Imperdibile! Un mobile davvero grande! Restyling in chiave country con Olivia! Elisa & Magic Paint

Good morning friends of the channel, this beautiful mobile phone I will show it to you live at the creative fair in bergamo we will be there 5 6 7 8 october probably thursday friday saturday sunday right this tutorial will still come out on social networks on october 5, so as soon as you see it I recommend you immediately take the bag, the shoes, the bags and run to creative so you can see it we will be there, guests of our reseller from milan and mentecore pennelli and we will give you many tips, live workshop and techniques, laughs, let's have a coffee together, so come and find me, there is me, emma, martirio, all the staff of mentecore pennelli who are obviously those who wanted to do the fair, they are the ones who keep the stand, let's start with this beautiful styling that will be in key a lot of country, a nice olive everywhere, olive everywhere because it will be a surprise the setting, a very green setting, very green, very very country, let's start, let's start by coloring everything with olive, we use the elizabeth brush because it is a very soft brush that allows me to have a very fluid, smooth, homogeneous effect without too much brushstrokes, the first hand will certainly be a base, there will certainly be a second one, but let's see if it is the case after the first hand to touch up some points in the cut, this because, because at the moment it seems quite smooth to us, but surely once colored you will see some imperfections, since the face of the furniture will be completely changed, then a stencil will be made, I need to have a smooth, clean base, so let's say I keep and try to touch up if necessary in the second pass, a nice hand of olive everywhere and we cover the base, let's start with the second hand, I decided not to touch up, the more we do stencils on all surfaces, they will help us a little to have a more vintage sense, also for those of you who are worried, because they have seen me cover all the edges, really first, it is not a high-quality furniture, because it is a drummed-up furniture, it is not massello, and it is a reproduced furniture, let's say in the factory, it was not made by a craftsman by hand, but in case two years pass, you get bored, you want to bring out again, at least on the doors, the original design, so the old cut, no problem, take the spray, spread it out and without creating any kind of problem to the surface, remove the color, you will have a beautiful, smooth, woody surface, with the natural cut, completely preserved, so don't worry, color it, you can always go back, Emma started with an Elisabeth, instead I use the pointed brush, because I feel very good with him today, I go well inside my fridges and color everything, without making defects, without leaving defects, a beautiful second hand, before the decoration, let's start with the decoration, stencil Jardin Tuileries, a beautiful stencil that we have momentarily covered in some of its parts, not because we don't like them, but because we want to make them with a second color, right? Yes, so after we will cover a part that we are doing now, we will move it and we will continue, we mirror it, so from here to there, and this I recommend it to you, because it is a stencil with a thousand facets, it is so well composed that you can use it for many things, so Rocher, which goes very well with Olivia, stencil swab, well discharged, and off we go, let's start with the magic of the stencil, and voila, let's see how it turned out, very nice, very elegant, we leave the mask in position for a moment, then I will dry it slightly, then we put it back in some points where we made it come a little more veiled, we make it even more covering, in this way there will be a perfect stencil with a single pass, we mirrored the stencil, so we flipped it over and show me how it turned out over there, we flipped it over and we did it on this side, so we repeat the two passes here too, we will show you how it turned out well when we also remove the second stencil, at this point I have to continue the flower, because you see that it is not very graceful because it is truncated, the fact is that this stencil is repeatable and we make it repeat, so we put it here, at this point, and we finish the leaf towards the wood, in reality for me it is very easy because with the stencil I lean on the baseline, and voila, I take my sponge, a lot of discharge, and I start again, don't worry if it comes off, you can always retouch with a brush and make everything beautiful, perfect, look here, voila, now I will take a small brush, small, small, and at this point I'm going to do my retouching, it will certainly be the case of making two passes, exactly like the stencil, so as soon as it dries I put it back and I do it again. We are in another laboratory, we are in the one we were in before, a few months ago, right? Yes. We moved it because this mobile is too big, and we are going to make a small decorative effect at this moment, we will make lights and shadows, what is it? We create effects to give three-dimensionality to the stencil as if it were a rectangle, so we will give lights in the upper part in which the light generally beats in a fray and shadows in the lower part. I start to create the mixture to make the shadows, I put a little vintage in it, to do it all at least three teaspoons will be needed, and I also put some non-fume in it, because it gives that texture, let's say slightly cold, the vintage is a little warmer, the non-fume is a little colder, and let's mix it with a spoon so we don't dirty it too much, and then we put a little bit of water in it. The same thing we do also with the color we have chosen to make the light, the cotton. Why did we choose cotton? Because it will be put on the sheik in a warm color anyway, so we have to give a warm light. Exactly, putting the fume today would have been a bit impersonal, because the fume is too cold. I put a little water, but not too much, we put the water because it still has to slide slightly with the brush to create a veiling, with the light we need even less water, let's say that the water is more for the shadow, if you put too much water it doesn't matter, let's add a little more color. Now we take off a cloth, we put ourselves comfortable and with all our brushes we show you how we make light and shadow. The light for us today strikes from above, in the upper right or in the upper right anyway, we prefer the upper right part, so the shadow is at the bottom on the left, right? Always remember that it is an instruction, but the first time you do it you will have a lot of doubts, because it is normal, when a person starts doing something new he has doubts. You be calm, don't worry, do the shadow in the bottom left, after that if you have doubts you stop and check what we have already done, or what has been done in a tutorial, little by little, doing it more and more it will come automatically. I now start from here and go to the other side. I like to create a soft brushstroke, not just for too precise brushstrokes, I don't like that there is a distinct, fine brushstroke, and I like to go to the bottom of my stencil, covering the edges of the white stencil. Everyone has their own craft, Emma has hers, I have mine, and if you are going to do a course with Alessandra, Alessandra is the one who is doing a lot of courses on the origin of Magic Paint, precisely on this theme, therefore on light and shadow, you will see that she has her craft and her study of light and shadow. Reinterpret to the maximum what you love, without problems, the important thing is to follow a small rule, precisely, the light is up and the shadow is down. The lights, Emma starts up, I down. While Emma starts with the lights, in the central area I do a light blusher on the furniture. What is the blusher? They are micro-scratches that go to deposit on the surface and make it even older, it starts a patina, so the blusher is done before the decapping. Now I use the cotton and I give the lightest part, then I will also do it with the darkest part, so the color I used to do the stencil. I also add a light dark blusher taken from the shadow of our stencils, so I took the color advanced from the shadow of the stencil and I am using it for the blusher. You see that it is really delicate, it is barely visible on the light parts of the stencil, but I assure you that it creates a nice light-dark contrast. Now I will do a light decapping on the whole structure, but I accentuate slightly at this point where there are no decorations in the lower part and in the upper part. I go on the decorations, but a little less. This is done to make the antiquity quite homogeneous, although in some points I will go deeper than others. Neuta Ibra, because Emma is painting another furniture, we are really busy, we have to bring this furniture to Creativa Bergamo as soon as possible. Emma doesn't do the last powder lines because it's up to me now with the Cera Jasmine to protect everything. Do you want to be a moment the rag, Emma? Yes. If you see well, when you pass the rag, the powder is removed, as we are doing up here, a layer of wet microfiber, but the color does not move. This thing can only be done with Magic Paint because the other varnishes do not hold this wear, sanding, washing, re-sanding. Magic Paint is unique precisely for this reason, because it has an exceptional gripping power and there are no problems with Petro. Now Cera Jasmine, the original Cera Jasmine, and a nice pass on the whole furniture, because we still want to seal it and protect it. Now Ibra arrives with the film, which helps me to pack the whole furniture well so that it does not break, does not ruin, does not crack. I will massage it directly in the wax, so that I can leave the wax on the surfaces at least until tomorrow. Tomorrow evening it would be better and in this way the wax will catalyze, grab and we will absolutely not remove the excesses before tomorrow. It is important not to remove the wax immediately, I recommend, you have to remove it at least the next day. Massage it at least the next day. You see, in this case I can also allow myself to make circular movements, to make this type of horizontal, vertical stretching and the color does not move by a millimeter. It is a guarantee to use Magic Paint products, but above all to use them combined, because a good primary stretching with a good gripping of the paint and a good coating with the wax, with the protective, makes this furniture last for many years. Now I'll show you a nice photo of how the whole furniture is all refurbished, before packing it and taking it away. But if you want to see it live, come to Creativa Bergamo from this Thursday until Sunday. I'm waiting for you, I recommend you tell me in the comments if you liked it. Ciao!