Modeling Paste and Other Dimensional Media with Stencils

Another re-run today, as I continue working in an online class taught by Jane Davies ...

Here is my "modeling-paste-with-spray-paint technique," complete with step-by-step instructions and photos.  In addition to modeling paste, I've tried other dimension- building media, as you'll see below.

In this photo sequence, I show how I made several 6"X6" greeting cards with my newly released stencil Quilted Flower Garden.  First, I taped the greeting card into place (over a sheet of freezer paper, shiny side up.) 

 Next, I spread a layer of modeling paste over the stencil --

While the modeling paste was still wet, I sprayed it with liquid watercolor as shown below.  Click on this image to enlarge it -- and take note that, with the spray of liquid watercolor, the stencil has suddenly become a mask.  Its presence masks off parts of the design so that the color-spray can't reach them.

Right after spraying, I lifted off the stencil and placed it, wet side down, on another paper, making a ghost print. Then I washed the stencil before the modeling paste could dry.

 

I did this project 3 times; the first time, as shown above, I used modeling paste ... and got these results:

Click on the above image to enlarge it.  The enlargement better shows the 3D look achieved with the modeling paste.  It also shows the areas that were masked off by the stencil during the color-spraying.

 On the next go-'round, I used Titanium White heavy body acrylic paint with the same stencil and the same sequence of steps, with these results --

 On the third greeting card, I used Blended Fibers Texture Gel Medium to get the results below --

And now I'll show the ghost-prints I made when I flipped the still-wet stencil and pressed it, wet side down, to other papers:

Another Re-Run ... While I take a Class under Jane Davies

I used two stencils to create this image -- Warped Holes 9, by Lizzie Mayne, and my 9"X12" Branching Blossoms Silhouette, available at www.StencilGirlProducts.com. 

And I used an idea that has been presented by Julie Fei-Fan Balzer.  I tweaked Julie's process, starting with the same basic steps she did, but then launching into another direction, after asking myself,  "What if ...?"

In going thru the process, I made the happy discovery that Branching Blossoms Silhouette is ideal for this technique because its design automatically divides the image-area into vertical halves.  I took advantage of this by making a shift in hues between the vertical left half and the vertical right half.

I started with a sheet of 140-lb. hot press (smooth) watercolor paper, securing it to my work surface with masking tape and using the same tape to align my Branching Blossoms Silhouette stencil in the center of the paper.

Starting with an Ink Sweeper and ending with a cosmetic sponge, I daubed acrylic paint thru the stencil openings and across the paper.

This was what I saw when I lifted the stencil --

Next, I taped Branching Blossoms Silhouette back onto the paper.  I could have aligned it perfectly with the original print, shown above, but instead, I decided to take a risk and line the stencil up just slightly off-register with the original print.


Above:  Placing the stencil off-register creates these uncovered white areas.

Above:  a close-up of the off-register placement of the stencil over the original print.

Then I taped Lizzie's stencil over mine...


Above:  Lizzie's stencil still bears the multiple colors of acrylic paints from the last project!

Below:  a close-up of Lizzie's stencil over mine.

...and starting applying color thru both stencils, still using the daubing technique with acrylic paints.

My last step was to remove both stencils; here are the results:
 


My 9"X12" stencil Branching Blossoms Silhouette is available at  www.StencilGirlProducts.com ... enjoy! 

Origami

 

The origami bald eagle above was made by my friend Claire Murphy and enclosed in a birthday card sent from her new home in upstate NY.  Claire was always clever with her hands -- unlike me -- and I consider myself an origami drop-out.  But seeing this eagle made me think of my growing stack of Gelli Plate prints as well as other prints, all made with stencils.  In my imagination, if not in reality, I can see these papers being folded into clever shapes like this one of Claire's ...

 

 

 

 

Just scroll thru my jillions of "Older Posts" to see how the above papers -- and many others -- were created.

Stencils used in making the above papers are available here:

http://www.stencilgirlproducts.com/category-s/1832.htm
 

Mimosa Again ...

Above is the lovely birthday card -- made by my friend Cindy Powell -- that arrived in today's mail. 

She created it using my 9"X12" stencil Mimosa 9 -- and as usual, I find that artists like Cindy do a better job of using my stencils than I do! 

KALEID shows up again...

My 6"X6" stencil Kaleid --

-- found at StencilGirlProducts --

http://www.stencilgirlproducts.com/product-p/s085.htm

-- came in handy when I was creating a collage for an online class I'm taking with Jane Davies.

With this stencil, I used a Gelli Plate and red acrylic paint to make a print on deli wrap.  When the print dried, I cut it into two pieces and added them to this work in collage and acrylic:

ABOVE:  A NARROW STRIP OF THE PRINT WAS USED IN THE UPPER LEFT ARM OF THIS CRUCIFORM, AND THE REST OF THAT PRINT WAS USED IN THE CENTRAL-RIGHT AREA.

It's not easy to find in the photo above, but the close-up below shows where I used another stencil-made print, elsewhere in the same collage. 

My substrate was a piece of polka-dotted black-and-white scrapbook paper.  With red acrylic paint and the Gelli Plate, I made a print on that paper with my 9"X12" stencil Twinship --

The results are subtle, since this print was made on a busy and finely detailed background paper, but subtle was what I wanted in this area of the cruciform, since it wasn't meant to be the focal point.

Personalized Gift Idea

There are several blank readymade calendars available online; here's one that's 12"X12" and has cardstock pages --

http://smile.amazon.com/Adorn-It-Blank-Calendar-12-Inch-Pages/dp/B00BOWVOKS/ref=sr_1_4?ie=UTF8&qid=1413809279&sr=8-4&keywords=calendar+blanks

Or you can download free printable calendars -- lots of online sources exist for that option; but I think many of us would rather skip the challenge of printing generous-sized calendar pages on cardstock. 

Why blank calendars?  Because it's fun to make a gorgeous calendar to give as a special personalized gift!  At Christmas, especially.

Below is a start of a layout that still has far to go till completion; my next step will be to lighten selected areas with layers of paint.  Then I can add words and/or photos to work toward creating one page of a brand-new calendar.

The starting layers above were created in a workshop I took in Oct. 2014, in South Orange, NJ, where a roomful of us had the pleasure of learning under the guidance of the energetic, entertaining and very knowledgeable Jane Davies. 

After a first layer of collage, I brushed areas with a mix of Golden Fluid Acrylics in Manganese Blue and Titanium White.  Immediately, while the paint was still wet, I pressed down my 9"X12" stencil Facets.  Using the reductive/subtractive technique that I've shown in earlier posts, I quickly rubbed off color in the open areas of the stencil.  Then I lifted the stencil, turned it over and applied pressure, creating the reverse-print which shows faintly in the lower left of the layout above.  (Click on the image to enlarge it.) 

To apply that pressure, I covered the stencil with a sheet of scratch paper and rolled firmly over the scrap paper with my hard rubber brayer.   The scratch paper has a dual role:  It keeps paint off the brayer, and it protects the stencil from the possibility of damage as the brayer's pressure is applied.  The stencil I used, Facets, has no unconnected/unanchored lines, so there was really no need to protect it from the brayer. 

But other stencils, such as Branching Blossoms Silhouette, were designed to have some fragile areas which are not connected to those anchoring lines that we designers call bridges.  This creates a more attractive stencil but also a more fragile stencil.  Ya can't have your cake and eat it too!

Rubbing Plates re-visited

Today's topic:  rubbing/printing plates made by my friend Mary Ann Russo.  In that post, I detailed her process, using my 9"X12" stencil Twinship. 

In today's post, I'm showing another rubbing/printing plate made by Mary Ann.  This time, she used my 9"X12" stencil Vases.

Above:  Mary Ann has covered the plate's surface with two coats of a rubberizing spray to make it completely waterproof.

Household fix-it-yourself types are probably familiar with Napa Performix Plasti Dip spray.  Created to provide a non-slip, comfortable grip on tools and to provide protection against electrical shock and heat, it's available at SmileAmazon.com --

http://smile.amazon.com/Performix-11203-Multi-Purpose-Coating-Aerosol/dp/B0006SU3QW/ref=sr_1_fkmr0_1?ie=UTF8&qid=1412684997&sr=8-1-fkmr0&keywords=Napa+Performix+Plasti+Dip+spray

Originally, this spray came in red -- the color used in this project -- and now comes in black, clear and gray-translucent.  The spray is to be used outdoors and its first coat must be allowed to dry before the second coat is added. 

The finished plate can be used to make impressions on a paint-coated Gelli Plate, for pulling prints on paper or fabric. 

It can also be used in two other ways -- with a Shiva stick and fabric to make rubbings, as well as with acrylic paints to make prints. 

Today's post will focus on the last of these three options.

Above:  The work surface has been covered with freezer paper, shiny side up.  To the right of the plate are a rubber brayer and a dollop of heavy-body acrylic paint. 

Above:  I've rolled paint out across the freezer paper, rolling back and forth until the paint reached a tacky stage.

Above:  I've rolled the paint-loaded brayer across the plate.

 

 After coating the plate with this paint, I pressed a sheet of pre-painted newsprint over the plate, using both hands across the whole surface, to make sure all of the paper made contact with the plate.  Then I pulled the print shown above.

Mary Ann used the same process with black fabric-printing paint to make the print below, on a piece of off-white fabric --

I used blue acrylic paint to print another sheet of pre-painted newsprint, as shown below.