DEDICATIONIlovewritingbooksandcouldnotdosowithoutthecontinuingsupportofmyprecioushusband,Joel.HebuildsmeupwhenIgetdiscouragedoraprojectjustdoesn’tturnoutthewayIhadhoped.Heisalwaysthereforme.

Ialsolovetoteach,andagainIthankJoelsomuchforsupportingthispassion,sinceittakesmefromhomemanymonthsoftheyear.

ACKNOWLEDGMENTSIwanttothankallofthepeopleatC&TPublishingforhelpingmewritethisbook.

LynnKoolish—theeditor.Lynnhasbeensosupportiveandhasgivenmeinvaluableadvicealongthepathtothisfinishedbook.Icouldn’thavewrittenthisbookwithouther.

GailenRunge—thetechnicaleditor.Hersharpeyesmadesurethateverythingwasclearandcorrect.

AprilMostek—thebookdesigner.AprilhasmadeabookthatisexactlywhatIwouldhavedreamedittobe.Ilovewhatshehasdone.

DianePederson—thephotographer.Dianehascreatedbeautifulphotographsofmyartwork.Shewaspatientduringaverylong2-dayshootofallofthestep-bystepshots.Sheshot1,000photosinthe2days.

CaraPardo—thephotographyassistant.Shegatheredallofthesuppliesforthephotoshootandwasinvaluableforthe2daysIwasatC&T.

JessicaJenkins—theproductioncoordinator,andJoannaBurgarino—theproductioneditor.Togethertheykeptthebookontrackandfollowedthroughwithallthefinaldetailstogetthisbooktotheprinter.

Introduction:UsingThisBookThisbookisdesignedtohelpyouexploremanyeasyandfunmixed-mediatechniques.Ihopethatwhentryingeachtechniqueyou’llthink,“WhatifItrydoingthisonadifferentsurfaceorwithdifferentmedia?”Takeyourideaandseehowitworksandifitleadsyoutootherideasandtechniques.I’vedevelopedmanyofmytechniquesbyasking,“Whatif…?”andjusttryingthingsout.Onethinginevitablyleadstoanother.Youwilllikesomeofthetechniquesmorethanothers.Keepexploringthosetechniquestoseewheretheyleadyouinyourdesignprocess.

Havefunanddon’tworryaboutmakingmasterpieces.Thinkaboutcreatingfabricandpaperthatwillbecutuportorntobeusedinlargerworks—don’tworryifeverypartofapieceofpaperorfabricisn’tperfect.Youcanselectandusetheportionsthatworkforyou.Theexamplesinthisbook,especiallyinPuttingItAllTogether(pages131),willgiveyousomegreatideasoncombiningandcollaging.

Tip:MakeaPrint!Manyofthetechniquespresentedinthisbookinvolvetheliberaluseofpaintsandinks—soliberalthatyoumayhaveexcesspaintandinkeitheronyourfabricorpaperoronyourworksurface.There’sneverareasontowaste,somakeaprint.

Simplyplaceapieceoffabricorpaperontheexcesspaintorinkandpressdownwithyourhandsorabrayer.Liftupthepaperorfabricandyouhaveaprint.Youmayevenbeabletomakeseveralprints,onerightaftertheother.

MaterialsandSuppliesFirstofall—don’tpanic!Youdon’tneedeverythingontheselists.ThesearethethingsthatIusedtocreatealltheexamplesforallthetechniquesinthisbook.Someofthethingsyou’llhavealready,andmostoftheothersareeasytoget.Feelfreetomakesubstitutesasyoumakethetechniquesinthisbookyourown.

FromtheArtSupplyStore

Acrylicpaintorfabricpaint

Assortedpaintbrushes

Brayer

CrafttissuesuchasSpectraBleedingArtTissue

Dorland’sWax

Funfoam

Gesso

Inktensepencilsandblocks

Liquidwax/JacquardWater-BasedResist

Mattegelmedium

Metalorplasticstencils

Metaltape

Oilpastels

Rubberstamps

Silkscreens(blank)

Soft(chalk)pastels

FromaroundtheHouse

Eyedroppersorpipettes

Hairgel

Nails

Oldcreditcards

Petroleumjelly

Rubberbands

Rubbingalcohol

Single-edgerazorblade

Spongesquares

Spraybottle

Styrofoam

Takeoutknivesandforks

Whitecandle

FromtheOfficeSupplyStore

Bluegluesticks

Maskingtape

Permanentmarkers

Waxcrayons(IpreferTwist-UpfromStaples.)

Water-solublemarkers

WhitegluesuchasElmer’sSchoolGlue

FromtheHardwareStore

3″–4″PVCpipe,12″long

Notchedspreader/scraper

Rocksalt

Wallboardgrid

Other(seeResources,page143)

GelliPlates

ImpressMerubberstamps

Thermofaxscreens

SURFACESAwonderfulthinghashappenedinrecentyears—moreandmoreinterestingsurfaceshaveappearedinourartandcraftstores,anditisfuntoexplorethemall.Atriptoahomeimprovementstore,stationerystore,orfabricstorewillyieldotherpossibilitiesforworkingondifferentsurfaces.

Belowaresomepossiblesurfacesforyoutoexplore;allofthemareabsorbent,withtheexceptionofphotopaper.

Papers

Fromaroundthehouse:Coffeefilters,deliorsandwichwrap,newspaper,paperbags,teabags,wrappingpaper,anykindofpaperyouthinkmightaddtotheexperience

Fromtheartsupplystore:Bristolboard,coloredtissuepaper,canvasboard,illustrationboard,ricepaper,watercolorpaper

Fromtheofficesupplyorwarehousestore:Copypaper,cardstock,photopaper(IpreferKirklandfromCostco),envelopes

Fabrics/FibersCottonsofalltypes(white,black,solid,andprinted),rayons,silks,cheesecloth,knits,polyesters,cotton/polyblends,interfacingindifferentweights,quiltbatting

OtherSurfacesLutradur,mul-tex,TransferArtistPaper(TAP)

CreatingSurfaces

CheeseclothIhavefoundthatthewordcheeseclothcanapplytoavarietyofsoftnettings.Mostcheeseclothiscloseinweave,andalltypesseemtolovebeingpaintedanddyedandusedincreativeartwork.Youcanalsousegauze.

Cheeseclothcanbesewnorglued(withmattegelmediumorotherheavyglue)toasurfacebeforepaintingitifdesired.Youcanfindcheeseclothinhardwarestoresandmarkets.

ThispiecewasmadebytransferringaTransferArtistPaper(TAP)image(page25)toillustrationboard.Thenpaint,cheesecloth,andeyelashyarnwereadded.Layersofacrylicwashes(page35)wereappliedtofinishthedesign.

Avarietyofmaterialswerecollagedtoillustrationboard,andthenpaintandcheeseclothwereadded.Layersofacrylicwashes(page35)wereappliedtofinishthedesign.

Thiscompositioncombinesanumberofcollagedpieceswithrubberstamping(page111)andcoloredpencilonaplainpieceofillustrationboard.AfterIcollagedthepieces,IpaintedthePrussianbluecoloraroundtheperimeteroftheartwork.Tofinishthepiece,Iglueddyed

cheeseclothtotheleftofthecentralpiece.

HOW-TO

1.Gluecheeseclothtothechosensurface.

2.Paintthecheeseclothwithliquidpaintordye.

3.Addotherembellishmentsasdesired.

ClothPaper—GluePapertoFabricorFabrictoPaperManyarticleshavebeenwrittenaboutcreatingclothpaper.Theprocess,whichwasinventedbyBerylTaylor,hasbecomeverypopular,andtrulythistechniqueisaddictive.Thepossibilitiesareendless,sinceyoucangluelayersofthinandthickpapersontocloth,paintthepiecelater,oruseitforcollage.Ifitisn’ttoothick,youcansewthroughit.Youalsocangluecommercialfabricsorpreprintedorpaintedfabricstopaper.Whateverthemethod,youarecreatingclothpaper.

Iusemattegelmediumtogluethevariouselementstogether.

Thispieceofclothpaperincorporatesavarietyofpapers,includingstenciledletters.IusedJacquard’sapplicator-tippedpainttohighlighttwoareaswithahorizontalline.

Variousricepapersandcommercialpapersgluedtofabric

Variouspiecesofpaintedsandwich(ordeli)papergluedtowhitecottonfabric

Thiscompositionwascreatedbycollagingaseriesofpapers,includingclothpaperanddelipaper,toapieceofillustrationboard.Icoordinatedthedesignbylayeringdilutedacrylicwashes(page35)overselectedareas.Iusedvariouscoloredpencilstoemphasizeareas

andcreateastrongercompositionafterthepainthaddried.Thecoloredpencilareasthatstandoutarethestrongred-orangeareas.

HOW-TO

1.Coatalayerofpaperwithmattegelmediumorgluethickenoughtosecurethepapertoapieceoffabric.Thefabriccanbeplain,colored,orpatterned.

2.Applyasecondlayerofpaperwithglue.

3.Repeatasneeded.

Variouspiecesofpaintedsandwich(ordeli)papergluedtowhitecottonfabric

CopyPaperWhenIwork,IputoneortwopiecesofcopypaperunderthepieceI’mcreating.WhenIdowashesonfabric,thecolorgoesthroughtothecopypaper.Icanbuildlayersofcoloronthecopypaperandthenteartheedgesofthepaintedareasintocreativeshapesforcollage.Thisisaveryeasytechniquethatsometimesproducesbreathtakingresults.

Multiplecolorswerepaintedonthincottonfabricandallowedtosoakontocopypaperplacedbeneaththefabric.

Thissamplehascoloredpenciladdedtoselectedareasofthepaintedcopypaper.

HOW-TO

1.Placeseveralpiecesofcopypaperunderapieceoffabric.Wetthefabric,andusewet-into-wettechniques(page77).

2.Spreadthecoloracrossthefabricwithaspongesquare.

3.Liftthefabricfromthesurface,revealingthecopypaperbelow.

CopyPaperTextureThisprocessisoneofmyfavorites,andmystudentsloveitaswell.Itcanbeusedonanycopypaper,evencopypaperthat’sbeenprintedon.Itcanbesewn,collaged,andusedforanynumberofprojects.

Thesesamplesweremadefrommachine-stitched,painted,crumpled,dried,andironedcopypaper,witheachlayeraddedtobuildthefinaldesign.Additionalelementsincludeironedfabriccord(page16),paintedsilkandcotton,andthinpapers.

Multiplelayersofcopypaperweregluedtoastiffsurfaceandpaintedwithlayersofcolor.Thediagonallineisafabriccord(page16).Air-driedclayembellishmentscompletethedesign.

HOW-TO

1.Applypaintandpaintwashesontoapieceofcopypaper.Tryusingcopypaperfromyourprinterthatyouwouldotherwisethrowout.Asanalternative,painter’spaper(olivegreentobrownpapersoldinrollsathomeimprovementstores)workswell.

2.Crumplethewetpaper

3.Carefullyuncrumplethepaperandletitdry;thenironitflat.

SpecialTechnique:MakingFabricCordFabriccordisawonderfuldimensionalelementtoaddtopaperorfabriccollages.Twowaystomakeitareshownonthepagesthatfollow.Afterthecordisdry,paintitasneeded.Useheavyglueormattegelmediumtogluethecordtoapaperorfabricsurface.Youmayneedtocoverthecordwithapieceoffreezerpaperandweighitdownwithbookstokeepitinplaceuntilthegluedries.

Verythinpaperscanalsobeusedtocreatepapercordsinthesamemannerasthefabriccords.

MAKINGFABRICCORDUSINGGLUE

1.Tearapieceofpaintedorcommercialfabricintoastripapproximately ″–½″wide.

2.Cutthefabrictothedesiredlength.

3.Squeezealineofwhiteglueorfabricgluedownthemiddleofthefabric.

4.Twistthefabricintoacordbyhand.

Note:Youwillgetalotofglueonyourfingers,sowashyourhandsassoonaspossiblesothatyoudon’tgetglueonothersurfaces.

MAKINGFABRICCORDBYIRONINGIfyoudon’twanttouseglueandyourfabricisthinenough,youcanwetthefabricandironitwhilerollingitunderthetipoftheiron.

1.Wetthefabricthoroughly.

2.Beginrollingthefabric.

3.Continuerollingandironinguntilthefabricisdry.

CraftTissue—WaterSpottedIlearnedthistechniqueyearsagofromafriend.Itisafunandeffectivewaytocreatewonderfulcoloredpaperstouseincollages.

Forthispiece,Itoredrypiecesofwater-spottedtissueintostripsandoddshapestocreateacollage.ThenIgluedavarietyofcolorstogetherintoonecompositiononasmallcanvasboard.Iglazed(page35)twoverticalstripswithanochrecolorand,whilethepaintwaswet,scratchedintothewetpaintwiththehardendofthebrush,creatingarepetitionofhorizontallines.Isealedthefinalpiecewithmatte

mediumsothatthecolorswouldn’trun.

Icreatedthesepiecesbyplacingthreetofivedifferentcolorsofcrafttissueoneontopofanother.Ilightlysprinkledwaterthroughallthelayersandaddedevenmorewaterspots.Thebleedingofthecolorsthroughthelayerscreatedinterestingpaperstouseforcollage.

HOW-TO

1.Stacklayersofdifferentcolorsofcrafttissuepaperontopofeachother.Youmayusefrom3to5differentcolorsatatime.Trydark,medium,andlightcolorstogether.

2.Dropwaterontothetissuewithaneyedropper.Thecolorwillspreadthroughthelayers.

3.Repeatasdesired.

TipAnotherwaytousethetissueistoplaceeitherwater-spottedorright-from-the-packagetissueonthechosensurface,mistitwithwater,andremoveitafterthecolorshavebledontothesurface.

InkjetImages—WaterSpottedThisisafuntechniquebecauseyoudon’tknowhowthepiecewillturnoutuntilyou’refinished.Whenyousprayafreshinkjetprint,theinkbleeds.Themoresprayyouapply,thelargerthewaterspots.Thistechniqueworksbestonimagesonpaper,butitcanalsobeusedonfabric.Note:Thekeyistosprayimmediatelyaftertheprintcomesoutoftheprinter.

Thiscollageincorporatesavarietyofelements.Thebackgroundiscomposedofwater-spotteddigitalimages.Igluedadditionalcopypapercollagestrips(page12)verticallyoverthebackground.Iglazedthecopypaperwithacrylicwashes(page35)andpaintedparallellinesofcoolcolorsonthestrips.Tofinishthepiece,Igluedonstripsofgrassclothwallpaperandglazedthemwithcoolwashesto

coordinatewiththerestofthecollage.

HOW-TO

1.Spraywateronafreshinkjetprintandallowittodry.

2.Sealdriedimagesonpaperwithmattemedium.Fabricimagesdonotneedtobesealed.

Thesepiecesusedigitalimagesonphotopapersprayedwithwaterimmediatelyafterprinting,allowingtheimagestobleed.Afinemistproducestinywaterspots;heavyspraysmakelargespots.

Thesepieceswerecreatedbyprintinganimageonfabricwithaninkjetprinterandspritzingitwithwater.Thetechniqueisthesameassprayinginkjetimagesthatareprintedonphotopaper,buttheeffectisverydifferentbecausethefabricisabsorbentandtheinkbleeds

ratherthanspotting.

LutradurLutradurisanamazingproduct.Iamtotallyinlovewiththepossibilitiespresentedbyitsstrength,texture,andversatility.Itis100%nonwovenpolyester.Itcantakeheattransfers(suchasTransferArtistPaper,page25),canbesewn,andlovestobedrawnonwithcoloredpencil.Ihavealsousedpaintandoilpastelsonthesurface,andbothadherebeautifully.Itcanbemeltedandcutintowithaheattoolforaddedtexturaleffects.

YoucancoatLutradurwithmattemediumanduseitinaninkjetprinter.Aftertheprintsetsforabouttwentyminutes,coatitwithmattemediumsotheinkjetcolordoesn’trun.FormoreideasonusingLutradur,takealookatthebookFabulousFabricArtwithLutradurbyLesleyRiley.

Inthispiece,lutradurwaspaintedwithacrylicwashes,gesso,andmetallicgold.TheLutradurfibersaddtothepleasingdesignsurface.

Lutradurpiecesweregluedtoapieceofillustrationboard,andthenwashesofcolorwereappliedtothebackground.AdditionalpiecesofLutradur,thinpiecesoffabricpaper(page10),andcollageelementswereadded.

LayersofpaintedLutradurwerecollagedtostiffillustrationboard.Additionalpaintwashes(page35)wereaddedtomakeamorecompellingcomposition.Oilpastelglazing(page32)wasaddedfordepth.

ThisisamorecomplexcompositionusinglayersofLutraduronKirklandphotopaperinvariouscolorsandtextures.Darkswereaddedwithoilpastelglazingtechniques(page32).

HOW-TO

1.SpraytheLutradurwithwaterandpaintwashesofcolorontothesurface.

2.Addothercolorsandmanipulatethepaintasdesired(inthisexampleIusedtheendofahardbrushhandle).

3.Addawashofwhitegessowithaflatbrush.

4.Scrapeintothegessowiththewoodenendofthebrush.

TipWhenworkingwithLutradur,besuretoputpaperorfabricunderneathbecausetheLutradurisporous,andcolorgoingthroughtothelayersunderneathcreatesadditionalfabricorpaperthatyoucanuse.

Ifthereisexcesspaintonthesurface,besuretotakeaprint.

TransferArtistPaper(TAP)IabsolutelyloveTAPandseealltypesofincrediblepossibilitiesforusingitincreativework.Itisawonderfultransferpaperdevelopedbymixed-mediaartistLesleyRiley,whoalsowroteanexcellentbook—CreatewithTransferArtistPaper.

Theprocessiseasy.Youcandraw,paint,orprintaninkjetimageonTAP.IrontheTAPontothechosensurface—therearemanypossibilitiestoexplore.YoucantearorcutTAPintosmallerelementsforyourwork.Ifyouaretearing,tearfromthewrongsidetopreventflakingontheedgeoftheTAP.TAPcanbescratchedeasilybeforebeingused,sokeepitprotectedinaplasticsleeveuntilyouarereadytouseitinyourwork.

TIPSONUSINGTAPRefertotheTAPpackagefordetailedinstructionsonusingtheproduct.

UseaneedletooltolifttheedgeoftheTAPimmediatelyafterironingittothesurface.

AftertheTAPistransferredtothesurfaceitcanbestitched,crumpledfortexture,collaged,painted,andcoloredwiththemediaofyourchoice.

ThepolymercoatingontheTAPiseasytoscratchbeforeitistransferred.Becarefulnottoaccidentallyscratchthesurface—ortakeadvantageofthischaracteristicandscratchadesignelementinyourwork.

ATAPimagewastransferredtofabric.Colorhighlightswereaddedwithoilpastelglazing(page32)overImpressMerubberstamps.Additionaloilpastelsglazeswereaddedtoselectareasofthedesigntocreateastrongercomposition(page32).

HOW-TO

1.PrinttheimageonTAP.

2.ScratchareasoftheTAPbeforeironingandtransferringittothechosensurfaceifdesired;otherwisetransfertheimagewithoutalteringit.(RefertotheTAPpackagingforinstructionsontransferring.)

3.Addoilpastelglazing,acrylicwashes,coloredpencil,collage,oranyothertechniquetoenhancetheTAPimage.

TAPimagesweretransferredtowhitefabric,andadditionalcolorwasappliedwithacrylicwashes(page35),coloredpencils,andoilpastelglazing(page32).

ATAPimagewastornintofourpiecesandgluedtoapieceofpaintedcardstock.

TransferredTAPimagesweregluedtoillustrationboard,andtheslatebluebackgroundwaspaintedtomaketheTAPpiecesstandout.

ATAPimagewastransferredtofabric,andcolorhighlightswereaddedwithoilpastelglazing(page32),rubbing(page84),andstenciling(page75).

Media

ChalkPastels+MatteMediumThisisanamazingandsimpletechnique.Byusingveryinexpensivechalkpastels,whichareeasilyfoundinartandcraftstores,youcancreateathick,flatpaintorathinner,flatglazeofcolor.Allyouneedisasingle-edgedrazorbladeorasharpscrapingtool,mattemedium(orothermediumyouwishtouse),palettepaper,andabrushandwater.

Cardboardeggcartonshapeswerethebasisofthereliefpiecesusedinthisdesign.Theyweretornfromtheeggcartonandcutintovariousshapes.Aneutralbackgroundwaspaintedonapieceofillustrationboardbeforethepaintedeggcartonpieceswerecollagedtothesurface.Additionalpaintwasaddedtothepiece,andsomeareaswerescratchedthroughtorevealthecolorsbelow.Additionalcollageelements

wereaddedtocreatethefinishedcomposition.

Thispiecewascreatedbypaintingapieceofillustrationboardwithacrylicmattemediummixedwithsoftpastelscrapings.Thewetsurfaceswerescratchedwiththeendofawoodenbrushhandle.

Thispiece,whichcombinespaintingandcollage,wascreatedonillustrationboard.Layersofcolorwerepaintedontheboardfirst,andthencollagepieceswerecreatedandaddedtothedesign.Additionalpaintedareaswerealsoadded.Tworubber-stampedimagesfrommyrubberstampcatalogwerecollagedtothesurfaceandsubduedwithmutedcolor.Additionalpaintcolorswereaddedtothecompositionto

makeastrongerfinishedpiece.

Layersofcolorwerecreatedbyaddingacrylicmattemediummixedwithscrapingsofsoftpastelcolors;wetsurfaceswerescratchedwiththeendofawoodenbrushhandle.

Layersofcolorwerecreatedbyaddingacrylicmattemediummixedwithscrapingsofsoftpastelcolors;wetsurfaceswerescratchedwiththeendofawoodenbrushhandle.

HOW-TO

1.Shavesoftpastelcolorontoapieceofpalettepaperusingasingle-edgedrazorblade.Addadditionalcolororcolorsasneeded.

2.Mixmattemediumwiththepowderedshavingsuntilyouaresatisfiedwiththecolor.Brushwaterintothemixifthepaintistoostifftopaintontothechosensurface.

3.Applythecolortothechosensurfaceandifdesired,whilethepaintiswet,scrapeintoitwithabrushhandle,scrapingtool,orembossingtooltomakepatternsandlines.Addmorecolorasdesired.

4.Drawdirectlyonthesurfacewiththesoftpastelandthenpaintoveritwithmattemedium.

5.Addwatertothinandspreadthecolorasdesired.

GlazingwithOilPastelsIdiscoveredthistechniquebyaccident.Ineededtoincreasethecontrastandcolorinapiecethatwasalreadyfinished,andIdidn’twanttousepaint.Iusedthetechniquedescribedbelow,andIlovedthewayIcouldcontrolthecontrastandcolor.

Thecoatsaresothinthattheydon’tneedtobeheatsetunlessyouareworkingonfabricthatwillbewashed.Inthatcase,heatsetbyplacingcopypaperunderandontopofthepieceandironingit.Iknowyouwilllovethetechniquebecauseofitseaseandversatilityonanyabsorbentsurface.

Thispiecewascreatedusingwhite-on-whitepatternedfabricforthebackground.Washesofcolorwerepaintedontothefabricbeforepiecesofdelipaperandpaintedfabricweresewntothesurface.Apieceofair-dryclaywassewntotheupperleft-handcornerandglazes

ofoilpastelcolorwereappliedtoselectedareas.

ThispiecewascreatedonKirklandphotopaperpaintedwithacrylicwashes(page35).Threepiecesofacrylic-glazed,rubber-stampedfabricweregluedtothesurface.Anadditionalpaintedandstampedstripoffabricwasgluedoverthemiddlefabricstrip.Theentirepiece

wasthenglazedwithoilpastelstostrengthenthecolorsandcontrast.

Createdonillustrationboardwithlayersofwashes,resists(pages43–64),andtextures(pages65–83),thisentirepiecewasglazedwith

tonesofredacrylicpaint.PaintedpiecesofLutradur(page22)weregluedtothesurface.Oilpastelglazeswereappliedtostrengthenthecomposition.

Kirklandphotopaperwaspaintedwithlayersofacrylicpaint,andcollageelementswereaddedtothebackgroundandpaintedwithglazesofcolor.Acrylicpaintandpapertowelingwerealsoaddedtothesurface.Oilpastelglazeswereappliedoverthedesigntomakeastronger

composition.

HOW-TO

1.Runastencilbrushacrossanoilpasteltoapplycolortothebrush,peelingbackthepapercoveringfromtheoilpastelifneeded.

2.Brushthecoloronapapertowelorpieceofscrapclothtosmooththeoilpastelcolor.

3.Applythecolortothepieceasdesired.

4.Repeatasneeded,usingthesameordifferentcolors.

Forthispiece,thecardstockbackgroundwascoveredwithhandwrittenwordsandlettersbeforebeingpaintedwithwashesofcolor.Collageelementsweregluedtothesurface,rubber-stampedelementswereapplied,andfinallyoilpastelglazeswereaddedtofinishthe

composition.

GlazingwithPaintWashesThisisaveryimportanttechniquebecauseitgivesyoutheabilitytounifydesignswithawashofcolor.Thewashesofcolorhelpsubduesomeareasandmakeothersmoreimportant.Thelesswateraddedtothepaint,thethickerthewashwillbecome.Withthistechnique,youcanturnaworkthatyouwanttodiscardintoaspectacularpieceoffabricorpaper.Usethistechniqueonanyabsorbentsurface.

Addmetallicstothewashforathinveilofshimmer.Experimentbymixingvariouscolors,andifyoulikethewashes,keeptheminsmall,coveredbottlesorsmalltakeoutsaucecupswithlids.

YoucanalsouseJacquard’sDye-Na-Flowasawash.Youcanuseitfullstrength,oryoucandiluteitabout25%forfabricifyouwantthewashtogofurther.Diluteasmuchasyoulikeforpaper.

Thefinishedeffectofusingwashesisthesameonfabricandpaper,withfabricbeingalittlebitmoreabsorbent.

Layersofacrylicwasheswerepaintedovereachothertocreatethispiece.

Manylayersofacryliccolorwereaddedtocollageelementsgluedtocardstocktounifythisdesignandcreateamoredynamicfinishedpiece.

Eightstripsofmaskingtapeleftoverfromthemaskingtaperesistprocess(page49)weregluedtoillustrationboardwithLiquitexmattegeltosealthemaskingtapetothesurface,withanadditionallayerofmattegeloverthetapesothatitwouldn’tdeteriorate.Layersofaquacolorwereappliedoverandaroundthemaskingtape,subduingsomeofthecolorfromthetape.Acollageelementandpieceoffabriccord

(page16)wereaddedtothesurfacetofinishthedesign.

Thispiecewascreatedbyusingmanylayersofwashesandscratchingintothewetpaint.Tocreatehighlights,paintwasremovedinsomeareasusingrubbingalcoholappliedtopapertowelingorasoftpieceoffabric(page68).

HOW-TO

1.Squeezeacrylicpaintintoadishorcupandaddenoughwatertomakethepainttheconsistencyofskimmilk.Ifthepaintistoothick,itwillcoverthedesignthatyoupaintover.Testthedilutedpaintonadiscardedpaintedsampletomakesureitisthinenoughtoletthedesignshowthrough.

2.Applythewash,orwashes,tothepieceasdesired.

3.Usedifferentcolorsandrepeatasneeded.

InktenseInktenseproductsarebrilliant,water-solublecoloredinkpencilsandblocksfromDerwent.Theydonothavetobeheatsetevenwhenusedonfabric.Whenusedwithwater,Inktensecreatesgorgeouswashesofcolor.Fabricremainssoftanditiseasilysewnbyhandormachine.Inktensecanbeusedonanyabsorbentsurface.IamsoaddictedtoInktensethatIhadtopullmyselfawayfromusingitanddotheothersamplesforthebook.

TipYoucanalsospraythesurfacetobeprinted,applycolortothestampwiththepencil,andthenprintit.Theimagewillbealittlelighterwiththistechnique.

TostamplayersofInktensecoloronillustrationboard,Isprayedtherubberstamp,thenappliedthecolorwiththesideofthepencil,and

thenstampedonthesurface.Tocompletethedesign,IaddedthinlinesofcolorwithanInktensepencil.

Thispiecewasmadeusingwhitegessoresist(page52)onfabric,withwashesmadewithInktenseblocksappliedoverthegessowhenitwasdry.

Inthispiece,Inktensewasappliedtowhitecottonfabricandsprayedwithwatertocreatewashesinselectedareas.Thefabricwashandsewntoathinpieceofbattingwitharunningstitchusingvariegatedthreadtohighlightthedesign.

HOW-TO

1.SprayasurfacewithwateranddrawwithInktense.Thecolorwillbleedbeautifully.Spraymoreandaddmorecolorsasdesired.

2.Addmorecolortothewetsurface.

3.Dipapencilinwateranddrawmore.

4.Paintoversomeareaswithgesso.

5.Painttheendofthepencilwithwaterandflickdropsofcolorontothesurface.

6.Blendcolorswithwater.AddmorecolorbyrubbingtheInktensepencilonabrushandaddingbrushstrokes.

Water-SolubleMarkersAwater-solublemarkerisanymarkerthatiswaterbasedanddiluteswithwater.Iloveworkingwiththesemarkersbecausetheyallowmetocreateinterestingdesignsonpaperandfabric.Trydifferentpapersanddifferentfabricsforthistechnique.Silkisespeciallydramatic.

Whenusingthistechniquewithfabric,Iusuallyputtwoorthreelayersoffabricontopofoneanother.Aftercreatingthemarkerdesign,Ispraythepiecesoffabricbelowthewater-solublemarkerdesign.Ilaythemarkerdesignontopofthewetfabricandsprayit,sothedesignalsotransferstothewetfabricinallthelayers.

Tocreatethesepieces,Iappliedlayersandlayersofmarkercoloronapieceofdrywhitecottonfabricandthensprayedthepiece,creatingbeautifulpatterns.

Thesepiecesincorporatelayersofwater-solublemarkerwashes.Idrewmostofthedesignonillustrationboardandthenaddedplainwaterwashestothemarkerareaswithawatercolorbrushtobuildlayersofcolor.

HOW-TOFORFABRIC

1.Createadesignonfabricwithwater-solublemarkers.

2.Placeseveralpiecesofwater-sprayedfabricunderneath.Sprayamistofwaterontothedesignandwatchthecolorsspreadandbleed.

HOW-TOFORPAPER

1.Drawadesignonpaper,cardstock,orotherpaperproductusingwater-solublemarkers.

2.Useadetailbrushandwateronthedesigntobleedthecolor.Repeatasneeded.

Note:Thedetailbrushletsyoucontroltheamountofwateryouapplysothatthedesigndoesn’tbecomemuddy.

Resists

CrayonResistIthinkeveryonehasdoneawaxcrayonresist,eitherinaclassorinelementaryschool.Itisfastandeasyandcanbecomefineartifdonewithlayersandcare.Ithinkthepossibilitiesareendless.

Cardstock

Photopaper

Forthesesamples,Idrewlayersofcolorandlineswithcrayonsindifferentcolors.Ipaintedwatercolorwashesoverthecrayonlayerstocreatecomplexcompositions.Onthephotopapersample,Iappliedsomegessoareastocreateinterestingresistsurfacesforpaintwashes.

Fabric

Fabric

Forthesesamples,Idrewlayersofcolorandlineswithcrayonsindifferentcolorsonwhitefabric.Ipainteddilutedacrylicwashesoverthecrayonlayerstocreatecomplexcompositions.

HOW-TOFORFABRIC

1.Drawlines,patterns,andtexturesonwhitecotton,oranyfabricofyourchoice.AddmorepatternbyrubbingthefabricwithacrayonoveranImpressMerubberstamp.

2.Mistthefabricwithwater.

3.Applywashesofacryliccoloroverselectedareas.

HOW-TOFORPAPERORCARDSTOCK

1.Applywaxcrayontocardstockinlines,patterns,andsolidareas.Scratchintothewaxifdesired.

2.Mistthepaperwithwater.

3.Applywashesofcolortothecrayonareas.

4.Adddilutedgessotoselectedareas.Blenditinwithabrushorthewoodentipofabrushhandle.

GluestickResistWiththistechniqueyoumakemarkswithagluestickonfabricorverythinpaperandthenapplywashesofdilutedacrylicsorinksovertheresist.Rubbingoverrubberstampsetsmakeswonderfulgluestickresists.IhaveusedmyImpressMerubberstamps,andtheresultsarebeautiful.Aftereverythinghasdried,ironthepiecebetweentwopiecesofcopypaper.

Agluestickresistcanbecreatedasarubbingusinganytexturedsurface,includingrubbingplates,aslongasthetexturedelementsarefarapart,sincethegluetendstospreadslightlywhenrubbed.

Note:Somegluesticksareverysticky.Ihavefoundthattheblueandvioletgluesticksworkbest.Youcantellwhentheglueisdrybecauseitturnsclear,butyoudon’tneedtowaitforittodrybeforeyouproceedwithpainting.Besurethegluestickisfreshandnotdriedout.Trydifferentbrandstoseewhichworkbestforyou.

ImpressMerubberstamp

Free-formgluestickmarks

ImpressMerubberstamp

Coloredwashesappliedovergluestickresists

HOW-TO

1.Placearubberstampfaceupandplaceapieceoffabricontop.Rubagluestickoverthefabric.Thetechniqueworksbestwithverylarge,flatrubberstampssuchasthosefromImpressMe.

2.Place2piecesofwhitefabricunderthegluestickdesign.Sprayeachpiecewithwaterbeforeapplyingwashesofcolor.

3.Applythinwashesofacrylicpaintoverthegluestickrubbing.

TipIfthereisstillexcesspaintonyourworksurface,makeaprint.

Finished,dried,andironedpieces(includingprints)

MaskingTapeResistI’vebeenusingthistechniqueforyears,butI’vecontinuedtodeveloptheprocess.Itapeandthencreatemultiplelayersofcolor,thenaddmoretapeandthenmorecolor.Ialsocombinerubbings(page84)withthetaping.Ilovethewaycomplexsurfacescanbecreatedwiththisveryeasytechnique.

Trythetechniqueonalreadypaintedfabricoroncommercialfabrictoseetheexcitingdesignsthatyoucancreate.

Note:Usebluepainter’stapeonpaperandmaskingtapeonfabric.

TipYoucanevenusethepaintedmaskingtapeafteryouremoveit.SeetheexampleinGlazingwithPaintWashes(page35).

Theseexamplesweremadeusingtapeoncottonfabric.Textureandcolorwereaddedoverthetapebyrubberstamping(page111),doingrubbings(page84),applyingapplicatorlines,applyingdryspongedcolor,andapplyingwashes(page35).

Thisexamplewasmadeusingtapeoncottonfabric.Textureandcolorwereaddedoverthetapebyrubberstamping(page111),doingrubbings(page84),applyingapplicatorlines,applyingdryspongedcolor,andapplyingwashes(page35).

HOW-TO

1.Applytapetothechosensurface(bluetapeforpaper,maskingtapeforfabric).Alreadypaintedsurfacesareexcellentforthistechnique.

2.Youcanapplycoloroverthetapewitheitheraspongeorbrush,orasinthisexample,addcolorandtexturewitharubberstampandthenspongeouttheedgestoblendthedesign.

TipIfyouareapplyingcolorwithasponge,removeexcesscolorontoanotherspongeorapieceoffabricorpaperbeforeapplyingittothesurfacewiththetape.Wetcolorwillbleedunderthetapeontothesurface.

3.UseTwist-Upcrayonsandarubberstamptoaddrubbingtexture.Placetherubberstampunderthedriedpieceandrubwiththecrayononselectedareas.

4.Addpaintusinganapplicator-tippedbottletoaccenttheedgesofthetape.

5.Whenallthepaintisdry,removethetape.

Finished,dried,andironed

GessoResistGessoisamagicalproductthatisfoundinartsupplystoresandsomehobbystores.Itsmainpurposeistoprimesurfacesbeforepainting,butithasmanyotheruses.Itcomesinseveralweights,includingLiquitex’swonderfulSuperHeavyGesso.

Gessoistotallywaterproof.Byapplyingittoawetpaintedsurfaceyoucanproduceincredibletextural

areas.IloveusinggessoonKirklandphotopaperbecausethewetsurface,gesso,andpaintcreateanamazingeffect.Gessocanbeusedinanumberofways:

Appliedinlayersandsanded

Mixedwithwaterforwonderfulwashestosubdueareasofadesign

Mixedwithpaintandwaterforflatwashes

Mixedfullstrengthwithpaintandusedasaflatpaint

Usedasaresist—paintgessoonasurface,letitdry,andthenpaintoverthegessowithwashesandthegessowillresistthewashes

Forthispiece,IappliedlayersofgessotoKirklandphotopaper.Whenitwasdry,Iaddedlightpaintwashes(page35).Irepeatedthelayersofgessoandwashesand,attheend,addeddetailswithdilutedgessoandasmalldetailbrush.

Togettheseeffects,IappliedheavyLiquitexgessotoapieceofwhitecotton.ThenIappliedwashesofpaintoverthegesso,andtheysoakedthroughtocopypaperplacedbelowthefabric,creatingthetwopiecesshown.

UsingKirklandphotopaper,Iappliedgessowithabrush,andwhilethegessowaswetIscratchedintothesurfacewiththeendofthebrushhandle.Whenthegessowasdry,Iappliedlayersofcolor.

Thispiecewascreatedonillustrationboard.Igluedavarietyofcollagematerialstothesurface,includingtissuepaperandtornpiecesfrommyrubberstampcatalog.Iappliedlayersofgessoinvariousstrengthswithabrushandscratchedthroughthewetgessoinsome

places.IaddedwatertothegessotocreatedilutedwashesthatIappliedoverselectedareas.Ialsoaddedgessotosomeofthepaintcolors.Ifinishedthepiecewithsomepaintedlinework.

UsingKirklandphotopaper,Iappliedgessowithabrush,andwhilethegessowaswetIscratchedintothesurfacewiththehardendofthebrushhandle.Whenthegessowasdry,Iappliedlayersofcolor.

HOW-TO:USINGSTRAIGHTGESSO

1.Applygessotothechosensurfaceandtextureitwithtoolsofyourchoice,suchasanail,theendofabrushhandle,orascrapingtool.

2.Applydilutedacrylicorinkwashesoverthegessousinganeyedropperorpipette.

3.Ifthereistoomuchpaintonthesurface,blotormakeaprint.

TipTrypaintingoverthegessowhileitiswetandwhileitisdry—seehowdifferenttheeffectsare.

UsingKirklandphotopaper,Iappliedgessowithabrushandthenappliedlayersofinksandwashes.Thepaintmergedintothegessoandtexturedit.

HOW-TO:USINGGESSOMIXEDWITHWATERANDPAINT

1.Mixgessowithpaintandalittlewaterandpaintontothesurface.

2.Texturethewetgesso/paintmixture.

3.Addwashesofcolor.

TipAddinggessotopaintmakesaflatcolorthatisgreatforcoveringpartsyouwanttosubdueinthedesign.

UsingKirklandphotopaper,Iappliedgessowithabrushandthenappliedlayersofinksandwashes.Thepaintmergedintothegessoandtexturedit.

Molding/FlexibleModelingPasteResistAcrylicmoldingandmodelingpastesraisethesurfaceandactasaresist.Whiletheyarewet,youcanusemanydifferenttoolstocreatetextures,whichwilltakecolordifferentlywhenyouapplyitovertheresist.

TipEvenproductssuchasDAP,whichisusedtofixgroutintubandsinkareas,canbeusedasaresist.Onlyusedisposabletoolstotextureitsinceitcannotbecleanedfrombrushesorrubberstamps.Nailsworkbest.

Thispiecewascreatedonbristolboardwithlayersofmoldingpastethatwereappliedwithacreditcardandscrapedthroughametalstencilwithlettersandnumbers.Whenthepastedried,washesofcolorwereappliedtothesurface.

Thispiecewascreatedbyapplyinglayersofmoldingpastetoillustrationboard.Whilethepastewaswet,ImpressMerubberstampswerepressedintothesurface.Whenthesurfacewasdry,glazesofoilpastelcolor(page32)wereapplied.

Thispiecewascreatedonillustrationboardwithdotscreatedbyscrapingmoldingpastethroughametaldotstencil.Therestofthe

moldingpastewasappliedwithacreditcardandtexturedbeforeitwasdry.Someofthepastehadrubberstampsimpressedintoitwhileitwaswet.Layersofacrylicwashes(page35)werepaintedontothesurface,andgesso(page52)wasusedtohighlightselectedareas.

Thispiecewascreatedonwhitecottonfabric.Moldingpastewasappliedtothesurfacewithacreditcard,andImpressMerubberstampswerepressedintothesurfacewhilethepastewaswet.Afterthepastedried,multiplelayersofcolorwereappliedoverit.Additional

acryliccolorswereappliedtothesurfacetocreateacohesivedesign.Tocompletethecomposition,paintedlineswereadded.

HOW-TO

1.Applymoldingpasteresisttothesurfacewithaflexiblespatulaoranoldcreditcard,andtextureitwithanail,takeoutfork,takeoutknife,orothertexturaltool.

2.Createadditionaltexturesbypressingatexturedobject,suchasarubberstamp,intothewetsurface.Washtherubberstampimmediately.

Layersofmoldingpastewereappliedtothesurfaceofillustrationboardwithacreditcard,andrubberstampswerepressedintosomeofthelayers.Whenthepastewasdry,glazesoforangeandred-orangeacrylicpaint(page35)wereappliedtothesurface.Oilpastelglazing

(page32)wasusedtocreatecontrastinthepiece.

3.Useasgrafittotoolortakeoutknifetodrawlines.

4.Pressmoldingormodelingpastethroughastencil.

5.Lettheresistdryandthenapplylayersofcolorusingacrylicpaintwashes(page35)oroilpastelglazes(page32).Youcanalsoaddmetalliccolor.Youcanalsousedrybrushtechniquesontopoftheresisttobuildlayersofcolor.Trylotsofwaystoapplycolortotheresisttodeterminewhichyoulikebest.

PetroleumJelly(Vaseline)ResistPetroleumjelly,suchasVaselinebrand,makesawonderfulresistonfabricandpaper.Aftercreatingtheresist,rubanabsorbentpapertoweloverthepetroleumjellybeforeironingittoremoveexcesspetroleumjellyfromthesurface.Onfabric,whenyouironthefinishedresist,athin,darkoutlineappearsaroundtheareawhereyouhaveappliedthepetroleumjelly,makinganinterestingtexturalarea.Onpaper,youcanwipeawayanyexcesspetroleumjellyafterthepainthasdried,oryoucanblotthepetroleumjellywithpapertowels.

ThispiecewascreatedonKirklandphotopaper.Iappliedpetroleumjellytoarubberstampwithawaddedpapertowelandstampedtheimageontothephotopaper.Irepeatedthisprocessninetimes.Ipaintedlayersofdilutedacrylicwashesoverthejelly.AfterthepaintwasdryIplacedapapertowelontopoftherubber-stampedimages.Irolledabrayeroverthetoweltoremovetheexcesspetroleumjellyfrom

thesurface,repeatingtheprocessuntilallofthepetroleumjellywasremoved.

Iappliedthinlayersofpetroleumjellytoaplainwhitepieceoffabric,andthenscratchedthroughthepetroleumjellytocreaterepeatlines,leavingsomeofthejellyuntouched.IsprayedthefabricwithwaterandappliedlayersofDye-Na-Flowanddilutedacrylicpaintwashes.

Afterthepiecewasdry,Iironedittoremovetheexcesspetroleumjelly.

IappliedpetroleumjellytovariousrubberstampswithaspongesquareandthenprintedthemontoKirklandphotopaper.Isprayedthepaperlightlywithwaterandthenappliedwashesofcolortoselectedareaswithasponge.Ithenrepeatedthisprocesstoaddmoredepthtothecomposition.Next,Ilightlyappliedsolidacrylicpaintcolorstothetopleft,side,andbottomtounifythecomposition.Iallowedthecolorsbeneaththepainttoshowthrough,creatingtextureonthepaper.Finally,Iappliedthesamecolortotheright-handsideinthesameway.

HOW-TO

1.Applypetroleumjellytoselectedareasofthesurfacewithasmallspongesquare.Cleanthespongewithsoapandwatertoremovethejelly,orthrowitaway.Thejellycanalsobeappliedwithawaddedpapertowel.

TipIcutupspongesfromthepaint,wallpaper,andbathdepartmentsinhomeimprovementstorestocreatesmallspongesquares.

2.Applypetroleumjellytorubberstampsorothershapes,andpressthemontothesurface.Iamworkingon3layersofsilkhabotaiinthisdemonstration,butanyfabricorpapercanbeused.

Note:Youcanapplypetroleumjellywithyourfingerstoarubberstamporothertexturesifdesired.

3.Spraythesurfacewithwaterandapplycolorwithalargeflatbrush,apipette,aspongesquare,oraneyedropper.Thepetroleumjellywillresistthecolor.

4.Makeaprintbyplacingadamppieceoffabricorapieceofcardstockonthewetpaint.Theresultingprintcanbeusedforothercreativeprojects.

5.Whenthepaintisdried,wipeorblotthepetroleumjellytoremovebeforeironing.

Finished,dried,andironed(withprints)

Water-SolubleWaxResistThewater-solublewaxresisttechniqueusesaliquidwax.Paintingoverwaxthathasbeenappliedinpatternscreatesdiversesurfacesbecausethepaintisresistedbythewaxedareas.Thewaxcanbeappliedseveraltimestoasurface.Youcanapplywaxtopatternedpaperorfabric,ortoanyabsorbentsurface.

Washwaxoutofbrushesandtoolswithsoapandwaterassoonasyouarefinished.SeeResources(page143)forasourceforthewax.

Waxresistwasappliedwithabrushtowhitecotton.Whilethewaxwaswet,thehardendofabrushwasusedtomakelinesinit.Layersofacrylicwashes(page35)wereappliedtothedriedwax.

HOW-TO

1.Applywaxtothechosensurface.

2.Scratchpatternsintothewaxifdesired.

3.Afterthewaxisdry,spraythesurfacewithwaterandapplyliquidpaint.

4.Whenthepaintisdry,placethepiecebetweendelipapersorcopypapersandpresswithahotirontoremovethewax.

Thispiecewasdoneonwhitefabric.Waxpatternswereappliedwithabrushandlinesweredrawnintothewetwaxwiththehardendofthebrush.Manylayersofdifferentcolorswereappliedwithdilutedacrylicwashes(page35).

Allthesamplesonthispagewerecreatedwithmultiplelayersofrubbingsandpaintwashes.Iletthefabricdryandironedthepiecestoremovethewax,andthenrepeatedtheprocessnumeroustimestobuilduparichsurface.

WhiteCandleRubbingResistItisalotoffuntomakerubbingsforresistsusingawhitecandle.Manydifferenttexturescanbecreatedbyusingdifferentitemssuchasplasticneedlepointcanvas,commercialrubbingplates,metalorplasticgridsofvarioussizes,orotherstifftexturedsurfaces.(Rubberstampsaretoosoftforthistechnique.)Createmultiplelayersbyaddingmorerubbingsandpaintwashes.Youcanalsousethistechniqueoverpreviouslypaintedareas.

HOW-TO

1.Placeastiffrubbingplateorotherhard,texturedsurfaceunderthinfabricorpaper.Rubveryhardwiththesideofacandletomakesureyouhaveleftalayerofwaxonthesurface.

2.Wetthefabricandapplythinnedacrylicpaintorinktothesurfacewithabrushorspongesquare.

3.Oncethesurfaceisdry,ironthepiecebetween2piecesofsturdytissuepaperorcopypapertoremovethewax.Repeatasdesired.

Finished,dried,andironedpiece

Textures

MetalTapeMetaltapeaddsasurprisingelementtoartprojects.Ithasanadhesiveonthebackandiseasilycutwithscissors,makingitanexcellentelementforcollage.Tryscoringthemetaltapewithanoldballpointpenorpaintingitwithacrylicpaints.Youcanfinditinhomeimprovementstoresinsmalltolargerolls.

Iappliedametaltapesquareinthemiddleofapieceofsquarecanvasboardandthendrewsymbolsonthetapewithapointedembossingtool.Iappliedlayersofcolortothetape,letthemdry,andthenrubbedbacksomeofthecolorwithapapertowelandrubbingalcohol

(page68).Iaddedcollageelementstothepieceandappliedlayersofacryliccolor(page35)tounifythefinaldesign.

Thispiecewascreatedoncanvasboardwithstripsofmetaltapeappliedtothesurfaceandthenscoredwithathinembossingtool.Layersofacryliccolorwereappliedoverthetapeandsurfacetounifythefinaldesign.

HOW-TO

1.Cutthetapetosize,removethepapercoveringtheadhesive,andplaceitontheselectedareaoftheartwork.

2.Useanoldballpointpenorathinembossingtooltoscorethetape.

3.Applythinlayersofpaintifdesired.

TipYoucanwipebackthepainttorevealthemetalbelowwhileitiswet,oruserubbingalcohol(page68)whenitisdry.

4.Useawaddedpapertoweltospreadthecolor.

5.Spraythepapertowelwithwater,andwipebackandspreadthecolortothebackground.

SpecialTechnique:UsingRubbingAlcoholUsingrubbingalcoholtoremovepaintfromselectedareasisagreatwaytoaddhighlightsanddimension.Thistechniqueworksonacrylicpaintonpaper,notfabric.Italsoworksoninkjetimagesonglossypaperandmetaltape.

Thelightareasonthispiecewererubbedbackwithalcoholtorevealthecolorsbelow.

Thisexampleshowstheeffectsofrubbingalcoholonphotopaperwithblackinkjetink.

HOW-TO

1.Saturateawaddedpapertowelorpieceofsoftfabricwithrubbingalcohol.

2.Rubacrossareaspaintedwithacrylicpaint.Thealcoholwillreveallayersofcolorandtexture.

Beforerubbingwithalcohol

Beforerubbingwithalcohol

Afterrubbingwithalcohol

Afterrubbingwithalcohol

PaintScrapingThisissuchaneasyandeffectivetechniqueforaddingtexturetosurfaces.It’sassimpleasusingtheendofawoodenbrushhandleorascrapingtooltomarkintowetpaintonasurface.Youcanalsousescrapersmadespecificallyforartists.Iusecombs,takeoutknives,andmanyotherhardobjectstoscrapeintowetpaint.Trymakingyourownscraperswithcreditcards.

Thispiececombinesavarietyofcollageelements,includingfabriccordandpaintedpapersandfabric.Thescrapedareasareclearlyvisible.

Thisexampleshowsseverallayersofpaint.Eachlayerwaspaintedandscrapedseparatelywhilewet.

Afterfoldingheavybristolboardtocreatethesebooks(page74),Iappliedpainttobothsides,usingvariousthickandthinacryliclayers.Whilethetoplayerofpaintwaswet,Iscratchedittorevealthelayersandcolorsbelow,repeatingthisprocesstocreateaninteresting

texturedsurface.Ipaintedthepocketinsertsseparately,gluedthemtothematboardtomakethemstandupinthebooks,andplacedtheminthepocketsafterthebookswereconstructed.Finally,Ipaintedthebackofthematboardtocoordinatewiththebooks.

Thispiecewascreatedoncottontwill.Iappliedlayersofcolorusingwet-into-wettechniques(page77)withacrylicwashes(page35).Iscrapedthewetfabrictocreatethelines.

Thispiecewascreatedonlinenfabric.Igluedthemajormaskelementtothesurfaceandthenaddedscrapedgessoareas,rubbingsonthindelipaper,rubbedcollagestrips,charcoallines,andthreecollageelementsonthebottomofthepiece.Thepiecewasraveledontheedges.

Itisdesignedtobehungunframedasawallhanging.

Thispiecewascreatedonlinenfabric.Forthemaincoloredareasatthetop,IgluedsilkcoloredwithInktense(page38)tothelinen.IcollagedprintsmadewithJacquard’sDorland’sWax(page93)oncardstockonthebottomleftandright.ThenIaddedcollagescreatedwithpaintondelipapertoenhancethedesign.Iaddedlayersofacrylicpaintandgesso(page52)tothesurfacetocompletethedesign.

Machinesewnlinesaddverticaltexturetothefinalpiece.

HOW-TO

1.Mixacrylicpaintwithinexpensivehairgeltothickenit.

2.Applythickenedpainttothechosensurface(white,colored,orprepainted)andscrapeintoitwithtoolsofyourchoice,suchasanotchedtrowel,theendofawoodenbrushhandle,takeoutknivesandforks,orevenyourfingers.

3.Addmorethickenedpaintoradditionalcolorsandscrapeagain.

SpecialTechnique:MakingaFoldedBookFoldedstand-upbooksareafabulouswaytoshowcaseyourart.

1.Foldastiffpieceofrectangularpaperonthelongsideabout ofthewayupfromthebottom.Useabonefolderortheflatendofametalknifetocreasethefold.

2.Foldthebookinhalfacrossthemiddle,perpendiculartothefirstfold.

3.Makeaccordionfoldsasdesiredacrossthewidthofthebook.

4.Punchsmallholesonthe2edgesofthebooktoholdthefoldedpartinplace.

5.Insertsmallbradsintheholestoholdthefoldsinplace.Removethebradsbeforepaintingandreinsertwheneverythingisdry.

StencilingwithOilPastelsIdiscoveredthistechniquebyaccidentandreallyloveit.Iusestencilbrushesandoilpastelstoapplycolorthroughbrassandplasticstencils.Thetechniqueiseasyandeffective.Itcanbeusedoverpreviouslypaintedorcollagedworktocreatecomplexeffects.Ihaveavarietyofstencilbrushesthatfiteasilyinsmallstencilopenings.

Forallthreesamples,astencilwasplacedonthechosensurfaceandoilpastelcolorswerebrushedthroughthestencilopeningswithastencilbrush.

HOW-TO

1.Runastencilbrushacrosstheoilpasteltoapplycolortothebrush,peelingbackthepapercoveringfromtheoilpastelifneeded.

2.Placethestencilonthechosensurfaceandapplycolorwiththestencilbrushthroughthestencilopening.

3.Addadditionalcoloranduseadditionalstencilsasneeded.

WetintoWetThiseasytechniqueinvolvesapplyingwetpainttoawetsurface.Itcanbeusedonsurfacesfromfabrictophotopaper.Eachsurfacewillyieldadifferentendresult.

WETINTOWETONFABRICThistechniqueisverydramaticonfabric.Sprayonetothreelayersoffabricwithwaterandstackthelayersontopofeachother.Applypainttothetoplayer,andthepaintwillseepdowntothelowerlayers.Morepaintandwatercanbeappliedtothefabric,makingmorecomplexdesigns.

DilutedacrylicandDye-Na-Flowwashesappliedinlayersoncotton

DilutedacrylicandDye-Na-Flowwashesappliedinlayersonsilk

DilutedacrylicandDye-Na-Flowwashesappliedinlayersoncotton

HOW-TO

1.CreatedilutedcolorsofacrylicpaintinsmallcupsoruseDye-Na-Flowrightfromthebottle.

2.Wet1–3stackedpiecesofcottonorsilk.Useaneyedropper,pipette,brush,orspongetoapplythefirstcolortothewetsurface.

3.Addadditionalcolors.

4.Useaspongetosmooththecolorouttotheedges.

5.Thistechniquewilllikelyleaveexcesspaintonyourworksurface.Makeaprint!

WETINTOWETFORPOLEWRAPPINGAnothereffectivetechniqueistowrapdryfabricaroundaplasticorPVCpipe(fromahomeimprovementstore)andsecureitwithrubberbands.Spraythefabricwithwater.Thenapplycolorwithaneyedropperorpipettesothatthepaintseepsdownthroughthefabric,makingintricatedesigns.Thesizeofthepolewilldeterminethefinishedresult.I’vefoundthatthepolewrappingtechniqueisalotoffuntouseoveralreadypaintedordyedfabricbecauseitincreasesthecomplexityofthefinisheddesign.

FabricwaswrappedaroundaPVCpipe,scrunched,andthenwetwithwater.Differentcolorsofdilutedpaintandinkweredroppedontothefabric.Thefabricwasallowedtodryandthenunwrapped.

HOW-TO

1.Wrapdryfabricaroundaplasticpole,scrunchthefabric,andholditinplacewithrubberbands.

2.Saturatethefabricwithwaterbysprayingitordippingitintoawater-filledcontainer.

3.Applyliquidcolors,likeDye-Na-Flow,withaspongesquare,pipette,oreyedropper.

4.Whenthefabricisdry,unwrapandironit.

WETINTOWETONPHOTOPAPERIlovethistechniquebecausetheresultsaresodramatic.IuseKirklandphotopaperfromCostcobecauseitdoesn’tbuckleandthewet-into-wetpatternsworkwell.Inaddition,youcanprintthewetpaintontoanotherpieceofphotopaper,addmorepaintandwater,andkeepgoing.Trydilutedacrylics,Dye-Na-Flow,inks,dyes,oranyotherthincolorsforthistechnique.

Forthisexample,Isprayedphotopaperwithwaterbeforestartingandappliedcolorwithaneyedroppertothewetsurface.Irepeatedtheprocesstoachieveafascinatingsurface.Thebubbleswereformedbypoolsofwaterandcolor.Whenthepaintdried,thinlinesremainedaroundthebubbles,addinggreatdetails.

Forthisexample,Iappliedcolortowetphotopaperandsprayeditwithwatersothatthecolormovedanddripped.Ididn’tprintthecolorontoanotherpieceofphotopaper,butIaddedadditionalcolorandsprayedagainwithwater.Ialsoaddedoilpastelglazing(page32)to

selectedareas.

TipUsingthewet-into-wettechniqueonphotopaperprovidestheperfectopportunitytomakeaprintusinganotherpieceofphotopaper.Printingwetpainttoanotherslicksurfacegeneratesintriguingridgesandcomplexpaintareas.

Thisexamplewasoneofthosemagicalpiecesthathappenedbyitself.Iproducedabouttwentypiecesforthischapterinoneday,printingsomeandnotprintingothers.ThisonejustworkedfromthemomentIappliedthecolor.Itlookslikeanaerialviewofalandscape.Itwas

madesimplybyapplyingwetcolortowetphotopaper.

Forthisexample,Iappliedcolortowetphotopaperandsprayeditwithwatersothatthecolormovedanddripped.Itookaprintusinganotherpieceofphotopaper,creatingtheinterestingtexture.

HOW-TO

1.Applythinpainttoawetpieceofphotopaper,addingmorewaterifneeded.

2.Movethepaintaroundwithapapertowel.

3.Addcolortofillinthebackground.

TipWhenthepaintisdry,addadditionalcolorasneededwithoilpastelglazing(page32).

WETINTOWETWITHSALTThisisoneoftheeasiesttechniquestodo.Itworkswellonpaperandonfabric.Allyouneedisthinpaint,awetsurface,andsalt.Theinteractionofthepaintandthesaltmakesforatactilesurface.Differentsaltscanbeusedforthistechnique,andeachwillyieldcompletelydifferentresults.Trydifferentsaltsandlabeleachonesothatyouwillknowwhichsaltyouused.Popcornsaltisespeciallyeffective.

HOW-TO

TipWhenworkingwithfabrics,layerseveralpiecesandthepaintwillseepdown,creatingmultiplepieces.

1.Applywetpainttoawetsurface.

2.Sprinklesaltonthewetpaint.

3.Letthepiecesdry,separatethem,andironthemtouseincreativework.

Finished,dried,andironed

Thesepieceswerecreatedbyapplyingcolortowetfabricandsprinklingsaltonthesurfacewhilethepaintwaswet.IusedJacquardSilkSaltalongwithJacquardDye-Na-Flowanddilutedacrylicpaints.

Rubbings

BasicsRubbingshavebeenaroundforcenturies.InGreatBritain,peoplewereverybusyrubbingoldbrassesinchurchesandhistoricalspotsyearsago.Eventually,brassrubbingcentersappearedthroughoutthecountry.

Oneofmyfondestmemoriesisbeingwithmyhusband,Joel,inaverytinychurchinaverytinyvillageinEnglanddoingarubbingofaknightandhislady.Wepaid£2fortheprivilegetoachurchcurate.Therainpouredsteadilyonthetinroofforthetwohoursthatwewerethere.IfonlyIcouldfindthoserubbingsnow.

Rubbingshavetakenacompleteturnfromtheoldbrassrubbings.Peoplearerubbinganythingthathastexture,andwonderfultextureplatesareavailableforrubbing.Rubberstampsarealsoexcellentforrubbing.Infact,anythingwithtexturewillworkasarubbingplate—stencils,needlepointgrids,showermats,sinkmats,texturedplacemats,kitchentools,andsoon.

Youcancreateyourownrubbingplatesbygluingtexturalitemstofoamcoreboard.I’veusedmatchsticks,oldwatchbatteries,smallplasticrings,applicatorsticks,plasticcoffeestirsticks,andanythingelseIfindthatIcangluetothefoamcoreboard.Youwillamassquiteanumberofyourownrubbingplates.Letyourimaginationgowild.Useasturdygluetoadherethepiecestothefoamcore.IuseLiquitexMatteSuperHeavyGeltogluedownthepieces.

MEDIATOUSEInktensewatercolorpencilsorblocksThesepencilsareidealfordoingrubbingsbecausetheydon’thavetobeheatsetintofabric.Theycanbesprayedwithwatertomakethecolorsbleed,givingabeautifuleffecttothefinishedpiece.

PermanentmarkersPermanentmarkerstendtobleedonfabricandarealittletooheavyonpaper,buttherubbingscreatedarepleasing.Usethesideandthetipofthemarkers.Trysprayingrubbingalcoholontherubbingstogetadifferenteffect.

RubbingonthininterfacingIliketheeffectofrubbingoninterfacing.Thesurfaceisabitroughandgivesatotallydifferentlookthanothermaterials.Youcancreatearichsurfacewithrepeatedrubbingsandpaintwashes.

ColoredpencilrubbingsColoredpencilsgivegreatdetailtorubbings.Usethesideofthepenciltogetasmoothrubbing.Ifyouwishtocreatemoretexture,usethepointofthepencilanddoaseriesoflinestocreatetherubbing.Experimentwithdifferentapproaches.Usesoftcoloredpencilsforrubbings.

Twist-UpcrayonsIuseTwist-UpcrayonsfromStaples.Theyareexcellent,andasetof24costsabout$8online.Checkcrayonsbeforepurchasingthemtomakesurethattheycontainalotofpigmentandthattheygoonthesurfacesmoothly.

OilpastelsOilpastelscomeinavarietyofcolorsandintensities.Inexpensiveoilpastelswillusuallywork,buttrythemfirsttoseewhethertheyareflakyorsmooth.Iftheoilpastelisveryflaky,theresultwillnotbesatisfactory.

TipBesuretotryrubbingwithoilpastelsusingstencilbrushes(page75).

ImpressMerubberstampswereplacedunderapieceofblackfabricandrubbedwithoilpastelsandsoftcoloredpencils.Icreatedsomerubbingplatesandmaderubbingsusingthoseplatesaswell.Additionalcolor,usingsoftcoloredpencils,wasappliedtoselectedareasto

boostthefinalcomposition.

LayersofTwist-UpcrayonswereappliedtothinfabricsplacedontoImpressMerubberstamps.Thepiecesweresewntoapieceofcoloredfelt.Additionalcollageelementswereadded,andpaintwasappliedwithabrushtocreatemoredramaticareas.Anembellishment

(createdwithlayersofpapergluedtooneanother)wasaddedtothecollageandhighlightedwithadditionalpaint.

Thincottonswereplacedonplasticrubbingplates,includingaplatewithtinydotsinarepeatpatternonthesurface.Therubbedfabricpiecesweregluedtoanotherpieceoffabric,andwashesofcolorwereappliedtostrengthenthecomposition.Tofinishthepiece,layersof

coloredpencilwereappliedtoselectedareas.

Tocreatetherubbingsinthispiece,Iusedthesideandtipofapermanentmarkeronplasticrubbingplates.Isewedthepiecestogethertoformasmallquilt.ThesidepiecesarefrommycollectionoffinefabricsfromRobertKaufmanFabrics.Tocompletethepiece,Igluedthe

smallhangingtoapieceofcanvasboard.

Tocreatethispieceonnonfusiblethininterfacingfromafabricstore,Irubbedovervariousrubbingplateswithoilpastelsandthenappliedlayersofdilutedacrylicovertherubbings.Iblottedthecolorswhiletheywerewetsothattherubbingswouldshowthrough.Tofinishthe

piece,Iappliedathingoldlineacrossthemiddlewithagoldoilpastel.

Thecentralpieceofthisdesignwascreatedbyrubbingcrayonsacrossrubbingplates.Iusedaplasticknifetoscrapemostofthecrayonfromthesurface,revealingthedesignbelow.ThefinalcompositionhasstripsofdifferentrubbingsusingoilpastelsondelipaperthatIironedontocardstock,transferringandsettingthedesigns.Icollagedthedelipaperrubbingstoeachsideofthecentralpieceandadded

paintedblueclothstripstocompletethedesign.

IcreatedthispiecebyrubbingoverImpressMerubberstampswithTwist-Upcrayonsonthinfabric.Twist-Upcrayonsdonotleavelittleflakesonthesurface,makingthemidealforrubbings.

Thispiececombinesvariouspiecesofdyedsilkgluedtoapieceofillustrationboard.AllofthepieceswererubbedwithTwist-Upcrayonsbeforetheyweregluedtotheboard.

Thispieceincludesvariousrubbingsonfabriccollagedtoapieceofcanvasboard.Iusedcoloredpencilsandsomewashestocoordinatetheverybusycomposition.

Thispiececombinesrubbings,washes,sewingelementswitharunningstitch,andtinyembellishments.

Thispieceincorporatesacollageofrubbingsgluedontoapieceofcanvasboard.Tofinishthepiece,Igluedhorizontallyrubbedstripsandapieceofthinfabricnearthetopofthedesign.

HOW-TO:BASICRUBBINGTECHNIQUE

1.Placetherubbingplateorrubberstampfaceupandcovertheplateorstampwiththinpaperorfabric.

2.Selectthemediumyouwishtorubwith(seeexamples,pages84–90).Gentlyrubacrossthefabricorpapersothatthepatternfromtherubbingplateappears.

Oilpastel

3.Movethefabricorpaperaroundtherubbingplate,creatinglayersofcolorsandpatterns.Feelfreetousedifferentmediawithinasinglerubbing.

Inktensepencil

Twist-Upcrayon

Thispieceiscomposedofstripsofdifferentrubbingsusingoilpastelsondelipaper.Iironedtherubbingsontocardstock,transferringandsettingthedesigns.Ithencollagedthedelipaperrubbingstoapieceofillustrationboardandaddedpaintlayersanddetailstocoordinate

thedesign.

HOW-TO:IRONINGHEAVYOILPASTELRUBBINGSONTOFABRICANDPAPERThistechniqueisgoodforsurfacesthataredifficulttorubontodirectly.

1.Makearubbingonfabric,delipaper,ortissuepaper.Useaveryheavyapplicationofcolor.Ialsosuggestusingdark,vibrantcolors.Iusuallyuseoilpastelsforthistechnique.

2.Placeapieceoffabricorpaperontopoftherubbingandpresswithahotirontotransfertherubbing.Youcanusefabric,butpaperisbetter.

Printmaking

Dorland’sWaxDorland’sWaxisanamazingproduct,availableinartsupplystores.Itwascreatedforusewithfineartwork,butIuseitinseveralways.Dorland’sWaxdoesnotdryout,soitgivestheartistorcrafteralongtimetowork.Addedtopaintandbrushedonasurface,itemulatesthelookofoilpainting.Ialsolovedoingprintmakingwithit—thewaxactsasaresistandallowsmetocreatemultiplelayersandscratchthroughthelayerswithembossingorscrapingtools.Theprintsarewonderfullytextured.Iironthefinishedprintbetweenpiecesofcopypapertosetthewax.Seethenoteonironingbelow.

TipNoteonironing:Teflonironingsheetsplacedontheironingboardtoprotectitareespeciallyhelpfulinironingwaxesandotherresists.Iplacecopypaperoneithersideofthefinishedpiecesandirononthehottestsetting.

Tocreatethesesamples,IappliedDorland’sWaxtowhitesheetsofheavycopypaper.Iscratchedintothewaxwithembossingandscrapingtoolstomakelines.ThenIpainteddilutedacrylicoverthewax,madeaprint,andrepeatedtheprocesstomakefurtherprintsuntil

satisfiedwiththeresults.Iironedthepiecestoheatsetthewax.Additionalacrylicpaintwasaddedtocompletethecomposition.

Tocreatethesesamples,IappliedDorland’sWaxtowhitesheetsofheavycopypaper.Iscratchedintothewaxwithembossingandscrapingtoolstomakelines.ThenIpainteddilutedacrylicoverthewax,madeaprint,andrepeatedtheprocesstomakefurtherprintsuntil

satisfiedwiththeresults.Iironedthepiecestoheatsetthewax.Additionalacrylicpaintwasaddedtocompletethecomposition.

HOW-TO

1.Chooseplainorpaintedpaperforthistechnique(fabricwillworkbutnotaswellaspaper).

2.ApplyDorland’sWaxtotheprintsurfacewithasponge,brush,orpaletteknife.

3.Scratchpatternsortexturesintothewax.

Tocreatethesesamples,IappliedDorland’sWaxtowhitesheetsofheavycopypaper.Iscratchedintothewaxwithembossingandscrapingtoolstomakelines.ThenIpainteddilutedacrylicoverthewax,madeaprint,andrepeatedtheprocesstomakefurtherprintsuntil

satisfiedwiththeresults.Iironedthepiecestoheatsetthewax.Additionalacrylicpaintwasaddedtocompletethecomposition.

4.Brushorspongealayerofpainttheconsistencyofcreamoverthewax.

5.Placepaperorfabricontheprintsurfaceandpresswithyourhands.

6.Liftuptheprint.

7.Repeatthestepsasneeded.

FoamSquaresThistechniqueuses¾″×¾″squarefoamblocksthatIfoundinadollarstore—theyseemedidealformakingprints.Thistechniqueisvery,veryeasyandlotsoffun.

Forthesepieces,Iscoredthetopsofthefoamblockswithaballpointpen(youcanmakedesignsonallthesidesanduseeachdesignasneeded).Simpledesignsarebestbecausethesurfaceissosmall.Imaderepeatprintswiththedesign,turningitdifferentdirectionsand

changingcolors.Addingpaintwashes(page35)unifiedandcreatedsubtletyforthefinalcomposition.

HOW-TO

1.Scorethetopofthesquarewithaballpointpen,embossingtool,orsharpwoodentool.

2.Patpaintonthesquareandprint.

TipIusuallysqueezepaintontoonespongesquareandpatitonanothertospreadthepaintbeforespongingontorubberstamps,foamsquares,orotherprintabletextures.

FunFoamFunfoamwithatackybackisamarvelousproductformanythings,butitisidealforprinting.Youcancreatecomplexdesignsbyscoringintothefoam.Thefoamcanalsobecutintoanyshape.Aftercreatingthedesignandcuttingthefoamintothedesiredshape,peelthebackingfromthefunfoamandapplythepiecetoacanvasboardoranotherstiffsurfaceforprinting.

Funfoamplatethathasbeenusedforprinting.Youcanseehowcomplexthedesignturnedout.Iscoredlinesonthefunfoamafteradheringthepiecestocanvasboard.Iwasabletomanipulatethecut-outfunfoamintocomplexshapes.

Forthesepieces,Iplacedcardstockontopofthefunfoamplatecoveredwithpaintandusedabrayerandmyhandstocreatetheprint.Imademultiple,overlappingprintstomakecomplexdesigns.Addingsoftcoloredpencildetailsinselectedareasmadetheprintsmore

dramatic.

Thispiecewascreatedoncottonfabricwithlayersofacrylicwashes(page35)paintedonthefabric.Funfoamprintswererepeatedacrossthefabric,andtofinishthepiece,additionalpaintdetailswereaddedwithadetailbrush.Coloredpencillayersenhancedthefinal

composition.

Acardstockbackgroundwaspaintedwithaneutralcolorofacrylicpaint.Multipleprintswereappliedinoverlappingpatternstothesurface,resultinginacomplexpattern.

HOW-TO

1.Cutandgluepiecesoffunfoamtoacanvasboard.Drawlinesonthefunfoamwithaball-pointpenorsharpwoodentool.

2.Spongecolorontothedesignandprintwithitontheselectedsurface.Repeatasdesired,buildinguplayersofcolorandpatterns.

3.Addwashesofcolor(page35)tounifythedesign.

TipMistingtheprintplatecanprovidebetterprintedimages.

GelliPlatesIlearnedhowtousegelatintomakeprintedimagesfromRaynaGillman’sbookCreateYourOwnHand-PrintedCloth.IwassoobsessedwiththetechniquethatIhardlyateorsleptforaboutaweek.(Myhusband,Joel,wasgoneforthatperiodoftime.)NowthereisagreatproductonthemarketcalledGelliPlatethatispermanentandreusable(seeResources,page143).UsingGelliPlatesisthesameasmakingmonoprints(page103)andisveryeasy.

Thesepieceswerecreatedonprepaintedfabric.IpattedpaintontotheGelliPlateandpressedastencilintothepaint.IprintedfromtheGelliPlateandalsoprintedthestencil,changedcolors,andrepeatedtheprocess,creatingthecomplexdesigns.

Important!DonotusephotopaperwiththeGelliPlate.Photopaperstickstotheplateandwon’tcomeoff.Onlyuseothertypesofpaperorfabricforthistechnique.ThefirstprintIdidwiththeGelliPlatewasonKirklandphotopaper;ittookmeanhourtopeelthepaperfromtheplate,anditleftlittlepitsinthesurface.

HOW-TO

1.ApplypainttotheGelliPlate.(Iuseaspongesquaretoapplythepainttothesurface.Smoothspongesworkbest.)

2.Placeastencil,rubberstamp,leaves,sequinwaste,oranyothertexturedpatternonthewetsurface.Press.

3.Removethetextureditem,andplacefabricorpaperontothepainted,texturedGelliPlate;pressfirmlywithyourfingersonthebackofthesurface.Besuretopressoneverypartofthesurfacesothattheentiredesignprints.

4.PulltheprintandrepeatSteps1–3,usingdifferentcolorsandtexturesifdesired.

TipAfterusinganitemtocreatetextureontheGelliPlate,giveitamistwithwateranduseitasastamptomakeanotherprint.

MonoprintsMonoprintdesignscanbesimpleorverycomplex.Monoprintsareeasytomake,andthetechniquehasbeenaroundforhundredsofyears.Theprocessinvolvesapplyingpainttoaslicksurfacesuchasfreezerpaper,glass,orsmoothplasticandthenmakingaprintfromthewetpaint.ThisisthesameprocessusedwithGelliPlates(page101).Iaddinexpensivehairgeltothepainttolubricateitandmakeitslickforprinting.Youcancreateprintsontopofprintstoaddasmuchcomplexityasyoulike.

Usingaplasticprintplate,Iaddedhairgeltopaint,appliedittothesurface,andscratchedintothewetsurfacewithascrapingtooltomakethedesign.Imadetheprintonfabricandthenfinishedthepiecewithwashesofcolor(page35)aroundtheprint.

Forthispiece,Ispongedcolorplushairgelonapieceoffreezerpaperandlaidapieceofphotopaperontopofthepaint.Iflippedtheprintsothatthefreezerpaperwasontopandrubbedthebackvigorouslywithmyfingerstomaketheprint.WhenIremovedthefreezer

paper,littleridgesofcolorwerecreatedonthesurface.

Iappliedhairgeltoapieceoffreezerpaperwithspongesquaresandarubberstamp.Isprayedthesurfacewithwaterwhilethehairgelwaswetandappliedthincoloredwashestothesurfacewithaneyedropper.Whilethepaintandhairgelwaswet,Imadeaprintwith

habotaisilk.Coloredwasheswereaddedtounifythedesign.

HOW-TO

1.Applypainttoaslicksurfacesuchasfreezerpaper,glass,orplastic.Youcanuseabrushorsponge.

2.Pressobjectsontothewetsurfaceandpullthemoffimmediately,oruseablunt-endedtooltoscorethepaintedsurface.

3.Pressapieceoffabricorpaperontothepaintedsurfaceanduseabrayeroryourhandstotransferthepainttothefabricorpaper.

4.Removethepaperorfabrictorevealthedesign(seetheprintontherightsideofthephotograph).

5.Repeatasdesiredtobuildupacomplexdesign.

6.Scrapewetpaintwithacreditcard.

7.Placethedesignonthefabricandrubthebackoffreezerpaper.

8.Revealthedesign.

InktenseMonoprintsI’vetriedusingInktenseproductsinasmanywaysaspossible.IdiscoveredthatInktenseiseasytouseformonoprinting,andyoucanoverlapprintsforamorecomplexsurface.

Forthissample,IdrewaseriesofdesignsusingInktensepencilsonamonoprintplate(page103).Isprayedthedesignwithwater,placedfabricontopofthewetdesign,andpressedwithmyfingersonthebackofthefabrictomakeaprint.Irepeatedtheprocesstomakea

morecomplexdesign.Tocreatesolidcolors,IsprayedthefabricwithwaterandpaintedwashesusingInktenseblocks.

TipTomakeamonoprintplate,IboughtathinpieceofplasticandhaditsandblastedtocreatearoughenedsurfacethatwouldaccepttheInktensepencils.

Forthissample,Ireusedtheplatefromthepieceatleft.Isprayedthedesignwithwaterandmadetwoprintsoncardstock.WhenmonoprintingwithInktenseandwater,alwayscheckafteryoupullyourfirstprint—youmaybeabletogetmoreprints!

HOW-TO

1.Drawadesignonapieceofwhitefabric,cardstock,oramonoprintplate(page103).

2.Spraythedesignwithwaterandplaceapieceoffabricorpaperontop.

3.Rubtotransferthedesign.

4.Removetheprint.

RubberBandsIhavebeenusingthistechniqueforawhile,butIhavegonefurtherwithitrecently,makingmorecomplexprintsandusingdifferentsizesofrubberbands.Thisisanotherveryeasyandfuntechnique.Useitonplainfabricorpaper,orforadifferentandmorecomplexlook,useitonalreadypaintedsurfacesorcommercialfabricsorpapers.

Thispieceisafabriccollageofvariousimagesfromrubberbandsandrubberstamps.Iusedraw-edgeappliquétoincludelayersandlayersofprinteddesignsinthefinalpiece.

ForthisprintIusedverywiderubberbandsonblackfabric.Togettherepeatofthechevrondesignatthecenterbottomoftheprint,Iblockedthelowerareaofthedesignwithcopypaper.Iprintedthetopoftherubberbandplateandthencovereditwithpaper,made

anotherprint,andsoontomaketherepeatpattern.Therestofthedesignwasstraightprintingwiththerubberbandplate.

Theseprintsstartedwithwhitefabric.Ipattedpaintontotherubberbandprintplateandmadetheprints.Whiletheprintswerewet,IflippedthemoverandspongedDye-Na-Flowonthebacksofthepieces.TheDye-Na-Flowbledontoanyopenareasofthefabric,making

avibrantfinaldesign.

Thisdesignwasmadebydoingarubberbandprintonapreviouslypaintedpieceoffabric.Iaddedpaintwashestomakeamoredramaticfinaldesign.

HOW-TO

1.Cutapieceofstiffcardboardtothedesiredsize.

Note:Ialsousesmallcanvasandfoamcoreboardsforrubberbandprinting.

2.Stretchindividualrubberbandsindifferentdirectionsonthestiffboarduntilyouaresatisfiedwiththepattern.Youcanoverlaptherubberbandswhencreatingtheeffectyouwant.

3.Patpaintwithaspongeontotherubberbandprintplate.

4.Ifyouareusingfabric,placeitontopofthepaintedrubberbandsandpresswithyourfingersontherubberbandsandthespacesinbetweenthem.Ifyouareusingpaper,onlytherubberbandswillprint.Itishardtopressstiffpaperintothespacesbetweentherubberbands.Youcanusesofterpaper,suchasricepaper,anditwillactlikefabric.

5.LiftoffthepaperorfabricandrepeatSteps3and4asdesired,changingcolorsorthepatternsoftherubberbands.

RubberStampsIn1996myhusbandandIstartedarubberstampcompanycalledImpressMe.Fromthebeginning,peopleseemedtoliketheunusualstampimagesthatIdrewbyhand.InApril2010wediscontinuedouroldstampsandnowmakeonlyunmountedstampsthatareapproximately8″×10″.Thesestampscanbeusedforrubbings,stamping,andallformsofprinting.Thesamplesinthissectionweremadewithournewstampsandshowthepossibilitiesofusingrubberstampsinyourdesigns.NotethatIhaveuseddifferentsurfacesforthetechniquesshown.

ThispiecewascreatedonKirklandphotopaper.Iprintedtherubberstampimagesonthepaperwithacrylicpaintandthenusedacrylicwashes(page35)tocompletethedesign.

Imadeaseriesofprintsonwhitefabricbypattingwhiteacrylicpaintontoastampsetandprintingthedesigns.Iaddedpaintwashes(page35)overtheprintstostrengthenthedesigns.

Thispiecewascreatedonpiecesofprepaintedfabric.Ipattedacrylicpaintcolorononesectionofthestamp,appliedadifferentcolorbesideit,andrepeatedtheprocessacrossthestamp.Ilightlymistedtheacrylicpaintandthenplacedthepaintedfabricontopofthe

stamp.Irubbedvigorouslywithmyfingersonthebackofthefabric.

Thisprintwasmadeoninterfacingwithacrylicpaint.Afterthepaintdried,Iappliedwashesofdilutedacrylictothedesign.

Tips·Iaddinexpensivehairgeltomyacrylicpaint(about60%gel,40%paint)tomakeitslicksothatitprintswell.Italsohelpsthepaintwashofftherubberstampeasily.

·Aftercreatingtherubber-stampedimage,washtherubberstampimmediatelywitharotarytoothbrushandwater.

·Ifpaintdriesontherubberstamp,userubbingalcoholandastiffbrushtocleanit.

Thispieceisacollageofvariousrubberstampprints.Isewedthepiecestofeltandthensewedlayersofrubber-stampedimagestothesurface.Irepeatedthreesmallorangerectanglesontheleftsideofthedesigntomakeastrongercomposition.

Thisfoldedbook(page74)showsrubberstampingtointensifythefinishedresults.Icollagedlayersonthebookelementsandstrengthenedtherubber-stampedimageswithcoloredpencils.Imadetheflagsoutoffabriccord(page16).Theright-handflaghaspainted

fabricstripstiedtoit.Thestiffpiecesofcardboardfeaturestamping,layersofpaint,andcoloredpencil.

HOW-TO

1.Placetherubberstampfaceupandpatpaintonitwithaspongesquare.

2.Placefabricorpaperontopoftherubberstampandpressfirmlywithyourfingersorabrayertomaketheprint.

3.Liftupthepaperorfabrictorevealtheprint.

4.Afteryou’vemadeaprint,sprayingamistofwaterontheremainingpaintonthestampmayallowyoutomakeanother,lighterprintortwo.

5.Repeatasdesiredwithmultipleimagesofthesamestamp,orwithdifferentstampsanddifferentcolors.Addwashesofcolor(page35)tounifythedesign.

TipYoucanalsoprintoncommercialorprepaintedsurfaces,creatingmorecomplexdesigns.

Paint+HairGelStampedonPhotoPaperThistechniqueisespeciallyeffectiveonphotopaper.IuseKirklandphotopaperformanyofmyprojects.Itisanexcellentsurfaceforcollagebecauseitdoesn’tbuckleanditacceptspaintandothermedia.Itcomesindifferentsizesatthestore,butIusethe8½″×11″size.Itisavailableonlineaswell,in11″×14″and16″×20″sheets,fromwww.costco.com.

Imixedacrylicpaintina50/50mixturewithinexpensivehairgelandpattedvariouscolormixturesontothephotopaper.Ipresseddifferentstamppatternsintothewetpaintandaddedpaintglazesoverthedesigns.Irepeatedtheprocess,producingcomplexfinished

compositions.

HOW-TO

1.Spongepaintcombinedwithhairgelontophotopaper.

2.Pressarubberstampintothewetpaintandremove.

TipMixthehairgelandpaintinanapproximately40%paint/60%hairgelratio.Usemorehairgelwithverythickpaint.Asyouusethehairgelandpaintcombination,youwilldiscoverthebestratioofpaintandhairgelforyourcreativepieces.

3.Repeatasneededtocompletethedesign.

TipForadifferentlook,usedifferentcolorsofpaintwithonestamp.

SilkscreensIlovetosilkscreenbecauseitdoesn’thavetobecomplicated.Thischapterincludesusingwhiteglueandmaskingtapeasresistsonthebackofablanksilkscreen.

Thisisthefirstprintofglueonthebackofasilkscreen.

Thesefourprintsshowthegluebreakingdown.Onthelastprint,Iaddedcoloredpenciltoenhancethedesign.

HOW-TO:USINGGLUEONTHESILKSCREEN

1.Applywater-solubleglue,suchasElmer’sSchoolGlue,tothebackofablanksilkscreenandletitdrythoroughly.

2.Mixacrylicpaintwithhairgelina60%gel,40%paintcombination.

3.Placeapieceofpaperorfabricontheworksurfaceunderthesilkscreen.

4.Placepaint/gelatthetopofthescreenanduseacreditcard,squeegee,orplasticscrapertoscrapethecolorthroughthescreenontothepaperorfabric.Usefirmpressureandscrapethepaintata45°angle.

5.Carefullyliftthescreentoseetheresult.

6.RepeatSteps2–5asdesiredusingadifferentcolorofpaint.Thegluewillstarttodecomposeasyoudosuccessivescreenings,whichinitselfcanproduceinterestingeffects.

TipIfthereistoomuchpaintonyourscreenedimage,makeaprint!

Asanextrabonus,youalsocanmakeaprintoffthebackofthesilkscreen.Ifyouaren’tgettingmuchofanimage—ortogetanadditionalprint—trymistingthesilkscreenwithalittlewater.

Createdwithmaskingtapeonthebackofasilkscreen

HOW-TO:USINGTAPEONTHESILKSCREENPlacingtapeonthebackofasilkscreenisoneoftheeasiestwaystocreatestrikingimages.

1.Placepiecesoftapeonthebackofablanksilkscreen.

2.FollowSteps2–5forUsingGlueontheSilkscreen(page117).

3.Removethepiecesoftapefromthesilkscreenandprintthemontoapieceoffabric.

4.Placeapieceoffabricorpaperonthesilkscreenandtakeaprintfromthepaintremainingonthescreen.

Makingaprintfrommaskingtaperesistonfabric

Thisexamplewascreatedwithtapeonasilk-screen.Itisonfabricandhasoilpastelglazing(page32)overImpressMerubberstampsthroughoutthedesign.

ThermofaxThermofaxprintingtechniqueshavesweptthecraftandartworld.SomeonediscoveredthattheoldThermofaxmachines(typicallyusedinschoolsmorethan25yearsago)couldbeusedtocreateamazingprints.ThelateJeanRayLaurywasthefirsttointroducemetoThermofaxscreenprinting.Shecreatedwonderfulprintsthatsheusedinherquilts.

Ifyouarelucky,youmightfindanoldThermofaxmachineinacupboardofaschoolstoragefacility.

Thatiswhathappenedtome.ItaughtatPalisadesHighSchoolinPacificPalisades,California,for27yearsandtookachancethattheymightstillhavetheoldThermofaxmachinethatthefacultyusedforhandoutsforthestudents.Theydidhaveitandgaveittome.Iamabletomakescreenstouseformycreativeprojects.

Unlikewithsilkscreens(pages116–120),whereyoucancreatearesistonthescreenwithglueandtape,theThermofaxscreenneedstheThermofaxmachinetocreateanimage.Youcreateyourdesignonplainpaperwithacarbon-basedimplement(suchassoftpencils,blackcrayons,orsomeIndiainks)orsimplyphotocopyyourdesign(thetonerinthephotocopyiscarbonbased).ThecarbontellstheThermofaxmachine(athermalcopier)wheretocreateheat,meltingthescreen’splasticinthoseareastocreateyourimage.

Thissampleisonfabric.Awashofvioletwasappliedtotheentirepiece.ThensuccessivelayersofThermofaxprintingwereappliedinvariouscolorsoverthedriedvioletpaintonthefabric.ThewhitewasappliedbothoverandundertheotherThermofaxprints.

WelshProducts(seeResources,page143)hasthescreenmaterialandthemachines.Ifyoudon’thaveamachineordon’twanttoincurtheexpenseofbuyingone,youcansearchtheInternetforsomeonetocreateyourdesignonascreen.YoucanalsobuyThermofaxscreenswiththedesignsalreadycreatedonline.

MeinkeToyisanothersource.ThecompanyhasscreensabitheavierthanThermofaxscreens,andyoucanbuysomeofmydesignsonscreensthere.

ProvoCrafthasamachinecalledYudu(seeResources,page143).ThecompanyalsosellsblankscreensonwhichyoucancreateyourownThermofaxdesigns.

Thermofaxscreenscanbeusedaloneorunderablanksilkscreen.Thermofaxscreensareflexible.TheframeofthesilkscreenhelpsholdtheThermofaxscreeninplace.

Note:AlwayscleanyoursilkscreensandThermofaxscreensimmediatelyafterusingthem.Driedpaintisdifficultandsometimesimpossibletoremove.

ThisisaThermofaxdesignprintedontoapieceofcopypaper.Additionalcolorwasaddedwithpaintwashesandcoloredpencil.Afewareashaveoilpasteltomakethecolormorevibrant.

AllofthesesampleswerecreatedbycombiningprintsmadedirectlywiththeThermofaxscreenandalsobyputtingthescreensunderasilk-screen.Eachpiecewasfinishedbyaddingpaintwashes.Somecoloredpencilwasaddedtoenrichthefinalcomposition.

Thisisalargepiecedoneonbristolboard.Itincludesspongedcolorwashes,coloredpencil,andavarietyofThermofaxprintsaddedtocreateamorecomplexfinishedpiece.SomeoftheThermofaxprintsweresubduedwithacrylicwashes.

Thissamplewascreatedonalargepieceofbristolboard.Thebasicpaintingwascreatedwithlayersofcolorappliedwithasponge.Acrylicwasheswereappliedtosubduesomeoftheareas.AreasofThermofaxprintingwereaddedoverthepaintedareas.Someofthose

printsweresubduedwithadditionalacrylicwashes.Someofthewetpaintwasscratchedwiththehardendofabrush.

HOWTO:USINGATHERMOFAXSCREEN

1.Prepareyourscreenorpurchaseapreparedscreen.

2.PlacethepreparedThermofaxscreen,texturedsideup,ontopofyourfabricorpaper.

3.Preparepainttotheconsistencyofthickcream,thinningthepaintwithhairgelifneeded.

4.Useaspoontoputsomepaintonthescreenanduseanoldcreditcardorpaintscrapertopullthepaintthroughtheopenareasofthescreen,asyouwouldforsilkscreening(page116)

5.Repeatasneeded.

Note:Youmustcleanthescreenimmediatelyafteruseorthepaintwilldryinthescreenandyouwon’tbeabletouseitagainandagain.Ikeepalargeflattraywithwaterinitnexttomyprintingareaandimmediatelyplacethescreenwithinkinthetray.Ialsousethehairgel/acrylicpaintcombinationwhenmakingThermofaxprints.

UsingInktensePencilsDrawovertheopenareasonthescreenwithInktensepencils.UseinexpensivehairgeltoscrapethroughthescreenwhereyouhaveappliedInktensecoloronpaperorfabric.Yougetawonderfulprint.

Note:YoucanalsouseadampspongetopushtheInktensecolorthroughtheThermofaxscreen.

HOW-TO:USINGATHERMOFAXUNDERTHESILKSCREENNote:YoumusthavetheThermofaxscreenbeforestartingthisprocess.

1.PlaceapieceoffabricorpaperonyourworksurfaceandthenplaceaThermofaxscreenontopofthefabricorpaper,underablanksilkscreen.

2.FollowSteps2–5forUsingGlueontheSilkscreen(page117).

TipYoucansqueegeepaintthroughaThermofaxscreendirectly,butthesilkscreenkeepstheThermofaxscreenfirmlyinplace,allowingforlargerprintsandmorecontrolofthepaintasitissqueegeedontothechosensurface.

Forthesesamples,IplacedaThermofaxscreenunderasilkscreen.Imixedacrylicpaintandinexpensivehairgelina50/50mixture.IsqueegeedvariouscolorsofpaintandhairgelthroughthesilkscreenwithpressureheavyenoughtoforcethepaintthroughthesilkscreenandtheThermofaxscreen.Iaddedpaintwashesanddetailstoeachsample.Ialsousedcoloredpencilsoverselectedareastoenhancethe

design.

StyrofoamPlatesThisisanothertechniqueIhaveusedbefore,butthistimeIhavereallypushedthepossibilities.YoucouldcreateusingjustStyrofoamprintsfortherestofyourtimeasanartistandnotrepeatyourself:Changethedesigns,overprintpreviousprints,trynewcolors,createfabricpaper(page10),collagepiecestocanvas,andthinkofmoreandmorewaystousetheprints.

ThesesamplesweremadeusingmyRobertKaufmanfabric.IusedopaquepaintontheStyrofoamprintplateandprintedontothefabric.Ichangedcolorsandrepeatedtheprocess.Theendresultwasaverycomplexpieceoffabric.

Thisprintdesignwascreatedonalreadypaintedsilk.ThebackgroundcolorsofthesilkshowthroughtheprintsmadewithJacquard’sLumieregoldpaint.

Forthistechnique,useStyrofoamplates,meattrays,orcups.TryheavyStyrofoamandlightweightStyrofoam.EachtypeofStyrofoamhasitsownqualities.Experimentandseewhichproducestheprintyoulikebest.Ilovethistechniquebecauseitissoeasyandeveryonecan

producebeautifulresults.

ThisisanexampleofathinStyrofoamprintplatewiththecoloronit.Itcouldbeanembellishmentforaproject.Anotherpossibilityistoframeitwithapaintedorprintedbackgroundinashadowboxforacontemporarylook.

Forthissample,Ipattedopaquepaintontotheprintplateandmadetwoseparateprintsonblackfabric.Ioverlappedtheprintstomakeamorecomplexfinishedprint.

Thispiecewasproducedonblackpaper.Iprintedthreedifferentprintplatesusingopaquepaint.Itrimmedtheprintsandgluedthemtoastiffpieceofcardstocktocreatethefinisheddesign.

HOW-TO

1.CutapieceofStyrofoamtothedesiredsize.Trytriangles;long,skinnypieces;circles;squares;rectangles;andoddshapes.Trycuttingoutinsectoranimalshapes.Cutholeswithacraftknife.Beexperimental.

2.DrawadesignwithaballpointpenontheStyrofoam.

TipAnotherwaytoworkistogluemultiplesmallpiecesofStyrofoamtosmallcanvasboardsformorepermanentplates.

3.PatpaintontotheStyrofoamwithaspongesquare.

4.Placeapieceoffabricorpaperonthepainteddesign.Pressfirmlywithyourfingersonthebackofthepaperorfabric,oruseabrayer.

5.Removethefabricorpaper.

6.RepeatSteps1–5asdesired,repeatingthedesign,changingcolors,orusingdifferentdesigns.Youcanalsomistthepiecewithwaterandaddacolorwashtounifythedesign.

Finished,dried,andironed

TipTrythistechniqueusingInktensepencils(page38).ApplythecolortotheStyrofoam,mistwithwater,andprint.Thecolorswillbebeautifullyvibrant.

WallboardGridTapeInhomeimprovementstoresyoucanpurchaserollsofverythinadhesive-backedplasticgridusedforsecuringwallboard.ThegridIusedwasyellow,butwhenteachinginAustraliaIfoundthatthegridswerewhite.Thegridcanbeeasilycutintopiecesandappliedtoasturdycardboardsurface,creatingaprintplate.Createdepthbymakingsuccessivelayersofgridprints.

Ipattedacrylicpaintontoagridprintplateandprintedonalreadypaintedcardstock.Imadeadditionalprintswithothercolors.

Ipattedacrylicpaintontoagridprintplateandprintedonblackfabric.Imadeaseriesofprints,overlappingthemandusingdifferentcolors.

HOW-TO

1.Applythegridtoasturdycardboardsurface,creatingaprintplate.

2.Useaspongetopatpaintontothegridprintplate.

3.Maketheprintbyturningtheplateontothechosensurface,orplacethesurfaceontopofthegridanduseabrayeroryourfingerstomaketheprint.

4.Repeatasdesiredtobuildupcolorandtexture.

TipMistthegridplatewithwatertomakeadditionalprints.

PuttingItAllTogetherPeopleoftenaskmehowIwork.

Thefollowingtwopagesaredesignedtogiveyouaquicklookatmakingapiecefromstarttofinish.Inrealitytherearemorestepsinbetween—tryingoutdifferentideas(asking“whatif?”),addingandtakingawayorpaintingoverthingsthataren’tworking(workinginlayers),andofcourse,makingaprintwhenthereistoomuchpaintonthesurface.

Togiveyouevenmoreideas,pages134–142offeragalleryoffinishedpieceswithnotesthatindicatethetechniquesusedsoyoucanreferbacktothosesectionsinthebookandreadabouteachspecifictechnique.

FOLLOWTHESESTEPS:

Gluedownpaintedpaper

Addcheesecloth

Paintcheesecloth

Takeaprint

Addmodelingpastedots

Addapurplewash

AddpaintedLutradur

Addacoatingofmattemedium

Addpaintedpaper

Scrapewithbrushhandle

Addgesso

Addpaintdetails

Paintoverbluewithpurple

Wipetoblend

Paintwithblueandgesso

Tonedownwithwater

Adddetailswithabrush

Addbluepaintandgesso

Addwhite

Darkenblue

Addfabriccord

Done!

12″×14″Thispieceincludesthefollowingtechniques:

1 Moldingpasteresist(page57)

2 Corrugatedcardboardcollage

3 Stringthatwasgluedandpainted

4 Gesso(page52)

5 Paintwashes(page35)

14″×14″Thispieceincludesthefollowingtechniques:

1 Texturalcollagewithgesso(page52)

2 Apaintedtwig

3 Washesofacryliccolor(page35)

4 Paintedacrylicdetails

11″×14″

Thispieceincludesthefollowingtechniques:

1 Collageofrubber-stampedimages(page111)frommyImpressMerubberstampcatalog

2 Gessolayers(page52)

3 Linesscratchedintothewetsurface

4 Glazesofacryliccolor(page35)acrosswholepiece

18″×24″Thispieceincludesthefollowingtechniques:

1 PaintedLutradurcollage(page22)

2 Rubberstamping(page111)

3 Glazingtechniques(page35)acrosswholepiece

4 Gessowashes(page52)

5 Gluedtexturalpieces

11″×14″Thispieceincludesthefollowingtechniques:

1 Wet-into-wettechniques(page77)acrosswholebackground

2 Water-solublemarkerwashes(page41)acrosswholebackgroundandstripes

3 Ribbonappliqué

4 Scratchedlines(page70)

5 Rubbingtechniques(page84)

11″×14″Thispieceincludesthefollowingtechniques:

1 Digitalimagecollages

2 Gessowashes(page52)

3 Paintedgessowithlinescreatedinthewetpaintwiththehardendofthebrush

4 Acrylicglazes(page35)

9″×12″Thispieceincludesthefollowingtechniques:

1 Stencilingthroughsequinwaste(page75)

2 Collageofstripsoffabric

3 Rubberstamping(page111)

4 Texturedyarn

5 Glazesofacryliccolor(page35)acrosswholepiece

6 Stenciling(butterfly)(page75)

9″×12″Thispieceincludesthefollowingtechniques:

1 Texturedpapercollage

2 Texturedmetal(page65)

3 Plasticgrid

4 Layersofglazing(page35)acrosswholepiece

5 Thickandthinacrylicwashes(page35)acrosswholepiece

Thispieceincludessevenseparatepaintingsstapledtogethertocreatethefinishedwhole.Thestaplesarecoveredwithpaintedstrips.

12″×16″Thispieceincludesthefollowingtechniques:

1 Thermofaxprinting(page121)

2 Scratchingintowetpaint(page70)

3 Paintglazing(page35)acrosswholepiece

4 Coloredpencilmarks(page38)

5 Crayonresist(page43)

6 Oilpastelglazing(page32)

ResourcesMostofthesuppliesusedinthisbookareavailablefromanartsupplystore,ahardwarestore,oranofficesupplystore,orarethingsthatyouarelikelytohavearoundthehouse.

PAINTSANDARTSUPPLIESImpressMeRubberStamps(818)788-6730www.impressmenow.com

BrassStencilswww.dreamweaverstencils.com

FaberCastell:ColoredPencils,Chalk,WatercolorMarkers,andOilPastelsArtsupplyandcraftstores

GelliPlateswww.gelliarts.com

JacquardProducts:FabricPaint,Dye-Na-flow,Cotton,Silk,InkjetFabric,PearlEx,Silkscreens,SilkscreenInk,Dorland’sWaxArtsupplyandcraftstores

Lutradur,TAP,InktenseC&Tpublishingwww.ctpub.com

LiquitexProducts:MoldingPaste,SoftBodyAcrylics,Gesso,AcrylicMediaArtsupplyandcraftstores

SpecialtyFiberArtSuppliesandSilkscreens

SherrillKahnsilkscreens,wax,printabletissue,brassstencils,yarns,pipettes,fusibles,threads,paint,unusualfabrics,needlefeltingsupplies,cheesecloth,andothercreativeproducts

MeinkeToywww.meinketoy.com

StaplesTwist-UpCrayonsStaplesofficesupplystoreswww.staples.com

TexturedandDecorativePaperUsedinCollagesBlackInkCreativeInternationalPaperswww.gpcpapers.com

ThermofaxMachinesandScreens

www.welshproducts.com

FABRICPlainandCommercialFabricsandSherrillKahn’sFabricLinesRobertKaufmanFabricswww.robertkaufman.com

SherrillKahnfabricsarealsoavailableatwww.equilter.com

MISCELLANEOUSSUPPLIESFunFoamHobbyandcraftstores

MetalTapeandWallboardGridTapeHomeimprovementandhardwarestores

Ifyoulovequilting,sewing,fiberarts&more-joinouremaillistforupdates,specialoffersanddiscounts,authornews,andthelatestlinkstogreatfreebiesandgiveaways!(Don’tworry,wewon’tshareyourinfowithanyone.)http://www.ctpub.com/client/client_pages/newsletterB2C.cfm

AbouttheAuthor

SherrillKahnwasapublicschoolteacherfortheLosAngelesUnifiedSchoolDistrictfor30years,including27yearsatPalisadesHighSchool,teachingdrawing,painting,fiberart,anddesign.Sinceretiring,shehasbecomeaninternationallyknownmixed-mediaartist,teachinghercolorfultechniquesthroughouttheUnitedStatesandCanada,andalsoinAustralia,England,India,Switzerland,andGermany.

Sherrillhaswritten7booksandmorethan50magazinearticlesfeaturingherever-expandingrangeofexpressivetechniques.ShehasbeenonTheCarolDuvallShowtwiceandhascreatedaDVDfeaturingherarttechniques.

Herarthasbeenusedinmanyproducts,includingsixlinesoffabricsfromRobertKaufmanFabrics;RollagraphstampsfromClearsnap;andmanyrubberstampsfromhercompany,ImpressMe.

Sherrilllovestosharehertechniqueswithothersandlivesbythewords“whatif.”

Textcopyright©2013bySherrillKahn

PhotographyandArtworkcopyright©2013byC&TPublishing,Inc.

PUBLISHER:AmyMarson

CREATIVEDIRECTOR:GailenRunge

ARTDIRECTOR:KristyZacharias

EDITOR:LynnKoolish

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PHOTOGRAPHYbyCaraPardo,ChristinaCarty-Francis,andDianePedersenofC&TPublishing,Inc.,unlessotherwisenoted

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Mixed-MediaMasterClasswithSherrillKahnDownload

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ISBN978-1-60705424-5

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PatternNote:Thisdigitalfilecontainspatternsthatmaynotprinttruetosizeandmayrequiresizingadjustments(inchmarksareincludedonpatternsforreference).Dependingonyourviewingapplicationordevice,printingdesiredpagemayresultinmultipleprintedpages.

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