Click on PDF file link below, for a detailed "how to" draw a Star Pattern!
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Additional patterns-click on image to enlarge and print
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This video is from my own YouTube channel Pysanky Basics. It's a quick reminder to keep working on a pysanky even if you are not at first, pleased with it. To prevent dye from accumulating on your hands while working on Kroszonki, the Polish scratch method of Pisanki-I use a glove on the hand that holds the shell. I also wear a glove, as you can see below, when working with a kistka.
In my research on the contemporary making of Polish Kroszonki(Drapanki) scratch method, I found that many people in Poland take classes. As you can see in the images that I have collected from Polish websites, students copy from support designs given by a teacher. I also read many people learn from their family members. Please notice the pattern sheets in each of the photos that these Polish students are copying from. It is one way of learning this treasured Polish art form.  This entry was copied from a translation from Polish to English from http://moreantiqua.com/kroszonki-opolskie/ "The tradition of making an Easter scoop in Opole Silesia has its documented pedigree and is derived from the early 13th century. However, it is widespread throughout Central and Eastern Europe. Archaeological findings in Opole Ostrówek indicate even the tenth century. Easter egg in Opole Silesia in its present form spread in the eighteenth and nineteenth centuries. They were first of all decorated with the batik method, it is an egg painted with hot wax and then dyed. This method is still widely used in the vicinity of Tułowice and Korfantowa. However, a typical Silesian leaflet is a product from the turn of the 19th and 20th centuries. The dyed egg is decorated with the engraving method (scratched), decorated with traditional floral ornaments: palm trees, flowers, leaves, whose patterns are also often found in embroidered tablecloths, curtains, decorative bedding (kapach), costumes and folk painting. The variety of patterns that are applied to the surface of the brochures depends on the artistic creativity of the creator himself. In the mid-twentieth century large clear patterns were scraped on the eggs. In the eighties, the large pattern is more and more filled, supplemented with small additions. Patterns from this period are considered by most creators to be the traditional pattern of Opole kroszonki.Shades of brown dominate the color (staining with onion shells).
This booklet has its own unique charm and the composition is clear and legible, in the depicted image there is clearly noticeable depth and subsequent layers of the presented pattern. Another very extensive element are symmetrically placed very rich lines and the real art is that they would be perfectly straight and equal in size and shape of individual, subsequent elements. The most well-known Karczonkarzs who have made a huge contribution to the promotion of this folk art are the creators from the vicinity of Krapkowice, Opole and Strzelce Opolskie. Special inhabitants of Obrowiec laid special merits for the propagation of the Silesian Opole region. The most famous are artists who have already left us, they are: Jerzy Lipka (1937-2011) born in Obrowiec, who lived in Gogolin until the end of his life, Maria Lipka (1899-1984) from Obrowiec, Maria Warwes (1911-1982) from Grudzice near Opole, Maria Rogosz (1932 - 2011) from Zieliny- In addition, Gertruda Matej, Anna Skrzypczyk, Emilia Suchy, Maria Flak, Maria Kobyłka, Anna Mitko, Maria Kuczber, Piotr Wysada, and Stefania Topola. The young generation is also worthily replacing their masters. We include such people as Agnieszka Gryc from Szczedrzyk, Patryk Blania from Obrowiec, Edeltraud Kroppop, Łucja Mandelka, Edeltraud Fornal, Kornelia Gabrielczyk, Gertrud Kleman, Małgorzata Mateja, Maria Żmija-Glombik, Renata Janik, Maria Rudzik, Elżbieta Pazur, Maria Cichoń , Ewa Hurek, Aneta Hurek, Sabina Karwat, Dominika Kunicka, Justyna Langner, Wioleta Obrzud, Agnieszka Okos, Sonia Ozimek, Natalia Patryek, Sonia Sappok." Back in February, at Katy’s Pysanky Day, Shannon and Kim showed an idea for checking blank shells for fractures and weakness! I shot these photos on my iPhone so you can see it is brilliant idea!
 THIS SHELL SHOW SPECKLES AT THE BASE...I WOULD USE IT...would you? IN MY Pysanky Demonstration & Display I use a digital picture frame, that continuously loops photos step-by-step, of the procedure from marking off a shell, to dying and up to wax removal.
I have been using a tablet for the past year at all my events, with about a 2 hour playlist of photos, unwaxing, writing, etc.  WASHI EGGS are commonly created at Easter using
TECHNIQUE
From Teena: "This tutorial for marking spiral pattern on an eggshell appeared in the Eggshell Sculptor published by Gary LaMaster (out of print, no longer being published). Given some time to dig through old issues I could probably tell you the publication date of that particular article." Thanks Teena!  This first Dryapanka egg is made by Rostislav Kramar, of Ternopil, UA. Click on the image to see how he signed and dated this piece. The second photo shows where I sign and date the Drapanki eggs that I make. Do you sign and date each egg that you create? Where do you sign the egg?
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On occasion I share images that come from other sources and do my best to provided artist credit and a link to them whenever possible. Should you use an image I've re-posted from another source, then please follow the "Terms of Use" from that image's creator/owner and give credit to the image's originator. BLOG-TIPS
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