Svetlana`s Rumak recommendations
Here is what Svetlana has to say about the canvas she uses in this technique:
I love a canvas with thin threads and dense weaving — a canvas like this is called fine-grained.
At the same time, this technique looks great on other types of natural linen canvas, so choose the texture of the canvas to your taste.
For this technique, canvases with an admixture of synthetic materials are not the best fit as they are too elastic and it often interferes when doing some tricks.
I do not recommend using cotton canvases either —they are very thin and may simply not withstand this technique and wash out or even tear.
Sometimes my students use canvas on cardboard or medium density fibreboard for this technique. It can work for experimental or educational works, but creative works always look less professional in my opinion.
Primed cardboard will not work for this technique either, even for educational works. In this technique, we soak the surface of the painting greatly, and the cardboard can be severely deformed by water in the process.
For the lesson, I recommend that you prepare a canvas on a small stretcher 40x40 or 50x50, or another of your choice, so that the large format does not prevent you from focusing on studying the nuances of the technique.
In the technique, I use a special knife with which I scrape off layers of paint to get the effects I need.
I will tell you about the knife (pictured) in detail in the lesson.
A few words on choosing acrylic:
Choose only titanium white, not zinc acrylic white.
Try not to use cheap paints (acrylic for decorative or interior work) for this technique. The quality of this acrylic is not good enough for this technique and some tricks may not work.
I do not recommend using glossy acrylic either.
For this technique, you need fairly thick acrylic (like toothpaste, for example, this is very important for some of the tricks of this technique).
That why I use acrylic in jars. If the acrylic in the jar is not thick enough, then I dry it slightly, and in this way I can change the density of the acrylic (I will tell you more about this in the lesson).
How to choose the palette knife and what kind of brushes you will need for this technique:
You will need good quality synthetic brushes.
I use wide flat brushes for the first layer and when I
varnish the work at the end.
You will also need thin round ones for the main work No.1,2,3.
To work with tiny details, I use the thinnest brushes, for example, No.0/3.
When choosing brushes, make sure that the fiber of the brush is not too long. For example, there are brushes with long fibers for painting or calligraphy, and they will not work for us.
Also, the fiber of the brush should be elastic, not soft, this is very important for some tricks.
Small flat brushes No.0 or No.1 are well suited for some of the tricks of this technique( depending on the brand. Unfortunately, different brands indicate brush numbers differently, so brush sizes with the same number can vary significantly between brands).
* Acrylic varnish
I always use only matte acrylic varnish, which is diluted with water. You can use spray varnish if you like, but make sure it doesn't give a too shiny finish.
* Container with water to wash the brushes.
* Napkins or paper towels.
* Tablecloth, film or a sheet of paper — to protect the surface of the table from paint.
* Paper and pen for notes.
I often use a white plastic or glass plate to work with acrylic, it washes off easily with water and can be used for many years. A piece of white plastic will also work, but the 'classic' wooden palettes, familiar to oil painters, are not the most rational solution for acrylic — they are difficult to clean.
ABOUT materials and tools for this technique
Other materials and tools you need: