Viva Decor Precious Metal Colour Paint in Gold Was Heat-set on Cured Premo Polymer Clay, by Karen A. Scofield

Viva Decor Precious Metal Colour Heat-Set on Premo Polymer Clay

The Clay

I added crushed, shiny micaceous (meaning it’s loaded with mica) rock, fine gold glitter, and Blank Slate Gold and Silver Flake Mix, in order of volume, to some Premo! polymer clay (a Sculpey product). That’s why it’s sparkly and can appear darker or very light depending on how the light shines on it and it moves, you see sparkles as well as flashes and glints.

Aside: The Backstory on the Micaceous Rockhttps://www.flickr.com/photos/sari0009/19354330223/in/dateposted-..

The Paint (and A Closed US Office)

Spelling

Viva Decor’s US office closed in 2015 and my bottle is labeled “Precious Metal Colour” because that is how the UK spells it. Many sites and blogs still use the US spelling (Precious Metal Color), you may notice.

Viva Decor Closed Their USA Office in 2015. European Offices remain open. 2016.

Viva Decor Closed Their USA Office in 2015. European Offices remain open. 2016.

Inclusions Added to the Paint

Precious Metal Colour gold colored paint, specifically, has larger glitter-like particles while the mica powder has super fine (!) particles.

  • Alone, Pearl-Ex mica powder has a very slight orangish undertone by comparison.
  • Alone, Previous Metal Color is a bit bright and silvery.
  • Combined, the color is amazing and the larger particles of the paint aren’t glaringly evident.

So, I added a decent amount of Pearl Ex mica powder to Viva Decor “Precious Metal Colour.”

Rule: With mica powder, less is more, meaning you start by adding very small amounts and adjust according to your liking. I found my mix pleasing as a 14 karat gold color.

This doctored up Viva Decor “Precious Metal Colour” acrylic/enamel paint was painted in 3 or 4 layers on an already baked Premo polymer clay mix.

The bezels were entirely painted with the paint while the figurative beads only had detail work painted.

Heat-setting

All but one were heat-set at 275°F  for 30 minutes. There was no visual or tactile difference between the baked and unbaked paint.

I couldn’t scratch the paint off with a fingernail once the paint was heat-set. The paint looks the most like real gold. I finally, after years of looking for a rather durable solution, now have a tremendous amount of confidence regarding gold detail work on my beads and pendants.

Although Varathane Gloss sealant is one of the top choices for sealing polymer clay, it’s water-resistant, not waterproof. I’d prefer not to have to seal my beads at all.

Acrylic Paints — Drying Time vs. Cured

Note: There is A difference between drying time in curing time. Drying time might occur within minutes or a few hours for acrylic paints while curing time might take a few days. This difference might help explain some problems with heat-setting acrylic paints a polymer clay.

I say it might help explain some of the problems because, according to Blue Bottle Tree, there was a correlation between painting the paint on raw polymer clay before heat-setting and the paint bubbling. This was dependent upon brand of acrylic paint and/or polymer clay, whether the clay was raw or cured, and other factors. For more information, see that Blue Bottle Tree blog post.

One Minor Problem to Solve

When removing these painted bezels from the glossy tile they were baked on, some of the gold paint stuck to the tile. There was enough paint remaining on the bezels so this wasn’t a problem but I’d would still prefer this not  happen.

Perhaps baking on a silicone mat would improve things.

Advertisements
Magic-Glos with Tiny Clay Sculpture and Inclusions by Karen A. Scofield.

Jewelry Resin (Magic-Glos, Ice Resin) Tiny Sculptures, and Bezels

Magic-Glos

Spelling –Magic-Glos is hyphenated and is spelled with only one “s.”

I’m going to discuss Magic-Glos here more because Ice Resin has books based on it. One such book is “Resin Alchemy: Innovative Techniques for Mixed-Media and Jewelry Artists,” by Susan Lenart Kazmer.

 image

Magic-Glos Resources

Lis Pavelka’s Magic-Glos Tips: http://www.lisapavelka.com/wp-content/uploads/2015/04/Magic-Glos-Tips-Tricks-15.pdf

Magic-Glos MSDS (Material Safety Data Sheet): http://www.artclayworld.com/v/vspfiles/assets/MSDS/magic_glos.pdf

Fire Mountain Gems Magic-Glos Tips and Information: http://www.firemountaingems.com/resources/jewelry-making-articles/f35h

Corrections to My Magic-Glos Video (Always Learning!)

1. Don’t seal paper or cardstock inclusions with Mod Podge or PVC (white craft) glues if you’re using them with Magic-Glos — reactions between water-activated mediums, inks, and Magic-Glos can occur over time.

2. Bubbles can be  prevented almost all the time. Read resouces given here. Bubbles can be removed by letting cured item sit one hour, drilling a hole into the bubble, cleaning up drilling debris, adding just enough Magic-Glos, and curing again.

Things Magic-Glos Doesn’t Work Well With:

  • PVC glues – your white craft, nearly all decoupage mediums/glues, and school glues are PVC glues — https://thebluebottletree.com/what-is-the-difference-between-mod-podge-and-acrylic-medium
  • Airdry glues — air-dry glues get trapped under things, don’t cure 100%, then release air bubbles into your curing resin. Use two-part epoxy glue instead!
  • Ice Resin, whether or not each resin is cured or wet (insured) — chemical reaction between the two resins causes cloudiness
  • Water-based sealants – any sealants that are not waterproof after drying (water resistant is not waterproof)
  • Alcohol inks
  • Unsealed inkjet prints
  • Anything that may run or bleed if wet
  • Sharpie markers

If in doubt, test first, often weeks ahead to make doubly sure.

Baking Magic-Glos

Don’t. Don’t bake Magic-Glos. Avoid temperatures over 100 degrees F. See MSDS. 

Warning: Baking Magic-Glos with polymer clay will cause the resin to amber (brown). See MSDS sheet (link given above) for further info.

Magic-Glos Layers

Doming, Pulling Away, and Self-Leveling Properties and What They Mean to the User — The same properties that allow Magic-Glos to dome causes the resin to pull away from edges/periphery in first layer or two, hence a good dome is built up in layers, each of which are cured before the next is added. The last layers are minimal amounts and it may help to spread the resin nearly to the edge (with a toothpick or small ballpoint stylus) and then let Magic-Glos self-leveling finish the job, finally fully covering evenly and doming. Let it sit 10 minutes to 1/2 hour out of UV light to let it finish self-leveling and to let air bubbles make themselves evident. The self-leveling properties mean that you might think you only added enough, the self-doming is a bit of a delayed reaction, and then suddenly you have Magic-Glos running over the sides. If still uncured, it can be cleaned up with cotton swabs and wet wipes but prevention is better than damage control.  Prevention involves adding thinner, multiple layers that are each cured before the next is added and curing your item while on a pedestal — a bit of polymer clay or poster-tx on a craft mirror a bit larger than your piece but small enough to fit in the UV lamp oven.

If the overfill cured, it can be pried off with your hands and/or chipped off with a craft knife.

Minimum Number Of Layers — usually 2 layers, less is more, meaning it’s better to add thin/incomplete layers than to overfill. Thinner layers allows the air bubble popping method of passing a butane mini torch or windproof lighter over the surface of the Magic-Glos for one and only one second.

Note: You don’t have to use seven layers like I did. I used so many layers because I made mistakes and was fiddling with different effects. You can use three layers or more, and maybe less. It depends on what you doing, of course.

Ice Resin

Ice Resin Faux Opal, by Karen A. Scofield. 2016.

Ice Resin Faux Opal, by Karen A. Scofield. 2016.

I also did a faux opal with Ice Resin. Fun!

Art Journal. Why Magic? by Karen A. Scofield.

So I’m Doing Art Journaling Finally

A Few Sample Pages of My First Art Journal

Of course, it all starts with love, four words for love, then it covers reciprocity, examining what kind of power we have in our relationships from personal to public and political. After that, I talk about making reality according to will, because chances are, if we examine love, power, and reciprocity then we’ll want to make changes.

First, I experimented with backgrounds made with acrylic craft paints. There are some neon, glow, and fluorescent colors in there. I added some mica misters (sprays) on top on some pages but not others. Uni Posca paint pens and “Moonlight” Sakura Gelly Roll gel pens were used on all pages so far. These particular gel pens don’t have to be sealed once dried but the Posca paint pens remain water-soluble and do best with several layers of Krylon matte sealant for that reason. The spray sealant also happens to solve the issue of acrylic painted art journal pages tending to stick together.

I’m diving into some art journaling as I wait for my clay pieces to get fired. It’s taking quite some time as the art gallery’s kiln needed new parts and only recently got them. Because of that, they’re behind and still have to fire my pendants. I’m not doing anymore glazing until I know if this works out and what to expect.

Art Journal. Words for Love from Agape to Praxis. Karen A. Scofield. 2016.

Art Journal. Words for Love from Agape to Praxis. Karen A. Scofield. 2016.

image

Art Journal. Why Magic?

image

Art Journal Spread "Words!" by Karen A. Scofield. 2016.

Art Journal Spread “Words!” by Karen A. Scofield. 2016.

Aphrodite Over Time. Goddess. Art Journaling. Grimoire is to spell or write. K. Scofield. 2016.

Aphrodite Over Time. Goddess. Art Journaling. Grimoire is to spell or write. K. Scofield. 2016.

image

Art Journal. The Great Meta Goddess

image

Art Journal. Equality.

image

Art Journal Pages. Karen A. Scofield. 2016. Credit for Law of Magic goes to Isaac Bonewits.

Art Journal Pages. Karen A. Scofield. 2016. Credit for Law of Magic goes to Isaac Bonewits.

image

x

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield

Why Goddess Pendants or Focal Beads?


Before there were pussy hats, there were Goddess pendants. After pussy hats, there will still be Goddess pendants. 

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield. 2016.

Why Goddess Pendants? To better answer that, we have to understand the many reasons we make any human figurative art or study female/Goddess figures throughout human history. See http://suppressedhistories.net/

In some languages, the word for history also means storyhttps://en.wikipedia.org/wiki/History

Micaceous Rock and "Yellow Gold Glitter" Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Micaceous Rock and “Yellow Gold Glitter” Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Through my beads, I’m telling my story — I’m a woman, domestic abuse survivor, an artist, I’m on the autism spectrum, and my Goddess pendants help tell my story in the contexts of an interest in equality, as opposed to abuse and sexism.  My beads are about equality and power — it’s abuse vs. equality. Women’s rights and Goddess stuff are considered too minority interest, too fringe despite the fact that half the world is female, and that’s a problem. Goddess/female figures may even be banned or get demonized.

Handmade Goddess Pendants, by Karen A. Scofield

Handmade Goddess Pendants, by Karen A. Scofield

Example 1: I had drawn renditions of the Venus of Willendorf, a world famous archaeological find, on shrink plastic and made pendants of them. fThese shrink plastic beads were banned on Myspace as obscene. Here’s what they looked like.

A Shrink Plastic Representation of the World Famous Venus of Willendorf, by Karen A. Scofield
Example 2: I wore a Goddess necklace to Walmart. The cashier suggested I could make money selling them as rather, tee-hee, lewd little party favors at bachelor or bachelorette parties. She had absolutely no inkling that she shouldn’t simply sexualize and peg them in such a narrow, restrictive manner, as opposed to all that the Goddess concept can potentially encompass on a daily basis. Equality touches all all aspects of life, and this shouldn’t be marginalized, pegged as a lewd/lesbian thing, or treated as a fringe topic. Anyway, my Goddess pendant was profane image to her, but to those that wear them, Goddess art and pendants are more of a spiritual and intellectual thing and, more specifically, symbolize spiritual and social equality. They embody, invoke, and evoke this.

As an artist, I cultivate messages and images that are needed, rather than what people are conditioned to lap up from the pundits, pulpits, and consumerism. It concerns me that the world is full of “sanitized,” corporate-made, mainstream images and messages about women and their bodies, messages that are loaded with sexism both overt and/or insidious.

The pussy hat phenomenon shows us that feminine symbols of equality ARE needed. There is the desire to create our world pluralistically without the reality filters of sexism, cultural triumphalism, racism, or creedism (religious prejudice). I desire more autonomous and honest dialog and equality, and I hope you do too.

We still live in a world in which women often don’t get paid the same amount for doing the same job no matter how well they do it, or even if they do it better. As a US citizen, I live in a country in which a considerable majority of art gallery artists are male. It’s a country in which women’s art generally sells for only a small fraction of the profit that art made by men can fetch. We live in a world in which the majority of religion is really male-centric and male-dominated. We live in a world in which men’s voices are given more weight and are heard more. It’s not Goddess, it’s God with no room for any female divine. Instead, we still have the Madonna-Whore Complex. The feminine divine either is falsely demonized, socially/theologically outlawed (or banned), or turned into a whore.

Anti-intellectual, male dominated paradigms hold feminine equality at odds with more formative power structures, be they economic, religious, artistic, or what have you. How is sexism considered to be the fabric of society? And what does that have to do with domestic violence anyway?

See “The Ascent of Woman”http://www.bbc.co.uk/programmes/b0693dsh

Domestic Abuse and the Metaparadigm (Mother World View) of Abuse/War

the most reliable indicator of whether or not there is violence inside a country, or whether it will use military violence against another country, is not poverty or access to natural resources or religion or even degree of democracy. It’s violence against females.” — from “Gloria Steinem’s new show links global instability to violence against women: “For the first time there are fewer females on earth than males

The Power and Control (Abuse) and Equality (Nonviolence) wheels, what they mean, what they look like in current events or everyday situations are sadly only usually discussed, shown, or used during domestic abuse prevention/recovery. They are, in fact, paradigmatic and are applicable on a personal, local, national, and global scale. Here’s what goes on with the Power and Control (Abuse) paradigm.

Methods of abusive power and control have been and continue to be used as social, legal, religious, and financial weapons and they often result in violence, be it domestic or wartime violence. The Power and Control wheel/paradigm is diametrically opposed to Equality because it relies on abusive imbalances of power. This is true whether they pretend to protect us and have our best interests in mind or whether they lay bare their prejudices, sexism, and ambitions.  It takes power and rights away from others in order to feel powerful and it’s a massive failure of imagination.

Here’s a page from my art journal on the Equality (nonviolence) power wheel. Notice the notes on imagination.

image

Art Journal. Equality. Power. Tools of Change.

Art is the Antidote

How is it that society today hasn’t quit its addiction to prejudice, bigotry, sexism and the like? I don’t pretend to understand all that and I hope I never do. I can imagine many other paths to power. I can imagine sharing it. And as a woman and an artist, I shape a more inclusive world in clay, canvas, paper, fiber, cloth, and words. Art is an antidote. Symbols matter. Symbols are powerful and my art beads are ones I can bring into all sorts of every day settings.

Raised Scratch Foam Designs in Polymer Clay

Raised Scratch Foam Polymer Clay Designs

Raised Scratch Foam Designs in Polymer Clay

Raised Scratch Foam Polymer Clay Design Test, with notes, by Karen A. Scofield

KarenAScofield Spriograph Clay Texture SheetsNote: This page will be updated as examples are made.

The above picture is only a simple and fast test. It’s not meant to be a prime example, just an example to get your creative juices flowing (and mine). It shows a moon shaped piece of clay with a raised scratch foam design that was colored with Pearl Ex.

I haven’t yet seen others doing it, but yes indeedy, spirographs can be used on scratch foam (Inovart Presto Foam Printing Plate was used in this case) with a ball point pen, ball stylus, or Sakura Gel Pen.

Back at it, Dec. 2016.

KarenAScofield Spriograph Clay Texture Sheets

spirograph clay texture sheet by Karen a Scofield

The Basic Idea

Create a design on scratch foam with a spirograph set and a ball point pen. Press  polymer clay into the design and lift. Add bead holes, etc. You’re looking for spirograph sets that won’t make unintended scratches on the scratch foam. Mine came with “The Spiral Draw” Book.

Taking it Further

Pointillism elements or entire designs be be added inside or around the spirograph design with a ball point pen or ball stylus. The result creates raised clay designs once clay is preseed into it.

Ball point styluses that come in varying sizes can be used for added interest and then needles or beed hole makers can be dragged across the surface, at a slant, to add on to the design too.

Scratch foam designs are probably more commonly used for printing monoprints and other techniques … and also by metal clay artists. They can be earthy/rustic looking or linear and crisp ones.

One can create a bezel complete with boarder designs, with scratch foam designs. What you indent on the foam will be raised on the clay. If you add dimensional writer designs to the scratch foam ones, the clay pressed into it will have both raised and indented designs.

If you use Sakura Gel Pens for the spirograph scratch foam deisgns, many of their inks are oqaque and therefore show up on darker clays. You can press the clay into the fresh scratch foam design and then bake. You may want to seal your design afterward.

Any manner of polymer clay extrusions, applique, relief sculpture, lace impressions/molds, designs for faux enamels, crackling, or designs made with cutters/blades can be applied over the spirograph textured clay passages. If you’re worried about pressing clay together to cause adhesion, because you don’t want to ruin more delicate designs, you may want to use liquid clay or Bake and Bond for adhesion purposes.

With single layer or multi layered scratch foam designs, you create mixed media mosaic tiles, embellishments, beads, and larger clay sheets. You can create molds of the larger clay sheets if you want.

Raised designs can be colored with paint, Sakura Gel Pen ink, inks, or Pearl Ex powders (which are a brand of mica powder). I’d apply paint to baked clay but Sakura Gel Pen, Pearl Ex, and alcohol inks can be applied to raw clay that’s then baked.

You may want to seal baked polymer clay items that have Pearl Ex mica powders or Gel Pens baked onto them. Varathane Water Based varnish is a wonderful sealant for polymer clay pieces.

Kraft-tex, Testing different mediums on

Review of Kraft-tex with Pictures, Tips, and Notes

What This Page Is and Isn’t

This page is not designed to cover all tips, techniques, needles sizes and such and cannot take the place of Kraft-tex books, videos, workshops, or project downloads. I show and discuss using an array of common art products on Kraft-tex, link to an ever-growing Pinterest board loaded with examples, include basic tips, and illuminate some basic starter information. That’s it.

Kraft-tex is a durable cloth-paper hybrid product and how you prepare it before using it can make a huge difference, something evident on my Kraft-tex Pinterest board.

What Does it Feel Like?

Right off the roll or bolt, it’s heavier than 140 lb. watercolor paper or cardstock but it doesn’t feel exactly like really heavyweight paper either. It’s a hybrid product initially created as a synthetic leather substitute, doesn’t need interfacing and basically you have two choices — make it supple like fabric/leather or keep it stiffer like really thick art paper.

The difference begins in preparation. Washing it makes it feel more like supple leather…more on that process in a moment. If you want to keep it paper-like, stiff, and flat, it can be ironed even on the highest setting. Some examples of projects that use flat unwashed Kraft-tex are folders, book covers, or envelopes. Also, using Kraft-tex with various templates meant for cardboard gift boxes, etc., is not an unknown. There are many free templates for this on the Internet.

 The Official Kraft-tex Introduction: “Wait until you get your hands on this rugged paper that looks, feels, and wears like leather, but sews, cuts, and washes just like fabric. kraft•tex is supple, yet strong enough to use for projects that get tough wear. Use it to bring an exciting new texture to your craft-sewing projects, mixed-media arts, and bookmaking. Durable fiber-based texture softens and crinkles with handling and washing.” Source: http://www.ctpub.com/kraft-tex

Tips

Why tips? Because it’s a hybrid product, it’s a bit mysterious at first but Kraft-tex can offer frugality, artistic freedom, and the ability to make custom projects for your digital dohickies, kitchen stuff, car kits, sewing room necessities, or different sets of tools. Basic Kraft-tex tips can encourage crafters/artists and fire up some unimpeded excitement with up front initial information, as opposed to eking what they need to know out of numerous web pages, videos, and books. Without somebasic tips and does-this-work-with-that information, which is what this page is largely about, the learning curve can be too drawn out and frustrating some. (Kraft-tex projects, workshops, or patterns available for purchase out there will still have their place/value, I’m sure.)

Tip: Watch Out for Lint, Be Careful of What You’re Wearing — Often, artists don’t realize that their clothes shed fibers until they’re working in the studio. For example, wearing my fluffy navy blue bathrobe while working on white Kraft-tex left it covered with dark fibers.

Tip: All needles and Kraft-tex are permanent. all needle holes are permanent on Kraft-tex. This will affect what size needles you choose, how you backstitch, how you double stitch, and stitch length. Choose a longer sitch length than usual. You may use hand sewing needles, embroidery needles, or an 80/12 sharp sewing machine needle. You will not pin your pattern pieces together before sewing, for obvious reasons, you may have to clip them in places instead. One can also play with decorative perforation.

Tip: Needle sizes and scissor sharpening? Use a hand, sewing machine, or embroidery needle that’s strong enough but no larger.  Also, Kraft-tex dulls scissors and sewing machine needles more rapidly so sharpen your scissors frequently enough and replace sewing machine needles if they get too dull. If you really get into Kraft-tex, you may want to use dedicated sewing machine needles (meaning you don’t use those needles for other stuff).

Tip: Do decorative stitching before you sew  your project.

Tip: One can dye it an array of colors using Rit dye.

Tip: One can emboss Kraft-tex. Example: https://youtu.be/eUDQeFs117I

Tip: Cut our pattern pieces before pre-washing, if you’re pre-washing your Kraft-tex.

Tip: To fold, lightly score and then fold with the bone folder. This will make sure it folds along the intended line nice and neat instead of creasing and creating an imprecise messy fold. You can see the process here.

  • To score, lightly draw the “blade” edge of a bone folder down along the intended line, then fold by running the flat side of your bone folder along the intended folding line.
  • If you don’t have a bone folder, the rounded handle of a clean butter knife may be substituted.
  • If you don’t have a bone folder, draw the blunt blade of the butter knife down the line where you want to fold, then carefully fold over with the blunt butter knife handle.

Tip: Test products you’re using on a scrap piece as you go.

Tip: It can be sewn using your sewing machine, with a heavy-duty sewing machine needle, just keep in mind that all holes from pins and needles are permanent.  Therefore, backstitch slightly to the side to secure stitching — don’t go back-and-forth over the same stitching line as  you normally would when backstitching or you’ll create a hole. For the same reason, if you want to double stitch, avoid double stitching over the exact same line but stitch slightly to the side of the first stitching line instead.

Your Basic Preparation Options

To Keep it Like Paper — Don’t Wash It — If you want to keep it stiff and flat like paper or cardstock, then don’t wash it before using Kraft-tex. It wipes clean pretty well as it’s water resistant. Unwashed, it could be used as a fine art surface (avoid creasing it then) or to make wallets, book covers, boxes, bag straps, etc.

Testing it as a fine art surface, It was placed either on a huge clip board or on my magnetic board. (I have a huge magnetic board and plastic/enamel-coatef super magnets so that I can work on Kraft-tex at my standing easel). So far, no tape that I’ve used  to secure it to the  clipboard has ripped or otherwise damaged the Kraft-tex. Whether different tapes can leave an undesirable tackiness or residue is possibly an issue with some techniques and/or art products? If in doubt, test first.

Handmade Blank Canvas Board Art Journal, by Karen. A. Scofield. Bound with a beaded coptic stitch.

Handmade Blank Canvas Board Art Journal, by Karen. A. Scofield. Bound with a beaded coptic stitch. I covered the back MDF board cover with Kraft-tex and decorated that too.

To Use it Both like Kind of Like Paper and Very Much Like a Fabric — Wash It — If you want to use it like a paper-cloth or a replacement for leather, then wash it before sewing it. If you wash it after creating your item, its resulting texture may not be as even. If  you want to create a very soft fine leather-like texture, specifically, then use my method, below.  This video discusses a different wash-and-crumple method than the following steps, and you can see it produced a faux leather texture that’s not as soft. A lot of people simply wash and dry their Kraft-tex on hot three times.

  1. Cut — Cut out enough for your project or cut out the pattern pieces in advance, in the first place.
  2. Container — Find a basin or cooking container that will hold your material. Remember, it’ll be kind of stiff when it first goes in to soak.
  3. Boiling Water Soak — Boil enough water, put it in your container, keeping all safety precautions in mind, and soak your Kraft-tex in that water for 5 minutes.
  4. Crumble It Up — Wearing protective, thick rubber gloves and using tongs, remove your Kraft-tex and crumble it into a ball, trying to crumble it as evenly as possible into a ball. Let it sit several minutes.
  5. Flatten — Lay it flat.
  6. Repeat — Now do steps 3 through 5 two more times — you will soak it in boiling water 5 minutes, crumple it in a ball, and lay it flat — you will do all that three times total.
  7. Dryer — As a final step, you can put it in the dryer on any setting, yes, including the hottest. In fact, some prefer the hotest dryer setting as the last step in turning Kraft-tex into a supple, sewable paper-cloth state.

Art Products One Can Use on White Kraft-tex, and Some to Use on Black Kraft-tex

I’m testing an array of art products on white Kraft-tex. Paints, markers, and pens have to be truly opaque for you to see them on black Kraft-tex … unless you’re talking about irridescent Shiva Paintstiks or interference acrylic paints and powders because those can show well on black art papers and black Kraft-tex.

Opacity and Absorption Considerations

Test even products that say they’re opaque — they may be varying degrees of opacity from brand to brand, colors may vary in opacity by nature, and some marker “juice’ may soak into substrates and dissapear some or alot while others will do fine. So test the color range or the colors you’re going to use. Also, keep in mind that washability is a consideration for some uses but not others. Some products are not washable but that may or not be a consideration for your project for various reasons. For example, if I spray a sealant on what I did and then coat it with a quality acrylic medium, it may not be a problem for the type and amount of wear my finished project might see in its lifetime. If my item is going up on a wall and isn’t going to be around outside or laid on tabletops were people might spill their drinks or other fluids, it may not be a problem that what I drew or painted on is not washable or might ruin if exposed to moisture. It all depends. Know your products and think it through before you create your items or works of art.

  • Watercolors and Watercolor Pencils — Trying these on the white Kraft-tex, I found out they can be used wet, in dry-brushing, and in the form of watercolor pencil. One can lift colors back off of Kraft-tex and you’ll have to mind which are your staining colors, just as you would on any watercolor surface that allows lifting (removing some color). I have not tried a wide variety of wet watercolor techniques on this surface. Dry watercolor pencils, especially the lighter colors may show up on black Kraft-tex, at least my Cretacolor AquaMonoliths sure did, but test your brand first if you really want to know.
  • Modge Podge Fabric — Works but it’s not my favorite and compared to acrylic mat mediums, it looks plasticky and can easily look gloppy if you’re not careful.
  • Ink Jet Print It — More information being sought on that at the moment.
  • Water-soluble Oil Pastels — I tried both Caran d’Ache Neocolor II and Cretacolor AquaStics (which are generally more lightfast).  Both brands work well on this surface and, like watercolor, can be lifted off. Both brands of water-soluble oil pastels have staining colors, just as artist grade watercolors do. Both can be fixed to Kraft-tex. Here’s how I did that.
    • Apply your water-soluble oil pastels. Color, wet, blend, etc., just like you can with these products on other papers.
    • Let dry.
    • Krylon Workable Fixative — See manufacturer’s directions and then spray with Krylon Workable Fixative and let dry. Don’t spray until you saturate the surface. Just give it a decent layer.
    • More Fixative — Spray two more layers of Krylon Workable Fixative, letting each application dry. Let the last layer dry completely. It wouldn’t hurt to let it dry for a couple of hours or overnight.
    • Acrylic Matte Medium — Finally, brush a light coat of acrylic mat medium over your fixed water-soluble pastels. (Liquitex Matte Medium is more matte than Golden’s, in Kraft-tex.) Let dry.
      • Why Three Layers of Krylon Workable Fixative? — If you try to get away with only one layer of Krylon Workable Fixative, expect colors to bleed (especially some of the blues and greens in both brands). They bleed less with two layers of Krylon Workable Fixative using this method. I didn’t see any bleeding with three layers of Krylon Workable Fixative using this method. Please test whatever you’re doing with water-soluble oil pastels, however.
  • TAP (Transfer Artist Paper) — Follow manufacturer’s directions. Before using, consider if you’ll be using Kraft-tex like a stiff paper or like a supple fabric and pre-treat it accordingly, or not.  E.g., the Be Peace Bag shown here.
  • Graphite Pencils — I tried the HB pencil from my Cretacolor set so far. These work well on white Kraft-tex, you can smudge and blend them, but they do not erase from Kraft-tex, not even if you use several erasers. I have not tried all the B pencils and I have not tried all brands. As always, test first. If you make heavy marks, you’re not going to be able to erase completely. If you make like marks and erase with a regular eraser and then also a kneadable erasure, you may be able to remove most of your pencil work.
  • Sketching Pencils (sanguine, dark brown, black and white) — These work well on white Kraft-tex, you can smudge and blend them, but they do not erase from Kraft-tex, not even if you use several erasers. I have not tried all the brands. As always, test first.
  • Rubber Stamps — They work well on it. Of course some ink pads are better than others, same as on other surfaces. Some are archival and water-resistant, others are very much not.
  • Neopaque (opaque fabric paint) — Works well on different colors of Kraft-tex.
  • Sakura Micron Archival Ink Pens — Work well on white Kraft-tex. I could not wet or scrub them off.
  • Sakura Gelly Roll Pens — This brand of gel pen doesn’t run or bleed if they get wet, after they dry. The Moonlight ones are opaque and can be used on white or even black Kraft-tex.
    • Rule: If your gel pens or other pens don’t say water-resistant, they probably aren’t. If they don’t say they can write on dark surfaces, they probably won’t show up well on black.
  • Crayola Crayons — These work particularly well on white Kraft-tex, you can get a solid coverage, and heating the crayons up on its surface is a possibility.
  • Conte Crayons — Work well on white Kraft-tex but don’t erase from it even if you use several different types of erasers.
  • Colored Pencils — These work very well on Kraft-tex but don’t expect them to erase.
  • Uni-Posca Paint Pens (Markers)  — These fabulously opaque water-based paint pens work very well on Kraft-tex, even black Kraft-tex but you have to work fast to blend these markers. Heat setting alone may not be enough to set them, if the item you’re making might meet up with moisture. I’ll do more testing as to how to set them on this surface and will update this page with my findings.
  • Acrylic Paints – Acrylic  paints work very well on this surface, using a variety of brushes and methods. If you’re making a wearable, use a fabric medium with your acrylic paints. Craft paints lines often have a fabric medium they sell too. Golden Acrylic Paints has GAC 900, and Liquitex also sells a fabric medium.
  • Acrylic Inks — Same. They work very well on this surface.
  • Alcohol Inks — Adirondack Alcohol Ink works very well on this surface but spreads so well that you shouldn’t expect to make clean, tight lines with it. They may show all the way through to the other side. A lot.
  • Rit DyeWorks well on Kraft-tex. Pre-cut your pieces as the dye often doesn’t penetrate all the way through, though straight Rit dye did.
  • Shiva PaintstiksWork well on Kraft-tex and heat set. The irridescent ones work well using the rubbing technique on black Kraft-tex. Regular ones work too.
  • Various Fabric Paints — All the brands of fabric paint and iron-on fabric crayons have worked exceedingly well on this white Kraft-tex surface. I’ll do tests to see how they take washing later. Rule: If your fabric paints or markers don’t say they work well both on light and dark surfaces, they’re probably not opaque enough to work on black Kraft-tex.
  • Gessoes — I’m working with modern gessoes, as opposed to rabit glue gesso. Gessoes work well on Kraft-tex though one I tested, Martin F. Weber Prima Gesso, can wash out a bit while others don’t.  Some gessoes are more mat than others, some provide almost paper like textures, and others can create peaks and textures. Some are even glossy looking. Know your gessoes, know your projects, know your likes, and use the best gesso for your needs and preferences. I did not find a need to use gesso on Kraft-tex. However, one could use colored gessoes or white gesso on different colors of Kraft-tex for various effects.
  • Elmer’s Painters (paint markers) — I tested the oil-based kind. They have varying degrees of opacity but work very well on white. On black Kraft-tex, however, they were a bit of a dissapointment because they soaked right into it and seemed to seemed to dissapear somewhat, some colors more than others. They generally don’t show up well enough to my satisfaction. I have not tested them by washing.
  • Various threads, embroidery threads, and various glues can be used on Kraft-tex. Check Glue This to That and other sites for which glues may be most appropriate for your particular project.
  • Polymer Clays? Since Kraft-tex can tolerate heat, polymer clays cure with heat, I will experiment with polymer clay and liquid polymer clay on Kraft-tex.
  • Wood Burning Tips — First check if that could create toxic fumes. It doesn’t sound like a very good or necessary technqiue on this material. I wouldn’t bother trying.

Do the Above Products Show Through to the Other Side?

After testing many products on my white Kraft-tex, I flipped it over. Only some products show through just a tiny bit, like a shadowy hint that something must be on the other side, but none of them bled through…except for two — Rit Dye and the alcohol ink. This means that I can use the other side, the yet all white side, for other work and I may or may not want to apply a layer or two of artist quality acrylic gesso to it first when I do so.

Testing Opacity of Products on Black Kraft-tex

Watercolor Pencils and Elmer's Painters on black Kraft-tex.

Watercolor Pencils and Elmer’s Painters on black Kraft-tex.

Testing water-soluble oil pastels on black Kraft-tex.

Top: Testing water-soluble oil pastels on black Kraft-tex. Middle: Testing Elmer’s Painters. Bottom: Testing Mungyo Gallery Artist Soft Oil Pastels.

Colored Pencil on Black Kraft-tex.

Colored Pencil on Black Kraft-tex. Lighter colors show better.

Uni-Posca pens (AKA Posca markers) on black Kraft-tex.

Uni-Posca pens (AKA Posca markers) on black Kraft-tex. Very opaque.

Dimensional fabric paint on black Kraft-tex

Dimensional fabric paint on black Kraft-tex. Varying opacity.

Sakura Gelly Roll: Moonlight set. On black Kraft-tex.

Sakura Gelly Roll: Moonlight set. On black Kraft-tex. Very opaque, bold, and water resistant.

Irridescent Shiva Painstik on black Kraft-tex.

Irridescent Shiva Painstik on black Kraft-tex. They show up extremely well and are heat set.

Sakura Gelly Roll Moonlight pens, Mungyo Artist Soft Oil Pastels, Uni-Posca paint pens , and only some fabric paints show very boldly when applied to black Kraft-tex. Some colors of watercolor pencil (Cretacolor’s AquaMonolith) and colored pencil show very well to rather decently. Test first. Generally Best Performers: Sakura Gelly Roll Moonlight pens, Neopaque paints, the shimmery kind of Shiva Paintstiks Uni-Posca paint pens would be fabulous for some projects but not others (it depends what you’re project is used for, subjected to). Sakura Gelly Roll Moonlight pens don’t have to be heat set or covered with an acrylic matt medium or anything like that — they are very water resistant and dry relatively fast. Mungyo Artist Soft Oil Pastels can not be heat set or sealed using an acrylic matt medium. They never cure and remain very to somewhat smudgeable. It remains to be seen whether any spray sealant would be suitable enough to allow these oil pastels to be used on wearables or anythign that might see some wear and tear. They are between student and artist grade quality (some colors are fugative). I have to test how Uni-Posca paint pens would stand moisture and/or wear. If needed, I’ll experiment with different says to fix these so they can be used for wearables or items that may be handled frequently enough. The watersoluble oil pastels showed better if I wetted the Kraft-tex and then applied one to numerous times. They can be fixed in the manner described earlier on this page. More testing to follow…

Upcoming

  • Washability — Always test washability of various artwork on the Kraft-tex. The Kraft-tex itself is very washable.
  • Printing on Kraft-tex — I will test clear Golden Digital Grounds on white Kraft-tex. I have that already and am unsure if I want to by TAP (transfer artists paper) too.
  • Testing Opacity on Black Kraft-tex — More testing!

Cloth-Paper

Note: My review of the exciting commercially made cloth-paper, called Kraft-tex, is https://karenascofield.wordpress.com/2015/01/02/initial-review-of-kraft-tex-paper-cloth-and-notes/

Why I’m Excited About Cloth-Paper

It’s been a focus in many books,  magazines, blogs and even a DVD. You can make it with many “ingredients” or few. It can be simple or amazingly beautiful and rich with colors, textures and cultural references. It can be addicting. It can be meditative. It can be useful or purely decorative. It can save you money and it can cost you money. It can be a way of getting rid of odds and ends or an excuse to go OC on collecting stuff.

What Can You Make With It?

Handmade Blank Canvas Board Art Journal, by Karen. A. Scofield. Bound with a beaded coptic stitch.

Handmade Blank Canvas Board Art Journal, by Karen. A. Scofield. Bound with a beaded coptic stitch. Front cover made with handmade cloth-paper.

Wallets, ATCs (artist trading cards), paint brush holders, zip pouches, tote bags, customized binder covers, book covers, corsets, handbags, slippers, hats, other wearables, customized organizers, book markers, art quilts, stuffed voodoo dolls, beads, a variety of fabric embellishments, belly dancing belts…the list goes on. It can be thicker, thinner, machine stitched, embroidered, hand beaded, glued, duct taped, fused, painted, stamped, collected, traded, and more.  It’s generally tougher to sew by hand but that can be done most times. Other names for it are fabric paper, muslin paper, fabric fusion, or tissue fabric…and some people even spell it “clothpaper.” Sometimes it’s hyphenated, sometimes it’s not.

The Basic Steps

Here are Beryl Taylor’s basic steps for making fabric paper: Freezer paper, muslin, glue-water, spaced paper and other bits, glue-water, craft tissue, watery paints, let dry, peel, use. She’s well known for making beautiful works out of fabric paper and has both a book and video out on it.  I have them and they’re well worth it. She’s amazing.

  1. Lay a piece of washed, open-weave muslin on the waxy side of freezer paper and wet it all over with diluted PVA glue. The freezer paper or plastic should be larger than the muslin.
  2. Lay wrapping paper, images, text, etc., into the wet glue, leaving spaces in between.
  3. Apply another coat of diluted PVA glue over that. Embed craft tissue (tissue paper) into the wet glue layer.
  4. While the glue is still wet, paint on dyes using a sponge applicator.
  5. Let dry completely before cutting and stitching. This can take several hours to several days.

A Few Notes on the Glues — I had questions, so many questions, and this is what I found out.

  • Acrylic Matte GelThis is a artist grade acrylic medium that you can order online and from brick and mortar stores like Michael’s or Hobby Lobby. It’s water-resistant once dry and PVA glue isn’t.  Mixed-media fabric artist and author,  Sherill Kahn mentions using acrylic matte medium instead of PVA glue. Mixed-Media Master Class with Sherrill Kahn: 50+ Surface-Design Techniques for Fabric & Paper. ISBN-10: 160705423X; ISBN-13: 978-1607054238
  • Sobo — Many use Sobo fabric and paper glue, a PVA glue, because of its hand and flexibility once it’s dry…but it’s water-soluble once dry. I found mine in Joann’s for $2.99 a 4 oz. bottle.
  • Lineco Neutral pH Adhesive — Others are using archival (won’t degrade papers over time) Lineco Neutral pH Adhesive, which is also a flexible PVA glue that’s water-soluble even after drying. Of course, using archival glues doesn’t help if all your papers aren’t archival. Most people are using what they have rather than archival tissue and other papers.
  • Fabric Mod Podge –Mod Podge fabric is something you can try and it’s washable once dried. Experiment to see if it can be diluted for this. http://modpodgerocksblog.com/learn-how-to-mod-podge

Cost Comparison If bought in a gallon jug through dickblick.com, Lineco Neutral pH Adhesive presently costs the same as Sobo which does not come in gallon jug containers. Fabric Mod Podge does not come in larger containers and can end up being your most expensive option, although you can frequently use a coupon when buying it in a Michaels store. Per liquid oz, Liquitex Matte Gel acrylic medium costs the least, if I buy it off of dickblick.com. If you buy it with a 40% off coupon in a brick and mortar store, it’s about the same cost as your PVA glues. You may do your own cost comparisons, of course.

That Moisture Concern

Personally, I’m leaning toward using Fabric Mod Podge and/or Liquitex Matte Gel. The cat, the baby, the cup that tips over, the bottle that leaks in your purse…the humidifier that leaked all over to the table…stuff happens.

Notes on Tissue Paper

So far, I’ve been using weak tissue paper I had around and it ripped while using it. Sigh. So not all tissue paper is strong enough for this, though some people say the torn tissue paper gives cloth paper character. Look through product reviews for complaints that the tissue paper is too substantial or seek out craft tissue paper that’s known to stand up to a lot of tasks. That’s the tissue paper you want.  The only Japanese tissue paper I could find, which is what Beryl Taylor prefers, costs about 20 times more than craft or substantial packaging tissue paper and I could only find it online. No, I’m not paying over 1 dollar plus shipping for Japanese tissue paper.  I was thinking of getting some “Bulk Basic White Tissue Paper 15″ x 20″ – 100 Sheets,” by Premium Quality Gift Wrap Paper: http://www.amazon.com/gp/product/B0062MQY3C/ref=ox_sc_act_title_1?ie=UTF8&psc=1&smid=AS03ME368F813

Made with tissue papers, cotton fabric, water, glue, and paints. Can be sewn.

Made with tissue papers, cotton fabric, water, glue, and paints. Can be sewn. This cloth-paper was used to make the cover of a coptic stitched art journal.

Fabric paper

Cloth Paper: Faux Fish Skin

A Recipe for Fabric Paper Textured with Cheesecloth  

Materials

  • Something You Can Peel Your Dried Paper Cloth from Once Dry— Plastic sheets, garbage bag plastic, that wide roll waxy freezer paper – use whatever you have that you can peel your dried fabric paper off of once it’s dried.  You can even use washed plastic dog food bag (what I’m using).
  • Cotton Fabric — Muslin or other thin, plain cotton fabric (must be pre-washed to remove any sizing)
  • Thin, Absorbant Papers — Tissue papers and/or printed paper napkins (some of them are quite beautiful)
  • Cheesecloth – Cheesecloth can be bought in Walmart, some grocery stores, fabric stores, or online.
  • Optional Odds and Ends — Scrap papers, brown paper bag, metallic candy wrappers, pre-washed fabrics, ribbon, flocking, rock dust, dryer lint, silk roving, dried rose petals, leaf skeletons, glitter…. just any kind of ephemera to make your layers and what makes you happy.
  • Glue — Sobo glue, Fabric Mod Podge, Lineco Neutral pH Adhesive and/or Liquitex Matte Gel acrylic medium.
  • Colors— Fabric paint, acrylic paint (craft or fine art paint kinds), alcohol inks (e.g. Adirondack), Dyna-Flow, etc. Many of the fluid acrylic colors are rather transparent and can be diluted with water, making them ideal. They go a long way because of their incredible pigment load and give superior results. That’s why Beryl Taylor uses Golden Fluid Acrylics in her video.
  • Brush — Foam paintbrush or cheap craft paint brush. Foam brushes are often preferred for mashing layers without tearing them.
  • Optional Mark Makers – Gel pens, dimensional paint, permanent markers (some colors may bleed over time – test)

Method to Make Fabric Paper  

  1. Lay Out the Muslin — Lay your crumpled or ironed fabric on your waxed paper or plastic surface. This is going to be very messy. For the glue-water, the minimum amount of glue is 2 T per half cup of water but 1:1 glue to water mix is quite common. That’s equal parts of glue and water, whether your glue is Liquitex Matte Gel acrylic medium, Sobo, or Lineco.  (I’m not sure if Fabric Mod Podge can be diluted. I’ll have to experiment. Or you can.)
  2. Add Color to your matte medium or glue and water mixture — Add some color; either fabric paint or acrylic craft paint.
  3. Brush to Saturate — Using a foam brush, saturate your lightweight cotton fabric of choice with the colored glue or matte medium water mixture. Have no dry edges of areas.
  4. Add Tissue Paper(s) – Apply a whole sheet or torn strips of tissue paper onto the web fabric with the flat side of the foam brush, mashing it down. You can use either flat or scrunched up tissue paper. Use enough glue-water to flatten it down. You may color the glue water with acrylic paint if you like. The result you want is flattened and has no air bubbles.
  5. Add Cheese Cloth — Cut a whole sheet, strips or bits of cheesecloth and mash onto the top of the tissue paper too. Make sure it’s web with glue-water. You may scrunch it up a bit in areas. Added Touches — Add bits and pieces for any type of contrast you like (light and dark, contrasting colors). You can use papers, bits of yarn, thread snippings…use your imagination but they have to be totally wet with glue-water.
  6. Dry Thoroughly — Let dry for 24 hours or more. Peel. Use your fabric paper in a variety of ways. It can be layered and stitched by machine or by hand. Use the stronger sewing machine needles for thicker fabric paper – 70/80 or 90/100, respectively. You may have to replace machine needles more often when sewing fabric paper.

Recipe for Dryer Sheet Fabric Paper (Can Make Flexible or Stiffer)

This is the kind of stuff that some might call “tissue fabric.”

Materials

  • Used dryer sheet
  • Strong PVA glue or Liquitex Matte Gel acrylic medium, etc.
  • Freezer paper/waxed paper, cereal bag from inside cereal boxes, plastic type of table cloth, or plastic washed dog food bag that’s flattened out (use what you have but it has to be larger than the fabric paper you want to make)
  • Masking tape
  • Brush for glue
  • Acrylic paints (artist grade, Dyna Flow) and alcohol inks
  • Scrap papers, brown paper bag, metallic candy wrappers, fabrics, dried rose petals, leaf skeletons, ribbon, flocking, rock dust, dryer lint, silk roving, Angelina paper, Angelina Fiber, glitter…

Method to Make Fabric Paper

  1. Protected Surface – Whatever you use, you must be able to later peel your fabric paper off this surface without damage to the surface or your fabric paper. Tape a sheet of freezer paper or waxed paper, whatever you chose to work on, to a piece of cardboard or other board you want to work on. Place this on a level surface. Or tilt it if you’re innovating with coloring it, you dare devil you. But it’ll have to lay it flat to dry.
  2. Lay Down Used Fabric Softener Dryer Sheet. Tape it down on the waxed paper if you like.
  3. Glue-Water — Mix glue and water using a 1:1 ratio. Or mix matte gel and water using a 1:1 ratio. That’s equal parts of water and glue. The glue will be water soluble once dry and the matte gel won’t be.
  4. Pour and Spread— Pour the glue-water on the sheet in the middle and spread out until it covers the entire surface. You may mash and tap the wetness all over. Leave no area dry.
  5. Add Paper and Stuff — Layer and down decorative napkins, tissues papers, fabric, ribbon and thin papers.  Use more glue-water over these. Don’t worry, it’ll dry clear and adds strength.  Layers add strength; how much strength and how many layers is up to you.
  6. Color — Alcohol Inks, Glitter Sprays, Dynaflow, Acrylic Paints – Drip, brush or spray these on as you know how.  You can use craft or acrylic paints. Weeeee!
  7. Layer— Keep adding, layers until you’re satisfied.  Mash and press down the glued pieces, making sure they come in good contact with the layer below it. You may lay down plastic wrap and a book top of it and let it dry completely. Make sure there’s enough plastic wrap to protect both the book and fabric cloth. If do this, it’ll take longer to dry, of course.
  8. Dry— Let it dry several hours, 24 hours, or longer. It must be completely dry.
  9. Peel — Peel your dried fabric paper off of your waxed/freezer paper or other surface you were working on.

Using Your Fabric Paper Use your fabric paper in a variety of ways. It can be layered and stitched by machine or by hand. It can be glued. It can be used in art journals, greeting cards, ATCs (artist trading cards), bags, totes, purses, fabric bowls, functional items, jewelry, and various types of embellishments. Use the stronger sewing machine needles for thinner and thicker fabric paper – 70/80 or 90/100, respectively. You may have to frequently replace machine when sewing fabric paper.

Recipe to Fused Brown Paper Bag

See Maggie Grey’s “Background 3” in her book (see the resources section below).

Recipe for Laminated Paper Fabric

I haven’t tried it but it’s a thought. Place on silicone oven mat, coat with liquid polymer clay, place it and cure it in a covered pan and according to the manufacturer’s instructions.  Avoid using anything that might create toxic fumes when exposed to heat (used dryer sheets, plastics, etc.)

Resources

Books

  • Tissue Fabric” is covered in Fabric Art Collage, 40+ Mixed Media Techniques, by Rebekah Meier. Glue-water is used.
  • Paper cloth is covered in Stitch Alchemy, Combining Fabric + Paper for Mixed-Media Art, by Kelli Perkins. This book has more of a focus on it. Glue-water is used.
  • “Making Fabric from Paper” (ch 4) appears in The Quiting Arts Book, Techniques and Inspiration for Creating One-of-a-Kind Quilts, by Patricia Bolton. Yes indeed, it’s paper cloth put together with diluted glue. Beryl Taylor contrubuted.
  • Fabric paper is covered in The Cloth Paper Scissors Book, Techniques and Inspiration for Creating Mixed-Media Art, by Barbara Delaney. Look for the “Building Upon Layers, Detailed Design Made Easy” section of Chapter 2: Printmaking and Surace Design, see pages 36 – 39. Once again, Beryl Taylor contributed. Glue-water is used.
  • Paper cloth is covered in Mixed Media Explorations, by Beryl Taylor.
  • Paper cloth is covered in Mixed-Media Master Class with Sherrill Kahn: 50+ Surface-Design Techniques for Fabric & Paper, by Sherrill Kahn.  Glue-water is used but the “glue” is matte gel, an artist acrylic medium.
  • From Image to Stitch, by Maggie Grey covered creating a stitchable paper-fabric using crumbled, printed upon, waxed, bonded brown packaging paper.  No glue-water used. (How about using Golden Acrylic’s GAC 900 to prepare the paper for printing, I ask?)
  • Maggie Grey covers “Background 3: Brown Paper and Bondaweb (fusible webbing)” in Chapter 1: Making Backgrounds of her book Raising the Surface with Machine Embroidery. No glue-water used in that recipe either.

DVD