Wipe with a damp cloth: For more stubborn dirt, slightly dampen a cloth with water (never soak it) and gently wipe the painting’s surface. Be careful not to allow water to seep into the edges of the canvas.

Avoid cleaning solvents: Acrylic paintings are water-based, and the use of solvents can break down the paint layer. Always avoid using alcohol, ammonia, or other strong cleaning agents.

4. Use a Protective Varnish

Applying a varnish over your acrylic painting is a great way to protect the surface and give it a glossy, matte, or satin finish. Varnish helps to:

Protect the painting from dust and dirt: Varnish provides an additional protective barrier that shields your artwork from dust, dirt, and environmental factors like pollution.

Enhance color vibrancy: Varnish can bring out the colors in your painting, making them appear more vivid and lustrous.

Prevent UV damage: Many varnishes contain UV-blocking agents that help preserve the colors of your painting from fading.

When applying varnish, make sure the painting is fully dry (ideally after 24 hours). Use a soft brush or spray varnish, and always follow the manufacturer's instructions for application.

5. Avoid Hanging in High-Traffic Areas

While it’s tempting to showcase your artwork in prominent places, high-traffic areas are not ideal for long-term display. Constant movement and air circulation can expose your painting to physical wear and tear, and accidents can happen. Consider these tips for safe placement:

Choose stable locations: Hang paintings in areas where they are less likely to be bumped or jostled, such as above furniture or in private rooms.

Use secure framing and hangers: Use strong frames, hanging wires, and wall hooks to ensure that the artwork stays securely in place.

6. Consider Professional Framing

For added protection, consider having your acrylic paintings professionally framed. A quality frame can provide several benefits:

Protection from physical damage: A frame provides a protective border that shields the painting from dust, dirt, and accidental touch.

Aesthetic enhancement: Framing not only protects but also elevates the look of your artwork.

Preserving edges: A frame can also help prevent the edges of the canvas from fraying or stretching over time.

Professional framers also offer custom solutions for UV-resistant glass, which can further preserve your artwork.

7. Handling with Care

When handling your acrylic paintings, always be mindful of how you touch and move them to avoid causing damage:

Wear gloves: When handling acrylic paintings, especially if you need to move them or clean the surface, wear cotton gloves to prevent oils from your fingers from transferring to the paint.

Lift carefully: Always lift the artwork by the frame or edges of the canvas, never by the painted surface. Never carry paintings by the edges of the canvas without a frame as it could cause the fabric to stretch or tear.

Use protective covering: If you need to move or transport a painting, protect the surface by covering it with acid-free paper or bubble wrap, then place it in a sturdy container.

8. Monitor for Signs of Damage

Regularly check your acrylic painting for signs of potential damage. Look for:

Cracking or peeling paint: Acrylic paint can sometimes crack or peel, especially if exposed to temperature changes. If you notice this, you may need to reapply a protective layer or repair the paint.

Fading or discoloration: Over time, acrylic paintings may begin to fade due to environmental exposure. Protecting them from sunlight and dust can slow this process.

Moisture or mold growth: If your painting has been exposed to excessive moisture, check for signs of mold or mildew. If this occurs, it’s important to address it promptly to avoid further damage.

Conclusion

Caring for your acrylic paintings installation art is crucial to ensuring they last for many years to come. By following these simple steps—protecting them from direct sunlight, controlling the environment, cleaning carefully, applying varnish, and using proper framing—you can preserve the integrity and beauty of your acrylic artwork. Regular monitoring and handling with care will also help prevent damage and keep your paintings looking fresh and vibrant for generations.

Whether you're an artist or a collector, taking these precautions will help your acrylic paintings maintain their charm and value, making them timeless treasures in your home.

FAQs

1. Can I clean my acrylic painting with soap and water? No, it’s best to avoid using soap and water, as they can damage the paint. A damp cloth and soft brush are safer options.

2. How long does it take for acrylic paint to fully dry before varnishing? Acrylic paint can dry within 30 minutes to an hour, but it's recommended to wait 24 hours before applying varnish to ensure it is fully cured.

3. How do I know if my acrylic painting needs varnishing? If your acrylic painting appears dull or if you want to add extra protection from dust and UV rays, varnishing is a good option.

4. Can acrylic paintings be exposed to high humidity? Excessive humidity can cause acrylic paintings to become soft, leading to potential damage. It’s important to maintain a stable, moderate level of humidity in the room.

5. What should I do if my acrylic painting gets damaged? If your acrylic painting suffers from damage like cracks or peeling, you may need to consult a professional for restoration. They can assess the damage and help restore the painting to its original state.

[mekaniderya]

stargil fırça

[merveyamanci]

birleşik fırça

[iminori]

sewing machines need regular maintenance! every time you change your bobbin take a small paintbrush and clean the lint out of your bobbin compartment (& bobbin case if your machine uses one). do not use canned air to clean out your machine - this blows lint into even harder to reach places and can lock up your machine if that lint gets caught in moving parts in there. every 8-10 hours of sewing change your needle and oil your machine - your machine's manual will have instructions on how to do this. if you don't have your machine's manual on hand you can almost always find it online, usually through the manufacturer's website. if your machine's manual says not to oil it then you'll want to take it in to be serviced every 1-3 years, depending on how much you're using it.

also, ironing/pressing is so much more important than you might think it is. it may sometimes feel unnecessary but i promise you'll have a much easier time if you press (with steam if your fabric can handle it!) at every possible opportunity. look up youtube videos for ironing techniques. it may sound silly but there are better ways to iron than others, especially depending on what you're making. in my experience, frequent ironing with good technique makes the difference between something that looks good and something that looks great.

Things I wish I had read in "beginner" sewing tutorials/people had told me before I started getting into sewing

You have to hem *everything* eventually. Hemming isn't optional. (If you don't hem your cloth, it will start to thread. There are exceptions to this, like felt, but most cloth will.)

The type of cloth you choose for your project matters very much. Your clothing won't "fall right" if it's not the kind of stretchy/heavy/stiff as the one the tutorial assumes you will use.

Some types of cloth are very chill about threading, some are very much not. Linen doesn't really give a fuck as long as you don't, like, throw it into the washing machine unhemmed (see below), whereas brocade yearns for entropy so, so much.

On that note: if you get new cloth: 1. hem its borders (or use a ripple stitch) 2. throw it in the washing machine on the setting that you plan to wash it going forward 3. iron it. You'll regret it, if you don't do it. If you don't hem, it'll thread. If you don't wash beforehand, the finished piece might warp in the first wash. If you don't iron it, it won't be nice and flat and all of your measuring and sewing will be off.

Sewing's first virtue is diligence, followed closely by patience. Measure three times before cutting. Check the symmetry every once in a while. If you can't concentrate anymore, stop. Yes, even if you're almost done.

The order in which you sew your garment's parts matters very much. Stick to the plan, but think ahead.

You'll probably be fine if you sew something on wrong - you can undo it with a seam ripper (get a seam ripper, they're cheap!)

You can use chalk to draw and write on the cloth.

Pick something made out of rectangles for your first project.

I recommend making something out of linen as a beginner project. It's nearly indestructible, barely threads and folds very neatly.

Collars are going to suck.

The sewing machine can't hurt you (probably). There is a guard for a reason and while the needle is very scary at first, if you do it right, your hands will be away from it at least 5 cm at any given time. Also the spoils of learning machine sewing are not to be underestimated. You will be SO fast.

I believe that's all - feel free to add unto it.