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Welcome to the galleries displaying the latest work from artists in our Designer Team.
This page was updated on 3 May 2010.
For product enquiries email Kristine at kristine@kraftylady.com.au

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The Projects
Altered Board Book
Altered Bottle
Altered Clipboard
Altered Lunchboxes
 and Altered Tins  
Gatefold Journals
Krafty Screen 
Krafty Templates
Flag Book
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SOYSILK® Fusion
Wall Hanging
Zen Garden
also
Cards
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Miscellaneous Pieces

DT Challenge:
Krafty Inspirations
     Take 1 Make 5  

Members of the DT:
Jeni Calkins
France Chevalier
Myléne Hillam
Carol Murphy
Michelle Zimmerman
Kristine Lockwood
     "the Krafty Lady"

Guest Artist:
Helen Bradley

Past DT members:
Darlene Grob(2005-2008)
Ingrid McHutchison
    (2005-2006)
Lea Cioci (2005)
Melissa Huber (2005)
Robyn Pettingill (Guest 2007)





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Tips, Techniques and Tutorials
from the Krafty Lady Design Team
& friends of the DT
Videos *NEW*
Videos using Krafty Lady Moulds
Stay Tuned for more Krafty Lady Demo Videos coming soon.

Other pages on this site:
Butterfly Garden Sun Catcher by Becky Chabot 
Crazy Glass (Caught in Crystal or Acetate Technique) by Kristine Lockwood
Patina Metal Embellishments by Jeni Calkins
Post-It Note Booklets by France Chevalier
Faux Paua Shell/Marbling by France Chevalier

Below on this page:
Laminate Necklaces (great for trades at conventions) - by Adrienne Goodenough
Fantasy Film and Opals by Zeb Loray
Fabric Transfer by Myléne Hillam
Faux Pink Quartz Polymer Clay technique by Myléne Hillam
Painting Technique for Altered Board Book by Myléne Hillam
Quick Lesson in using AM© with Air Dry Clay by the Krafty Lady


Krafty Lady AM Reviews and a basic "how to" can be seen on this page.


Tutorials at After Midnight, Art Moulds Distributor for the Americas

Using the Melting Pot and Opals with Art Moulds by Zeborah Loray
Making pins with Art Moulds and Art Glass by Michelle Emerson Roberts
Rusting/Distressing, featuring Krafty Lady Textures© by Zeborah at After Midnight Stamps
Making Guest Soaps using Krafty Lady AM© by Kimberly Davenport at After Midnight Stamps
Altered Clipboard using Krafty Lady moulds by Jeni Calkins at After Midnight Stamps
Midnight Art Glass tutorial on the After Midnight Blog *NEW*

Elsewhere on the web:
Carnival Glass by Zeborah Loray and Tyra Smith *NEW*
 Opals and Art Moulds© project (altered boxes/tins) at AMRSC by Jeni Calkins
Using Magic Meltz with Art Moulds at Progeny Journals
KLDT member pieces using Makin's Clay® at MetalClay.com.au
Projects with Peerless Watercolours by Jeni Calkins at Scramping Central
Carnival Glass Technique by Tyra Smith

 

Krafty Lady Laminate Sample Necklaces by Adrienne Goodenough

Click for larger version in a new window

Supplies needed
Krafty Lady Art Mould (of a size small enough to fit on the laminate sample)
Laminate samples
Black gesso (I used Rowney brand, some brands are not thick enough)
Bold rubber stamp (optional)
Black Hearty air dry clay (or substitute any air dry clay if Hearty is unavailable)
Rub’n’Buff rub on wax finish (or similar product; preferably not the small palette type wax rub ons – they will rub off again unless sealed)
Brilliance ink in similar or toning colour to Rub’n’Buff (optional)
Matte Gel medium (heavy or medium)
‘Velvet’ paper
Rubber or leather thong

Take the laminate chip and paint the edges and inch all round the edges on the back of the sample with black gesso and allow to dry. Turn sample over and daub black gesso thickly on the front. Stamp into it using bold rubber stamp – this may not leave a defined image if you stamp while the gesso is very wet, but will add texture. If you want a more defined image, allow the gesso to dry a little before stamping. Wash stamps and brushes immediately after using gesso.

Fill mould with air dry clay and allow to dry. Unmould. If using clay other than black Hearty, paint with black gesso and allow to dry.

Rub both painted laminate sample and moulded piece sparingly with Rub’n’Buff. Ideally, some of the black of both background and cast item should show through the rub’n’buff – it adds drama to the finished piece. Attach moulded piece to front of sample using gel medium, allow to dry.

Rub more Rub’n’Buff over the piece if more colour is required. Polish with soft cloth. If you want more intense colour, swipe Brilliance ink over the moulded piece and around the edges of the pendant. You can ‘blur’ the edges of the Brilliance ink with your finger for a softer effect at this point. Allow ink to dry overnight.

Cut a piece of velvet paper to fit the back of the piece and adhere with gel medium. Cut the thong to the length you want, thread through hole in laminate and tie ends together in a reef knot, or use appropriate fixings.
 
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Zeb's Fantasy Film and Opals technique
Fantasy Film
is a HOT NEW PRODUCT now sold by Krafty Lady

Click for larger version in a new window
Pour Clear OPALS (Franklin) into the selected mold (AM310 X3Lge Tweenie Baroque was used here)
Don't fill the mould completely with the Opals.
Lay in a sheet of Fantasy Film that overhangs the edges of the mold.
HINT: TO AVOID BUBBLES & TO MAKE GOOD CONTACT hold film so you have a "U" shape & lay from a centre point out to the edges.
Hit with heatgun, add some more Opals to fill the mould to the top (clear or colored, I used clear on these), let it set. Unmould. Trim the fantasy film which is overhanging. The film will shrink slightly so it's best to use more than you think you will need and trim the excess.

For more of Zeborah's work please visit her gallery page.
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Myléne's Fabric Transfer
as seen in her Gatefold Book, and in her Cards section.


Click for larger version in a new window
Print your chosen image on to the inkjet transparency using the best quality settings on your printer and allow it to dry. To transfer the egg image to the fabric, apply a generous layer of fluid medium onto the fabric. Some will sink into the cotton but as long as the surface is still wet and shiny it is ready to accept the transfer. Place the transparency onto the prepped cotton, ink side down. Gently rub with your finger over the entire surface for about 2 minutes taking care not to move the transparency. Lift a corner to check that the image has transferred to your fabric. Set aside to dry, image side up.
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Painting Technique by  Myléne Hillam
(as used in her Altered Board Book)

Myléne Hillam's Altered Board Book
I used ordinary acrylic paints - a mixture of Kaiser (available at $2 shops), Jo Sonja and Plaid paints. Expensive paints aren't necessary and I actually found the cheaper ones worked equally as well as the more expensive ones.

We began this project with a child's boardbook which had been stripped down to plain board so I sealed the pages with one coat of Gesso first. On some pages I then added torn background papers with gel medium and then watered down yellow and orange acrylic paint so that it was just a wash and applied this over the papers, extending it out onto the gesso. In some places I added a little more paint for variation. Then it was time to get more heavy handed with full strength paint and a child's flat art brush. I began with a base of yellow over the remaining surface of the page. Using red, I painted the edges of the book and began to blend the red and yellow together, watering the red paint down as I got further away from the edges. At this stage you still have a very distinct difference between the red and yellow which I then softened with orange paint, blending it into the yellow on the inside and the red on the outside. I reworked the paint several times to achieve the graduation in the colour. Where the blending was too harsh, I softened it by watering the colour down with water.

Because the board book is so sturdy, it was possible to add watery paint without fear of the pages warping too much. But acrylic paints give a very flat finish so, to achieve the gloss, I finished with a coat of Krylon triple thick Crystal Clear Glaze.

I've described how I created the background for the goddess page but the technique is similar for all the pages.

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Myléne's version of Faux Pink Quartz
(as used in her Egyptian Flag Book)

Tag from Myléne's Flag Book
This technique is a variation on the technique in
"Polymer Clay Techniques"
by Sue Heaser

Take a small piece of red Sculpey and condition it in your hands. Once conditioned put it aside - you don't need it anymore. Now take a piece of translucent Sculpey and condition it in your hands and watch the colour from your hands work its way into the translucent Sculpey. Finally, add ground nutmeg and work into the clay until it's evenly distributed. Smells yummy!


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Quick Lesson in Using AM© with Air Dry Clay
by The Krafty lady

Kristine gave us this little tutorial when we started on the DT,
and we thought you might be interested too.


TERMINOLOGY:

AM: Art Mould
ADC: Air Dry Clay
CAST: whatever item made from
substances pushed or poured in the AM

With Air Dry Clays, it is important that the back of the cast has a flat back to prevent curling whilst drying. When using ADC, try to flatten the back by
1. not over filling the AM to start with
2. turning the filled AM over and press onto a flat surface
3. evenly push the bottom (now facing up) of the AM with your hand so that the top (now facing down) of the mould, and the back of the cast will flatten out. The ADC will be flattened by the table top. If you have too much clay when you do this, it will not go flat.
4. Remove cast from AM to air dry.

The ADC must air dry, do not use a heat tool - it can take up to 24 hours for a cast to be completely dry.
You cannot speed up the process as doing so can cause the centre to not dry properly, which means mould can eventually develop and the outside of your cast can get crusty.

It is also suggested to flip the cast item over and over during drying time to get
an even amount of surface exposure to the air.  


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