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Krafty Lady Laminate Sample
Necklaces by Adrienne Goodenough
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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 ¼ 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
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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.
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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)
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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)
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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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