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8/7/2019 Cloth Paper Scissors Book BLAD

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Techniques and Insp i ra t i on for Creating Mixed-Media Art

Barbara Delaney

the


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the decorative quality of vintage ephemera has always

had a great appeal to me and nothing more so than

vintage envelopes and letters. The muted, worn colors and

textures of these items, whether from home or abroad, with

text both mechanically stamped and handwritten, provide

an interesting backdrop on which to combine collage and

embroidery, breathing new life into a transient item.

byviv sliwka

sealedwith a

stitch

an exercise in collage and embroidery

I enjoy using found papers in my

work and prefer vintage envelopes

for the stories they can tell. I think

to myself, Who was it who wrote

with such a fine hand? Did he

survive the war? Why did she

write that letter? All of these

unanswered questions are part

of the joy of working with these

little snippets of everyday history.

But I would also consider using a

special, maybe newer, envelope

one that contains good news,for example. If the envelope has

an interesting date on the back,


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I open the envelope up, so that all

the points of interest can be seen.

preparation

Sorting through my stash of found

papers and ephemera is part of

my process. Thumbing through

old books and magazines until

I find the right imagery and text

is also a big part. (Be wary of

copyright when doing this.) Forexample, the sweet little girl that

I used (left)it just felt right to

use her, instinct you may sayhas

nothing whatsoever to do with

the envelope itself. It is all part

of expressing ones particular

interests.

What I have in mind as I workis to build a coherent visual piece

using collected papers and fabrics

from many sources. I sometimes

include my own drawings or

monoprints. I want to achieve

depths of opacity, with added

text, color, and texture. I use

embroidery to highlight not only

my love of flowers, but also my

love of the decorative stitch. With

embroidery, I bring surface texture,

color, and interest to my work;

I take each piece down another

avenue and have more fun with it.

The final touch is the additionof buttons: wonderful, beautiful,

old buttons. They, too, have a story

to tell, even better if they are from

your mothers or grandmothers

button box! I adore how they

catch the light or brighten a piece

of work with their cheery colors,

shapes, and sizes; somehow theyjust finish the piece beauti fully.

CL O T H P A P E R SC I S S O R S 3

Top:Buttons, trims, and vintage fabric for collage.Bottom: Preparing an encaustic surface for collage.


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4

iam always on the lookout for products that have versatileworking properties and offer a variety of approaches tomixed-media artwork. I was instantly intrigued when I began

experimenting with Translucent Liquid Sculpey (TLS) andremained captivated by the wide variety of styles that I could

easily attain with this adaptable medium.

bydj pettitttranslucenttransfers


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5

CL O T H P A P E R SC I S S O R S 5

When making photocopies,I have found that setting the

copy machines contrast a little

higher than normal produces

better transfers. However,

too much contrast will cause

the transfer to lose detail and

possibly smear when it is heated.

If you are unfamiliar with the

machine that you are using,

I would suggest experimenting

with the contrast setting before

starting.

note: Be sure to make

copies in reverse (set copier

to mirror).

I have had the best results

making transfers with the kind of

paper used as deli wrap. Some

other papers will work, but keep

in mind the following:

Silicone-treated parchment

paper will work, but theresults can vary and will

produce a transfer with moreof a distressed or aged look.

Moisture and steam create

wrinkles when parchment

paper is heated, causing

uneven areas in the finished

transfer. There are times

when I like this look, but the

results are less predictable

than with deli wrap.

Slick, nonstick surfaces such

as heat-resistant craft sheets

and the paper backing from

iron-on webbing will work

well for this technique, too,

but will leave the surface ofthe transfer shiny.

Freezer paper or wax paper

cannot be used as a nonstick

surface for this technique.

My fascination grew with further experimentation and a desire

to create the perfect transfer. I wanted a transfer that was fast

and easy with no soaking or rubbing, one that could be made as

a stand-alone collage element, and one that could be transferred

directly to paper or fabric. The transfer technique that grew

from this exploration will add unlimited creativity to your altered

books, ATCs, and collage and fiber art.

getting started

Black-and-white photocopies

Household iron

Translucent L iquid Sculpey

(TLS)

Dry wax or grease-resistant

sandwich wrap (deli wrap)

Bamboo skewers

Fabric scraps

Permanent markers (I prefer

Faber-Castell Pitt Artist

Pens and Y&C FabricMate.

You may substitute another

favorite marking pen, so long

as it is permanent and the

ink remains wet long enoughfor you to blend it. Most

permanent markers dry too

quickly.)

Soft colored pencils

note: Translucent Liquid

Sculpey is a bakable transfer

and color medium available

at most hobby/art supply-stores. It is nontoxic, but

should be used in a well-

ventilated room.

materials


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i

ve always enjoyed working with metal, and it took

considerable time for me to find the perfect metal.

Soft embossing copper is now my favorite; its so soft

and pliable, its almost like working with fabric. At one

time, I thought being able to emboss and stitch onto it

would be the ultimate. But, with the amazing products

now available, you can do so much more. Metal can

even be distressed with gessowow! There are also

a lot of products that can be used to add a patina to

metal. You can apply heat and obtain amazing results,

too, but I try to keep it as safe as possible and am

quite happy using paints and inks for coloring.

materials

Extra-soft embossing metal

(I use ArtEmboss)

Mouse pad, or similar

Stencils

Ballpoint pen

Embossing tool

Paintbrushes

Coloring agents for metal, such

as glass paints, alcohol-based

inks, and nail polish

Gesso

Paper towels

Modeling paste

Glass bead gel

Hole punch, regular and craft/

shapes (I used flowers and stars)

Watercolor paper

Beads

Strong glue (I use E-6000)

Basic sewing supplies, includinga needle for handstitching,

scissors, and thread (When

machine stitching metal, I use

Gutermann 100% polyester

thread)

Water-soluble paper

Rubber stamps, deeply etched

Acrylic paints

Manufactured silk flowers

Ultra-thick embossing powders

Embossing stamp pad, clear

Heat gun

Sewing machine

Decorative thread (I use DMC)

Unbleached cotton fabric

Patterned cotton fabric

Felt

byberyl taylormetalmagic

It always seemed to me, and to

most people, that stitching metal

with a sewing machine would be

a no-no, but with this thin, soft

metal it is no problem at all. In fact,

I just use a standard 90/14 needle

and polyester thread (needle

and bobbin) and do fine. I cut anumber of pieces of metal in lots of

different sizes and decorated them

with a variety of techniques.


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Wherepaint,paper,fabric,

metal,andwaxallcometoplay

Uncover the very best articles and projects from Cloth Paper

Scissorsmagazine. Editor Barbara Delaney has assembled a

gold mine of hands-on inspiration and ideas for mixed-media

artists of all types. Explore the exciting worlds of collage,

journaling, encaustic , printmaking, assemblage, surface design

and more.

In addition to the tips and techniques, the experts elaborate

on their favorite tools and mediums. Perfect for all skill levels,

The Cloth Paper Scissors Bookshowcases inspiring projects

for both those who are new to the world of mixed media

and those who already love mixed media and are looking for

exciting new ideas.

Barbara Delaneyis the assistant editor of

Cloth Paper Scissorsmagazine. She has always loved

working with fabrics and has grown to adore mixed-

media art in its many forms.

Paperback

8 10, 160 pages

ISBN 978-1-59668-397-6

$24.95

Available September 2011

CONTENTS

Introduction

Getting Started

Toolbox

Glossary

Printmaking and Surface

Design

Journals and Bookmaking

Collage and Assemblage

Mixed-Media Stitching

Encaustic, Metal, and Jewelry

Get Your Art Out There!

Meet the Contributors

Resources

Index

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