AGNES THE RED ART and CRAFT TUTORIALS
UK artist AJLee
EMBOSSING POWDER
This page explains what embossing powder is, how to use it - a basic technique tutorial, plus more advanced uses and effects.
PLEASE NOTE - for quickness and ease, you will find that I refer throughout this page to Embossing Powder as EP and the melted and set powder as HEAT TREATED. This not expert or technical term - just my own way of differentiating between the 'before' loose powder form, and the 'after' state it becomes after the heat gun has been applied.
You will also see that I use a bright coloured ink - this is for contrast purpose only, so that you can clearly see where the ink has been applied...this will not neccessarily be the colour ink you will use on your own work.
RE TOOLS REQUIRED - The majority of these tutorials/techniques involve using inks and rubber stamps, paint etc of some description. The aftercare, maintenance and cleaning of these tools (and the items required to do this) is not listed as I assume that you will have already taken these into consideration and automatically carry out these proceedures.
Info
WHAT IS IT ?
Embossing powder is just that - a powder that when heated, melts then sets to form a raised/embossed shiny surface - a technique once only achieved by card manfacturers, by machine, but now available to the home crafter. It is now a product well known and used in the cardmaking/papercrafting world and adhered with embossing/pigment inked rubber stamps, then heated with a heat gun to create a raised image.
I first came across Embossing Powder back in the 1990s when stamping and stencilling was all the rage in the UK for home decor. Where I lived there were at least three shops that opened, selling large foam stamps and stencils, paints and specialist paint effects for embellishing your walls and furniture. I wasn't a fan of this type of decorating but found the shops very useful for supplies for my artwork. On one particular visit to a shop I was shown a 'new product' - you sponged a glue-like medium to your wall via a stencil, allowed it to dry to a tacky state, then applied a powdery substance to the glued area (the tricky bit) a quick blast with a heat gun then melted the powder and transformed it to a raised embossed image....I was VERY interested. Not, for decorating my home with, but to use on my artwork and large abstract canvaswork....metal leaf was proving expensive to cover large areas, metallic paints were too flat and this product seemed a perfect alternative to give texture.
Stencilling soon proved a brief fad for decorators and sadly one by one the shops closed....but as the years went on, embossing powder evolved for use in papercrafting and art. Once there were only a few basic colours, but advanced technology soon brought forth metallics, special effects, glittery pearlised and all manner of rainbow colours....and it also seems that there are different grades of powder so fine images with acurate detailing could be achieved. Instead of glue, special inks were created that remained tacky for longer periods than average inks which enabled you to apply embossing powders over rubberstamped images. As crafters became more adventurous and experimental, more and more uses and techniques and effects were created with embossing powders.
WHAT POWDERS,EFFECTS AND COLOURS ARE AVAILABLE ?
There are vast ranges of colours and effects now available, and made by many different companies....so really I can't tell you exactly what's available, it's just a case of you getting out there and finding out for yourself! You can also mix and make your own customised colours (more on that later on) so there's no limit to the colours you can get. Grades and qualities will vary from company to company too, so you really need to experiment to find out what suits you and what works best for the effects and techniques you want to achieve. Tim Holtz via Ranger products has a range of Distress powders, these are used in a similar way to EP but have an altogether different effect - you will find a tutorial and explanations on this further down the page.
HOW DO I APPLY EMBOSSING POWDER ?
There are many ways to apply EP and techniques to create different effects. The following information starts off looking at the BASIC tools and technique used to create embossing with a stamped image. Different applications, more advanced tecniques and projects follow. These are just a few that I know of and use....I'm sure there are many other artists out there who do much more with EPs!
THE BASICS
INK - A tacky surface is required to hold the powder in place during application of heat (or it will blow away!) For stamping images in particular, Pigment based inks are the best ones to use as these are wetter and stay tacky for longer, enabling you time to apply and work the EP. There are a number of different makes available, some made especially for embossing. Unless stated for a particular technique, pigment inks are what I use throughout my tutorials. EP can be applied using clear or coloured ink and which one you use all depends on personal preference and the technique/effect you desire to achieve. If I want to use a coarse grained EP for texture and want areas of the paper underneath to show through, I will use a clear ink or one the same colour of the background. If I want a more solid coloured embossed area, I'll use an ink the same colour as the EP, but great effects can also be achieved by using a completely contrasting ink colour to the paper and EP. Using clear inks can have its downsides as it's difficult to see where you've applied the ink - tricky if using lettering or stamping in more than one area. For glazing you need need clear ink with clear EP (more on that later). With care and practice, certain GLUES can also be used in place of the ink. There are now also 'Embossing Pens' which are fibre tipped pens containing pigment inks that you can draw and write directly and freehand onto your paper, instead of using an ink pad or stamps etc.
PAPER/CARD (or other surface to emboss onto) - with hundreds of thousands of different types of card, paper and other surfaces you can emboss onto, it's impossible to say what will or wont work. You can emboss on plain and textured surfaces but the resulting look will vary. It's again personal choice as to the effects you want to achieve and a case of you experimenting to see what happens. Some materials will not stand up to the heat treament, some may not take the ink well, some give better sharper images with higher quality/fine grade EP, some may cause certain 'special effect' EP to split and you can also get greasy marks. I know what papers I have and use with the brand of EP I prefer but I can't say what everyone else has, so experimenting is the only way to go. ADVICE - before you start on a new or unknown embossing project, have a small piece of the paper/surface material spare to test the EP or technique out on first, this way you can see the effect and result with spoiling your project piece.
HEAT GUN - A 'must have' if you want to emboss with powders and a craft one designed for this purpose is the only way to go! Heat guns are designed to emit 'hot air' and by that I do mean 'hot', but in a controlled way with a low air current (If you get what I mean). A hairdryer really isn't an option or alternative as this isn't hot enough to melt the EP and the air current is too strong and will blow everything away....EP, paper, the lot! and I DO NOT advise you try using a DIY paintstripper either - this is way too hot for craft purposes and you will be in danger of causing a fire, or serious damage to your artwork...and possibly yourself!
Craft heat guns come in various shapes and sizes, from those with an angled handles, those with no handles, to different speed settings, colours and built in cooling stands....some even have an additional 'cool air setting'. Which ever you buy to suit your comfort, you will find a heat gun an invaluable tool to add to your craft space - don't just use it for embossing.......make it work for it's money, use it to blast and dry paint and glues, melt wax and UTEE and friendly plastic etc etc.
(WARNING-heat guns are HOT and can be dangerous and cause burns, follow the instructions for use carefully, cool completely before storing and use a protective mat when possible).
EMBOSSING POWDER - See info above.
STAMPS - Any stamps that can take pigment/embossing inks etc, can be used - rubber, wood mounted, unmounted (with acrylic blocks), sponge and so on, it all depends on what image you want to create. I find the more basic the shape, the better the effect as the melting process of the powder can blur out some images, but saying that, with more finer detail EPs becoming available, you can achieve pretty good results with detailed stamps using these.
CLEAN HANDS and FINGERS! - EP will stick to anything tacky enough, and can adhere by static, but I'm not just talking preventing getting your hands covered in the stuff......any tiny bits of grease that forms on your skin, be it natural or from hand lotions etc even smudges of ink on your fingers can be transfered to the paper you're handling and wanting to emboss onto. It remains invisible until you apply the powder, then you find lovely fingerprints and smudges which then can be troublesome to remove. Keep your paper as squeaky clean as possible by washing your hands before you start, hold off the hand creams, and if you're embossing on a large scale, keep periodically washing your hands in between. There are ways to lessen static too...these are listed below.
STAMP CLEANING PRODUCTS - Use your prefered method/product. I use basic and cheap non perfumed baby wipes to remove ink, with some kitchen paper towels to dry the stamps. I also find baby wipes useful to clean down my worksurface after I've finished, to pick up any stray powder particles that might otherwise turn up unexpectedly and spoil the next project I work on!
A DRAUGHT FREE ENVIRONMENT! - EP is a light powder that gets everywhere if given the chance, and you don't want to waste money loosing powder that's been blown around your room because you're sitting by an open window on a breezy day....or you've got a fan on beause it's hot. Save your powder....work in a draught free area. Also worth tidying away delicate electrical items and things like cameras that the powder could work it's way into and clog up the mechanics!
OTHER OPTIONAL ITEMS - As mentioned above, any static on the card/paper/item you're embossing onto will catch the EP...so it may end up in places you don't want. You can try to prevent static by buying a specially designed ANTI STATIC BAG which is a tiny material pouch filled with a white powder that you wipe over the surface before applying the ink. A cheaper alternative is to wipe over the surface with a DRY and USED TUMBLE DRYER SHEET (the sheets you put in to prevent static build up on your clothes etc). A TIDY TRAY is useful for catching any loose EP, if it has a notch or spout for pouring, this makes it easier to transfer the unused EP back into its container. A clean LARGE PAPER SHEET can also be used to work on and then folded up to pour powder back into containers. For sweeping up loose powder that escapes onto your worksurface use a LARGE SOFT PAINTBRUSH (3inch wide is good), and a FINE SOFT BRISTLE ARTIST PAINT BRUSH is handy for gently wiping off stray particles from your stamped image. If you're using more than one type of EP or colour, it's best to work on each one at a time, pouring and tidying them away to avoid getting powders mixed up and cross contamination. If you are mixing powders on purpose, then pour off the mixed excess into SPARE PLASIC CONTAINERS or BAGS for reuse (try to keep a note of what colours they contain). Make sure you're working on a heat resistant surface - I find it helpful to place a special SOLDERING HEAT RESISTANT MAT under the project (see Tools and Tips section for details HERE).
THE BASIC TECHNIQUE
1. Gather together your tools and materials and ink 2. Stamp your image onto your choosen surface. 3. Place the stamped piece onto your sheet or tray
up your stamp well. and generously sprinkle over the Embossing Powder.
4. Tap off excess powder and use a brush to pick 5. Pour unused powder back into container. 6. Holding heat gun at manufacturers recommended
off any stray particles from around the paper. distance from EP, heat and melt the EP, as it starts to
change, slowly move onto another area.
NOTE : The trick to heating your EP, is not to waggle the gun around like a fan but hold it in a steady constant manner and treat one area at a time. When you first bring the gun up to the image, do so slowly so as not to blast the powder off the paper. Hold the gun at the recommended distance (as per manufacturers instructions) and not too close or you'll 'over cook' the EP and spoil the shine. As soon as the area of EP you're treating melts, slowly move to another part. The more you use EP, the more you'll learn how to recognise the point at which the EP has melted and set and when to remove the heat. The time it takes to treat, depends on the make and variety of EP. Take your time, rushing and over heating will ruin the EP, it can burn, loose it's shine, crack, the colours can split etc. Also be aware of the type of paper/card/surface your embossing onto - check first whether it'll take the heat of the gun.
7. Here is a photo of the half treated piece so that 8. The completed embossed image, ready for use. 9. The piece incorporated into an ATC
you can see the difference between powders.
OTHER EXAMPLES
Here are some more examples of basic stamped embossed images - from left to right - the silver embossed scribble flower and sentiment are on contrasting coloured cardstock. The gift box is black card with a contrasting copper embossed design and parts of the flower have been coloured in with gel pens. The heart card is tone on tone which creates a lovely sophisticated look and is achieved by stamping and embossing gold script onto gold satin paper. The button fairy wings show tone on tone again - covered with silver metal repair tape then stamped and embossed with a design in silver EP. The raised design is further accentuated by buffing over with a cloth wiped with black stazon ink. For step by step details on this, visit the button fairy tutorial CLICK HERE .
OTHER EP TECHNIQUES
STENCILLED EMBOSSED IMAGE
TOOLS REQUIRED - As above but use a stencil instead of a rubber stamp.
1. Place stencil over choosen surface. 2. Gently dab ink direct from pad, over the stencil. 3. Remove stencil, sprinkle over EP. Shake off excess.
4. Heat treat as previously shown.
NOTE : When applying the ink through the stencil, use a dabbing motion rather than wiping it over. The ink is quite wet and if you wipe it, it'll seep under the stencil edge and you'll end up with a blurred image. You can buy special stencil adhesive - low tack repositionable that will keep the edges tight down to achieve the best crisp image possible while applying the ink, and peels off easily without damaging the paper.
FREEFORM INK APPLICATION
You can cover large areas of surface, or create freefrom patterns by applying the ink directly to the paper, from the pad, rather than using a stamped image or stencil etc. The variations of inks and EPs used, whether one solid colour, or a mix of colours and effects is only as limited as your imagination. A large embossed surface area can be used as a whole background, or cut up, or even shapes punched out. NOTE: take care when cutting embossed paper/card. If the EP has been applied thickly or in many layers, it can crack and split off the paper. A thin layer of EP has a certain amount of flexibility to it, but as it gets thicker, and hardens, it is more fragile and prone to cracking (this is actually a nice effect that is demonstrated below).
TOOLS REQUIRED - paper, ink, embossing powder, heatgun.
1. Dab ink directly from the pad onto the paper. 2. Sprinkle over EP (here I've used 2 colours). 3. Heat treat to melt and set.
I took this one step further and decided to ink up the rest of the paper then sprinkled over some more EPs - I used metallic copper, and a plain blue. Using a thin layer of quite coarse grained powder meant that I ended up with a lovely shimmering but hammered metal effect.
EMBOSSED EDGING
Applying the ink and EP to the edges of the paper creates a nice finish. It can be applied to straight cut, shaped or even torn uneven edges and the ink can be applied freehand for a more freeform effect, or even used with masking tape to create a sharp line.
TOOLS REQUIRED - Paper, ink, embossing powder, heatgun.
1. Wipe edge of paper with the inkpad. 2. Dip in EP and heat treat. 3. This was also done on a torn edge.
Here's an example of an ATC that has a front section of torn paper, treated and edged with silver EP.
CREATING A GLOSSY FINISH, GLAZING AND CRACKED EFFECTS
The thicker the layer of EP is, the smoother and more glossy the finish. This can be achieved in a number of ways, either by using a thicker EP (even UTEE), applying more layers or the same colour, or applying a glaze using a clear EP. A heat treated layer can sometimes retain enough heat and tackiness to allow direct application and adhesion of another coating of powder, if not, allowsurface to completely cool, then apply ink and EP and repeat the heating/embossing process.
The embossed (gold and blue) piece of paper from the previous 'Freeform ink application' section originally had a hammered texture, due to the coarse and single layer of EP. I'm now going to show you how to achieve a glossy coating, or GLAZE, by adding further layers of CLEAR EP.
TOOLS REQUIRED - embossed paper, clear pigment/embossing ink, clear embossing powder, heatgun.
1. The Pre-embossed paper with texture. 2. Dab over the entire surface with clear ink. 3. Cover completely with clear EP, tap off excess.
4. Heat treat. 5. If neccessary, repeat steps 2 - 4 until you achieve a good glaze.
This piece of embossed paper has now transformed from a faux hammered metal, into a slab of faux dichroic glass!
Glazing doesn't have to be done over pre-embossed pieces.......you can clear EP glaze over any image as long as it will take the heat of the gun. NOTE: take care if applying glaze over layered paper, or an image/material that has been glued down - too much heat applied can melt the glue or seperate the paper layers and cause bubbling and buckling. Try out test pieces before glazing any projects.
The next tutorial shows you how to glaze over a stamped image, and then create a cracked effect........
TOOLS REQUIRED - paper/card, stamp, permanent water resistant ink (such as Stazon), old brush, clear pigmant/embossing ink, clear embossing powder, heatgun.
NOTE: If you're applying EP over a prestamped (non embossed) image, that image must have been created using a permanent waterproof solvent based ink (such as Stazon) and allowed to dry completely before applying the layer of embossing ink - any other type of ink, paint or colour will smudge melt and smear under the heat treatment. If you're in any doubt as to the stability of the ink, test out on a spare piece of paper first, however.....WARNING you can also contaminate your clear ink pad if you wipe it over an unstable, non permanet inked/coloured image. This will render the pad unuseable for any further projects that require clear embossing and/or glazing as it becomes dirty and will transfer the contamination and cause marks and undesirable smudges.....
...But saying that, I actually have an old dirty contaminated clear ink pad that I keep seperately and use specifically for pieces that require a 'dirtied up' effect. Over time it has picked up various dots and smudges of inks and colours that transfer and look quite nice in the right place! The following tutorial uses this old ink pad. I keep a clean pad to use for when I require a crystal clear glaze.
1. Gather together your materials and tools. 2. Stamp up the image using black Stazon ink. 3. Here I am futher aging and distressing the image
by dry brushing on Stazon ink.
4. Once completely dry, cover with a layer of clear 5. Cover with Clear EP and tap off the excess. 6. Heat treat with gun to emboss - this is one layer.
7. Repeat with three more layers of glaze until you 8. Allow to completely cool then gently bend and
achieve a glass like coating. flex the piece so that it cracks - don't over do it or bits will come off !
The completed glazed image, mounted onto an ATC tag, plus two more examples of glazing with EP - from left to right - The mermaid has a partially glazed tail which has been cracked. The Altered domino has glazed roof tiles as well as embossed wings - for further details and tutorial on how this was achieved, visit the altered art section CLICK HERE.
STAMPED TRIPLE EMBOSSING
This technique involves creating a thick layer, or glaze of EP, then making an impression INTO it by pressing a stamp image into it whilst still warm and soft.
Its been a while since I've done this technique so forgive me if you think the end product, or this tutorial is lacking! Although I really like the effect, I've never felt that I have managed to produce a quality result. It looks easy, but is actually a bit tricky and timing is the essence....so I suppose that's why I don't use this effect that much. They say practice makes perfect...so I REALLY SHOULD DO THIS MORE....and don't be put off yourselves!....please have a go!
....and talking of being put off.......don't think that sticking your rubber stamp into hot EP will end up with disasterous results and a melted ruined rubber stamp.....follow the instructions, use the right inks and your stamp will be fine!
When you see photos of a stamped triple embossed piece, you really don't SEE it...you need to see one for real, up close and personal, and to touch it to appreciate the lovely textured effect. Until I received an ATC incorporating a very well executed example from a fellow online swap group member, I'd only ever stamped into clays, fimo, friendly plastics and the such...but I could see at once, the potential of using EP.
My following tutorial uses the technique to make an ATC, but you can 'stamp triple emboss' on any type of art/craftwork that will take embossing and the heat of a craft heat gun. I have on purpose, kept the design and colour simple and basic (just a plain grey background) so that you can get a good idea of texture created, but again, design and colour is up to you. You can use this effect ontop of prestamped images, other pictures and patterns or coloured background. You can also use a coloured EP for an opaque effect, and even ink up the stamp with a coloured pigment ink, or do both...the possibilities and combinations are endless.
By now, after reading through this page and previous EP tutorials, you should already be familiar with applying ink and EPs to create a thick layer/glaze....so I will not dwell too much on this....
TOOLS REQUIRED - paper/material/surface that you wish to put this effect onto, pigment inks (if colour required) and or Clear Embossing Ink pad. Embossing powders (clear and or coloured). Craft heat gun plus heat resistant surface to work on. Rubber stamp (design of your own choice)
NOTE: Pigment/Embossing inks are the only inks you should use on the rubber stamps - it protects the rubber from the warm EP, creates a non stick barrier and allows the stamp to be peeled off the EP once cooled, without damage.
1. Make sure you have ALL your materials and tools 2. Begin inking up, applying EP and heating. 3. Apply three (or possible four) layers of EP.
at hand.
You need to provide a thick enough embossed layer in order to achieve a deep impression mark with the stamp. I have glazed the whole card but it is up to you where or how much EP you apply....now comes the tricky bit.....make sure you have your stamp preinked (don't worry about it drying out - pigment ink stays moist for a quite a bit, while you apply your layers of EP to your work.
4. Working quickly, press the preinked stamp into the soft 5. When EP is totally cool and set, remove/peel off the
warm heat treated EP - and leave it there until it has set. stamp and you'll find a nice impression!
NOTE : The trick is to press the stamp into the EP whilst still warm and molten enough to create an impression....AND NOT to touch it or try to peel it off UNTIL IT HAS COMPLETELY COOLED AND SET - this is to prevent the image from smudging and any EP coming off with the stamp. Thankfully EP can be reheated and resoftened with the heat gun should it start to set too quickly. In some circumstances when a stamp has not created a clear enough impression for your liking, you JUST MIGHT be able to reheat the whole piece again to melt out the image and re impress the stamp...saves binning and starting your work from scratch again. This isn't always possible, but if you're not happy with the result and considering throwing it out....give it a try and see if something can be salvaged!
This tutorial only uses one stamp image...but it is possible to use more than one stamp, or create more than one impression of the same stamp on the same piece of work. The EP can be reheated and softened again at any time using the heat gun which means you can stamp one image, allow it to set, remove it, then soften another section of work and apply the stamp again. My only word of warning here is that you think ahead for designs using more than one impression and make sure they are positioned a reasonable distance apart from one another....when you reheat an area of EP, any previous impression within range of the heat will soften and loose their shape.
AWAITING IMAGE
...and here is the completed ATC. The use of the clear EP meant that the image wasn't easy to see in certain lights, although the impression is quite deep and well defined. I took a soft cloth, and used this to apply and wipe over the card edges and image with black Stazon ink (Solvent based perm ink that takes well on shiny and nonporous surfaces) to accentuate the ridges and raised areas of the heat treated EP. Further embellishment was added - a card tile printed with a section of the same flower stamp (again using black stazon ink, then glazed with a layer of Diamond Glaze medium), plus wording created with a labelling tool.
PLEASE NOTE - for some reason, certain users are not seeing the photo of the finished ATC - you can also view it on my Flickr gallery CLICK HERE
RESIST TECHNIQUES
There are two techniques that I have tried out with very good results, both inspired by the tutorials of Bernie Berlin in her book 'ATC Workshop'. Both of my tutorials can be found under the 'Resist Techniques' section as EP Ink resist, and EP resist using acrylic paints. They're definately worth checking out and trying -
Resist technique using EPs is also used to create a Faux Batik effect - for details see further down this page.
FAUX CLOISONNE
This is a nice little effect using the basic stamping and embossing technique....but onto glossy magazine pages....so you get a pretty faux cloisonne effect, without all the hassle that the real stuff entails! The raised embossed stamp edges make perfect alternatives to the metal wire sections used in Cloisonne, and the preprinted paper represents the enamelling work.
WHAT IS CLOISONNE? - I could fill a whole chapter on this decorative art/technique so check out the definition explaination and example pictures on Wikepedia
TOOLS REQUIRED - A selection of decorative and colourful glossy magazine pages/pictures (pretty patterned papers can also be used). Rubber stamps - try out various designs, but I find simple well defined edges and not too detailed ones work best (photo style and those with large areas of inked sections or shading/etched effect do not look so good) - Unmounted (on clear acrylic blocks) and/or clear stamps are easier to use to enable you to see through and have precision control over the placement of the image in relation to the papers pattern. Pigment/embossing ink pads (you can use any colour you wish,even clear as it's really the EP colour that matters most, but to resemble traditional Cloisonne work and to achieve the best embossing results you should use a metallic coloured ink - preferably copper, bronze or gold). Embossing powder in either copper, bronze or gold for traditional look (any other colour for a non trad cloisonne effect). Tidy tray or large clean sheet of paper to catch loose powder. Craft Heat Gun and heat resistant surface. Glazing medium with a fine tip eg Judikins 'Diamond Glaze' or similar (optional). Scissors or craft knife.
1. See tools required above for info. 2. Decide what part of the picture you want to use 3. Ink up stamp image with pigment ink.
4. Carefully stamp image onto paper. 5. Sprinkle over EP, then pour off excess powder. 6. Using heat gun, melt and emboss.
7. The completed embossed image. 8. Apply glaze inbetween the raised embossed lines.
Left to Right - here is the finished embossed and glazed image (giesha with parasol) which can then be cut out and used in what ever artwork, craft project you wish. I have only roughly cut out this piece, but to give better contrast for tutorial purpose only, I have coloured in the surrounding outer background with black pen. The butterflies (middle photo) have however been carefully and precisely cut out after being stamped and embossed on magazine images of flowers (note the anntenne are cut off - they were too fine to cut around but can be redrawn back in or even thin wire or fibres used to represent them once placed on the final craft/artwork. The last photo shows how the same image (in this instance a Kimono) can be applied over different papers and pictures to give three very different looks - one over a photo image of Chinese street lights for a vibrant themed look, one over a photo of a section of a pastel picture for a soft subtle and pretty colour, and the final piece embossed onto traditional chinese origami paper (this is has a matt finish, so needed to be glazed with a couple of layers to achieve a proper cloisonne enamelled finnish).
FUSING FIBRES ETC INCORPORATING EMBOSSING POWDERS
(a technique by Bernie Berlin from her book 'ATC Workshop)
As Bernie says in her book - this technique provides a 'unique and intriguing texture' by using and incorporating an iron, various fibres, fusible webbing and embossing powders. She thinks it fun to get messy and melt things together........so do I, so I enjoyed trying out this technique and was interested in finding out how the embossing powders played a part as they're not really used in their normal manner.....but mixed feelings on the results though!
Once you've gathered together all the tools and materials you require, it's actually quite a quick and simple proceedure to carry out.
TOOLS REQUIRED - Card/surface to fuse the fibres onto. Fusible webbing. Various fibres in colours and designs of your choice. Various embossing powders (colours/effects of your choice). Heat resistant surface plus a heat resistant/non stick craft sheet (brown silicone ones work best). Clean scrap paper. Iron (non steam setting). Scissors.
ESSENTIAL ITEMS - Fusible webbing - this is the material used in tailoring and is an adhesive for repairing and sticking together materials (clothing turn ups etc) without the need to sew. In cold fibre form when purchased it is placed between the two items you wish to fuse together, and adhesion activated by ironing over. The hot iron must not be placed directly in contact with the webbing, or else it will melt onto and ruin the iron plate. Fusible webbing can be found in three form - a roll of tape (cut lengths to size with scissors), in sheets form (handy for covering larger surface areas), and in powder form. For this tutorial, I am using the roll. This webbing can be found under many brand names, and is well known in the UK as 'Wonder-Web'. Craft sheet - this is a must have for this technique, you need something non stick to place over the material you are ironing and fusing. If you just used paper....this would become fused to your work too! It's enevitable that some bits of EP and fibre etc will stick to your craft sheet, but once cooled it is easily removed.
1. Gather together all your tools and materials. 2. Completely cover the surface you wish to fuse the 3. Place fibres in a random pile over the card.
fibres to (in this case an ATC) with fusible webbing.
4. Place a few more pieces of fusible webbing ontop 5. Making sure you're working on a heat resistant 6. Iron with reasonable pressure over the paper to
and random scatterings of various EPs. non stick craft sheet, place more craft sheet ontop heat, melt and fuse the webbing, fibres and EPs
of the fibres, then place a clean piece of scrap paper to the card.
ontop of this.
7. Allow to cool, then carefully peel back the craft sheet, 8. The completed fused piece.
check it's well fused, if not replace and iron again. Then iron the
reverse side of the card.
The fused piece can now be used as it is, or the loose fibres that overhang the edges, trimmed and tidied up - in my case, I partially cut away some fibres, and left some for interest and texture. This is now ready to be used as a background, and further embellishment added, or just kept as a example of mixed medium/fibres ATC in it's own right!
THE RESULT - I've mixed feelings on the success of this project. I sort of like it, but think I need more practice. The finnish had lost a lot the fibrous texture and there were a number of large flat shiny areas that masked many of the fibres...but this may be down to a number of factors on my part. The roll/tape webbing was fine for the initial layer on the card (you need complete coverage - cutting sheet form to the ATC size would have been even better as the tape lengths did move about a bit) but I think I put too much of it ontop of the fibres....and I think I may have overdone the application of embossing powders too. This led to too many clumps of fused webbing and powder. I firstly thought I'd not ironed it enough, but repeated pressings made no difference other than to overheat the powders and the metallic ones lost their sheen. The top layer of webbing didn't seem to melt down and fuse into the fibres...they were only being held in place by the bottom layer of webbing.....again, I think this is down to too much EP which possibly reacted and melted under the heat quicker and clumped up the webbing before it had chance to fuse with the fibres. I'm now thinking that a powder form of fusible material might work better. I don't have this form....but will get some and try this technique out again, and go easy on that EP!
DISTRESSING POWDERS
Distressing powders are a type of EP, created by Tim Holtz and Ranger, but give an altogether different effect....and their application needs a slightly different approach too. Firstly, this powder has an added ingredient by way of tiny granules that are non reactive to the heat application. Adhered in the same way, by ink, and heated up with a craft heat gun, the powder doesn't emboss and go shiny but stays coarse to the touch. The non heat reactive granules do not adhere to the ink but brush off to leave a cool random uneven application of powder with great texture.........a lovely distressed look!
There is a nice range of colours available...all compliment the Ranger/Tim Holtz distress range of inks and paints. I, in particular like the natural tones - the browns and blacks can be used to create a very effective 'faux rust'. This effect is what I'll be creating in the first tutorial below. There are more uses for this powder, including mixing into melted UTEE with a Melting Pot, pouring into moulds, adhering to other surfaces and so on....and I'll be uploading tutorials on these in the near furture....so keep checking this page!
There is a knack to knowing how to apply and heat up Distressing Powders.....Firstly, the container (lid secured firmly) should be shaken well to mix up the granules and powder evenly before sprinkling over the inked surface (the granules being heavier and bigger tend to settle to the bottom of the container during storage) and unlike normal EPs that have quite an obvious and visual change, it is very difficult to see when this type of powder has ' heat set'. Although Tim Holtz says it's difficult to get this wrong......I have tried and found it is possible to over heat and over work this product....and unfortunately this ruins it, by setting the granules solid so that they do not brush off. There is a very slight colour change to the powder when the setting has done....and I think it's down to practice to learn when to stop heating it and avoid that 'point of no return'. For further details, view the entire Ranger products and see more links, projects and tutorials - check out the Tim Holtz and Ranger links. Tim also demonstrates Distressing Powders in his 2nd altered art DVD THE JOURNEY CONTINUES.
TIM HOLTZ WEBSITE RANGER WEB PAGE
The following tutorial creates an ATC TAG using distress powders to form a faux rust effect.
TOOLS REQUIRED - surface/item to apply the powder to. Embossing/Pigment ink pad (I have used clear). Distressing Powders. Craft heat gun. Tidy tray or sheet of paper to catch unused powder......and a seperate sheet to catch the brushed off granules (for disposal - DO NOT add back into the container).
NOTE : Because of the nature of the powder, the uneven partial coverage means that the colour/surface of the item your adhering the powder to, will be visible in part. These powders really show to their best when used on a contrasting background....and you can use any colour pigment/embossing ink colour you want, just remember this colour will show through too. I advise you experiment on spare seperate papers, different combinations of inks, papers, powders etc to see what works best for you and the final look of the project that you wish to achieve. TH Ranger Distress Ink pads are also designed to be used with EPs (so can replace specialist embossing inks should you have, or wish to use them to follow through with the complete distressed look).
1. Prepare the item you wish to apply DP to - in this project I have coloured an ATC sized Tag with distressing inks (applied directly from the pad, dry brushed and wiped on with a cloth). Further decoration is added with adhesive backed metal repair tape, and stamped images (the little rivets and screws on the metal tape have been created by impressing into the surface with the end of a retracted ball point pen, then scored with the tip of an embossing tool). The areas that require powder are then inked up with clear embossing ink.
2. Shake the jar of selected Distressing Powder (remember to check that the lid is secured first!) to mix up and disperse the distressing granules throughout the powder (the granules are heavier so tend to settle at the bottom of the container during storage). Then sprinkle over the inked area, and gently tap off the excess powder (....into a tray to pour back into the container - do this before you heat treat the powder so that you do not get used granules mixed up with unused powder).
3. Heat treat the Distressing Powder with your heat gun. Then place the item on a sheet of scrap paper and with your finger, scrub off the distressing granules - this texture is now quite coarse, so if you're working/brushing over quite a large area it may irritate and make your finger tips sore. Try out different tools for removing the granules......I like using a coarse short bristled nailbrush. Dispose of the granules - you have no further use for these unless you want to add them to paints for texture....DO NOT pour these particles back into your DP jar! The photo on the far right shows the completed tag, with added fibres.
NOTE : Like EP, you can mix together different coloured Distressing Powders to make your own customised colour range and effects. (colour mixing EP tutorials coming soon.....).
EMBOSSING ONTO FABRICS AND OTHER SURFACES
These tutorials are being created in conjunction with an online art group project....and details will be added here within the next few weeks.
Using EPs on Silk for a faux Batik effect - details click HERE
MIXING AND CUSTOMISED COLOURS This tutorial is being created in conjunction with an online art group project....and details will be added here within the next few weeks.
FAUX BATIK
This tutorial (using Mulberry paper, Adirondack Colour Washes and Clear EPs) is now available to view and can be found in the 'Resist Techniques' section.
Click HERE