Saturday, October 30, 2010
She uses glue for CARPETS on a blank canvas
She then uses a piece of paper to make effects in the glue
Then added the blue ball with more carpet glue.......
then added gesso .......then black paint (rinsed off the paint - could just do a wash instead)
Scratched marks in the glue with a nail....... then used more black paint to get in the scratches, wiped the excess off.
Friday, October 29, 2010
Tuesday, October 26, 2010
Monday, October 25, 2010
Demented Golf Leaf
Remember to put something on top of this so it won't tarnish... or use polymer medium if you want it to tarnish.
Art with Gampi Transfers - Mixed media transfer
Gampi Paper - also called silk tissue, comes in 16 x 20' sheets and disappears when you apply it........ so you can have the illusion of loose stroke
Sunday, October 24, 2010
Saturday, October 23, 2010
Friday, October 22, 2010
Found Imagery and Mixed Media - Ann Baldwin
Second-hand books, old magazines, postcards, old photos, playing cards, stamps, greetings cards, wrapping paper are all useful resources for collage. Copyright can be a problem, so, to be on the safe side, alter the image somewhat or use only an unidentifiable part of it. Images that come from bulk advertising are less of a problem. Use your discretion. No one seems to have objected to artists of the past - like Marcel Duchamp or Joseph Cornell appropriating images, and many artists do it nowadays with impunity.
Mixing Your Media
Paint and drawing materials can be used to mask, alter, and integrate images:
Masking
Just as with text, you can apply transparent or translucent glazes to the images to make them less obvious. It is possible to begin with a layer of images which will be barely visible by the time they have been almost covered in paint, then to use this mysterious background as a base for the ‘real’ collage. Or you can use paint to obscure part of an image - one eye on a face, the background of a photograph.
Altering
You can conveniently alter the color of someone’s hair or clothes by painting over them in a different color. You can even paint their clothes out and render them naked! You can put a hat on someone’s head, a pipe in their mouth, and give them bigger shoes. When it comes to copyrighted material, this can let you off the hook. Photos can quite easily be made unrecognizable by a little doctoring.
Integrating
It is all too easy to create a collage which is just a lot of pieces, with no unity. Paint can really help here.
Painting over the edges of torn or cut paper makes them less obvious, so that the viewer is less aware of the separate items which make up the composition.
Glazing in one color gives all the items something in common. Try making sense of a scattered composition, by glazing on rectangles of color.
Connecting items with drawn lines is also a possibility.
Using the same color to paint parts of several different images can provide a visual link between them.
Paste a translucent paper such as tissue or tracing paper over the least unified area. It has a similar effect to a layer of semi-transparent paint.
Finally, you could draw one large contour image over everything, allowing the other items to be seen through it. © Ann Baldwin 1999
Mixing Your Media
Paint and drawing materials can be used to mask, alter, and integrate images:
Masking
Just as with text, you can apply transparent or translucent glazes to the images to make them less obvious. It is possible to begin with a layer of images which will be barely visible by the time they have been almost covered in paint, then to use this mysterious background as a base for the ‘real’ collage. Or you can use paint to obscure part of an image - one eye on a face, the background of a photograph.
Altering
You can conveniently alter the color of someone’s hair or clothes by painting over them in a different color. You can even paint their clothes out and render them naked! You can put a hat on someone’s head, a pipe in their mouth, and give them bigger shoes. When it comes to copyrighted material, this can let you off the hook. Photos can quite easily be made unrecognizable by a little doctoring.
Integrating
It is all too easy to create a collage which is just a lot of pieces, with no unity. Paint can really help here.
Painting over the edges of torn or cut paper makes them less obvious, so that the viewer is less aware of the separate items which make up the composition.
Glazing in one color gives all the items something in common. Try making sense of a scattered composition, by glazing on rectangles of color.
Connecting items with drawn lines is also a possibility.
Using the same color to paint parts of several different images can provide a visual link between them.
Paste a translucent paper such as tissue or tracing paper over the least unified area. It has a similar effect to a layer of semi-transparent paint.
Finally, you could draw one large contour image over everything, allowing the other items to be seen through it. © Ann Baldwin 1999
LAYERING TECHNIQUES for Mixed Media Paintings - Ann Baldwin
LAYERING TECHNIQUES
for Mixed Media Paintings
To create rich textures and colors there is no better way than building up layers in a variety of media. Here is a typical procedure for creating interesting rocks and canyons:
1. Draw only the basic shapes onto your support (rough watercolor paper has the best texture).
2. Cover some large areas with contrasting textures and colors of paper. Here are some suggestions. Appropriate adhesive is in parenthesis:
creased tissue (matte medium)
corrugated cardboard (gel medium)
torn scraps from an old painting (gel medium)
gold foil (gel medium)
rice paper (matte medium)
3. Begin using paint to alter the colors and values in some areas. You might try this order:
(a) a glaze (thin layer) of transparent paint (Golden liquid acrylics)
(b) tube or jar paint brushed lightly over the ‘peaks’ – use very light, very dark, or very bright colors which will show through subsequent layers in brief glimpses
(c) even more lightly brush on another layer of thick paint in a contrasting color or value
(d) rub crayon (Staedtler or Caran d’Ache wax/oil Neocolor I are best) over some areas to add another ‘glaze’, allowing previous layers to show through
(e) add lines in waterproof ink (FW acrylic inks applied with a dropper or fountain pen, Speedball calligraphy pen, or liner brush. Or try a Sharpie or Zig Calligraphy waterproof pen)
(f) add spatter from a toothbrush
Of course, at any stage you can always add more collage. In fact, overlapping and building up layers of paper always makes for exciting textures. Try adding small objects – glass, pebbles, wood chips (a low-heat glue gun is good for this, as the glue is clear and dries instantly).
IMPORTANT: Always allow each layer of paint to dry before applying the next
for Mixed Media Paintings
To create rich textures and colors there is no better way than building up layers in a variety of media. Here is a typical procedure for creating interesting rocks and canyons:
1. Draw only the basic shapes onto your support (rough watercolor paper has the best texture).
2. Cover some large areas with contrasting textures and colors of paper. Here are some suggestions. Appropriate adhesive is in parenthesis:
creased tissue (matte medium)
corrugated cardboard (gel medium)
torn scraps from an old painting (gel medium)
gold foil (gel medium)
rice paper (matte medium)
3. Begin using paint to alter the colors and values in some areas. You might try this order:
(a) a glaze (thin layer) of transparent paint (Golden liquid acrylics)
(b) tube or jar paint brushed lightly over the ‘peaks’ – use very light, very dark, or very bright colors which will show through subsequent layers in brief glimpses
(c) even more lightly brush on another layer of thick paint in a contrasting color or value
(d) rub crayon (Staedtler or Caran d’Ache wax/oil Neocolor I are best) over some areas to add another ‘glaze’, allowing previous layers to show through
(e) add lines in waterproof ink (FW acrylic inks applied with a dropper or fountain pen, Speedball calligraphy pen, or liner brush. Or try a Sharpie or Zig Calligraphy waterproof pen)
(f) add spatter from a toothbrush
Of course, at any stage you can always add more collage. In fact, overlapping and building up layers of paper always makes for exciting textures. Try adding small objects – glass, pebbles, wood chips (a low-heat glue gun is good for this, as the glue is clear and dries instantly).
IMPORTANT: Always allow each layer of paint to dry before applying the next
Thursday, October 21, 2010
Monday, October 18, 2010
Quote - Collectors
Collectors are happy people ~ Johann Goethe
I have yet to meet a collector who feels bad about his collection. Collection is also about the story – the story behind how someone found it and purchased it. ~Edgar Paulik
Pablo Neruda's Poetry - Neruda's Houses
Poetica visits the homes of Chilean Poet Pablo Neruda.
http://www.abcscience.net.au/rn/poetica/galleries/2010/3021504/
Click here and then on the audio symbol to listen -
http://www.abcscience.net.au/rn/poetica/galleries/2010/3021504/
Click here and then on the audio symbol to listen -
Sunday, October 17, 2010
Stretched Canvas without Staples - bulk
http://www.dickblick.com/products/fredrix-archival-pre-stretched-watercolor-canvas/#photos
http://www.dickblick.com/products/blick-premier-canvas-bulk-packs/
http://www.dickblick.com/products/blick-premier-canvas-bulk-packs/
Friday, October 15, 2010
Wednesday, October 13, 2010
Tuesday, October 12, 2010
Sunday, October 10, 2010
Tape Transfer Technique
Use cover of of Readers Digest Condensed Book.... rip it off - on the undecorated side.. cover it with glue stick - apply a sheet of background paper (reproduced piece is good).... trim edges...... uses Stazon to darken the edges... and apply a few swirl stamps on corners.
Use Fluid Chalk Cats Eyes to add color to the background
Lindy Gruger Hanson painting video - Creating Swirls & Background layers
How Lindy starts a painting
How Lindy creats background texture with wax paper and acrylic
Refining the background texture
Moonheadmomma Painting
How Lindy Creates swirls
Painting on Wood Panels - she gets hers from a cabinet maker
http://www.lgruger.com/gallery1.htm
Saturday, October 9, 2010
Thursday, October 7, 2010
Tuesday, October 5, 2010
Spoonflower
Spoonflower is an online business that lets you design your own prints, upload them, and then print them on any of an assortment of fabrics. It's not just teeshirts anymore. How cool is that???
Monday, October 4, 2010
CW Slade
http://www.cwslade.com/home.htm
http://www.cwslade.com/progressions.htm
http://www.cwslade.com/pstory.htm
http://www.cwslade.com/progressions.htm
http://www.cwslade.com/pstory.htm
Sunday, October 3, 2010
Kurt Jackson
Kurt Jackson: "- Sent using Google Toolbar"
http://www.lemonstreetgallery.co.uk/kurt-jackson-crows-publication.htm
http://www.lemonstreetgallery.co.uk/kurt-jackson-crows-publication.htm
Linda Lynch Cold Laminate Collages
Art Nouveau Lady
Japanese Lady
COLD LAMINATE TECHNIQUE
SUPPLY LIST:
Laminate Sheets from an Office Supply Store
Laser Printed Collage sheets from Wonderland Emporium Online (Jen-Line)
Color Copied Prints of Magazine pictures, family pictures, art, etc (cannot be ink-jet print)
Copies from Dover Publications
Various Cardstock
Brilliance Graphite Black Ink
Fibres and Findings
Encore Metallic Inks
Adhesive to layer sheets
INSTRUCTIONS:
1.Remove the backing of the laminate and place one piece of the laser printed piece strategically, for your center if you wish.
2. Tear the rest of the pieces.and affix to the back of the laminate.
3 . Fill up the size of laminating sheet with your torn pieces & put it into cold water, not warm! Soak it for a minimum of 15 minutes and then while it is still in the water, start carefully rubbing off the paper.with your fingers. The image has transferred and it is important to rub gently.
4. When you think you have it all off, there is still a lot of white backing left. Remove it from the water and put it on a soft cloth and dip your finger into the water and make soft circles removing the backing.
5. Once it is completely off, let it air dry thoroughly. By drying thoroughly it restores the adhesive quality. Wherever there was white it will be clear and what you do in the next step will show through to the other side.
6. There are several different techniques you can do at this time. You may use Pearl-ex powders and brush them on with a soft paintbrush, or you can use a couple of different colored Marvy Metallic Markers and make “blobs” onto the back and then use a soft brush to mix and paint the back. You may also use metallic flakes, glitter, gel pens, pressed flowers, etc.
7. Once the piece is completed, you adhere another sheet of laminate and cover the back. Smooth it out real well and then adhere to a piece of cardstock and start layering with different colors of cardstock.
8. I like to embellish with findings, fibres, stamped images, etc.
9. You can also stamp on the top of the laminate if you wish with a permanent ink. Brilliance Graphite Black would be perfect.
http://www.art-e-zine.co.uk/lynch.html
Japanese Lady
COLD LAMINATE TECHNIQUE
SUPPLY LIST:
Laminate Sheets from an Office Supply Store
Laser Printed Collage sheets from Wonderland Emporium Online (Jen-Line)
Color Copied Prints of Magazine pictures, family pictures, art, etc (cannot be ink-jet print)
Copies from Dover Publications
Various Cardstock
Brilliance Graphite Black Ink
Fibres and Findings
Encore Metallic Inks
Adhesive to layer sheets
INSTRUCTIONS:
1.Remove the backing of the laminate and place one piece of the laser printed piece strategically, for your center if you wish.
2. Tear the rest of the pieces.and affix to the back of the laminate.
3 . Fill up the size of laminating sheet with your torn pieces & put it into cold water, not warm! Soak it for a minimum of 15 minutes and then while it is still in the water, start carefully rubbing off the paper.with your fingers. The image has transferred and it is important to rub gently.
4. When you think you have it all off, there is still a lot of white backing left. Remove it from the water and put it on a soft cloth and dip your finger into the water and make soft circles removing the backing.
5. Once it is completely off, let it air dry thoroughly. By drying thoroughly it restores the adhesive quality. Wherever there was white it will be clear and what you do in the next step will show through to the other side.
6. There are several different techniques you can do at this time. You may use Pearl-ex powders and brush them on with a soft paintbrush, or you can use a couple of different colored Marvy Metallic Markers and make “blobs” onto the back and then use a soft brush to mix and paint the back. You may also use metallic flakes, glitter, gel pens, pressed flowers, etc.
7. Once the piece is completed, you adhere another sheet of laminate and cover the back. Smooth it out real well and then adhere to a piece of cardstock and start layering with different colors of cardstock.
8. I like to embellish with findings, fibres, stamped images, etc.
9. You can also stamp on the top of the laminate if you wish with a permanent ink. Brilliance Graphite Black would be perfect.
http://www.art-e-zine.co.uk/lynch.html
The Natural Surface
The blog intrigues me....... wish I had the time and resources to play here.
http://naturaldyeing.ning.com/?xg_source=badgehttp://naturaldyeing.ning.com/?xg_source=badge
A Newtwork for people who enjoy all aspects of Fiber Arts: Natural Dyeing, Shibori, Batik, Spinning, Weaving, Felting, Quillwork and More!
http://naturaldyeing.ning.com/?xg_source=badgehttp://naturaldyeing.ning.com/?xg_source=badge
A Newtwork for people who enjoy all aspects of Fiber Arts: Natural Dyeing, Shibori, Batik, Spinning, Weaving, Felting, Quillwork and More!
Mary Beth Shaw's Fabulous Stencils!
Take a look at these... I want them... all of them!
http://stencilgirlproducts.blogspot.com/
Take a look, you're going to want them too! Go order them NOW!
Weathered Wood with Distress Ink
Distressed_inks_new
Learn a simple technique using Ranger Tim Holtz Distress Ink to create an aged weathered wood background .
Ingredients
* Ranger 15 x 18 Non-Stick Craft Sheet
* Ranger Tom Holtz Distress Ink – (Broken China, Brushed Corduroy or Walnut Ink)
* Ranger cut n’ Dry foam
* Ranger Mini Mister
* Ranger Jet Black Archival Ink
* Ranger Heat-It Craft Tool
* Stamps of your choice
Steps for Weathered Wood Background
1. Cut a small section of foam to use as a paint tool. Use you foam section to rub on felt pad of Distress Ink.
2. Rub sections of the inked pad (Corduroy or Walnut Ink) across the tag – to simulate a wood grain affect. Leave some sections blank without any ink – you will fill in with your second color. Let ink dry.
3. Use a clean section of your ink pad and load with your second color of Distress Ink (Broken China). Rub the color in the sections that have not been colored. It does not hurt to rub in some of your blue over your brown. Let Dry.
4. You can use a lighter color of brown to wipe over the entire card – Let Dry.
5. Stamp your images onto the tag. Start with a background stamp in a shade that is going to be lighter than your top image – You could use any of the brown shades.
6. Stamp your top layers in Jet Black Archival Ink
Learn a simple technique using Ranger Tim Holtz Distress Ink to create an aged weathered wood background .
Ingredients
* Ranger 15 x 18 Non-Stick Craft Sheet
* Ranger Tom Holtz Distress Ink – (Broken China, Brushed Corduroy or Walnut Ink)
* Ranger cut n’ Dry foam
* Ranger Mini Mister
* Ranger Jet Black Archival Ink
* Ranger Heat-It Craft Tool
* Stamps of your choice
Steps for Weathered Wood Background
1. Cut a small section of foam to use as a paint tool. Use you foam section to rub on felt pad of Distress Ink.
2. Rub sections of the inked pad (Corduroy or Walnut Ink) across the tag – to simulate a wood grain affect. Leave some sections blank without any ink – you will fill in with your second color. Let ink dry.
3. Use a clean section of your ink pad and load with your second color of Distress Ink (Broken China). Rub the color in the sections that have not been colored. It does not hurt to rub in some of your blue over your brown. Let Dry.
4. You can use a lighter color of brown to wipe over the entire card – Let Dry.
5. Stamp your images onto the tag. Start with a background stamp in a shade that is going to be lighter than your top image – You could use any of the brown shades.
6. Stamp your top layers in Jet Black Archival Ink
Distress Embossing Powders Tim Holtz Style
These have a rough texture with a matte finish
Distress Embossing Ink and Powders
Non Stick Craft Sheet
Embossing heat tool
Clear embossing Ink or Distress Ink
IMPORTANT - When using these embossing powders you MUST shake the jar first, be generous with the powder
Unlike regular embossing powders... DISTRESS POWDERS ONLY STICK WHEN THEY ARE COOL... when warm they will slide off
Once cool, you need to rub your hand over the finished product to remove the release crystals.
Throw them away
You can color with distress inks after they are embossed
Can also stamp on top of the embossing.
Distress Embossing Ink and Powders
Non Stick Craft Sheet
Embossing heat tool
Clear embossing Ink or Distress Ink
IMPORTANT - When using these embossing powders you MUST shake the jar first, be generous with the powder
Unlike regular embossing powders... DISTRESS POWDERS ONLY STICK WHEN THEY ARE COOL... when warm they will slide off
Once cool, you need to rub your hand over the finished product to remove the release crystals.
Throw them away
You can color with distress inks after they are embossed
Can also stamp on top of the embossing.
Distressed Ink with Tim Holtz - Several techniques
Aaron Brothers - Distressed Ink from Aaron Brothers on Vimeo.
Distress Inks react with water......
Stamp, spritz with water, iron dry
OR
Stamp your pads on non-stick sheet, spritz with water...... put your tag in it,
Such as spiced marmalade and broken china...... dry with heat tool, and go back 3 times repeating the process.
OR
Use the blending tool ... stamp into the ink and go in circular motion getting it as dark as you need it.
Blender Pen Transfer Technique
angel tags
angel tags
M000004
Stone angel
Abbey's journal 8
Stone angel is an 11 x 17 blender pen transfer on stonehenge printmaking paper
angels tags is a blender pen transfer on tags
Abby5 is a blender pen transfer on vellum
IThis is a blender pen transfer on satin fabric
roadmap2 blender pen transfer...the image on the tag is what's left over of an original photocopy that I transfered onto a book page. It picked up some of the text and looked interesting to me so I re-used it on the tag. Abbey's journal 8 below is an example of the same thing..
BLENDER PEN TRANSFER
This is a transfer process using photocopies and a blender pen. I use a Chartpak Blender Pen.
YOU NEED:
Blender Pen
Photocopies (fresh ones work the best and remember that your image will be reversed so for text ask for a reversed photocopy)
A Receptor surface (transfers can be done on wood, paper, cloth and copper)
Tool for burnishing (bone folder or wooden spoon)
NOTE Blender pens contain the solvent XYLENE which is highly toxic. Please use in a well ventilated area or outdoors if possible!
PROCEDURE:
Place photocopy toner side down on the receptor surface. You can lightly tape it in place if there are margins around the area to be transferred. Apply blender pen to the back of the photocopy using repeated, overlapping strokes until the image is visible through the back of the photocopy. Burnish this area and then move onto another section if you are transferring a large image. You can check under a corner to see how transfer is taking, being careful not to move or shift the photocopy. If you are not satisfied with the results re-apply more solvent from the blender pen and burnish again until transfer is completed. Have fun playing!
angel tags
M000004
Stone angel
Abbey's journal 8
Stone angel is an 11 x 17 blender pen transfer on stonehenge printmaking paper
angels tags is a blender pen transfer on tags
Abby5 is a blender pen transfer on vellum
IThis is a blender pen transfer on satin fabric
roadmap2 blender pen transfer...the image on the tag is what's left over of an original photocopy that I transfered onto a book page. It picked up some of the text and looked interesting to me so I re-used it on the tag. Abbey's journal 8 below is an example of the same thing..
BLENDER PEN TRANSFER
This is a transfer process using photocopies and a blender pen. I use a Chartpak Blender Pen.
YOU NEED:
Blender Pen
Photocopies (fresh ones work the best and remember that your image will be reversed so for text ask for a reversed photocopy)
A Receptor surface (transfers can be done on wood, paper, cloth and copper)
Tool for burnishing (bone folder or wooden spoon)
NOTE Blender pens contain the solvent XYLENE which is highly toxic. Please use in a well ventilated area or outdoors if possible!
PROCEDURE:
Place photocopy toner side down on the receptor surface. You can lightly tape it in place if there are margins around the area to be transferred. Apply blender pen to the back of the photocopy using repeated, overlapping strokes until the image is visible through the back of the photocopy. Burnish this area and then move onto another section if you are transferring a large image. You can check under a corner to see how transfer is taking, being careful not to move or shift the photocopy. If you are not satisfied with the results re-apply more solvent from the blender pen and burnish again until transfer is completed. Have fun playing!
Image Transfer with Packing Tape
Photo must be copied on laser printer, ink jet will not work.
Put the tape of the front of the copied photo... burnish and soak in a bowl of warm water to soften the paper on the back so it rubbed off.
For larger photos you can use Self Adhesive Laminating Sheets
Saturday, October 2, 2010
DecalPaper.com
http://www.decalpaper.com/category-s/2.htm For Inkjets.......lots of good stuff on this site for you DIY
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Friday, October 1, 2010
Quote - treasures and being alive
"We can only be said to be alive in those moments when our hearts are conscious of our treasures." -Thornton Wilder
Acrylic Resist Technique
http://www.splitcoaststampers.com/resources/tutorials/acrylicresist/
http://www.splitcoaststampers.com/resources/tutorials/acrylicresist/
http://www.splitcoaststampers.com/resources/tutorials/acrylicresist/
Thursday, September 30, 2010
Making your own Poofy Flowers
punch out scallop circles with a punch such as paper scapers from stampin up
Waxed Paper with Cuddlebug - another take on it
waxed paper
glossy white card stock
brayer
classic ink
paper towel
plain white copy paper
Take a piece of wax paper, crumple into a ball, then lay that over the top of the cardstock, lay the white paper over the top.................................iron...
let it cool..... remove wax paper
Ink up brayer, roll over the top........
Variation - put waxed paper in the cuddlebug with a die to cut out piece... then crumple - do the same finish.
Cuddlebug Waxed Paper - cool
Household iron without water set to high
dye ink pad (like memento)
scratch paper
80# card stock
paper towels
Wednesday, September 29, 2010
CitraSolv Art Techniques
 |  | |
 | ||
 Cathy.  Original image.  Image after CitraSolv is used.  Tree trunks added.  Final Image. CITRART As a mixed media artist and workshop instructor, my favorite question is “what if?” Now that I think of it, perhaps that has always been my favorite question, accounting for the prairie dog rescue fiasco (they bite!), the laundry room chemical mixing mishap, the incident involving dam flood gates and my short swim, and other creative adventures from which my Mom is probably still recovering. My artistic experiments are not as harrowing, but they are every bit as compelling and exciting. I am less and less attached to the product, and more and more interested in the process. When I allow my mind to open up to possibilities, to the creative energy in the universe, my results are far more satisfying than when I try to “make” something happen. I love to explore artistic techniques by taking them one step further, pushing the limit. This “what iffing” mindset combined with a process of altering papers with Citrasolv is what led to the discovery of my “Citrart”. All you need is some old newspapers, Citrasolv concentrate (orange or lavender, your fav), old National Geographic magazines, a brush or spritzer, and paper towels. Cover you table with newspaper…this gets messy! Brush or spray all the pages in the magazine with Citrasolv. Squish closed and wait 10-15 minutes. Squish again…icky black ink will come out. Mop up with paper towels. Tear out the pages which will be weird and wonderful. No original image will remain, just cool shapes, colors and designs! You can use these papers for collage or paint back into them with acrylic paints and inks and gel pens. You can remove more ink with a Qtip coated with Citrasolv to create faces, clouds, waterfalls etc. Check out the gallery! Use your imagination! For detailed information on this technique, read my article in my very favorite mixed media magazine, Cloth Paper Scissors Jan/Feb 2010 issue. Also go to clothpaperscissors.com for online extras! |
Tuesday, September 28, 2010
Glues for Multi-Media Art Work
As a general rule of thumb, I have found that the "weight" of the adhesive should get thicker as the paper you are aiming to glue gets thicker. I recommend (as always) Golden Acrylic mediums for the job. "YES" glue tends to have a long "open time" meaning it never ever seems to want to dry and PVA is a little too delicate for MM collage work.
For thin papers like magazines, try Matte or Gloss medium (the thinest adhesive)
For thicker papers like vellum or an envelope, try Matte or Gloss Gel Medium (slightly thicker and comes in a tub)
For thick papers like cardboard, try Soft Gel Gloss or Heavy Gel Medium
For wood or metal objects, try Extra Heavy Gel Medium
a metal washer stuck to a canvas - use the Extra Heavy Gel medium.
For thin papers like magazines, try Matte or Gloss medium (the thinest adhesive)
For thicker papers like vellum or an envelope, try Matte or Gloss Gel Medium (slightly thicker and comes in a tub)
For thick papers like cardboard, try Soft Gel Gloss or Heavy Gel Medium
For wood or metal objects, try Extra Heavy Gel Medium
a metal washer stuck to a canvas - use the Extra Heavy Gel medium.
Robert Burridge Blog
http://www.robertburridge.blogspot.com/
watch his video on painting his circus birds! I could not figure out how to get a real player video to upload on here.
March 28, 2010 Derwent Water soluable sketching pencils - watch that video
watch his video on painting his circus birds! I could not figure out how to get a real player video to upload on here.
March 28, 2010 Derwent Water soluable sketching pencils - watch that video
Saturday, September 25, 2010
Resource - BoNash Non-Stick Craft Sheet and other items to use if you can't sew
http://www.softexpressions.com/software/notions/Bonash.php#gia
Bonds fabric together, instantly. No sewing required. Your secret weapon for fabric repair and fun! Can be washed, tumble-dried or dry-cleaned. Always use the powder with the Bo-Nash Nonstick Ironing Sheet. Surface design and embellishments are perfect for Bo-Nash! With 007 you can turn up hems, put in a zipper, apply appliqués and motifs, invisibly repair tears and cigarette burns to clothes and upholstery. 007 is strong enough for heavy canvas, denims, tents, awnings and sails, but soft and safe enough for delicate silks and lace.
use with Product for Mending, Hems & More
Plus: Surface Design, Foil, Angelina & More
Tips and how to order Angelina and many more supplies
http://www.softexpressions.com/software/notions/Bonash.php#sur
Bonds fabric together, instantly. No sewing required. Your secret weapon for fabric repair and fun! Can be washed, tumble-dried or dry-cleaned. Always use the powder with the Bo-Nash Nonstick Ironing Sheet. Surface design and embellishments are perfect for Bo-Nash! With 007 you can turn up hems, put in a zipper, apply appliqués and motifs, invisibly repair tears and cigarette burns to clothes and upholstery. 007 is strong enough for heavy canvas, denims, tents, awnings and sails, but soft and safe enough for delicate silks and lace.
Plus: Surface Design, Foil, Angelina & More
Tips and how to order Angelina and many more supplies
http://www.softexpressions.com/software/notions/Bonash.php#sur
Friday, September 24, 2010
Make Your Own Glimmer Glam
Uses heavy body acrylics
Golden acrylic glazing medium - Satin finish - This glazing medium is the binder to hold the glitter onto the paint
Glitter from the dollar store or
Make your Own Glimmer Mist with Tim Holtz Reinkers & Perfect Pearls
Bundled Sage + Interference Green - write this on the label.
Use 1 eyedropper full of the distress ink, add a small scoop of Perfect Pearls (2 generous scoops) ...water. put label on.
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