CREATIVE SURFACE DEIGN
PAINTING, STAMNG, STENCILING, AND MBOIN� FABRC OR
SANDY SCRIVANO
RTV RF GN
F
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x © 2002 by Sndy Srn Pgrp © 00 by nn Pr In Irin © 00 by nn Pr n
A rg rrd. nn Pr I n n 63S Mn Sr P P Bx B x 5506, wwn, wwn, 0647 0 : p@nn rbd by Pbir rp W r Wndin SRATOR R Vr HO TOGRAPH ERS ERS k Kn kr COVER COVER ESGN ESGN ER: Rind b Wnk COVER HOOGRAPH HOOGRAPH ER k ESIGN AND LA LA YOUT: YOUT:
LRARY OF CONGRESS CATAOGING-IN-UBIATION AA
Scrivano Sandy. Creative surface design: painting, stamping stenciing and embossing fabrc more Sandy Scrivano. p cm ISBN 1-68-486-X painting--Techni -Technique que 2 Textile Textile painting painting 3 Furniture Furniture . Acrylic paintingpainting 4 Stencil work Decoration and ornament Tite T ite T T 38 'S8 2002 746.6--d 00003443
Prnd in Und S Ar 0987
IN MEMORY OF
M
FELLOW ARTST AND FREND, ANCY ORNELUS
0\
I
T MAY AKE A VILLAG O RAIS A CHILD, CHILD,
but t take whole lot me
than that to wrte a book. My thanks, grattude, and admraton go to a host
of people, ncludng my famly, who remaned nce to me even when I ddnt deserve deserve t Ed Detwller s a wh as a furnture maker and carpenter, and t shows n several of the furnture projects Colleen Tonkn s a wonderful patternmaker, patternmaker, tter, and cutterand on top of that, she s my hand model Nada Nedashkovsky s a flawless seamstress w who ho works lke the wnd Yvonne Rngle dd the beautl beadwork on the evenng wrap I desgned. herry herry Lacabanne dd a fabulous job on the home dec sewng front, wth goodwll and speed. Dana Bontrager and Dane Ercson are frends, artsts, and busnesswomen, busnesswomen, who supply my creatve re Marcy Tlton s also a frend and artst who nspres me. The followng companes have been very generous wth nformaton and products: Nova Color, Jacuard Products, Hot Potatoes Thngs Japanese, ReVsons and Purrfecton Purrfect on Artstc Wearables The unsung heroes are the people who actually produced the book My kudos to the creatve folks at The Taunton Press; my edtor, Dorcas Comstock and photographers, Ken Gutmaker and Jack Deutsch Your s kll and genus s ncredble T al ofyou, ofyou, thanks!
Introduction
, GEN ARED
6
Color Talk Developing an Idea Working with Acrylics
ANN Materials and Supplies Choosing a Project Preparation Painting Techniques Finishing Pantng Gallery
ENLN
Materals and Spples
Stencng Technqes
Stenclng Gallery
6
APN
Materas and Spples
Stampng Technqes
Stampng Galery
N
Materas and S
I
T
BEEN
D
gi= u TEHNO L
Wha i.? Beoe wing ths book I had
he way o ve but at gives us the eason o
neve consideed makng a eathecoveed
ving A, n a its oms enches us: I chal
tabe Now I neve be wihout oneo moe!
enges us i amuses us it ceaes ntees and
Paned untue s anothe poena canvas
best o al i gves us pleasue. A just makes
Hmmm. How about about yng. . . on my bookcase
us happy I is my theoy that we embellish the
What ? Fabcs o couse ae a natua
hngs n ou lves o gve ouselves peasue.
choice o embelshment he echniues
What bette eason coud hee be?
descibed n ths book can be applied o the
In his book I'l be showing you some ways o embelsh you cohing and you home The technues coveed ncude paint-
lmies silks and heavies spli cowhide wih eual success Nuue you own ceativiy Sa askng
ng sencling samping and embossng
yousel Wha i? Ty new mateias and
Decidedly he examples seeced eect my
expeimen wth dieent mediums The end
pesonal style and desgn ethc bu he ech
esul may take on dieen oms but he oo
nues descibed ae unvesal and can be
ideas wl eman the same
apped wih you peeences in mind. Fo an ais some o the geaes peasues and successes come om asking
Feel ee o adapt he pojecs you see hee o please youse Expeiment have un and enjoy the esults
3
ts helpful to have some road
HEN EMBARKING ON A NEW JOURNY,
maps. The sectons n ths chapter are just j ust thatgudes to help you along the on on color, youll learn a bt about color theory way. Begnnng wth the sect secton and why color works the way t does, as well
a
about partcular color comb-
natons and relatonshps Havng an understandng of color will make y ou a stronger artst. But dont worry, theres enough nformaton to help you succeed, ut not so much youll feel overwhelmed. When you get an dea for a project, ts sometmes dcult to translate that dea nto a fnshed project project The secton on developng an dea outlnes some smple, concrete steps to focus and channel your creatvty and to make your dea dea happen. Fnally, youll learn about my medum of choceacrylc pant. Acrylc pant s versatle, readly avalable, and comes n a huge varety of colors and nshesthere's nshesthere's certanly somethng for everyone. Wth all ths n mnd, lets get started!
e subtle toneontone stamped fabrc on te cai cusion proides a contrast to te ibant colos of te panted boo case wtout competng or oewelming oewelming . icer s fabrc and copper add textual nterest
OLOR ALK
Basic color concepts
Whle expong he San ancisco Museum o
Beoe an as o a caspeson can y
Moden A was suck by hs 94 uoe by
engage he powe and subey o coo he o
as Pau Kee: Coo possesses me don
she mus is have some undesandng o
have o pusue wl possess me aways
coo heoy You pobaby aeady have an
ow Tha is he meanng o hs happy
nuve sense o wha woks bu may
hou Coo and ae one. am a paine
supise you o ea ha hee ae pncpes
Ahough coo may no evoke he same degee
ha expan why vaous coo combnaons
o passon n each o us we can hady deny
do wok Havng a bee undesanding o
s mpac. Evey aspec o ou ves s nu
how coo woks w vay ncease you ce
enced by coo. Coo s descpve and evoca
ave sks Whou gong ino scenc dea
ive can emnd us o ohe imes ohe
es expoe some basc conceps and deveop a
paces ohe hngs can be powe o i
coo whee
can be sube. can smuae us o i can soohe us can ceae and moduae mood.
H L WHL
n Moses Has
dened ed yeow and bue as he hee
7
12-Color Wheel beween he oepondng
pmay oo. h eae x pae ban n a 2oo whee hee pae ae ed wh he tertia clrs, whh ae eaed by mxing ogehe a pmay oo and a negh bong eonday oo. hu we hae yeow oange edoange ed pupe buepupe bue geen and yeowgeen When oey po
Pimay Yellow
oned he pmay eond ay and eay oo e ae wha own a te natul spectrum.
prima clrs; ha hoe oo ha anno
U, SATUATN ALU
be eaed by mxng ohe oo. He paed
now o ue whh he ame hng a oo.
hee oo an eua dane apa n a u
Hue any oo exep ba and whe
a paen o eae a oo whee n he 800 ohann en added eonday
Satutin, o homa ndae he neny
o a oo o exampe ed ha a hghe au
and eay oo o he oo whee he
aon han pn whh ed mixed wh
secnda oange pupe and geenae
whe o han maoon whh ed mxed
eaed by mng wo pmay oo ed and
wh ba Hghy auaed oo ae pue
yeow mae oange bue and ed mae pu
d and ih Coo wh e noeabe
pe and bue and yeow mae geen he e
whe o ba added ae aed bri g gt
onday oo ae added o he oo whee
8
Le onnue
T A T
Hue, Saturation, Value Value s he lghness or
daress of a olor Vaue s reaed by addng whe o a oor whh resus n a in suh a pn Pale olors are ns onanng large amouns of whe Li g g olors are mosy whe wh ony sml amouns of hue added. Addng ba o a oor produes a shade, suh a maroon edum alue ol ors or tones, hae arous proporons of boh bla and whe These are aways more subdued han he orgnal oor Now you ow wha oned down rey means. AN CL CLS Hot
and wa o-
an d cool olors are based n blue and Cold and
ors are based n red Ho oors are aenon
green. Cod olors an eel rgd and ausere
grabbng and smuang The addon o ar
bu oo olors ha onan blends o yellow
ous amouns of yeow soens ho oors o a
and red are ewed as ranu and soohng
warm range warm oors ee nng and omforng.
oarm Colors
Cold/Cool Colors
GET T G
S AR T E D
oo egter on the human eye
NAY
seondary oo heme ue the A seondary
beoe oo oor do whih why wam o
eonday hue o orange green and purple A
o eem to adane and ool oo eem to
ombnaton uing thee oo ee eh and
reede. uay one o the olor tempeatue
the oor an be moduated into ubtle tnt
range w ee moe omotable to you
and hade
beaue o you perona oorng
Basic colo schemes o ee how oo wo together and an d gan mpat let tae a loo at ome oo heme beginning with the mot bai a prmary oo heme AY
A primary primary oo heme ombine
pue red yelow or blue. he ombination
Secondary Colo Scheme
ea and oreu a exemped n painting by Pet ondran
TAY TA
ut to mae thng moe
interetng thee are two tertia triad triad ombina ton whh are ompoed o three olo eua dtane apart on the oor wheel. hee om bnation are edpurpe yeowoange and buegeen and edorange yellowgeen and
buepurpe ee the 2Coor Whee on p 8. LTAY
A omplementa oor
heme ue two oor that are detly oppo Prmary Color Scheme
0
G ET T N G
A A E D
te eah othe on the olo whee o exampe
ALGUS
An nl g us us oo sheme s
made up of any hee hueso he ns and shades o hose huesha ae nex o eah ohe on he olo wheel Ths ype of olo Complementay Coor
sheme s pleasng o he eye.
geen and ed. Ths opposon eaes a sual baane and a he same me maes eah of he nddua oos appea moe d. L CLAY
Een moe peasng
o he eye han a ompemenay sheme s he spli cmplemen. Smply pu hs s a o nalogous Colo Sceme
onanng one oo and he wo oos on ehe sde of he s olos ompemen fo example yelow buepupe and edpupe
MCHAIC
mnchmic oo A mnchmic
sheme s a peaeful one I onsss o any sngle hue n ombnaon wh any o s shades o ns
Monocromatc Color Sceme Split Complementary Color Sceme
E T
S T A A D
Cl Tibit he more you earn abou he ower and subey of oor, he more easly you' be abe o aheve suessfu resuls Here are a ew neres neres ng fas: Only abou
8%
of he vsua sgnas rom he eye
go o he bran he oher
% % go o he ary
gland When we see he olor red, enehrne s reeased from he ary, asng a hos o hysolog a resonses suh as nreased hear rae. No wonder red "ges o us f a one and a shade of he same olor are nex o eah oher, oher, he one aears aears gher an d he sha de aears darker For exame, lang a maroon sam on a nk bak grond grond w l make h e ol or of he sam sam seem more nense (o hoo hoo o o an rea reaee movemen movemen or d mens on , on a fa sr sr fae by grad ng a ol or rom gh o dar k or from dark o ghor ghor boh When a oor s laed agans a darker oor, seems gher when he sam e olor s laed aga ns a gher ol or, aears darker (en er hoo mng a olor o a arlar feaure of a roe gves im agee g a single sing le imag usng ance . L kew ise, usn that co or m ore sign ific ance.
on a roje has more ma han usng he same mage n an a over rn a s shown shown n he hoo hoo of of he Ho Salsa Skr on
8
f somehng s sually seen n a arlar olor range (or examle green leaves a hange n s olor draws he eye and an be onfusng However, ha hange an also be sed urosefully for effe: Blue eaves mgh ook odd n a landsae, bu hey eranly make a srkng grah (boom hoo
G E N G
T T E
EUAL
A neua oor heme i oft
about your oor hoie if you want to punh
beaue it onit of oor that have been
up a ombination or if omething ut eem a
neutralized by the addition of their repetive
little o dont beome overwhelmed. Jut
omplement Tnn g onn g , and and han g further
take another ook through thi etion to get
expand the neutra oor palette.
yourelf bak on trak.
Neutral Color Scheme
CHAIC
achmac inaly there i the achmac
or without oor heme whih onit of bla white and al the gray that an be re ated through tinting and hading of hue Adding ml amount of red yelow or blue
EVELOING AN DEA
varie the pereived olor temperature and
Sometime reativity i inpired by image you
make the gray feel warm or oo
ut happen upon uh a the photo of a rug
Knowedge of olor heme an help you
notied while ipping through the page of a
reate viual harmony. When youre not ure
home furnihing atalog. The moment aw that photo I knew exatly how wanted to deorate my entire unroom rom the photo I reated the motif hown above; turn to p.
36
to
ee the way I ued it in the unroom Spend ome time thumbing through your favorite magazine and ataog; youre ure to find inpiration for a inge item or a whoe room. chromatic Colors
GETING
AR T D
3
Select the coor palette for the image youd li ke to to paint then transfer the sketched image to the prepared surface of your project
From impulse to executio
opy to ee the oor lue tht i how ight
oing from n ide to ompeted proet
nd drk regter gint eh other You n
n be oerwhelming o let demytfy nd
ee my opie n the upper left porton of the
mplfy the proe uing rellife exmple.
photo Vue n be een lerly n blk nd
Wel tke look t how trnformed plin,
white nd thi informtion helpfu when
nturl finh ok booke nto the entr
proeedng with the next tep.
theme of my unroom beginnng wth the rug photo I fell in oe wth. Here re ix ey tep to led you through the proe. The
olor ue. Then etmte the mount of pnt
photo boe how the riou mteril
youl need uing the oerge mount indi
worked wth refer to thi photo you red
ted on the pnt lbe guide Trnfer
the folowng.
ome of eh oor pnt to queeze botte o
1 Begin by enlrging the imge to ee the detil. In my e I enlrged the tlog photo
4
Selet your olor olor plette keeping in mind
tht you wont he to top nd open n eery time more pnt i needed.
of the rug. If your mge i in olor then mke
Prep the urfe of the tem youl be pint
oor opy. Ao mke blkndwhite
ing deribed in hpter 2, pp. 229. At thi
GE G
AR
point I pepped he wood and appied a bae
cooed pen o penci You can ee how I did
coat o the bookcae. Noe he undeide of the
hi in he owe igh poon of the photo on
heve beow whch I painted a ghte coo
the facing page
to eect moe igh
5
Tace th keched image onto acing Tace
pape that ha been cu to ize Tanfe he image o the pepaed uface ung gaphite
pape which come in boh ght fo ue on
dak backgound and dak fo ue on ight
backgound hade ee he uppe ght
potion of he phoo on the facing page . Pace a heet of gaphite pape between he acing pape and he pepaed uface then tace he degn ine with a yu o a mechanica penci without ead
Cu a piece of pape to he ize of the deign Thee ae two way to get he image onto he pape You can feehand kech he mage to f the pace a deed O f you need moe gudance daw the image ung a gid i penci in a gd on you phoocopy then daw an enaged gd on he pape hat
Artis's 1nsiht Often you can create aditional interest by reversing a design or motif, or using only a portion of it. To reverse a motif just turn your tracing paper over before you transfer the design to the prepared surface.
6 Appy pan to you tanfeed deign,
ha been cut to ze Look a each box of the
uing he oigina mage and cooed dawing
ma gd epaaey then ketch he degn
a guide. Let the paint dy thooughy Afte
ne into the coepondng box of the age
he pain dy if you poect wood, ea it
gid When you ae donepeto! a compeed
wih wo coa of vanih o poect he nih,
pctue With ethe mehod you w have he
a dd o potect my bookcae
degn outine To check you dawing befoe you begn painting fi n the deign wih
G
T A D
5
From soso to sesatoal Do' b frd o crv lp fr bg ruc b pro Rhr buld o h d ( dd) ug prgbord o dcor r room d of mor hlf pc? foolog boohf wh h m pr Nd bl? oudoor r b d bd h chr. Bord b pl wh cuho o our chr? Covr hm wh cro dupo l or l d mp or c h fbrc ooo color. Nd ohr bl? No problm. h b of codhd fd d covr h op wh h of coppr You c whr h gog Ad l rd wh o l pcur (For h compld booc d vw of h uroom h phoo o p. 36)
WORKING ITH CRYLICS h boo, v lmd h projc o ho crd wh crlc mdum p, , d Thr r vr ro for h o h of whch vroml cocr Acrlc mdum r hzrdou h m ohr mdum, d clup p wh ju op d wr or rubbg lcohol
6
G G
T R
Types of acrylc pats ad fses
wh rpr p d gzd wh gh
Acrlc p wor wll o lmo ur-
JuglIucd Booc o p. 38.
mlc broz fh h phoo of h
fc cudg fbrc lhr ud d wood h p dr qucl d r prccll
Pat addves
odorl Ad h r rd vbl
hr r produc ou c dd o crc p
hug vr of coor d h cudg
o c dr pc of worbl
opqu rpr mlc rdc (prlc) d rfrc.
XNR
To ow ow h drg dr g m of p
d cr h gh of m c b lf AQU AN
Th p of p compll
o h pl whou drg ou dd dr
obcur wh covr covr o o h ll or o o of
mdum (lo cld rrdr or g rrdr) rrdr) o
h udrg udr g fh how.
h p how blow blow folowg olow g h mu mu fcurr ruco.
RANSARN AN
Trpr p
hr d provd vw of wh covr A mpl of h would b h wood gr howg hrough o pc of furur. FLC FNSHS
Th fh cud
mlc rdc (prlc) d rfrc p whch rc lgh b m of ddv combd wh h p Emp of h ddv r mc d ml Acrlc rdc mdum chv przd
Addg dr c chg h color of h
h b h ddo of mc o h
p Th mor dr h ud h
b coor coor Irfrc Irfrc color r l rdc
lghr d mor rpr h p coor
color bu h hv ofl coord prlzd
For mp h drr p wh h op
fh rhr h h lvr lvr pr of rdc
of h phoo o p 8 how how p h h
coor For mpl of projc projc pd
b dud wh dr dr : ro d
G TT G
AR D
7
h ighr wh h boom how pin dlud in 5 ro
li wh or wrcoor c blnd n 5 ro wih pin h i, 5 pr mdium o pr pin
Atist's Insiht lke to premx fabrc ABC DU
To incr dhion nd
opn im (h im bfor h pin ) nd
medum wth the pant and test t on scraps of the fabrc plan to use
o nhnc h worbi of h pn whn pning on fbric, dd fbric mdum (om-
Usg crylcs o fbrcs
m cld mdium) o h pin,
Acrc dhr wl o porou urfc nd
ccording o h mnufcurr inrucion
no o wl o hin, lic on. Aw pr-
Adding fbric mdium h ohr dvng: I
wh whbl fbric o rmov izing nd
rduc or min h n running, nd
ohr finih Onc pind fbric i dr nd
bldng ocd wih crlicpind fbric
h, i i mchnwhbl, providing h
nd prvn pping nd crubbing, which
br i mn o b whd To h fbrc,
giv n unvn loo o roughurd fbric
chpr 2 p
34
Thr r vr brnd of i mdum
8
on h mr nd l wor wl Fbric m-
Usg crylcs o lether
dum cn b ddd dircl o h pl o
Acrlic r o o u on lhr nd
blnd wh color, bu uul i i ddd o h
ud, nd bcu h mrl r ghl
pn n rio of 1:2; h i, pr mdium o
urd, hl dd nohr lmn o h
2 pr pin Chnging hi rio cr dr-
pnd c Howvr, ud nd hr cn
n c For mp, o g rnprn d
b h fbric For h, I u hir
G T G
R R D
dryr on h hgh prur sng for fw nus Evn on projcs h I copd yrs go, I'v hd no roubl wh h gs fdng ng, or plng
Using acrylics n wd Wood surfcs nd o b prprd proprly bfor hy cn b dcord. Fnshd wood
h fbrc or ohr surfc you pln o pn.
furnur nds o b clnd nd srppd of
h phoo bov shows wh drn
ws or os I y so nd lgh sndng
yps of nshs loo l on drn surfcs
wh ngrd sndppr o rov surfc
Srng op f rnsprn lc pn
prfcons or o dul gossy fnsh Afr
on pp scon, opqu pn on wood h
sndng, wp wh c coh o rov
rnsprn nd opqu pn on nn fbrc,
dus Arnvly us lqud sndppr,
llc pn on pc of l, nd rns-
ccordng o h nufcurrs nsrucons
prn pn on brbord
Afr Afr copng h h dcor dcorv v pr p r of o f h h
Du o h nur of drn fbrs nd
projc sl wh ls wo cos of rns-
how hy r wovn, h s coor pn nd
prn procv cong vrnsh vrnsh . B sur o
h s g wl ppr slghly drn on
folow h nufcurrs nsrucons S
drn fbrcs. Bow, you cn s how h
chpr 2 p
s color pn oos whn ppd o fro
35
for or dls on vrnshng
wood You cn dd lyrs of pn on op of
lf coon, sl, nd nn.
h vrnsh f you dcd o dd o your dsgn Awys fnsh up wh fw n lyrs of vrnsh o proc your wor.
Paint perceptin Th s pn wl oo drn whn ppld o drn surfcs urs, nd colord bcgrounds For hs rson, b sur o s ny pn you pln o us on spl of
G G
AR D
9
•
•
ICKING UP A PAINTBRUSH TO TO AINT FRHAND
c b dg, bu do'
b dud Ev ou hv hd brush sc drgr, ou c produc buu gs wh ll prcc Th oro hs chpr wl hlp ou sr bsc pg chqus You wll l wh supps r dd whch brushs o us how o dr brushsros d how o prpr hdp d sh projc To spr sp r our go, g o, I hv cudd cu dd vr o hdpd hdp d ururur d grs h ou c dupc usg hs chqus bu pls do' l ours o h projcs prsd hr Isd prsolz our ho d wrdrob wh gs h ppl o ou I ou hv hrd vsulzg gs r dpg gs ro vrd sourcs, such s phoogrphs poscrds grg crds d gzs For pl h l d or h os usd o h sl dupo vs show o p c ro grg crd h szd, brll colord crrs spl grw ro hr I d h gr s, whch gvs or luurous qu h or coo brc hd b slcd h sso o lr ro hs s o o ours o h brcs ou'r lr wh: A vs ol s rd
urchase brus hes in different different sies sies and s hapes to ser seree par ticular purposes Clean the brushe s in warm soapy water or alcohol rnse th em in clear water and shape the brstles whle stll stll damp low to to airdry then store the brushes as shown aboe
or o o aeral, o a vee a uur
owedge o wha oo ad aeral o ue
abrc le l wo brea he ba
ad how o ue he
Tae a loo a he hed pece cluded he ag Galer, pp 3643 o ge oe
Painbruses
dea, he pc up a pabruh ad ae a
Good qua bruhe ae pag a pleaure,
beauul projec o our ow
o bu he be ou ca ord ad ae care o he Ue bruhe deged peccal or
MATERIALS AND ULIES
acrlc pa or hoe or boh acrc ad o
Ahough pag doe requre peca ra-
pa; hee coe a vare o ze ad
g o acheve ucceul reu, ou'l be ore
hape To ear abou pec pec c pe pe o bruhe,
pleaed wh our wor ou have a bac
ee Tpe o Bruhe o p 25 You do eed
P N G
3
a deren bruh for ever a, bu mae
more heer a more medium i added o
ene o ue a bruh approprae for wha ou
he pan
are painng he ze of he bruh houd fi
High emperaure and humidi or ece-
he a: I ae a long ime o ll in a bg
ve cold advere aec he qualie of he
image uing a mall bruh Before ung a new
pan, o ae ino conideraion he condiion
bruh for he fir ime, rine n waer o
before aring our projec For more informa-
remove he zing ha proec he brie dur-
ion on he pe and nihe of acrlic pain,
ng hppng
ee chaper p
Add o our bruh collecon a ou are able I've added a varie of bruhe over he
Fabrc medum
ear and coninue o colec dieren ize
Adding fabric medium omeime caled ele
and hape S, horbriled nlon bruhe,
medium o he pain increae he adheion of
caled crubr wor wel on heavweigh and
he pan and he open me; ha , he ime
eured fabrc Sofer bruhe are good for
before he pain e Fabrc medium ao help
paining on fnel woven and n fabrc
eminae he ine, runnng, and bleedng
Sponge bruhe are good alpurpoe bruhe
aociaed wh paned fabric, and i hep pre-
ha come in a varie of widh, are inepen-
ven pping and crubbng, which give an
ive, and can be dicarded when he projec
uneven oo o rougheured urface Before
compleed
ou begin our projec, mi deren raio of
pain o fabric medum o ee wha wor be
Acryc pat
for ou Alhough waer can be ued o hin
he conenc of he acrlc pan ou ue i
he pan, wil weaen he coor nen
ver imporan, o be ure o ue good qua
much more han a fabric medium wil For
pain wh he conienc of hic cream You
more nformaon on uing fabric medum, ee
can hn a oohic pain wih waer or wih
chaper , p 8
one of he paning medum If ou ue waer
4
for hinning, add he waer a lile a a ime
Exteder
becaue oo much waer wil brea down he
Adding eender medum o he pain low
inegr of he pan Fabric medium rean
dring ime and increae he engh of ime
he qua of he color, bu he coor become
pan can be lef on he palee You can ue
P G
T p f Bh t u tg tqu wt t bu t t w g u t t F Flat brushes ae versatile; they are used for fiing in areas, fo shading, and for making decoative stokes The ectangular shape makes a stroke the width of the bistles or, if hed in a perpendicular position, a fine ine (see photo a).
ND The fine-point tip of a round brush makes it easier to poduce short, crisp lines and to get into sma aeas Changes in pressure on the bistes wil cre ate varied strokes, fom thick to thin (see photo b). Round brushes are aso used fo fiing in wide aeas (see photo c).
N Line bushes have fine tips and are used fo ettering and painting detais. or best results when using a iner brush, thin paint to an inkike consistency to get a smooth appication. Load the bush fully, but don't twist the bristles in the paint, which can distot the tip. To paint, hold the tip of the bush per pendicular to the suface being painted (see photo d).
FL ibet brushes are fat, widebristle bushes with tapeed tips. These brushes are terific fo fiing in large aeas (see photo e). Because the filbet bush has a tapered tip, it aso ofes conto when adding detail (see photo f).
FN The tip of a fan brush is flattened by the ferue and separates into segments when paint is appied. Paint can be appied with the brush tips to ceate a cescentshaped pattern, or the tips can be dragged fo a more whimsica ook (see photos g and h)
d h du diluig g o
HOOSING A PROJECT
og, hdg, d highghig dcibd
Th g o opo wh lcig
o p
pojc o piig h Pig Gl,
33
d o hi pi o o p-
3643
wihou g h coo You c
pp.
cud p o hdpid
o u d og wih bc diu o
uu, g, d ccoi Fo o
ic op, o dig, i wh piig
d o chooig pojc, chp
o bic. Fo o ioio o uig
I ou choo o pi pic o uu, ou
d, chp 1 p
c ih wh w, uhd wood
3 p
o u od pid pic, log h
alette
uc i pop ppd dcibd o
Youl d pl o hod h pi whil
pp.
ou wo Plic o plccod pp pl
h o guidli o hp ou
ipv pl Wh ou
ou bic lcio.
22
I ou dcid o p o bic,
hough piig, ju dcd h pl d h Shlow dipobl ood
Choosing fabric
o wo wl
I pcil jo piig o coo, i, d il P dh wl o h uc o
Atst's lns; g ght always use a white
h ul ib, d h bc o hold
palette so tha can see color lends more easily
di w. Sooh, ghl wov bc low o o d wh pig, pg, o cig, wh co, lool wov
Other supplies
bic, uch hv , b up h
I ddiio o h uppli lid bov p
ig Avod uig bic h hv b
w co hd o ou buh,
d wh i ih, uch
d hv pp owl d o bob c
Scochgd, o wh wi h
oiu W l gov, i did, o po
bcu h uc wi o hold pi
c ou hd o i, d w
Wh i doub bou pcul i
po o poc ou cloh gi p
ou gud i p o i h pi wll dh
6
PANNG
PREARATION
old owl, uprd wpr, or ul.
Whhr your pg fbrc or furur h
Srch ou d p, pl or p h fbrc
urfc prpro y o uccful proj-
o h pddd wor urfc.
c d h drc brg o h buy of your hd cro.
Preprng fbrc ropr prpro of fbrc crcl o h ucc of your projc. f your ug fbrc h r o whbl, uch lhr wool d o l lwy chc p dho
Aist's Insiht When pantng a arge pece such as a duvet cover I set a sheet of pywood on top of my 42-nch by 72nch cuttng tabe For smaer projects I use a cuttng tabe or a sheet of foam core padded as descrbed
If you w o p yrdg rdo
by g h p o pl pc of fb
pr ju pc up your bruh h po
rc Whhr you pl o hdp cl
d r pg f you w o p pcc
or p h dcorv wor follow h
g pcfc loco o uhd
y p.
gr or ohr fbrc projc u grph ppr o rc h pr pc oo h
1 Whbl fbrc hould b whd o
fbrc llowg grou llowc.
rov zg d ohr fh Do o u
h rfr h dg g oo h
fbrc ofr h r cycl or h
fbrc For pcfc foro o rfrrg
dryr bcu h rfr wh p dh
g, chpr 1, p 15
o. Dry h fbrc d pr ou y wrl bfor procdg
2 o cr dho d hc h
Preprng new wood h prpro of your wood pc wll dr owh, dpdg o whhr your projc
worbly of h p o ll fbrc, dd fb-
wll hv d bcgroud or pd
rc du ccordg o h ufcurr
o. Rgrdl of whch you choo w
ruco
wood wll fr d o b dd d ld.
o borb c p d hlp hl p prv bldg covr h bl or wor urfc wh
1 h urfc of h wood u hv ooh fh f h wood rough, bg
A N G
7
wh mdmgrd dppr bo 10 o
d of prmrr Slg m r h
0 gr If ' frl mooh bg wh
gr of h wood o low h lr o dr
rf rf or rfgrd rfgrd ppr bo
d wh grd ppr wp wh c
320 o 400 gr Wp wh c coh o r-
coh h rp h proc. Yo c pd
mov d. Fh dg wh 600gr ppr.
p h drg proc b g hr drr
Sd wh h gr of h wood chcg o
b do' hold h drr oo co or h p
m r h rfc compll mooh.
w bbbl
Wp wh h c cloh o rmov ll d prc. S h chr o p 30 for hlp o
IfIf o r g h wood or gzg
choog h rgh gr dppr for h job
wh dld p do h p ow Aow
2
h or p o dr h ghl d d
If o w b pg h bcgrod l If
wp cl wh c cloh. Rp, f c-
h wood wh prmrr. Sc lgh
r. S wh wo co of vrh
or dr color dpdg o h coor of or
gh dg bw co d fr h
bcgrod p. If o w h wood gr
l co o prpr h rfc for dcorv
o how hrogh pr codor
pg If o r pg h bcgrod, ppl or b co d ow h p o dr For rgr pc l crlc p whch l pv h h mll cor of dcorv crlc p. Wh dr lghl d h rfc d wp cl Rp f cr h wood ow rd for dcorv pg. Wh dcorg pc of frr o c h bc of h pc h g rfc for or chqh cop phoo o h fcg pg how how I codrd vrl opo bfor mg m fl choc for h booc how o p 38
efore starting a proj ect, test paint colors and design motifs on a sa mple of the sur face they will be on, as I did on the back of of this bookcase
Pepag pated wood
2
N, pp b co If h pc N,
If h p o good codo, o m
lrg, crlc p, whch l
d o rp dow o br wood d pro-
pv h h mlr cor of dco-
cd for w wood hr r vr of
rv crc p If h pc ml, g
prodc vlbl for rppg wood A for
dcorv crc p f L dr h
prodc rcommdo or ocl p
lghl d d wp cl wh c cloh
or or hom mprovm cr, d b r
Rp f cr Th pc ow rd for
o follow h mfcrr rco cr
dcorv pg
fll If h pc h old co of oo p, d o do o md roghr h
Choosg sadpape
rmov oo p wh p crpr, h
Wood pc d o b dd o mooh r-
mooh h dg wh mdmgr d-
fc mprfco, o rmov loo or plg
ppr bfor procdg
h, d o dl glo rfc o prpr hm o ccp w h B dg
1 If h p good codo, c h
pc proprl o'l r h h bod h
rfc of h pd wood o rmov dr
form bw h p d h rfc
d ol, h ghl d wh f dppr
cr o Th chr o p wl hlp o
Wp wh c coh o rmov l d pr-
choo whch grd dppr o d
cl from h rfc
wh o Alhogh hr r m
PANG
9
andpaper rades and ses i
ses
Medium20-150 grit
sooth or remove old paint
Ve Fine220 grit
light sanding between stain and sealer
Extrafne/320 grit
sanding etween coats for final finishing
Ultrafine400-600 git
fina sanding before inish coat(s); wetsanding
1 Squz ll ou of p oo h p Do ovrdo ; ou c lw dd or.
grd of dppr vlbl h r h
2 W h bruh bfor lodg wh p
o I u o of. B ur o u c
d rov h c b gl blog h
cloh d wp blog oo o rov
bruh o ppr owl how blo Th
prcl d dbr bfor pplg our h.
p wl hlp h p flow or ooh Drg how uch wr o lv h
PAINTING ECHNIES
bruh r of r d rror Too uch
Bfor pplg p o fbrc or wood fr
wr wl du h p howvr, f h
lc bruh h ppropr for h ch-
brl r oo dr, h wl borb our
qu h prcc lodg h bruh d
fro h p d oo hc o ow
g c, crp ro Wh ou hv
l. Cou o blo h w bruh u h
hd pg, wh ll ool wr
brl lo hr h pprc
op wr R wll d r dr
Loadng te bus Bfor ou bg r w bruh o rov h zg d ur h p wll d. For of u whl worg d o v lo of rfr h p o quz bol.
30
PA G
Load h brsh b plg pa from h Load
Makg bruhtroke
dg of or pa pddl o h pal
Sros ar crad b varg h prssr
Dppg h brsh o h pdd wl pc
appld o a oadd brsh. Th moo coms
p oo mch pa ad dsor h p
from movg h arm ad wrs, o h fgrs NE LNES
Bg b praccg or ch-
q wh a r brsh show o p 2) whch s valabl for lrg, olg, ad ohr dlca dal wor. Hold h lr fll loadd, prpdcar o h pag srfac ad pa a sad moo, slowg dow wh mag a crv o alow h pa o
To dsrb h pa o h brsls ma
ow smoohl N, pracc wh boh rod
shor, sragh sros h sam spo o or
NG N
pal h pa s vl word o
ad a brshs o cra cla, v sros
h brsh Rpa o h ohr sd of h
To ll a ara ma crsp cr sp sros sdbsd
brsh A wlloadd brsh wll hav pa
rahr ha radoml scrbbg pa oo
vl dsrbd shor of h frrl h
h srfac. Hr, a a brsh s sd o ll a
mal par ha jos h hadl o h brss)
wd ara ara
N G
3
S STOK To m S ro wh roud
bruh, bg o h po o h bruh. Grdul cr prur ou mov o h r curv o h S d m v prur ou cou o h cod curv Grdul r prur hrough h cod curv o d bc o h po o h bruh OA STOK
For dcorv wor, h
mo commo ro r h comm ro d h S ro To m h comm ro ug roud bruh, bg o h po o h
bruh. Pr gl o h bruh, h pul h bruh owrd ou h hp o comm, rlg prur ul ou r bc o h po o h bruh o m comm ro wh bruh, rp h chqu, bu bg d d h comm ro o h chl dg o h bruh.
Wh ug bruh o m S ro, u h m chqu bu bg d d o h chl dg o h bruh
3
PA G
PA I N
33
sw B i css whr o w o pi coios dsig d h dsig wil cross s, joi h ss of h gr bfor o fro bgi piig o void swig hrogh h dsig r
2 Appl pi o h projc, sig or coord drwig s gid Bgi b ig ig i h lrg rs of or dsig wih h bs colors Wh llig i rg rs, sch s h dsig o his vs, bgi worig fro lf o righ
s h brshsro pprc d o s how
if or righhdd if or fhdd
h coor rds so hr wil b o srpriss.
wor fro righ o lf. Th w, o wo b rchig ovr w pi o wor o h
FINISHING
r
Afr o hv fiishd piig, o will d o proc or wor Dsigs o fbric wil d o b hs, whil hos o wood wil d o b vrishd
Heat-setting fabrics Wh h pi is copl dr, hs h fbric o boh sids, sig prssig coh or prch ppr o proc gis scorchig Us s high prr sig o or iro
s h fbric c olr, d prss wiho wiho
Afr lig i h rg rs wih
34
s for 0 o 45 scods For lrg pics of fbric, pc h fbric i h drr d hs
pi, do h di wor d shdig or
h highs prr sig. For hr
highlighig If o r worig wori g wih fbric, fbric,
d ohr fbrics h co olr h-
p swch of h gr fbric hd o
sig wih iro, hir drr o high s
P ! G
Handy Tips g wl do h rc Ar bg h, h pd brc rdy o b ud d whb or dryclb
Artist's fnsiht
Dont use watercolor brushes when painting with acryl acryl ic pai nts; these are designed to hold lots lots of water and pigment and are not suitable for use with acryli cs . Test est leather befo before re pant n g. S ueded leather usua ly hods paint well, but smooth (napa) leathers often have wax or oil finishes that prevent paint from adh ei ng to the surface .
Varshg wood
Avoid painting on woolen fabrics; wool often contains lanolin, which makes adhesion difficult.
Ar compg your dg, vrh h pc wh l wo co o wrbd vrh Alow h vrh o dry d d ghly
Avoid p aint ing on shiny fabrics fabrics suc h fin ishes ishes may not allow paint to adhere.
bw co Vrh com gloy, m
Paint wth a light hand. You can always add more
d h A glossy h hgh h
paint, but it's difficut to emove paint once it's
mate h mud d sain h
applied.
bw I h pc gog o b pod o
Us ing mu ltip le layers layers of of paint i s fine , just be sure
h whr, b ur o u vrh ubl
each layer of pant is thoroughly dy before contin-
or h oudoor Alow h vrh o dry
uing, or the paint wll smudge.
horoughy bor ug h pc
Arists fnsiht
l h To do h ppy h r yr o vrh d llow o dry Dp 600gr dppr o md, opy wr d gy d h urc worg wh h gr Wp wh cl dmp coh o rmov y op lm d low h r lyr o dry Wp wh
WET-SANDING
Wdg ohr
c cloh h ppy l o mor lyr
mhod or dg bw h lyr
o vrh Rp drd Do o wd
o vrh I wl mooh y mprco
r pplyg h l yr o vrh
h urc o your projc d cr £w
PAIT G
35
36
A T N G
EXOTIC FLORAL SUNROOM BOOKCA AND AL
A pa in wood tray table taes on a whole new personality when painted with an image extracted from the boocase design. The single fower proides just the right acc ent for this part of my my sunroo m
uoom m hom w oodd wth ght d t m< m hpp jut to w to . Wh w phoo of orl rug ctlog, I w ctl how I wtd o furh h room: Fl wth thg tht thrv ulgh Ug th mhod dcrbd chptr 1 o pp 1415 I dpd th orl rug dg to th booc bo oc o p h focu o th lvh dg I cho cho opqu p for for h bcgroud o obcur wood gr pd h mg vbrt coor whch rmd m of th wor of ul Gugu ht h cloup photo o p chptr
1
how th dl
of h bruhro whch corbut o th ovrl loo of th pc
PA I N T N G
37
JUNGL-NLUNCD BOOKCA
lh, rrow boo room dcord wh jugl hm I pd h org mdumo h wh rw umbr p h lghly glzd wh mlc broz o ob lgh h Rdom pplco of boh mpd d cld mof mpr crfr loo.
he grain of he wood is sil isibe hrough he pain and glae, as seen in he closeup ABV his pai ned surface surface makes a errific background for he spongesamped gold squa res and he black ebraesque sencils sencils
38
A N
FALL AV SILK SCAR
h col of l folig is h focs of his hndpind sil scr I hnnd h pins wih bric mdi o gv wrcoor which look as if eaves, which the eav character character to the
h'v bn scrd b h wnd To metalicc gold and apped metali brighten brighten each leaf, I apped brushes.. The liner brushes sponges and lin with sponges pains wit copper copper pains tabeau. seasonal tabeau. for ths season frame for perfec frame s a per border s mitered mitered border
PA N G
39
PAINTD SILK os ATO T mpl houe of h colred ve< he pfc ol fo he ooful euberce of he hghl lzed c The vvd brgh coor pee cceed wh blc d melc me lc god p p To help vuze vu ze our color choce choc e me cope co pe of our deg d l hem wh colored pe or pecl
B
SILK PALM A BAG dupo pvd hghco bcgud
for h pd plm frod h coor p oos mor comp h s h bsc plm shp s pd frs olv gr h llow d bc dls r ddd wh h chs dg of brush. Rdom ppco of h dl brushwor s mor url h clculd plcm bcus mor rlscl mmcs wh s foud ur
[ABV he design and paint colors are tried on a sample before before paint is appled to the actu al proect
JAKARTA INN JACKT
herrgboe le of h jce pced b vbr red del Oppoe o he color whee, ch h combo, re peg o he ee bece he cree hrmo Sepred por zpper re ed ppg d me rprg, f rm logde he hdped bd d odred cce o p he bd, I dpped he p of lrge f brh o p, he ppled he brh o he fbrc rdoml overppg crece, ggeg he de of zpper eeh he coep vew of he bc colr how how he vge red bo ed o he jce gve h l dremer och efore working directly on the trim, I practiced using just the tips of a fan brush on a scrap of the jacket fabric
PA N G
43
•
•
ENCNG, HE PROCESS OF APPLYNG PAN
thogh ctots n a ock
ng matea to ceate a patten s consdeed the odest fom of pntng n the Mdde Ages peope lvng n what s now ance sed the technqe to decoate fac and hosehold tems sch as ooks walpape and playng cads The technqe spead thoghot Eope and as tme went on to the New Wod As Amecan mmgants ecame moe aent they adopted the decoatng styles of the natve lands and sed stenclng n the homes to mmc the ook of epensve Eopean fnte and os wapapes Atsans have contned to develop the technqe applyng t to contless sfaces Today, sng cently avalae too and desgn optons myad eects can e ceated wth stencs In ths chapte, yo'l nd ectng desgns that have een apped to wood ssal and a vaety of wondefl facs shee oganza slk dpon csp nen spple sede The mateas sed to ceate the po ects ae nepensve eady avalale and smple to se The deas pesented ae ntended to spak yo magnaton and encoage flghts of fancy Yo can comne eements fom the pojects feated n the Stencng Galey on
Commercial stencils are available n an endless varety of desgn motifs and can be used over and over if properly cared for If you decide to cut your own stencls, just follow the the easy steps steps provded on p 50.
pp 5885 or use them as a jumping-o point
are regular household items you probably
for your own creations The directions and
aready have on hand
photos will guide you through the stenciling process and help you achieve your artistic vision
Wonderful commercial stencis are available or you can make your own. If you decide to make your own stencils but are using another's
Using just a simpe sponge acrylic paint, and a
design, please respect copyright laws Consider
few basic stenciling materias you can achieve
using images from the public domain, which
successful resuts on a range of fabrics and
do not have copyrights Dover Pubications
wood surfaces. Most of the required supplies
Inc which has an extensive catalog, is a good
S T E N C I L I N G
he drawing (left) was used as the pattern for the long lasting acetate stencil (center) and for the singleus e freeer freeer paper stencil (right)
souce fo copyghtfee desgns See the
photo above shows the ognal dawng
Souces lstng on p. 8 fo the company's
made fo a stenc left an acetate stencl cut
addess.
fom that dawng cente and a feeze pape
o sngeuse stencs and vey lage sten cs use feeze pape. o moe pemanent
stenc cut fom the same dawng ght Some stencs have specal puposes. Bode
desgns pefe to use Myla® sheets o peces
and cone stencs ae desgned to ceate
of thn acetate avalable n both sheets and
edges but they can also be used n othe ways
os because can see though them fo pope
fo nteestng eects Multple ovelay stencs
desgn placement Acetate sheets sometmes
ae used to ncease the complety of a desgn
come wth a matte sde and a glossy sde
deta by deta and usualy, colo by colo.
whch has thee advantages the matte sde can
They can also be used to cove the bdges on
be dawn on wth a penc and heps keeps the
stencls and to ceate a contnuous patten
knfe fom sppng dung cuttng, whle the
nstead of usng an ente stenc, you may
gossy sde makes pant ceanup ease The
want to use pats of a stencl fo you poject
thnne stencl mateas alow pant to be
ke dd fo the age mo fame shown on
appled to the suface moe pecsey. The
the facng page. To ceate the look used maskng tape to soate one bode aea at a
48
E
me n order o ld p a oa of fve sepa rae orders ha ogeher l p he frame Some of he sencls sed are nended for se as orders he wng and swee pea sec ons are smply pars of larger mages As yo can see from he oom phoo a rgh, I con sdered severa desgn comnaons eore makng my na decsons on sencng he mrror frame
Ass 1nsht When ung an acetate heet, lke to tencl wth the gloy de up for eae of cleanng o I make ure to revere the degn when tracng and cuttng t on the matte de
Pat applators Yo may e amlar wh lnpped senc rshes whch are sed wh ol pans B
Combine imag es from diferent diferent stencls or use
when sng acryc pans and for al he
parts of a singe stencil to create interesting and
larges sencls I prefer o se negraned
uniqu e patt patterns. erns.
makep sponge wedges as pan appcaors They are nepensve and dsposale I do no recommend sng reglar kchen sponges The holes are oo arge and he pan los raher han lends on he projec srface or larger sencls yo can make a ponce daer y fodng a negraned sponge o creae an eggszed srface and yng o wh rer ands Use he ecess sponge as a handle Anoher handy shape s a a sqare of
T E e l L G
49
Mkig Stil works wor ks on th t h e prncple prncpl e o f postve post ve a nd negatv neg atvee space spac e . T he pos pos tve tve image (sten(s tenc i l ) s cut away away from the th e n egatve spa sp a ce of the th e b ackgrou n d . To do t h s effectivel effectiv el y an d w it h a n approp a ppropriate riate level le vel of o f deta i l , y ou o u wi w i l l n e ed to plan bridges bridges in the stencili stencili ng m aterial . A l l
t h e n terna t erna l detal o f t h e m age age m ust be con co n nected to t he backgro backgro und by brdges brd ges of stenc sten c l
materal or else the design will fall away
DWNG DGN First, determne f the mage you plan to use for the stencl s the rght sze for your projec project t If not, you' l l need to enarge enarge or reduce reduce the mage mage on a copy mach ne
2 here are several ways to make stencils. f usng freezer paper ether draw or trace the mage and the proposed detail on the paper. Fll n the proposed areas to be cut away wth a felt-tpped pen, a marker, or a col ored ored penc l . hs a l lows lows you to qu ckly see f the brdgng network network s i ntact. ntact. If not, add the necessary brdges before you cut he shny sde of freezer paper ressts pant, so keep ths sde up to desgn the stencl o check out t he brdgin brdg in g on ethe et he r an aceta acetate te or a M ylar ste ste n c l , ma m a ke a paper pap er copy of of
the mage and fll n wth color as descrbed above Use this coored copy as the cuttng template (top photo).
CNG NC 1
C ut the stencl us ng ethe et he r a sharp sha rp craft kn k n fe f e or a stencl-b stencl-b ur nng tool tool
W h e n cutt ng , place th e stenc l f lat on a c uttng mat ma t o r o n a plate of of g lass ( I f t he edges edg es of the gl ass have have not been bee n g round, round , ta pe edges edg es wth mas m as kng
tape or duct tape for safety.) 2
f us us ng freezer freezer p aper, tap ta p e the pa p a p er nto poston po ston on the cuttn cu ttn g sur
face a nd cut cu t w th the th e k nfe. I f using acetate ace tate or or Mylar, ta pe the c uttng te mplate mplate to the c uttng ut tng surf s urface ace Pos Pos ton the th e acetate o r Myar Mya r over the te m p l a te leavn g
2
or
3
n ches of o f overap around ar ound the t he desgn desg n , and ta pe nto
pos po s t o n . Beg B eg n cutt ng the stenc ste nc l For better be tter cont co nt rol, cut away away from fromnot
ntoa sharp pont or corner n the desgn; there's less chance of over shootng the mark (center photo). 3.
A s you cut c ut , check t h e stenc l to be su s u re the c uts are clea cl ea n and tha t ha t no
areas have been mssed. he mage on the stencl shown n the bottom photo has been been col ored wth a feltt pped pen to de ntfy areas areas that that stl l need to be removed
negraned sponge that has een roled nto a
Applyng the pant
cynder and secred wth rer ands Hold
Wear an apron and f desred atex gloves
ths appcator as yo wod a penc
Usng a sponge as an appcator proceed wth
I se sponges on oth frntre and farc t for very large proects lke the ssa rg
the steps that folow
shown on p 69 spray pant s the way to go
1 Por a smal amont of pant onto the
Drect appcaton of the pant s mch more
paette Add a t of extender to the pant to
ecent than dang t on
ncrease the open tme or wet the appcator
To learn aot pant extender medm fa
wth water and da t amost dry on paper
rc medm and other materas and spples
towels Dong ths prevents the sponge from
yo may need see chapter 2 pp 426 If yo
asorng too mch mostre from the pant
plan to make yor own stenc read throgh
whch wl decrease ts open tme
the steps n Makng a Stencl on the facng page to see what other sppes yo may need
2 Next Next dp the sponge nto the pant and
work the pant nto the srface of the sponge
A' Inht I'v un that uh
y poncng t sng an panddown
try h ar a g ur r btanng ra n-gran ng.
moton on the palette he key to sccessfly
TENCI TENCILIN LIN G ECHN ECHNIQ IQU E
applyng the pant s sng a very smal amont of pant and workng t wel nto the sponge
Wth stencng yo can see how the work s progressng and adst the pant applcaton as yo go It s a more forgvng technqe than stampng for example ecase yo have more control Before yo egn see chapter 2 pp 229 for nformaton on pre parng farcs new wood srfaces and panted wood srfaces
S E e L G
5
Posiion he senci on he sface o be
5 eep hings cean as yo wok, since pain
pained hoding he senci in posiion by
on yo hands o on he back of he senci
hand wih owack ape o wih senci adhe-
can easiy end p on yo poec Died
sive If sing he adhesive be se o foow
pain won' ansfe o ohe sfaces b
he manfaces inscions
we pain wi so se baby wipes o pape
Atists Insht Unless the stencil is lage and unwieldy I pee to hold it in position by hand
Appy pain o he sface sing a qick
owes o keep yo hands and sencis fee of ecess pain
6 When yo ae nished, cean sencis by geny washing in wam soapy wae Rinse he
poncing moion, moving he sponge ove he
senci in cea wae and pa dy f he pain
senci o fi he co aeas of he image
has aeady died on he senci se bbing acoho fo bee ess Soak he senci fo a few mines, hen geny scb he sface
5
E e L G
wth wth a soft brush Rnse and pat dry between paper towels. When When competely dry, store stencs in labeed fe folders or envelopes.
Blending colors Stenciing with varegated or bended coors personalizes a commercia stencil Blending shading shading and hghlighting add drama and dmension to the image Experment to see the eects possible with dierent methods of bending You can mix the colors right on the palette palette to arrive at the exact shade you're look-
Tipss Handy Tip the knie sips while yo u're cutting a stencil, put clear tape over the sl ice on both sides of the stenc stenc i an d recut the area. Be s e to use a sharp blade when cutti ng a stencil sten cil You' get crisper lines and make fewer mistakes. A ittle ittle pai nt goes goes a long way Always stat wth less paint tan yo think you'll need and work it well into the applicator. Be cautios wen a ddng more paint to the applicator; it's easy to add pant not so easy to remove remove it
ng for or try the following techniques which gve nteresting nteresting and subte resuts Highght the stenc for a more dmensonal look by layering one color directly over another Since so ittle paint paint is being applied at one
f you are repeating a stenci pattern on a project, be sue to appy the p aint evenly to each repeat f pant is not applied evenly, there will be notceable difeences in coor ntensity and value, which will di stract tract fom fom the ove oveal al l design.
time there s no need to let the paint dry between mutiple layers Use a dierent applicator for each coor to keep the colors distnct
Suggest depth and dimension by varying a co lor's value (its lightness or darkness). For more m ore natural efects, combine more than one colo with the base base color. color. Mistakes happen. f you make a mistake, eiter incorporate t into the overa design or ignore it It may not be noticeable to others and trying to fix it may make the problem worse
S T E N e l L I N G
53
the apon poket belo stated with ohe paint and blended to ble Then with a se ond sponge I stated with ohe and blended to pple
Woking with multiple ovelay tencil Its mh moe inteesting to the eye to see vaiations in the sfae eated by applying
se stenils that have mltiple oveays Eah
additional olos of paint as shown in the
oveay ompetes a dieent pat of the
mltioo image above
imagepatila design eements o olos, o
To gadaly shift the olo fom one to the
both Small egistation holes at the ends of
net, hange paint olos withot hanging
eah oveay allow eah seeding ovelay to
appliatos To do this, appy the lightest oo
be aately positioned so that the final sten
paint fist then dip the same appliato into
iled image looks omplete and ontinos
the net dakest olo, and so on As yo an
o eample fo the steniled sik valane
see fom the olo gadation of the wods on
and dvet ove shown on pp 606 thee ae
GH1 he pocket on this aprona sten cied verson of the stamped MiyakStyle prons shown on p shows the gradua color grada tion acheved by using blended paint colors.
54
To eate a moe omple, mltiolo design
TE N L I G
three overays that combine to produce the
3 naly, I used overay #3 to stencl n
twisted jungle vine image The 8foot valance
tendrils on the vines and vening detals on
and twinsized duvet cover equred seveal
the eaves
epeats of the stencl To do this most e ciently I stencied al repeats as folows
1 ist I used overay #1 and the asecoor paints to stencl al moti repeats
4. You can see n the photo below how the detail and shading in the vnes and foliage creates depth and perspective
2 Then I swtched to ovelay #2 aligned the egistation hoes and stenciled othe elements in the image which gave t a moe complete, continuous look
ST EN e l L N G
55
Sp Stilig I he vaatns pssble wth stenclng and the tems that can be used t ceate pattens ae unlmted. Hee ae a ew deas t get yu sated
Use paper doilies as sten
Use a torn cadboar d edge to make a
ry eesing the stencil to
cils to make interesting
great borde
ary the image
pattens
ay a second stencil on top of the
his photo shos
or small details and highlights try hand
first to add dimensio n to an image.
the completed completed
pai nting ith a bru sh. o example used
ere the basic shapes (circle
image as ell as
a liner b rush an d gold metalic paint to
square and triangle) hae been
other images
tansform a eucalyptus leaf into a feather
stenciled in green o create a
ceated in the
pattern ithin the shapes a second
same ay
stencil of seaeed is laid on top of the first stencil then brone paint is applied
56
S E C L N G
Fnshng
2 o mateas sch as sede that cant e
o addtonal nfomaton on how to heatset
pessed wth an on se a ha dye set at
facs see chapte 2 p. 4. o detas on how
hgh tempeate to heatset the pant
to fnsh wood poects see chapte 2 p. 5
1 o facs alow the pant to dy thooghy then heatset sng a pessng cloth Teon® pessng sheet o pachment pape and an on set at hgh tempeate wth no steam Once heatset the facs ae eady to se
3 o lage peces of fac pace the fac n the dye and heatset at the hghest tempea te settng
4 . o wood sfaces seal the panted sface wth vansh sandng etween coats
Att n.ht Although a stenciled image is permanent once it has been heatset I like to turn washable garments inside out when washing them to reduce abrasion
T G
57
SUMM R SWAR SWARM M EN M L
S
ummy ummy ped·and·al lnn n n n and and ylow m whm·
scal when a pocet houses a swam of stenced nsects The metalc olve pant has ust the ght touch of onze to catch the lght When motfs ae to have a specfc pacement on a gament I'm mang such as the ugs on ths ensemle I st cut the patten peces and ma the seam alowances Ths shows me eactly what I have to wo wth so that can pan motf placement accodngly
On this l inen top I marked the placement of the pocket pocket since it is a n inte gral pa rt of the design s you can see i n the photo at GHT J I added more whimsy with a second release of nsects these are escapng from the folds by the left left calf on the pants
S TN el L N G
59
JU NG LE IN E UVET OVER OVER AND AL ALANC ANC E
LEF J The duvet cover is outlined with a border bo rder of twisting twisting vines a simp le repeat repe at of the valance stencil design he close-up c lose-up view
OW J of the valance [B OW shows the wonderful, rich texture of the fabric and he shading on the stencil, which adds a lifelike quality to the images.
R
"t"t-led, wahed ilk dupioni � the
background for the twisting junge vines sten ciled on both the valance and the duvet cover To create the images I used a stencil with multiple overlays which
fil in
the dierent
parts of the pattern so that no stenci bridges are apparent in the competed motif aso used the multipe-overlay stencil because the pattern can be repeated repeated continuously with no break in the designa perfect choice for large proects such as these.
S T E N C I L G
61
BORDR IRROR FRAM ovezed m wth a stencled lnen fame s the focal pont of a bathoom whee t coves one wall. At the cente top of the fame a sweet pea and vne stenc wee combned to ceate a pose boqet then the sweet pea poton was epeated to make a segment o the bode. Repeatng an mage as I dd hee nfes and stengthens a desgn If yo ae coveng yo own ame be se to alow enogh fabc to wap to the back along the nsde and otsde edges Use spay adhesve to adhee the fabc to the fame and staple to sece
6
sTE N e L I N G
I LT P I E D E S T
L
eathe eathe does no no e! e! when ,
'0
he edge of th' 'pt ow
vest are t wth a wavyedged roary tter and left nnshed Interest s reated n he overapped seams by nsertng a srp of onrasng spl ow leather and one of goldsened pg sede, sede, whh yo an see learly learly n he deal phoo I sed a gle sk o hod he ayers ogether efore efore shng When sewng leather, leather, se a eather needle, a Teon® presser foo wh owered presserfoo presserfoo pressre and a longer sth lengh Do no se 100% oton hread for onsrton; nsead, se 100% polyeser or ottonwrapped polyeser hread
RAGONFLY SUEDE ABLE
tencled agon" t
,etO'"
the Ee of
ths sedetopped occasonal tabe whch has been coveed wth a sheet of nexpensve glass to potect t. The lghte colo vale of the avocado sede makes the top seem to oat above the deep-toned base Hghlghtng the wngs and bodes of the dagonfes wth metallc pants as seen n the detal photo gves the stenced mages the lmnos qalt of eal
Here, Here, I'm hghl ightin g the wing wing tips of a drago n
dagones The motf s epeated on the coodnatng
fy with bronze metaic pant. The motif on t he
ctans pllows and cha pads n ths bedoom
rght has already been hi ghli ghted ghted with olive
shown on pp 106109.
metallc paint
A hghlghted mage is subte not garish and has much more dimen sion than a single-colored image.
S T EN e l L I N G
66
S E e L G
CALLA ILY INGERIE CHEST
[ABOVE] [ABOVE] Here Here you ca n see t he three colors used to stencil stencil the cala lilies and leaves. The frst frst coor applied t o th e cala liy stencil was a light silver. Nex, Nex, copper highl ights were added F naly a touch of gold was added he same coors and sequence were use d to stenci the leaves
all lingee ch" � one of my &ie po pojec_ jec_ The ylized cl lily encil in sof meallic shades of silve coppe, and gold complemens he chaace and colo of he gaysained pine appeas as if he ches is emeging fom an enomous bouque of elegan cala ilies Simpe coppe dawe puls a dd a final eegan noe When senciling a pojec such as his ape he dawes ogehe o sencil in a coninuous paen Tha way you don' have o hink abou maching he paen fom one dawe o he nexjus sencil as if on a a suface As seen in he deail phoo above lef he sencied calla ily design ows ove he dawes in an unboken paen
S T E N C I L I N G
67
SOMTHING FIHY UNIC
A
h ptte w, ed to cee thi peced ede tnc The cent
ont stips wee stenciled with a sh stencil sng a vaety o metalic paints o a topca look As yo can see om the detail photo o the ack pocket thee's inteest coming and going on this gament When heatsetting paint on leathe e se to se a hai dye set at the highest tempeate settng
A ENTRY HALL UG
"!d laf mf n h ] g
w,
d a a ann m h u
sd h nsd ns d and h swpng arch f h mf hlps sfn h slk cnmprar lns f h rm I card h h laf hm hrughu h nr n r hall b usng af af mfs mfs mbss h sud char sa and h ahr ablp shwn n h backgrund and n pp 0131
To make a stencil of this size tape strips of freezer
such as this rug its best to use spray paint, which
paper together to match the size of the rug Draw
is easier and more practical for covering arge
the design and color i in if you'd like to check the
areas I used several coats of spray paint on this
image then cut the stencil stencil and attach i to the rug
rug because sisa absorbs paint-lots of it
wih temporary spray adhesive. For large projects
S T C L I N G
69
RAPHIC FLOOR UG thi' back ttonbod"ed �al ug ted a more geometic look than the stylized leaf design of the enty hal ug shown on p 69 So instead of making a stenci, I used varying widths of masking tape and nutmeg, taupe, and back spay paint to create the patten I started by masking o rectanges in the corners and center then spraying with nutmeg brown paint When using this method emember to pictue what an area wil wil look like with the tape removed Plan the placement of motifs and colors accordingly because you ae woking with both positive and negative space.
70
S T E N C I L I N G
MARKET BAKET
E
S E N C L N G
7
72
0 A AYR RA SKIRT
A
wap k n backndcream yon wth n exta ont
pane s outned n back sk bas that has been stenced wth cream pant. The bas edge s vsuay nterestng and the added weght of the trm heps the skrt hang smoothy, whe st aowng soft movement. The faux fnsh of the border was acheved by bendng two cosey reated coors. The back s bas ntens es the sghty transparent quaty of the pant and gves t a weathered appearance a perfect compement to the fabrc. ABV used a inch wide stencil on the trim and positioned the motif motif in the center of the 3/4inc hwide silk bias strps he silk bas comes precut in yard lengths from hings apanese (see Sources on p 8)
S L I G
73
SA URTL T
A
n undewe
of u wim
ming hough sea gass is sencied on aubegine si dupioni, hen coveed wih a aye of shee aubegine oganza he suggesion of sea gass is fuhe enhanced by sewing hough boh fabic ayes wih a wide doube neede in gene cuved ines hen ing he channes wih sof aubegine chenie yan
ABVE] I red hree dfferen dfferen meallc meallc pan colors on hs sl before decdng whch looed mos ehereal when covered wh he organza layer.
I used a 6.0mm double needle o creae
he chan nels for he sof sof aubergne che nlle yarn; I hen pulled he yarn hrough he channels usng a crewel needle
TE N e l L IN G
75
RT LIGHT JACKT
S
teniing inene the ymmetic] deign in of thi pit cow jacket
he jacket pieces ae cut with a wavyedged oay cutte and since eahe does no ave, ave, the edges ae eft eft exposed to become pat of he ovea design design Stenci S tencied ed bodes accent the piecing ines on both the font and back of he gament Constuction and piecing seams ae oveapped and topstitched ahe han sewn in the taditiona manne he dese owesae highighted with sevea shades of metaic paint which adds dimension and textue to the oa moi
T e G
77
78
S N CI LI N G
EUCALYTU ENML
E
ucypu eav" enced
on soft sage suede and backandgray textured fsh skns combne to create a serene feeng n ths vest and skrt
ensembe sh skns are tanned ke anma skns nto eather wth the added benet of nterestng texture
patterns As you can see n the deta of the vest back the textura quates of the fsh skns break up the stenced mage softenng t and keepng t n harmony wth the rest of the desgn To extend a pattern, as I dd on the ef eftt front front of the vest ves t you yo u need n eed to cean and dry the stenc then move the stenc or reverse t Appy pant to the suede as descrbed on pp 554 Contnue the stencng process unt the mage s compete
S E N N G
79
I
S U D IN K G O T gathd gnkgo av and coped them onto pape on a photocope then
ued the cope a tempate to cut the evera tenc ued on th vet (Refer to p 50 to earn how to make tenc) he pum fanhaped eave, accented wth god, pu together the unuua but eectve combnaton of avender and cognac uede he eaf edge peekng out aong the pecng ne were tenced pror to aemby, whch make the mage appear to be trapped between the ayer
80
S N C N G
HOT SALA SKIRT
H
ot Hot Hot!
A singe moth stenci on the hem of a watermelon suede skrt (part of a thee-piece suit) takes it ove the top The single image has more impact than would a muttude of moths coverng the gament. Shny metalic green pant with bronze hig highghts hghts was applied over over metalic turquose pant, adding more complexity to the image than would a at-finish p paint. aint. The metalic paint paint colors were inspied by the coos coos of a strped camsoe cam soe (not shown) and have nothing to do with real ity but everything to do with fantasy So litte paint was appied that I was abe to layer one color afte another without stopping
S TE N e l L I N G
81
ITRON AND ARRY SUD T
U
ing f nt tenc d coo combination wi make the
same vest ook competey dierent ere citron suede s covered with every woman's fantasyshoes! he stenced motfs on the front and back of the vest have a deamy quaity due to the paste highights I made the same vest n dake coos and achieved a totay deent ook he coseup photo shows the back of a raspberry suede vest that is stencied with chocoate pant he daker coors of aspbery and chocoate are more soidooking even though the stencied image has a rbbonike quaity he singe stenci coo on the raspbery vest appeas more substanta than the hghighted pastes on the ctron vest
82
sNelL NG
SI LVER VER-STENC -STENC IL ED IAN JA CKET
(
)
S T E N e l L I N G
85
•
TAMPING AMPING IS A S MP LE, STRAIG STRAIGHTFOR HTFORW WA RD TECHN TEC HNIQ IQUE :
Paint is applied to a
stamp then the stamp s pressed onto a surface to transfe the image The techn technique is easy easy to ma master, fun to do and and an nexp nexpensive wa way to add imme-
diate interest to both funitue and gaments Stamping eaves the ightest mp mpession of of the tech techniques co covered n ths book book. Howev Howeve, ts mpact mpact s anythin anythingg but ligh light, as you can see fr from the p pojects sho shown in the the Stamping Stamping
Gaery on pp 00119 You can stamp stamp wth wth just abo about anyth anything fom found objects to homema homemade stamps tamps to commerci ommercial al stamps stamps.. For tho those of us u s who are drawing drawing chaleng chalenged" using commercial commercial stamps wil prov provide nsta nstant gatif gatificaton With the wide range of of styles and type types of stam stamps ava avaabe, abe, th thee s so something mething to pea pease eve eveyone Plus the same stam stamp p can be used in many ways; ea each use is unique unique
to the artist and to the poject In addtion to provid providing ing basic basic stampn stampng techniq techniques ues I've I've ncluded ncluded nformanformation on how to make you you own st stamps ho how to use use vaiegate vaiegated d coors coors and how to use use metac metac paint on on velveta velveta unque stamping stamping variaton variaton that pro pro-
duces spectacuar resuts.
88
Use on e of he he many commercial samps availa availa ble or carve one of your own o o ransform ransform a s imple armen ino a simpy sunnn one
MATERALS AND ULES
Stamps
The suppes requred or stampng are ew
Stampng s a popuar technque and there are
You need a stamp or oher object to mprnt
many companes tha make wonderfu stamps
he desgn onto a surace and a way of appy
One o my favorte commerca samps s ee's
ng pant to he stamp Beyond ths the spe-
See Thru Samps, whch are made of a poy
cc toos you need w depend on your par-
mer maera mounted on cear acryc bocks
tcuar projec and your preferences f you
he cear acryc makes t possbe to see exacty
woud ke to make your own stamp see
where he mage s postoneda bg advantage
Makng Your Own Stamp on pp 9293 for a
My favorte suppy sources for stamps are sted
st of addtona suppes you may need
n he Sources stng on p 138 I you wan to make your own stamps reer o Makng Your Own Samp on pp 993
SAMP ING
mages samped on coase o loosely woven maeal (lef) wl no have he same csp deal as mages samped on smooh, smooh, ghy woven maeal (gh)
o mos home decoang and clohng
buy hs ool be sue o puchase a sponge
applcaons s bes o use samps wh deeply
baye because had ubbe bayes do no
cu mages and lmed deal because smal
wok as wel fo hs echnque.
dea does no epoduce wel on wood and fabc sufaces. The oughe he suface he
Inking plate
less deal ha wl egse as seen n he wo
Cea acylc nkng plaes ae vesae ools
samples n he phoo above. The coon sample
ha can be used as pan paees o o check
on he gh s moe ghly woven han he
mage placemen To lean how o use an nk-
lnen sampe on he lef and poduces a moe
ng plae fo desgn pacemen see Sampng
csp mage.
dea le on p. 99
Brayer (roller)
Stamp pa
Sampng eques ony a few oos. One of
Samp pads also caled nkng pads ae wash
hese s a 4nch dense sponge baye nkng
able foam pads se n a plasc conane an
ole whch wl evenly dsbue pan on
s spead evenly on he foam hen he samp
an nkng plae. The baye can also be used o
s pessed no . Ths mehod povdes even
apply pan decly o he samp sel If you
coveage and poduces a good cea mage
90
S A M P N G
Sponges Sponges have a variey of uses. Compressed sponges and highdensity sponges can be used to create stamps Smal inch sponge brushes can be used to dab paint directly onto he stamp.
AING ECHNIES Read through he information below to learn basic decoraive stamping techniques and to discover inriguing variations that are fun o try. erfect your technique by practicing on
sed hs bloc prnsyle samp o decorae ary
paper or fabric scraps. hen, when youre
chffon crans wh regarly spaced mofs he blac
ready o ackle a projec, just selec some paint, grab a stamp, and ge started
permanen mar n he cener of he mage helps algn he mage wh pacemen mars on he fabrc
Pepaaton
fabric using a synhetic fabric seing on the
Whether you're stamping on fabric or on
iron Leave the freezer paper in pace unti the
wood, youl need o prepare he surface as
stamped image has been hease.
you woud for any painting project see chap ter
2,2, 27-29 pp
If stamping on fabric pad he prepared fab
f you want o space a moif at regular intervals as did o make the curains shown on p.
107
mark the fabric before you begin to
ric wih paper or muslin to absorb excess paint
eiminae guesswork. or pacement marked
and preven bleedhrough ono other surfaces.
he cener of he samp with a permanen
Secure the fabric to an easel or a work surface
marker, hen used a ape measure and a tem-
wih pins or saples to prevent the fabric from
porary marker to mark the center posiion of
moving and smearing the image.
each image on the fabric.
or knis such as cotton shirs, iron he shiny side of freezer paper to he back of he
T M P N G
9
Mkig Y Ow Stmp your own staps ca b as spl as carvg a dsg nto a halvd potato Howvr, although a carvd potato srvs as an fctv stap, t has a vry short shlf lf.
nough and that all xcss atral has bn rovd.
2 h lnolu carvng block can also b lft uncut to crat ntstng pattrns
f you pan to us a dsgn or tha onc, us a lnolu or Spdy C block, thr
Apply pant to th
of whch can b carvd to produc coplx
ncut lnol
dsgns o carv th ag, us a Spdball®
blo ck wt h a ba bay y
cuttr st whch conssts of a hand wth
r, thn rov
sv svra ra ntrchagabl ntrchagabl blads.
so of th pant
LNM CVNG LCK Lnolu carvng blocks co prountd n a
wth a rubbr t ppd tool to crat a pattrn
varty of szs and can b found at art supply stors. h bocks a
Whn yor
ost oftn carvd to
satsfd wth th
ak staps, but thy
patt pattr, r, us th
can also b lft uncut
block to stap th surfac,
To crat a carvd stap draw th ag
usng fr, vn prssur
drcty o th lnolu bock surfac wth a pn
PY C CVNG LCK
cl or arkng pn. Us
A Spdy Cut carvng block, whch cos n a
a Spdbal l c uttr uttr to to
varty of szs, conssts of a vry dns,
goug ot th aras not
spongy atral that s ountd, aft th
ncludd n th dsgn
ag s cut, onto a support block.
Always drct th bad away fro you body and hands for safty Oc th dsgn s copltd, ak a tst stap to b sur th cuts ar dp
92
STAMP G
Cut th block to a sz approprat for your dsgn. Draw th ag drctly on th block, thn cut th ag fro th block usng a Spdbal l cuttr or a craft craft kn f
2 Use rubber
A Hghdensy sponges,
cemen o moun
vlble from crf
he Speedy Cu
sores, lso mke ner
smp o
esng smps He he
ce r cryl c or
surfce of he sponge
wood block
wh wh he gu n , he n
h s sl ghly
mpress n mge no
lrger hn
he sofened surfce o mke smp
he smp
;
A Regu lr sponges sponges c n be used used s is o cree cree
3 Once he
n neresng exured smp, or you cn
smp hs
cu hem no shpes wh shrp scssors f
been cu nd
you pln o cu he sponge, purchse com
mouned, 's
pressed sponges. 's eser o drw he
redy o use
mge nd cu ou whle he sponge s
NQ MP ML
sll compressed hen dp he sponge n wer wer o expnd o o s n orml sze.
Everydy household ems mke unque, nex pensve smps. Jus rech no he frdge or
A or n lernve wy o mke smps,
kchen drw drwer er nd pu l ou. .. n ppe or n
moun doub lesded lesded pe on hevy hevy crd crd
erser, erser, bel l pepper or p ece of of sr ng The
bord, fom core, cryc blocks, or wood
possbles re endless.
blocks nd ch ems o cree perns
A Vegebles nd frus cn mke errfc smps Choose frm peces, such s pples nd green peppers, nd cu hem n hlf hrough he sem o ge full mge Pers hb le ems such s hese w s bou week f refrgered n plsc bg
A An r gum erser
You cn use nyhng h w d here o he pe nd remn evel for prnng If he sur fce sn' level, he smp smp won pr n properly. Here, pe hs been ppled o he surfce of 4nch
crved wh
crylc block Sring s hen rrnged on he
shrp crf knfe,
pe n rndom pern. Be sure o use
s noher gre gre
ghly wsed srng nd vod crossng
smp ide.
over self o keep he surfce level Spry wh vrnsh o sel he smp nd o cover exposed res of pe
SAMNG
93
Applyig pit to stmp ere are three easy ways to appy paint to a stamp ry each method and see which one works best or you
1 Use a brayer/roer to spread the paint n a
thin even ayer on an inking pate top photo
3 Use a stamp or inkng pad: our a sma
beow hen press the stamp into the paint
amount o paint onto a bank pad top photo
on the nking pate bottom photo beow
beow Work the paint into the nkng pad
with a crat stck or the back o a pastic
spoon bottom photo beow When the paint is we distributed on the pad, press the stamp onto the pad, using a irm tapping moton.
2 Use a brayer to ro a thin ayer o paint directy onto the stamp
94
A M P G
o creae clean, complee mages, apply a hn, even layer of pan o your samp and ransfer he mage usng frm, even pressure. he sam ples above show he resul of usng oo oo much pa n (lef) (lef) and uneven pressure (rgh)
Applying paint to the surface Stamping requires requires more paint than stenciing does but usng too much pant wi bur the image Before stampng your project experexperment first on paper or a scrap of fabric to find the right amount of paint to use In the photo above the image on the eft shows what happens when too much paint is
1
appied to the stamp The ncompete image on the right shows the resut of usng uneven
ect usng rm even even pressure Do not rock the
pressure when stampng Practce your tech
stamp stamp because ths can bur the image Repeat
nique unti you get an mage you ke
stamping as needed to compete the desgn
1 After paint has been apped to the stamp press press the the stamp stamp onto onto the the surf surface of your your proj proj
2. If the pant is drying too quicky add water or extend extender er to incre increase ase the open time
S T A M P I N G
95
3 Keep he samp cean as you wo Dred
Speca effects
pan s dcu o remove and w bur he
Afer you have maseed he basc sampng
mage Baby wpes ae handy for hs ceanup
echnques y hese varaons o add geae
as; jus be sue o bo he samp dy on
dmenson o your wor
paper owes before eappyng moe pan VARIEGATED COLORS
Ths sampng ech
nque uses wo o more pan coos a one me o poduce neresng eecs he added deph and one of vaegaed coors ceaes a rcher mage whch s much moe appeang han a aoong sngecooed mage as you can see on he suede sampe beow an reads dereny on deen surfaces so be sure o es he pan coos before sarng you pojec
RIGHT 1
lend two two or
more dfferent dfferent colors of pant at one me to gve stamped mages an a most three three dmensonal loo
96
SAMP NG
Handy Tp 1 o achieve ths ook drop sma amouns of
f you don have a brayer o oll pan ono a sap, use a oa panbrush o a sall sponge
dierent coored pains next o each other on
nsead. These boh ake good pan applcaors,
he paee or inking pate.
pl us heyre easy easy o use and nexpensve . f youre nerruped whle workng or you need o sop for a few nues, lay dap paper owels over he palee and slp no a plasc bag hs wll preserve he we pan o a few hours, soees longe u once he pan s dry, can be resored, and youll have o sar over wh a clean pal ee For askng effecs Mask (avalable fo Purecon Arsc Wearables see Sources
2 Ro he brayer hrough a the coors to bend hem togeher at the edges
p.
8)
can be used agan and agan
o keep rack of your saps, ape a pece o paper o each of your sorage boxes, hen sap an age of each sap soed n ha box. hs wll save e when you are lookng for a parcula sap A qu ck glance a he l abel ells al l
3 Dip the samp no the bended paint
S T A M P I N G
97
4 ress he samp ono he projec surface using firm even pessue
and bu he image Nap ays in one diecon so wok wih he nap as you samp
nshng When you have fnshed samping cean he samp wh a sof bush and soap and waer o wh a samp scrubber hen e i dry on paper owes You can aso use ubbng acoho fo ceaning his is a good soven ha won damage samps
MAC PAINS ON T
exie ais
Marcy ion has deveoped a echnque for sampng meaic pains on veve akes pracice bu produces beauifu resus
1 Choose a samp wih a bod design and deepy carved ines You may wan o make you own samp o ensue ines are cu deepy enough
Aow he nished pojec o dy hooughy hen hease o vanish as equred See chap
.
Dab a geneous amoun of pain ono he Dab
samp using a sponge brush
e 2 pp 3435 for how o nish desgns on fabrcs and wood Soe cean samps on her sdes aher han sacking hem his w pro-
3 acice samping on scaps o see how
ec he samping suface as we as make he
much pan and pressure is equired fo he
samps easie o see soe mine in shaow
fabc oo much pressue w aen he pe
pasic boxes wh ids A piece of paper wih an image of each samp aped o he sde or op of he box is a big imesaver
98
TA M N G
Stamping Idea File Once you've mastered the basics of stamping, stamping, it s fun t o exexperiment with different effects. Clockwise, starting fro m the
• -t"
..,- " • .
top photo: For varety, apply paint to only part of the stamp or restamp the mage in a dfferent coor to create a shadow effect. Create a simple border by usng ma sking tape to mask off an area as I did in this sample, and stamping within the masked area area Create a shaped area or a block-print effect like those used on screen-pr screen-pr nted sh rts . Check what a motif wil look like before putting it on the actual surface: Stamp the mage onto a transparent pastic inkng plate, then hold the inking pate over the exact spot you pan to stamp on. This way you can see immediately how the image s going to look on the project before it's per manently applied Fiber artist Dana Bontrager came up with thi s c lever lever idea . Preview a pattern of images by frst stamping the images on paper Then cut them out and arrange them o n the surface of your project When the pattern pleases you, mark the poston of each image with a tiny pencil mark that wi be covered by the stamp. (For (For the completed project, see p 1 1 8 . )
S T A M P I N G
99
SOUTHWET-MoTIF PILLOW
S
tPed imag" imag" of dancing man d womn womn nd Kokope (the humpedback
ute payer of Natve Amercan ore) are scattered across these piows made of suede and heavy cotton. The two larger pows aso feature a stenci that is an enarged verson of the diamond pattern pattern found on a handwoven pilow that served as the inspiration for this group of pilows.
The pieced and stenciled pilows BELOW J feature feature geckos made with commercial stencils. I created c reated the Kokopele stencil by using the stamp from the small stamped pilow [ BOTTOM,
] o do
ON HE FACING PAG .
this stamped stamped an image on paper and enl arged arged it on a copy machine, then used the image as the pattern to cut the stenci H ighli ghting the images on the pillows gives them interest and depth
100
S TA M P I N G
STAM P N G
0
OG AND AT T
D
enm � aw a good choc fo chdn
gaments In the dog bone vest both the outer denim aye and the ining of checked cotton ae stamped with images Choosing a singe coor for the stampingin this case backunies the design he bound edges of the vest make it reversibe adding an eement of fun fo the chid to enjoy. hese stamps came in a sheet and had to be separated before I used them he kittym kittymotif otif gis vest i s aso denim ined with cotton. Choosing paint coos for stamping on denim can be ticky because it tends to eat coor I tried severa paints before finding one that was vibant enough to stand out on denim Bound edges make this gament reversibe as we.
ABE Noce how he dfferen colored pans seem o advance and recede on he denm xpermen on fabrc scraps o be sure he colors you use wll wor well on your fabrc
02
ARIEGATED EAVES ABLE are a wondeU urace to embeih Thi' ighty odd·haped abe wih barnwood egs ress between two burgundy eaher reciners in a TV room. The scaered samped images end a casu casua a fee o the room and he sueded eaher is an inviing contras o the sick eaher nish of the chairs The images of fa eaves were creaed by stamping with variegated coors which adds deph and dimension to an image When working working on a arge piece of suede such as this ape i to the work surface to keep i from shifting
[LEFT] Instead of using suede as a tabl e coverng, coverng, ty fabrics such as heavy cotton cotton or lne n. nstead of eaves, try using u sing mages reated to a favorite favorite object hobby or pet
STAMPING
1 03
A UHION
mping on h k dupon wicker char cushion s a perfec compemen o he pained bookcase and copperopped abe in hs sunroom. The orgna vory nen on he cushon was far oo band for he rooms heme and brgh hues woud have compeed wh he dcor in adjacen roomsbu his pae ciron fabrc works beauifuy he pain seeced for he samped images is a cusom bend made o jus barey conras wih he fabrc Imagne how deren he cushion woud have ooked if he pan were a brigh ropica green The conras woud have overwhemed he oher eemens in he room and been disracing o he eye LFT1 t take a bt of expermenta ton to get ut the rght color pa nt for a tone-on-tone look uch a th becaue the pant can "dappear or take on underable undertone f mxng a cutom color be ure to mx enough to fnh the project becaue t' very dffcul t to recreate the exact ame color blend.
SAM G
1 05
RAGONLY BDROOM
fee of thi bedroom i uminou d go amer, ike the tranparent wing of a dragony. The impiity of thi Aiantye bedroom i enhaned by the tamped dragony pattern on the urtain and the hair pad The urtain on eah window are ire of poy eter hion that have been hung over a bamboo rod. A oeup at right revea the ubte metai dragony reated with a bok printtye tamp that deorate the fabri. When ight pour through the urtain the image appear to oat on air
LT1 Ochid an d pale sage silk dupioni fame the single dagonfly image that is stamped in metallic puple on the ock ing chai cu shion. he positive positive and negative aspects of the stamp stamp a e well well displayed i n this teatment hough tightly woven the fabic's textue is athe ough so the image is slightly boken giving it an aged look he bight peiwinkle bo de gives the cush ion the appeaanc e of a famed pictue.
1 06
S TA M P I N G
08
A I N G
OAMR RGANZA PILLOW
of the dagony motif in himmering had" of metaic paint are used throughout the room shown on p 07 The transparent quaity of the organza was the inspira tion for the entire room The wonderfu paette of copper periwinke muberry and sage provided ots of choices for the compementary coor scheme he stamped images are soft and ethereaooking due to the covering of organza yet each is strong enough to stand on its own The images were stamped on pae sage sik dupioni then inserted between doube ayers of organza Strips of aubergine organza were inserted between the ayers to add design inter
usible webbing is he mag ingredient that seures the layers of fabrs on thes e pillows One applied it beomes
est Even though severa dierent coors were used on each pi-
virtually invisible a nd prevents the fab
ow the coors a have simiar vaue which creates harmony
ris from shfting as the pillow is used
S T A M I N G
09
IAN CHAIR PAD
J
u"
hnt of the "mped image on the cha pads pe out fom unde my
dining room tabe ending a sense of drama to ths space he back symbos stand out in shap reief against a background of natura nen which is appiqud to uphostey fabrc featung a patten emniscent of Chinese coins he whoe scene wecomes guests from the tranqui backandnatura coo scheme to the Chinese chaactes that extend warm wshes for happiness posperity seenity and peace. In the photo beow you can see how the coarse inen beaks up the stamped mage to gve t a weathered veneabe ook. Mecifuy the stamp povides an ngsh tansation fo those of us who dont ead Chinese.
STAM PI N G
111
OVELTY INEN DUTER
N
pa p he opponiy o e na! maeria maeria in yo yo deign' c eve pa
as he novey inen I sed o make his dser When sing nsa fabrics of his ype ry sing bias rim insead of he sa facings for a more professiona ook The arge mea bon a he op is sppored by severa snaps o keep he ook crisp wear he dser wih a soid op and pans o ake f advanage of he he fabrics characer The ehnicooking samp js fis he naracoored sqares The deeper shade of he aniqe god pain pops agains he igher backgrond coor proving ha a mono chromaic heme is anyhing b boring When samping, aways work on a a hard srface covered wih paper o proec he fabric
112
S T A M P I N G
pimary
hme and he mped pain pch" and ug-ed fooprin
on hi halfized beanbag chair are payful elemen ha appeal o a chid' ene of whimy The beanbag char made of denm and i abou 30 nche in diameer. Ahough denim i rong I reinf rei nforced orced he eam wih pipng pip ng.. The Syrofoam® Syrofoam® bead ha
he chair are con con
aned in a muin iner cu from he bag paern Zipper in he eam of boh he bag and he iner make for eay acce for reing a needed I acked he ining and he bag zipper ab coed wih a few hand iche Ahough i' a good choice for chidren' iem, denim fabrc can make mo pain color diappear To avod avod hi hi ue pain ha are are brgh brgh and opaque They'l They 'l and ou beer on denmand kd ove em
113
MR INKGO R
H
anddyed b
have vaaons no found n commeca poducs The beauy of ths oveovoe omb sk tw s bes dspayed n he smpe nes of a summe dess A snge ow of softy meac gnkgo eaves aong the cente fon peat hghghs he voe coo of the shaded fabc Meac bonze and pea voet pants wee bended wth voe o soften he metac eecton
I-STYLE PRON
M
y f fvie vie apn i the Miyk Miyk b ye which 'mpy ecge ecge of
coth supported from a corner o shft it to the bas (diagona o the grain of he fabric) These aprons are basicay bank canvases awaiting artisic inspration. You can make he recanges whaever sze you wan and use whaever fnsh techniques and embeshments you prefer These samped versions reect he Asian characters of Miyak (above) To earn how to create the coor bends seen n the fa eaves, see pp 9698
S T A M P N G
115
6
AYERED ORGANZA SHAWL
m favie projec in he whoe book. 'm inaed inaed b ransparenc and he dea of seeing dieren images as gh passes hrough his gamorous evening shaw inrigues me expermened wih dieren pain coors and inensies un achieved he ook seen here. The amos anaogous coor scheme of aubergine, perwinke and mauve is reveaed b he sigh di ference in se of each aer. Aached on a he op he hree aers oa separae adding a sense of movemen o he scaered fern eaves samped on he midde periwinke aer and he in fronds borderng he op mauve aer Lavsh beadng and he asses on he corners eevae he wrap o shows shows opper saus. sa us.
7
SAMURAI SHIRT
C
d ne nenn
fabrc s he bacdrop for hs Aannspred shr jace. The asymmerca desgn nes are accened wh sma meac bronze samped mages and hand made buons. The coored bers n he crossdyed fabrc sofen he appearance of he meac pan, gvng a rch gow Before sampng drecy on hs shr rs samped he mages on paper. I hen cu hem ou and paced hem on he fabrc adjusadjus ng her posons un was sasfed wh he arrangemen. Ony hen dd I repace each mage wh he acua samp. Jus a few mages sprned aong he edge are enough o creae neres whou over Less s ofen more han enough when comes o embeshmen
8
TAMG
SHAWL OLLAR BATHRO
em ie"em ptte n ie" gle ptte c ri rigle geomc ,m]! geom Jab' Jab',, ,m]! the Repeang the me. Repeang appeal to me. enough of a twst o appeal colors colors has jus enough colors pan colors choosng pan and choo varey of stamps and triange motf n a varey while addng enough consstent while the design consste keeps the from the fabric keeps
neres o sasfy Some of the samps are commerca and some were handcarved from a SpeedyCu carvng bock Refer to pp. 9293 for nsrucons on how to do hs BELW est pant samples n yur fabri befre starting starting any pret pret beause the l r may nt "rea d qu ite as yu expet. expet. fter fter experimentng with different different ptins, added paque whte t aeve tints tints s imla r t thse in te fabri Remember: Remember: lways test frst.
9
MBOSSING IS A VARIAION OF STAMPING;
th technque ue a tamp o
other embong agent to m an mage athe than tanfe pant to a uface To be eectve the uface to be emboed mut have ome depth becaue the mage cruhed nto the urface ung heat preure and ome tme moture. A wth tampng you can ue a varety of everyday tem to mpe the mage a ong a they are heatretant Snce tny deta ot wth th technque, be ure to chooe bod deepy cut mage My favote embong urface are vevet, eather and uede The method gve a rch uxuou characte to thee umptuou matea a you can ee fom the poject hown n the Embong Gaery on pp 3037 A you ead though th chapter, you ean whch fabc ae bet to ue and thoe t bet to avod In addton to eanng how to obtan uccefu reut wth the bac embong technque you dcover a peca vaatonembong wth metac pantthat yed tunnng reut So et thoe creatve juce tat owng aow your magnaton to oar and ty your hand at th ntgung technque
222 2
Use deeply carved embssng agens ha have smple welldefned deals embss an mage n a surface
MATERIALS AND ULIES
mary tool for embong a deepy ut tamp
Sne embong a varaton of tampng
preferaby one wth a mpe mage whh wll
t not urprng that the tehnque ue
yed the bet reult. But many other tem
many of the ame materal a tampng (ee
an ao be ued a embong agent. See the
hapter , p
andy p on p
89
Read through the pef
19
for fun uggeton. Jut
tehnque that follow for any peal upple
be ure the tem you elet thk enough to
you may need
reate an mpreon and turdy enough that t won't be damaged by the ruhng proe.
Embossng agents An embong agent the tem ued to mpre the mage nto the urfae he pr
E M B0JG
233 2
Pressing cloth A eon® pressng sheet s a vauabe ad n preventng heat damage to the fabrc beng embossed.
Paint Pant can be used as part of the embossng process by appyng t to the embossng agent pror to makng the mpresson. My preference s metacnsh pant because I ke the rch
mbossng s effectve on a varety of fabrcs such as the crossdyed velve (left) and the slnky knt (rght)
ook t ends to evenng wear See Embossng wth Metac Pant on the facng page for detas on ths technque If some other pant
we It's we worth the few extra mnutes ths
nsh appeas to you, by a means try t on a
step takes.
sampe. After a the whoe pont s to create
Types of fabrics to use
somethng that appeas to you
Embossng s permanent when apped to
Other supplies
eather, suede and acetaterayon vevet
You' aso need an ron and a fnemst spray
Sk/rayon vevet w yed beautfu, subte
botte for embossng any fabrc except eather
resuts, but the eects may not be permanent
and suede
On other fabrcs the resuts are often dsap pontng Poyester eece fabrcs w ose the
BOSSNG ECHNES
embossng once the fabrc s washed and per
Pan your desgn pacement before you start
sonay, I don't thnk t's worth the eort for
workng Avod pacng desgns over construc
ony temporary resuts Fabrcs contanng
ton seams or on top of the bust pont. Snce
nyon or nyon bends may met from the heat
you w be workng from the wrong sde of
of the ron, and cotton veveteen doesnt gve
the fabrc, you can easy mark where each
good resuts. My advce s to stck wth eather,
mage w go If desgn orentaton up, down,
suede, and the acetaterayon or skrayon ve
eft, rght s mportant, be sure to mark that as
vets I especay ke the crossdyed vevets
2 2
M B O G
Embossing with Metallic Paint u n q u e variation v ariation o the embossing technque is leaf with metac metac paint. hs tech tech nique was deveoped by fiber artst Marcy Tton and t produces an eegant efect. Here, I'm using slver metallic pant to emboss a pae blue s k sweater. The leaf patterns are somewhat irreguar and they crush the pie. Te overa effe effect ct on a garment s stunn ng, a s you you can see i n the photo on p 1 3 3 . As wth wth a painti ng tecn tecn iques, prac practice tice on s craps of fabric beore starting your project. When there is no extra abric to test on practice your technique on the insde of the garment. Seect a spot under te arm or near a sde sea m, as shown in te top photo hat way, if the process doesn't work, you can st wear the garment
Select a substanta eaf with a promnent ven pattern on the undersde Begn by dabbng a farly generous amount of pant onto the back of the eaf usng a sponge brush
Lay the sweater rght sde up on an ronng board. Place the leaf, panted sde down, on the sweater 2
Heat a dry ron to medum-hgh medum-hgh temperature. Place a Teon-coated pressng coth over the eaf, then press wth the ron for 20 to 30 seconds. seconds. 1.
2
Carefully remove the leaf, begnnng at the stem end. Repeat these steps untl the pattern s compete, usng a new eaf for each mpresson. Then, stand back and admre your work You can touch up mssed spots wth a sma pantbrush 4
embossing with metallic paint, Arist's Insh For leaf embossing use sturdy, leathery leaves, such as the camellia leaves I used on my sweater.
EM B0S S I N G
125
GHT Ive had good results emossng on sueded leather (pg suede left) and smooth leathers (am napa rght) ut try a sam ple of the the leather or suede you plan to use
where the pie is a derent coor from the
warp which ook incredibe when embossed As ou can see in the photo on p 4, when this crossded vevet sampe is embossed the undering pewter coor shows through he sampe on the right is a sink knit, which aso embosses we Embossing eather and suede is ike branding but the heat is appied from the underside If the eather is too thick the heat ma not be abe to penetrate we enough to make the impression Some sueded eathers dont register ABVE hese crossdyed vevet samples show the
an impression we so awas test a sampe
crsp clear m age produced y a deeply ca rved rved stamp
before proceeding Ive had good resuts wth
(left) and a less welldefned mage from a more shallow stamp (rght)
garment and uphoster cowhide pig suede and smooth amb napa In the photo above the sampe on the eft is pig suede and the sampe on the right wth the smooth finish is amb napa
26
M O N G
Embossing velvet
depending on how song you wan he
When embossing, remembe ha he longe
mpession o be. Lf and move he ion
you pess wh he ion he songe he
around slighy o minimize he he eec of he
mpression w be. When seecing samps for
ion's seam hoes Lif he iron and rrepea epea as
embossng choose deepy caved samps ha
necessary o complee he paern
wl poduce a simple cear mage, as demonsraed by he sample on he ef in he boom phoo on he facng page mages ha are oo shalow o oo compex end o bur, as demonsaed by he sample on he rgh
1 Lighy spray he bac of he veve wh waer from a nems spay bole Pace he samp (or whaever embossng agen you're using o mae he mage mage) faceup on an ioning boad Lay he velve facedown over he samp
Embossing leather and suede Embossing To emboss eahe and suede epea he echnque used fo veve bu eiminae he ligh waer spay. Since leaher conains abou 2%
10%
o
residua moisue, condensaion may fom
on he samp samp as you pess wh he ion. f condensaon ouches he eahe, i wl make pemanen sains, so you need o keep checing he samp fo mosure and boing wih
2. Pace a pressing coh o Teon pressing
pape owels Leaher and suede can shink or srech
shee ove he veve Prehea he iron o a
sighy when embossed so ake care when
medumhgh empeaure; do no use he
pacing images The embossing resuls can be
seam seing Pess for
unpredcabe so always pracice on a scap
20
o 30 seconds
E M B O S S N G
127
2 Reme he pressng ch and fld bac he leaher chec fr msure n he embssng samp and see f mre pressng me s needed
pece rs. Befre mang he sea fr he char n p 3 I expermened n a scrap f suede wh a arey f leaf shapes and
3 Keep checng fr cndensan as yu
pacemen pns hen seeced he ms
press wh he rn. Use a paper wel
pleasng eec.
absrb all msure n he samp surface
1 Lay he leaher facedwn er he samp
ensure ha he leaher desn becme saned.
Cer wh a Tencaed pressng clh and press fr 3 secnds.
Embossng wth codng Ahugh samps head he ls f embssng agens an mage can be creaed wh a are
288 2
M O S S G
Handy Tips of oher ems One embossng agen I like to
Some cooke cuttes wok well as embossing tools, tools, but avoid usi ng pl astic astic o nyl on c utte uttes s
use is cordng which can be arranged in a mu-
which will melt The cutting edge on metal cookie
ude of paterns on the pressng surface This
cuttes may be too sharp to use, but if you tun
is a grea way to make a border on velve.
them ove ove the olled edge will usually wok fine
1
Cookie-cutte motifs can be especially chaming on
.
Lay cording on the ironng board n the Lay
desired paern, makng sure the cord cording ing does
childen's wea. Heavy cotton ace is anothe teific embossing
no cross over tsef whch wil make the
agent, as long as it s thick enough to eave a dis
embossed pattern uneven Lay he velvet face-
tinct patten patte n Lace impessions look great on collas
down over he string and ghtly mis the
and cuffs o even as a bo der on copped pants
fabrc wth water
3 . Then fod back he veve to check he embossed paern
2. Next ay a Teoncoaed pressng coth over he veve Hea the ron o a mediumhigh emperaure hen press for
20
to 30 seconds
Finishing Once the embossing is compleed t's permanent wih he exceptions exceptions prevously mentioned mentioned in he ext For cleanup and storage of stamps see chapter
4,
p 98
E M B O S S I N G
129
EMBOD ATHR ABL AND SUD CHAIR
C
urvng lin" on the nchai nd
table soften the contemporary theme of this entry The natura materias of suede and eather are in a peasng neutral pette of black taupe, bege and cream The embossed e images on the chair seat and on the back cowhde tabetop echo the natural motfs of other elements n the room. The spectacular copperbacked side chair is made even more mpressve wth the additon of a suedecovered seat embossed with a varety of commercia stamps. Metalic surfaces such as the copper and aged iron of ths chair are reectve and hard so the tacte taupe pg suede is a good complement. The cose-up view of the chair seat at rght reveas the wispy light fee of the embossed e images which are scattered ghtly across the seat
[OPPOSITE 1 Leather and suede can shr nk or stretch stretch slightly when embossed, so pla n the pl acement of motifs motifs carefully, especially when outlnin g the edges edges of furnture, as on the table shown here. B e sure to allow enough extra materal to to pull to the u ndersde for stapli stapli ng
E M B O S S I N G
13 1
BLACK LVT EVNING BAG
A
'imp imple im mo, o,,d ,d
wh mealc god pan damacay defnes hs bac veve bag he mage was ceaed wh a commeca samp sng he echnqe descbed on p 7 he gn of lgh fom he ow of faceed anqe gass bal bons hghghs he geomec spa of embossng he wegh of he bons aso seves as he close eepng he £ap n place wo enghs of codng seve as he sholde sap
322 3
M O S S
SOFT RAPPED SWEATER
S
MIYAKI- MIYAKI- NS PI RED J A CKET
beauty of the peacock feath" emboed on this crossdyed burgundy vevet fabrc speaks for tself. The underlyng sver coor of the fabric fabr ic s obscured until embossng crushes the pe. T The he smple lines of ths Miyaknspired jacket prov provde de the perfect backdrop for the images, makng any further embelshment unnecessary The feathers are placed and oriented randomly on the fabric but are reatively evenly spaced from each other.
E M B 0 S S [ N G
13 5
36
E M 0 SS I N G
FALLING AV SKIRT
O
ppo<g ago peg " ed he paceme gue he
emboed brch leae o h black uede kr. Whe he kr wor ad gh cache he leae, he dagoa paceme ad radom oreao o he mage make ook a he eae are ag. h ur ge he garme a ery ud eel. Be ure o make ample wh he amp ad maeral you pa o ue. oud ha
(
)
he oule amp how he deal phoo emboed a much more arace mage ha dd he old amp o h parcular uede.
M B O S S G
37
sources Cheap Joe's Art Stu 3 4nust Pa . Boone, NC 8 60 8 ( 00 ) 8 8 .ceajoes.com .ceajoes.com supplies
Hot Potatoes 8 05 Coumne ace Nasle, Nasle, N 30 4 (1 65 ) 6 98 - 00 .ototatoes.com .ototatoes.com Rubber stamps, stamping accessories
Counterpoint 3 1 So Sout ut Man Man St Ste eet et # 0 04 Seastoo, CA95 4 (00 )8 ( 9 - 5 39 Buttons, clasps, closures
Jacquard Products Ruet Gon Se nc p . Box 5 4 5 Heasug, CA95 8 44 8 ( 00 ) 44-0 -0 55 54 5 acuaouctscom acuaouctscom Lumiere and Neopaque paint related pducts
Dick Blick Art Materials Boxx 6 Bo Galesug Gales ug IL IL 1 6 0 041 16 - 6 8 ( 00 )8 8 - 54 8 4 .clc.com .clc.com supplies Dover Publicatons, Inc. 1 3 Ea East st 2 n St. St. Mneola Mne ola NY "50 -8 35 ( 16) 9 4 ?000 oeulcatons.com oeulcatons.com Catalogs Cat alogs ofcop of copyrightyright-ffree images Dressler Stencl Company 5 3 S 4 st St. S t. Renton A98 05 940 3 8 (8 8 ) 65 6-1 5 5 4 www.essestencs.com Stencils stenciling accessories
38
Nova Coor Artists Acrylic Pant Atex Manuactung Comany 8 5 9 4Blacwee St Cue Cty, CA90 3 ? 03 4 � 1) 0 4 -6 900 900 .noacoloantcom .noacoloantcom Paint Purrfection Artistic Wearables 1 3 9 39 t Ae Ae Alngton, A98 8 8 5 8 ( 00 ) 9 61- 9 4 3 www.uectoncom Pattes, stamps, smping supplies paints stencils, butons, fabric notions
ReVisonsDiane ReVisonsDiane Ericson 305 Beac St. atsonle, CA950 6 8 ( 1)3 6 8 8 - 65 esonsecsoncom esonsecsoncom Pattes (ReVsions Designs and Design & Sew) stencils creative coaching The Rubber Poet 8 Box 1 Roclle, 8 4 60 01 8 (4 53 ) - 34 14 .ueoetcom .ueoetcom Stamps SF Designs 64 1 Eenng Sy . Heneson, N8 905 (0 (0 ) 650 - 34 5 5 samseeatln.net Pattes Thngs apanese 98 05 N E 6t S t , PMB 1 60 Kan, A9 8 0 34 - 8 ( 5 4 5 )8 1 - 8 .sltngscom .sltngscom Silk Si lk bers silk si lkrrelated pducts Utrecht Art Supply 6Cooate Canuy N 08 1 5 8 ( 00 ) 9 1 3 utectcom utectcom supplies
J
p
Jaets, 42-43, 76-J 8485, 134-35 J a Jaet, 42-43 JngeInene Booase, 38 Jngle Vne Dvet Cove an Vlane, 5455 60-61
Pnt, 6, 16, 1;9 atves, ;18 24 26 lte, 28, 33 ryng, 18-9 fo ebossng, 4 pepaton fo, 230 spay, 5, 69 138 sppes fo, 138 testng, 19, u9 types of, 17 Metal pnt Pantbshes, 23-24, 30-32 49 51
K Koopele, 00
Lae, 129 Layee Oganza Shawl, u6-17 Leaf Cshons, 104-5 Leaf ebossng, 25, 33 Leaf Enty Hal Rg, 69 Leahe yng pnt on, 34-35, 57, 68 ebossng, 22 124 126-28, 30-3
pantng, 18-19 35 pojets, 63, 76/7 sewng, 63 e See Lnen, 19, 26 hanpnte, 42-43 stape, 90, uO-U, ll2, u8 stenle, 58-59, 84-85 Lnes, 25, 31 Lngere Chest, Cala Lly, 66-67 Lnole bos, 92
Maet Baset, 7 Metal pant, 17, 81 98, 106, 109 fo ebossng, 25, 132 fo hghghtng, 65 75, 77 Mo, Boes Fae, 48-49 62 MyaInspe Jaet, 134-35 MyaSe prons, 54, u5 Mltple oveay stens, 48, 54-55, 61
Novelty Lnen Dste, l2
o Ob Gngo Dess, 4 00 La Layes Wap Srt, 72/3 Oganza, 08-109, u6-17
40
DEX
97
tehnqes fo, 30-32, 33, 42-43 Pantng, 20-43 sppes fo, 23-26 tec techniques,
22, 30-34, 49, 51-55
Pal Leaf Bag, 4 Plows, 100-101, 10809 Prnts, alove, 12
Rgs, 69, 70
Sa Shr, u8 Sanng an sanpape, 2728, 2929-30, 35
S Fa Leaves, 39 Sea Trtes Vest, 74/5 Shawl, Layee Oganza, u6-17 Shawl Cola Bathrobe, U9 Shr, Saa, u8 Sl, 19, 22-23, 26 ebosse, 125, 1 hanpante, 39, 40, 4 stape, l stenle, 5455 60-61, 74/5 84-85
SlveStenle san aet, 84-85 Ssal gs, 69 70 Srts, 72-73, 78/9, 8, 3637 Soft Wappe Sweate, 125, 133 Soethng Fshy Tn, 68 138 Soes, 138 SothwestMotf Plow P low,, 100101 Speey Ct avng blos, 9293 Sponges, 49, 52 91, 93, 97 Spray pant, 51 69 S stroe, 32 Stan, 16, 28
Sapng, 12 86-u9 fab, 7, 90 91 98 projets, 38, 100-U9 sppes fo, 89-91 tehnqes fo, 91-98 Stap pas, 90 94 Staps, 89-90, 94 fo ebossng, 122, 27, 128, 129 ang, 92-93 Stenng, 44-85 bshes fo, 49, 51 projets, 38, 58-85, 100 sppes fo, 4;51, 138 tehnqes fo, 51-55 Stencils, 4;49, 52-53 69
ang, 48 50, 53 69, 00 tple tp le oveay oveay,, 48, 54-55, 61 Sng, 93 See, 18, 35, 57 ebossng, 122, 24 126-28, 130-31, 36-37 stape, 100, 03 stene, 64-65 68, 71, 80, 8283 Se S Ensebe, 58-59 Snoo pojet, 1415, 36-37, 104-5 Sweate, Soft Wappe, 125 3
Tabes, 3, 37 64-65 103, 30-31 Tay Tabe, Floal Snoo, 37 Tn, Soethng Fshy, 68
Valane, Jnge Vne, 54-55, 60-61 Vaegate oos, 96-98, 103 Vaegate Leaves Tabe, 103 Vsh, 15, 19, 35 Velvet, 98 122, 24, 126, 127 132 Vests hanpante, 40 stape, 102 stene, 63, 74/5, 7880, 82-83
Webbng, sble, 109 Wetsanng, 35 Woo sfaes pepaaton o 9, 2;30 seang, 15 19, 28, 35, 57 Wool fabrs, 35
CRAFTS
FINALLY A COMPREHENSIVE GUIDE TO EMBELLISH NG SUR SURFFACES WITH DESGNS THAT THA T GO BEY BEYON OND D TH E TRADTIONAL.
N
OW YOU YOU CAN ADD A DD YOUR YOUR OWN personal touches to a variety o suraces suraces including many types of fabric leather suede and wood. Its easy when
you folow the instructions in
Creative Creative Swce Design.
Four echniques-painting stamping senciling, and embossing-are covered in complee deail wih step bysep instructions and phoographs. A galery galery of he auhor's work provides inspiraion and ideas or creaing special efects on garments accessories and home accents BOU HE UHOR Sny Scivno is a cohing and ineio designer. She is a reguar contibutor to Thrads magazine magazine and a Vsit or website website at www.tau www.tau nto.com. The Taunton Press also pblises eds, the mag azi ne fo people wo love to sew. sew.
$21.95 U. HIGE IN ND
speaker/eacher or numeous professiona and special nterest groups and schoos. She lives in Sacramento, California. B 1-66X
B -6-46-X
, I�� 1l �JU]1 [ Taunto Produc #070589
