Continuing on last week's theme of alcohol ink . . .
Ten on Tuesday: Ten Ways to Use Alcohol Ink
1. Faux Stones
Many faux stones (jade, agate, opal, etc.) look best if they're somewhat translucent, but most require some source of color. You can use small pinches of colored clay, but another option is alcohol ink. Because the inks are transparent and vividly colored, they're a natural choice for faux stone recipes. Of course, you can use ink-tinted clay for any other technique you like, as well.
2. Mokume Gane
As I mentioned in (I think) the first of these "lists of ten", you can use alcohol ink in mokume gane with lovely results. Put the ink on sheets of translucent clay in any way you like-- drop different colors and let them bleed together, brush or dab it over the whole surface for a more uniform look, and so on. Let the inks dry before layering the sheets of clay, then proceed through your favorite mokume gane technique. (For a different look, try layering metal leaf between layers of alcohol ink-tinted translucent clay.)
3. Multi-colored Metal Leaf
Composition gold or silver metal leaf are beautiful on their own, but if you'd like to spice things up a bit, you can tint them with alcohol ink. (Alcohol ink will add brilliant color but its translucency will allow the metallic look of the leaf to shine through.) Because the leaf it so delicate, I suggest first adhering the leaf to a clay base. Once it's been smoothed down to your satisfaction, apply the ink in any way you prefer. Let the ink dry thoroughly before proceeding. Metal leaf, whether inked or not, needs to be sealed lest it rub off the cured clay. You can seal it with any clay-friendly finish (Future, Varathane, etc.), or you can protect it with a layer of liquid clay or a very thin layer of regular translucent clay. (There's at least one project that uses alcohol ink on metal leaf in Donna Kato's new book. One great technique among many in that book.) You can also use your tinted metal leaf in mokume gane or crackle it.
4. Ink as Paint
Use alcohol inks to paint on raw clay. They work similarly to watercolors, but because they are alcohol-based, they'll dry very quickly. Thin the inks (and extend your working time) with either extender or plain rubbing alcohol. You can either cover the whole surface or leave some untouched, depending on the look you want. If you paint on a sheet of translucent clay, you can apply the dried sheet (painted side down) to another sheet of clay, encasing the inks. Viewed through the translucent clay, your painting will be softened, but still visible. (See Donna Kato's new book for more on this technique.) You can also seal in the painting with a thin layer of liquid clay or a clay-friendly varnish. (Actually, I'm not sure if it's absolutely necessary to seal alcohol inks at all, but my instinct says it's probably best to do so, especially for something that will be handled or worn. If the piece ever comes in contact with rubbing alcohol, for instance, the color might come off.)
5. Ink as Stain
Stain is thinner than paint. Generally, you can still see some of the original color of a piece after it's been stained. Create interesting effects by using alcohol inks as a stain for cured clay. Apply the ink straight from the bottle for darker color or soften the effect with rubbing alcohol or alcohol ink "extender" or "blending solution" (a product manufactured by the same company that makes the inks). You can also make stains by mixing alcohol ink with Varathane or Future (for a shinier finish). These thin washes of color can be applied in as many layers as you like to gradually build up color on a cured piece. (Be sure to store any leftover "stain" in a tightly lidded container.)
6. Faux Ceramics
I've written about this before. ;o) There are several tutorials online for a variety of faux ceramic finishes. Since the last time I wrote about this subject, I've found yet another version in Ellen Marshall's Polymer Clay Surface Design Recipes (pg. 94-97). The essentials of most faux ceramics are as follows: 1) Make a patterned or textured shape in polymer clay (usually white); 2) Apply a glaze of liquid clay that's been tinted with alcohol ink; and 3) Cure. Here are the tutorials I've found so far: Parole de Pâte version, Christy Sherman's version, and my version.
7. Tinted Transfers
Transform plain black toner transfers with the addition of alcohol ink. (Use them as watercolors, as described in number six.) You can blend them-- or layer them, allowing time for each color to dry between applications. It's best to seal the painted transfer. Use a thin sheet of translucent clay, a coat of liquid clay, or your favorite finish. (Or use the encased toner transfer method I mentioned in the previous item-- the one from Donna Kato's new book. You can also learn about similar methods at Glass Attic.)
8. Faux Stained Glass
With a few products, you can have the beauty of stained glass with much less fuss than real stained glass requires. There are different ways to do it, but essentially, you make your "leading" from regular polymer clay (usually black), pre-cure it, then fill in the "cells" with tinted liquid clay and re-cure. In this tutorial, Barbara Poland-Waters teaches you to make tile beads with a stained glass theme. And in this project by Ann and Karen Mitchell, the faux stained glass is applied to a real glass vase. (Note that in that project, the Mitchells use oil paint to tint the liquid clay. However, there's no reason why you can't use alcohol ink instead. Alcohol inks will increase the translucency of your clay, giving you the look of translucently colored glass.) Faux stained glass would make beautiful sun catchers.
9. Miniature Food
I've mentioned before that alcohol inks are a great product for getting translucent color in liquid clay. Consider alcohol ink for anything that requires color but a certain degree of translucency-- such as maple syrup, soup, and some sugary glazes.
10. Faux Cloisonné / Enamel
Yet another technique combining alcohol ink with liquid clay! Tint the liquid clay and use it to fill in "cells" in a variety of surfaces. Try it with deeply textured clay (raw or cured). For a metallic shine that takes full advantage of the clarity of the liquid clay, line the clay base with metal leaf-- or go over it with a leafing pen. If you prefer, you can combine it with the thicker embossing foil that's available in most craft stores.
And there are other polymer clay techniques that use alcohol ink, too. (You may find some on this page of Glass Attic.) Overall, these inks are a great "extra" to have on your clay table.
Since next Tuesday is Christmas, I'll be taking a week off from Ten on Tuesday. (And with any luck, soon afterwards things will calm down enough that I'll be posting here more than once a week. (g))
In case I don't "see" you all before then, let me wish you Christmas that's merry and bright! :o)
Showing posts with label adirondack. Show all posts
Showing posts with label adirondack. Show all posts
Tuesday, December 18, 2007
Tuesday, December 11, 2007
Ten on Tuesday: Ten Things to Know about Alcohol Inks
Alcohol-based ink is one of those "extras" that go so well with polymer clay. Alcohol ink has many uses-- some of which I'll describe next week. In the meantime, let's go over some of the basics about this product.
Ink can be confusing. There are so many types out there, and they're not just different brands, but for different uses, with different chemical "bases": solvent-based and alcohol-based-- dye inks, pigment inks, chalk inks! It's a bit overwhelming. (I'm still learning, too!) If you've been afraid to try inks with polymer clay, I hope this information will help you understand how at least the alcohol-based inks work and what you can do with them. (Maybe I'll tackle other inks later on. (g))
Ten on Tuesday: Ten Things to Know about Alcohol Inks:
1. What "alcohol ink" is.
Just as the name implies, alcohol ink is an ink with an alcohol base. They are dye inks that, according to Glass Attic, are "soluble resin in alcohol" (if that means anything to you (g)). Basically, the alcohol "carries" the color. It evaporates away-- quite quickly-- and only the dye is left behind. One of the appeals of alcohol ink is that it can be stamped (or painted, or whatever) practically anywhere-- not just on paper, but on even slick surfaces like metal and glass. Another major appeal is that it combines vivid color with transparency. (You can see through it to whatever's underneath.)
Though you can also find pens that write in alcohol ink, you usually buy alcohol inks in small (1/2-ounce) plastic bottles-- either individually or in sets, depending on the brand and the shop. Speaking of brands-- the only two brands I know of are Ranger's Adirondack line and Jacquard's Piñata (formerly "Fiesta") line. The two brands work in the same way and can be used interchangeably. Which brand you purchase will likely be based on availability and your personal color preferences. The 24 Adirondack colors are more muted and earthy than the 17 brilliant Piñata colors.
If you are lucky, you may find alcohol inks locally. (Both Michaels and Hobby Lobby carry some of the Adirondack line, in my area, but no-one has the Piñata line. In both stores, alcohol inks are stocked near the ink pads in the rubberstamping aisle.) If you can't find them locally, you can order them from numerous sources online.
2. A little goes a long way.
Seriously, these colors are intense, and you don't need much for most applications. That's important to know, if you're on a budget and want to spend your recreation dollars wisely. Those little 1/2-ounce (that's 0.5-ounce, in case my fraction looks weird) bottles may not look like much, but you can do quite a bit of crafting before you'll run out.
If you're fortunate enough to find them in a local Michaels or Hobby Lobby, you can use a coupon and save some cash. If you use a 40%-off coupon on a $10 set of three Adirondacks, you get them for around $2 a bottle. Even at the regular price, you'll get your money's worth from this product.
3. You can mix the colors.
If you can't find the exact color you want, you can mix the existing colors (even between brands) until you you get it right. Start slowly, though. As I wrote earlier, these are powerful inks, so you can easily overshoot the mark if you aren't careful. To combine colors, just apply drops from different bottles of ink onto the medium of your choice-- in our case, usually polymer clay-- then mix as usual. (Continue reading to learn about how to mix the inks into polymer clay.)
4. You can mix the inks into polymer clay.
In addition to using them on the clay (cured or raw), you can also mix alcohol inks into the clay. Of course you can mix them into any color clay you like, but mixing with translucent clay gives you the most bang for your buck. The bold but transparent inks create especially lovely tints of translucent clay. This is probably the best way to get translucent color in polymer clay. (Don't forget to quench the cured clay in ice water to further enhance that gorgeous translucence!)
To mix alcohol ink into polymer clay, roll out the clay or just "smoosh" it down flat (so the ink won't run off). Drop a few drops of ink onto the clay. Remember-- a little goes a long way. You can always add more later, if you want it darker. If you want to combine colors, go ahead and drop different colors at the same time-- either on the same piece of clay (if you're confident about the proportions) or on separate pieces that can later be combined a bit at a time.
It is generally suggested that you allow the ink to dry before mixing it into the clay. This could possibly prevent plaquing (though it's not certain whether wet alcohol ink leads to plaquing in the first place), and it definitely decreases the likelihood of staining your hands with the ink.
When the alcohol has evaporated, condition the clay thoroughly to evenly distribute the ink. If you prefer, you can also pre-condition the clay before adding the ink. Then you can mix in the inks just to the point of marbling.
5. You can mix the inks into liquid polymer clay, too!
Yep, that's right. Alcohol ink works great for tinting liquid clay.
Follow the same basic principles as when mixing it with regular clay. Put a little liquid clay into a clay-compatible container. Put a drop or two (or more, depending on the amount of clay you're using and the intensity you want) on the surface of the clay. Combine colors of ink as desired. (Again, you can always add more later, so go slowly. Of course, if you accidentally add too much, you can balance it out by adding more liquid clay.)
It's a matter of debate, but some people think that it's best to allow the alcohol to evaporate before mixing the ink into the liquid clay. (They worry that mixing it right away could lead to bubbles, I think.) If you have the time and patience, I say it's best to err on the side of caution. (Either that or run your own experiments.) Once you've mixed the ink into the clay, you can add more until you're happy with the color.
Note: Until you pull it out of the oven, it can be difficult to tell exactly how liquid clay will look when it's cured-- especially where translucency is concerned. It's always a good idea to test a tiny dot of your mix before committing to it for a big project.
Liquid clay tinted with only alcohol ink tends to have very translucent color. This can be a great feature for some projects-- not so great for others. Keep this in mind. If you're mixing enough that you'll have some left over, consider labeling your mixtures. I like to know what brand the clay is (because they each have their own characteristics and best uses) and what I used to tint it with (if not the specific color and "recipe", then at least the basic product-- alcohol ink, oil paint, mica powder, etc.). Otherwise, you may find that you forget in two or three months, and then you'll have to either guess or cure more "test dots".
6. Some colors behave differently from the others.
Yes, I know I said that you can mix colors from different brands, etc., and that's true. However, there are a couple of things to know about certain colors. For instance, I've noticed that some colors never seem to mix completely with polymer clay. The clay does take on some color, overall, but there are also tiny dark particles that stay suspended in the clay-- kind of like embossing powder or another inclusion. This could make some interesting faux stone, but it may be annoying if you were going for a completely smooth color. I'd suggest testing each new ink for this tendency before mixing it into a lot of clay. Based on my experience (and what I've read at Glass Attic), this may been more of a problem with a few of the darker Piñata inks-- "Rainforest green, Sapphire blue and the brown colors", according to Glass Attic. So far, I don't think I've come across this trait with the Adirondacks I own, but again, if you're concerned, test the inks first.
A second potential problem is that there can be some color shift with the red alcohol inks. I'm not sure which colors are more prone to this problem. I tried to search for information, but I can't find anything right now, even though I know I've read about this before. I've also seen it, myself, but I have very limited experience with it and don't know which specific colors shifted. Just be aware that the reds might tend to shift during curing-- meaning that they come out of the oven a different color than when they went in. In my experience, I think the red-tinted translucent clay looked pink before going in the oven, but came out more orange/gold. If it's important to you, it's simple to test a small bit of ink-tinted clay and see how it behaves.
7. You can apply the inks in layers.
Sometimes you might want layers of colors on a piece. You can achieve this by applying one color to the surface of a piece, allowing it to dry, then applying the next color. Repeat as desired, but be sure to let each coat dry before adding the next. This prevents the colors from mixing and possibly muddying. With this technique, you'll probably want to apply each layer of ink in a "splotchy" way, so that some of the previous layer(s) still show. When you're done applying ink, let the piece dry again. Anytime your project has alcohol ink right on the surface (not mixed into the clay), you'll probably want to protect the ink somehow. (Otherwise, it can potentially be marred if it ever comes in contact with alcohol.) You can seal the inks with a very thin layer of translucent clay or a little liquid clay (before curing) or a polymer-friendly finish like Future or Varathane (after curing).
8. You can thin alcohol ink.
If you want a softer color for a watercolor effect-- or want to get a few drops of to stretch a bit further-- you can dilute alcohol ink. Here's a little information about some of the products you can use (based on manufacturer's website, Glass Attic, and a little personal experience):
Both manufacturers of alcohol ink make a product specifically for this purpose: Adirondack's Alcohol Blending Solution" and Piñata's Clean Up Solution. These products and good old rubbing alcohol work well at removing ink from most tools and work surfaces. Avoid getting it on your clothes or other fabrics, though. As with many arts and crafts, it might be best to not wear anything nice when working with something like alcohol inks. Even when just applying drops from the bottles, I sometimes end up with spatters over my work surface. These are easily wiped off a ceramic tile, but I don't think they'd come out of fabric as well. (If it were to happen, I'd try alcohol first.)
If you get ink on your hands (and you probably will), you can first try "conditioning" it off. Knead some clay. Use scrap clay or, if you're tinting some clay anyway, use the clay you're tinting with the ink. Some of the ink may come off as you condition the clay. You can try removing what's left with one of the cleaning products mentioned above. Depending on how much ink there is and if it's found a place to hide in the nooks and crannies of your fingernails, you may not be able to get it all off at once. Don't worry; it'll come off in a day or so of normal washing. Wear your "artist's hands" with pride! ;o) After cleaning your hands with alcohol, they may be more prone to drying and cracking, so don't forget to follow up with a little soothing lotion.
10. Raw alcohol ink-tinted clay may behave oddly.
It seems that any time you mix a non-clay product into polymer clay, your best bet is to use it (i.e. cure it) as quickly as possible. The longer it sits around, the more likely it is to start doing odd things. According to Glass Attic, Alan Vernall reports that ink-tinted clay may tend to crack after a few weeks of sitting around (in the raw state-- not after curing). This isn't much of a problem most of the time. You can just recondition it-- maybe add a little diluent or mineral oil to soften it, if necessary. However, if you've made up a whole batch of canes with ink-tinted clay, it might be frustrating. Another problem Alan had was that the darker, "more vivid" colors of ink-tinted clay bled into surrounding areas of the cane. Keep these things in mind. It may be best to make small canes that you can use up quickly. Either that, or don't use alcohol ink to tint clay for your canes.
So, there are ten things to know about alcohol ink. Next week, ten more specific ways to incorporate alcohol ink into your polymer clay projects. :o)
Ink can be confusing. There are so many types out there, and they're not just different brands, but for different uses, with different chemical "bases": solvent-based and alcohol-based-- dye inks, pigment inks, chalk inks! It's a bit overwhelming. (I'm still learning, too!) If you've been afraid to try inks with polymer clay, I hope this information will help you understand how at least the alcohol-based inks work and what you can do with them. (Maybe I'll tackle other inks later on. (g))
Ten on Tuesday: Ten Things to Know about Alcohol Inks:
1. What "alcohol ink" is.
Just as the name implies, alcohol ink is an ink with an alcohol base. They are dye inks that, according to Glass Attic, are "soluble resin in alcohol" (if that means anything to you (g)). Basically, the alcohol "carries" the color. It evaporates away-- quite quickly-- and only the dye is left behind. One of the appeals of alcohol ink is that it can be stamped (or painted, or whatever) practically anywhere-- not just on paper, but on even slick surfaces like metal and glass. Another major appeal is that it combines vivid color with transparency. (You can see through it to whatever's underneath.)
Though you can also find pens that write in alcohol ink, you usually buy alcohol inks in small (1/2-ounce) plastic bottles-- either individually or in sets, depending on the brand and the shop. Speaking of brands-- the only two brands I know of are Ranger's Adirondack line and Jacquard's Piñata (formerly "Fiesta") line. The two brands work in the same way and can be used interchangeably. Which brand you purchase will likely be based on availability and your personal color preferences. The 24 Adirondack colors are more muted and earthy than the 17 brilliant Piñata colors.
If you are lucky, you may find alcohol inks locally. (Both Michaels and Hobby Lobby carry some of the Adirondack line, in my area, but no-one has the Piñata line. In both stores, alcohol inks are stocked near the ink pads in the rubberstamping aisle.) If you can't find them locally, you can order them from numerous sources online.
2. A little goes a long way.
Seriously, these colors are intense, and you don't need much for most applications. That's important to know, if you're on a budget and want to spend your recreation dollars wisely. Those little 1/2-ounce (that's 0.5-ounce, in case my fraction looks weird) bottles may not look like much, but you can do quite a bit of crafting before you'll run out.
If you're fortunate enough to find them in a local Michaels or Hobby Lobby, you can use a coupon and save some cash. If you use a 40%-off coupon on a $10 set of three Adirondacks, you get them for around $2 a bottle. Even at the regular price, you'll get your money's worth from this product.
3. You can mix the colors.
If you can't find the exact color you want, you can mix the existing colors (even between brands) until you you get it right. Start slowly, though. As I wrote earlier, these are powerful inks, so you can easily overshoot the mark if you aren't careful. To combine colors, just apply drops from different bottles of ink onto the medium of your choice-- in our case, usually polymer clay-- then mix as usual. (Continue reading to learn about how to mix the inks into polymer clay.)
4. You can mix the inks into polymer clay.
In addition to using them on the clay (cured or raw), you can also mix alcohol inks into the clay. Of course you can mix them into any color clay you like, but mixing with translucent clay gives you the most bang for your buck. The bold but transparent inks create especially lovely tints of translucent clay. This is probably the best way to get translucent color in polymer clay. (Don't forget to quench the cured clay in ice water to further enhance that gorgeous translucence!)
To mix alcohol ink into polymer clay, roll out the clay or just "smoosh" it down flat (so the ink won't run off). Drop a few drops of ink onto the clay. Remember-- a little goes a long way. You can always add more later, if you want it darker. If you want to combine colors, go ahead and drop different colors at the same time-- either on the same piece of clay (if you're confident about the proportions) or on separate pieces that can later be combined a bit at a time.
It is generally suggested that you allow the ink to dry before mixing it into the clay. This could possibly prevent plaquing (though it's not certain whether wet alcohol ink leads to plaquing in the first place), and it definitely decreases the likelihood of staining your hands with the ink.
When the alcohol has evaporated, condition the clay thoroughly to evenly distribute the ink. If you prefer, you can also pre-condition the clay before adding the ink. Then you can mix in the inks just to the point of marbling.
5. You can mix the inks into liquid polymer clay, too!
Yep, that's right. Alcohol ink works great for tinting liquid clay.
Follow the same basic principles as when mixing it with regular clay. Put a little liquid clay into a clay-compatible container. Put a drop or two (or more, depending on the amount of clay you're using and the intensity you want) on the surface of the clay. Combine colors of ink as desired. (Again, you can always add more later, so go slowly. Of course, if you accidentally add too much, you can balance it out by adding more liquid clay.)
It's a matter of debate, but some people think that it's best to allow the alcohol to evaporate before mixing the ink into the liquid clay. (They worry that mixing it right away could lead to bubbles, I think.) If you have the time and patience, I say it's best to err on the side of caution. (Either that or run your own experiments.) Once you've mixed the ink into the clay, you can add more until you're happy with the color.
Note: Until you pull it out of the oven, it can be difficult to tell exactly how liquid clay will look when it's cured-- especially where translucency is concerned. It's always a good idea to test a tiny dot of your mix before committing to it for a big project.
Liquid clay tinted with only alcohol ink tends to have very translucent color. This can be a great feature for some projects-- not so great for others. Keep this in mind. If you're mixing enough that you'll have some left over, consider labeling your mixtures. I like to know what brand the clay is (because they each have their own characteristics and best uses) and what I used to tint it with (if not the specific color and "recipe", then at least the basic product-- alcohol ink, oil paint, mica powder, etc.). Otherwise, you may find that you forget in two or three months, and then you'll have to either guess or cure more "test dots".
6. Some colors behave differently from the others.
Yes, I know I said that you can mix colors from different brands, etc., and that's true. However, there are a couple of things to know about certain colors. For instance, I've noticed that some colors never seem to mix completely with polymer clay. The clay does take on some color, overall, but there are also tiny dark particles that stay suspended in the clay-- kind of like embossing powder or another inclusion. This could make some interesting faux stone, but it may be annoying if you were going for a completely smooth color. I'd suggest testing each new ink for this tendency before mixing it into a lot of clay. Based on my experience (and what I've read at Glass Attic), this may been more of a problem with a few of the darker Piñata inks-- "Rainforest green, Sapphire blue and the brown colors", according to Glass Attic. So far, I don't think I've come across this trait with the Adirondacks I own, but again, if you're concerned, test the inks first.
A second potential problem is that there can be some color shift with the red alcohol inks. I'm not sure which colors are more prone to this problem. I tried to search for information, but I can't find anything right now, even though I know I've read about this before. I've also seen it, myself, but I have very limited experience with it and don't know which specific colors shifted. Just be aware that the reds might tend to shift during curing-- meaning that they come out of the oven a different color than when they went in. In my experience, I think the red-tinted translucent clay looked pink before going in the oven, but came out more orange/gold. If it's important to you, it's simple to test a small bit of ink-tinted clay and see how it behaves.
7. You can apply the inks in layers.
Sometimes you might want layers of colors on a piece. You can achieve this by applying one color to the surface of a piece, allowing it to dry, then applying the next color. Repeat as desired, but be sure to let each coat dry before adding the next. This prevents the colors from mixing and possibly muddying. With this technique, you'll probably want to apply each layer of ink in a "splotchy" way, so that some of the previous layer(s) still show. When you're done applying ink, let the piece dry again. Anytime your project has alcohol ink right on the surface (not mixed into the clay), you'll probably want to protect the ink somehow. (Otherwise, it can potentially be marred if it ever comes in contact with alcohol.) You can seal the inks with a very thin layer of translucent clay or a little liquid clay (before curing) or a polymer-friendly finish like Future or Varathane (after curing).
8. You can thin alcohol ink.
If you want a softer color for a watercolor effect-- or want to get a few drops of to stretch a bit further-- you can dilute alcohol ink. Here's a little information about some of the products you can use (based on manufacturer's website, Glass Attic, and a little personal experience):
- Piñata "Claro Extender": Extends drying and working time. According to the manufacturer, this product doesn't change ink colors, but Glass Attic info says it makes them more translucent. Ink mixed with it dries shiny.
- Adirondack "Alcohol Blending Solution": Dilutes and lightens ink. Useful for blending. Removes ink from slick surfaces, hands, and tools.
- regular rubbing alcohol: Dilutes and lightens ink. Ink mixed with it dries to a more matte finish. Useful for cleaning hands, tools, work surfaces.
- Piñata "Clean Up Solution": Behaves similarly to rubbing alcohol. Is pure alcohol with brush conditioners (for the health of your paint brushes).
Both manufacturers of alcohol ink make a product specifically for this purpose: Adirondack's Alcohol Blending Solution" and Piñata's Clean Up Solution. These products and good old rubbing alcohol work well at removing ink from most tools and work surfaces. Avoid getting it on your clothes or other fabrics, though. As with many arts and crafts, it might be best to not wear anything nice when working with something like alcohol inks. Even when just applying drops from the bottles, I sometimes end up with spatters over my work surface. These are easily wiped off a ceramic tile, but I don't think they'd come out of fabric as well. (If it were to happen, I'd try alcohol first.)
If you get ink on your hands (and you probably will), you can first try "conditioning" it off. Knead some clay. Use scrap clay or, if you're tinting some clay anyway, use the clay you're tinting with the ink. Some of the ink may come off as you condition the clay. You can try removing what's left with one of the cleaning products mentioned above. Depending on how much ink there is and if it's found a place to hide in the nooks and crannies of your fingernails, you may not be able to get it all off at once. Don't worry; it'll come off in a day or so of normal washing. Wear your "artist's hands" with pride! ;o) After cleaning your hands with alcohol, they may be more prone to drying and cracking, so don't forget to follow up with a little soothing lotion.
10. Raw alcohol ink-tinted clay may behave oddly.
It seems that any time you mix a non-clay product into polymer clay, your best bet is to use it (i.e. cure it) as quickly as possible. The longer it sits around, the more likely it is to start doing odd things. According to Glass Attic, Alan Vernall reports that ink-tinted clay may tend to crack after a few weeks of sitting around (in the raw state-- not after curing). This isn't much of a problem most of the time. You can just recondition it-- maybe add a little diluent or mineral oil to soften it, if necessary. However, if you've made up a whole batch of canes with ink-tinted clay, it might be frustrating. Another problem Alan had was that the darker, "more vivid" colors of ink-tinted clay bled into surrounding areas of the cane. Keep these things in mind. It may be best to make small canes that you can use up quickly. Either that, or don't use alcohol ink to tint clay for your canes.
So, there are ten things to know about alcohol ink. Next week, ten more specific ways to incorporate alcohol ink into your polymer clay projects. :o)
Saturday, October 27, 2007
Faux Ceramics Experiments
I wrote earlier about the toner transfers I've been playing around with. One other thing I've been trying is different variations on faux ceramics.
I think I mentioned that I tried the "put tinted liquid clay on beads covered in extruded clay" technique with less than stellar results. (It dripped a bit so that there was very uneven coverage, even though I thought I'd heat set the liquid clay.) I may give that another try sometime, but not for now.
I also tried the "use a black clay base with opaque liquid clay" variation. Again, not the results I'd hoped for-- partially because some of the liquid clay I thought would be opaque turned out not to be. I used oil paint to give it more opaque color, but for some reason it just didn't work that well. Probably not enough paint in the ratio-- or maybe I should have included some white paint. . . I guess that next time I ought to test-cure a little drop to check for opacity. Anyway, the ones I made that were opaque still didn't thrill me, so I decided to go back to the more translucent liquid mixes.
These two were the result of making a base bead (in plain white clay), adding some appliqué flowers (also in white), texturing, and glazing with alcohol-ink-tinted Kato. After curing, I used a heat gun to bring out the shine in the glaze.
I liked the way those turned out, but before I could give it another try, I came across that interesting idea in Tina Holden's blog (which I posted about before). She uses mica powders under the glaze. I'd thought of mixing the powders into the glaze-- haven't tried it yet, though-- but not of just touching them to the clay base. That uses less powder, lets you combine different colors of powder (and gives you more control over where they go), and probably adds more depth to the piece than if the entire glaze is full of mica particles.
First, I tried it on a couple of flat pendants. The leaves are just white clay stamped and touched lightly with a couple of metallic colors of Pearl-Ex. I then glazed the piece with Kato liquid tinted with Lettuce alcohol ink. (All the colors of alcohol ink I mention in this post are Ranger Adirondack brand. I like the muted earthiness of the Adirondack line-- plus, because I can get them at the local craft store, I can use a 40%-off coupon on them. Brings the price down nicely!) The butterfly was pearl clay stamped and touched with duo red-blue Pearl-Ex and topped with Eggplant-tinted Kato. You can't really see the mica that well in this photo, but it does show up in "real life"-- especially when the light hits it from certain angles. (This is one of those times when using a more translucent clay is probably a good idea. I'm not sure how well the mica would show through tinted TLS. . .)
I'd like to play around with this some more, too. Different "themes"/patterns-- different color combinations. Paying close attention to the compatibility of the colors (of the mica powder and the tinted liquid clay) seems pretty important with this technique, since you're seeing the powders through the filter of the colored liquid clay. I don't know if any of the combinations would ever be exactly ugly, but I imagine some are more pleasing than others.
I took the technique one step further and applied it to the flower-appliquéd pendants. (I want to improve my appliqué skill, now. I'd like to expand my repertoire of flower shapes beyond what I've done so far. (g) I have a flower catalog-- I just need to sit down and study it.)
All three (in the photo below) started with a base of pearl clay. The butterfly pendant is duo blue-green Pearl-Ex under Stream-tinted Kato. Because the powder had a blue color, it's more subtle under the similarly-colored liquid clay. I dusted the same powder over the rectangular pendant, but because I used a green liquid clay (Meadow, I think), you can detect more of the powder on it. The heart had interference gold powder (I think. . .) topped with Currant-tinted Kato. Again, the effect is subtle, but it's definitely there.
There are so many possibilities! What am I doing here at the computer when I could be experimenting?! ;o)
I think I mentioned that I tried the "put tinted liquid clay on beads covered in extruded clay" technique with less than stellar results. (It dripped a bit so that there was very uneven coverage, even though I thought I'd heat set the liquid clay.) I may give that another try sometime, but not for now.
I also tried the "use a black clay base with opaque liquid clay" variation. Again, not the results I'd hoped for-- partially because some of the liquid clay I thought would be opaque turned out not to be. I used oil paint to give it more opaque color, but for some reason it just didn't work that well. Probably not enough paint in the ratio-- or maybe I should have included some white paint. . . I guess that next time I ought to test-cure a little drop to check for opacity. Anyway, the ones I made that were opaque still didn't thrill me, so I decided to go back to the more translucent liquid mixes.
These two were the result of making a base bead (in plain white clay), adding some appliqué flowers (also in white), texturing, and glazing with alcohol-ink-tinted Kato. After curing, I used a heat gun to bring out the shine in the glaze.
I liked the way those turned out, but before I could give it another try, I came across that interesting idea in Tina Holden's blog (which I posted about before). She uses mica powders under the glaze. I'd thought of mixing the powders into the glaze-- haven't tried it yet, though-- but not of just touching them to the clay base. That uses less powder, lets you combine different colors of powder (and gives you more control over where they go), and probably adds more depth to the piece than if the entire glaze is full of mica particles.
First, I tried it on a couple of flat pendants. The leaves are just white clay stamped and touched lightly with a couple of metallic colors of Pearl-Ex. I then glazed the piece with Kato liquid tinted with Lettuce alcohol ink. (All the colors of alcohol ink I mention in this post are Ranger Adirondack brand. I like the muted earthiness of the Adirondack line-- plus, because I can get them at the local craft store, I can use a 40%-off coupon on them. Brings the price down nicely!) The butterfly was pearl clay stamped and touched with duo red-blue Pearl-Ex and topped with Eggplant-tinted Kato. You can't really see the mica that well in this photo, but it does show up in "real life"-- especially when the light hits it from certain angles. (This is one of those times when using a more translucent clay is probably a good idea. I'm not sure how well the mica would show through tinted TLS. . .)
I'd like to play around with this some more, too. Different "themes"/patterns-- different color combinations. Paying close attention to the compatibility of the colors (of the mica powder and the tinted liquid clay) seems pretty important with this technique, since you're seeing the powders through the filter of the colored liquid clay. I don't know if any of the combinations would ever be exactly ugly, but I imagine some are more pleasing than others.I took the technique one step further and applied it to the flower-appliquéd pendants. (I want to improve my appliqué skill, now. I'd like to expand my repertoire of flower shapes beyond what I've done so far. (g) I have a flower catalog-- I just need to sit down and study it.)
All three (in the photo below) started with a base of pearl clay. The butterfly pendant is duo blue-green Pearl-Ex under Stream-tinted Kato. Because the powder had a blue color, it's more subtle under the similarly-colored liquid clay. I dusted the same powder over the rectangular pendant, but because I used a green liquid clay (Meadow, I think), you can detect more of the powder on it. The heart had interference gold powder (I think. . .) topped with Currant-tinted Kato. Again, the effect is subtle, but it's definitely there.
There are so many possibilities! What am I doing here at the computer when I could be experimenting?! ;o)
Tuesday, July 31, 2007
Top Ten Tuesday: top ten products to add to mokume gane
I've taken it into my polymer-crazed head to post a weekly feature here called "Top Ten Tuesday". (We'll see how long this lasts. . . (g)) Every Tuesday, I'll focus on a different clay-related topic. Since this is the inaugural list, I thought I'd go easy on myself and choose an easy one. ;o)
Top Ten Products to Add to Mokume Gane (and Why):
10. Nothing
No, seriously. You can get some gorgeous mokume gane effects with nothing but polymer clay. Try mg with your own special mixes of mica clay and translucent, clay, too. This style of mg looks best, imho, when patterned with deeply-etched stamps. Check out some of what Nan Roche has done with this technique, if you're seeking some mg inspiration.
9. Glitter
If you're a sucker for that glitzy glittered look, why not sprinkle a little into your next batch of mg? There are a couple of ways you can apply it. Sprinkle it over a sheet of translucent clay, if you want just a little. (Putting too much will prevent the sheets of clay from adhering properly.) If you want more, use the glitter as an inclusion in some translucent clay, then roll that into a sheet for the mg block. Very fine glitter will work better than larger-scale glitter, and polyester or glass glitters perform best during the curing process. (Metal glitters can distort in the heat, with unattractive results.) You could also try a thin application of glitter paint on translucent clay.
8. Metallic Foil
Mylar-backed metallic foils (as opposed to real metal leaf) can be used with mokume gane. One example of this material is the line produced by Jones Tones. To use metallic foil in mg, just burnish it onto a sheet of translucent clay, pull off the clear backing, and use either as is or after crackling the foil by feeding the sheet through the pasta machine. Metallic foil comes in a variety of colors, patterns, and "effects" (such as oil slick, rainbow, etc.), so there are lots of possibilities with this product. (The downside is that some foils can be difficult to apply to clay.)
7. Lumiere Metallic Paints
Lumiere paints (from Jacquard) come in a gorgeous array of metallic colors that can be mixed to create still more colors. This paint tends to stretch with the clay-- not crackle. There are two ways to approach this property. First, you can embrace it and not worry about crackling. However, if you've got your heart set on crazing, you can dilute Lumiere paint with water-- up to a 1:1 ratio. The addition of the water improves the "cracklability" of the paint. Apply a thin coat of paint to a sheet of translucent clay. Once it's dried, feed this through the pasta machine or roll it with an acrylic rod to create crackle (or not, depending on the look you want).
The Final Word on MG-Related Products:
Whatever you put in your mokume gane, whether you like to "mix it up" and put a little bit of everything in there or your style is more restrained and classic, don't be afraid to try something new. There's no telling what we'll be adding to mokume gane five or ten years from now, and maybe you'll be the one who discovers the next great product!
Top Ten Products to Add to Mokume Gane (and Why):
10. Nothing
No, seriously. You can get some gorgeous mokume gane effects with nothing but polymer clay. Try mg with your own special mixes of mica clay and translucent, clay, too. This style of mg looks best, imho, when patterned with deeply-etched stamps. Check out some of what Nan Roche has done with this technique, if you're seeking some mg inspiration.
9. Glitter
If you're a sucker for that glitzy glittered look, why not sprinkle a little into your next batch of mg? There are a couple of ways you can apply it. Sprinkle it over a sheet of translucent clay, if you want just a little. (Putting too much will prevent the sheets of clay from adhering properly.) If you want more, use the glitter as an inclusion in some translucent clay, then roll that into a sheet for the mg block. Very fine glitter will work better than larger-scale glitter, and polyester or glass glitters perform best during the curing process. (Metal glitters can distort in the heat, with unattractive results.) You could also try a thin application of glitter paint on translucent clay.
8. Metallic Foil
Mylar-backed metallic foils (as opposed to real metal leaf) can be used with mokume gane. One example of this material is the line produced by Jones Tones. To use metallic foil in mg, just burnish it onto a sheet of translucent clay, pull off the clear backing, and use either as is or after crackling the foil by feeding the sheet through the pasta machine. Metallic foil comes in a variety of colors, patterns, and "effects" (such as oil slick, rainbow, etc.), so there are lots of possibilities with this product. (The downside is that some foils can be difficult to apply to clay.)
7. Lumiere Metallic Paints
Lumiere paints (from Jacquard) come in a gorgeous array of metallic colors that can be mixed to create still more colors. This paint tends to stretch with the clay-- not crackle. There are two ways to approach this property. First, you can embrace it and not worry about crackling. However, if you've got your heart set on crazing, you can dilute Lumiere paint with water-- up to a 1:1 ratio. The addition of the water improves the "cracklability" of the paint. Apply a thin coat of paint to a sheet of translucent clay. Once it's dried, feed this through the pasta machine or roll it with an acrylic rod to create crackle (or not, depending on the look you want).
6. Posh Metallic Inkabilities
Ranger's Posh Metallic Inkabilities come in two sets. Luminous Metallics (the one I own) contains a rainbow of six colorful metallic inks (blue, pink, teal, violet, green, and red), while the Precious Metals set comes with six "metal colors" (silver, copper, charcoal, rich gold, white pearl, and bronze). These inks come in .25 ounce needlepoint applicators and were originally designed for use with stamping, but they work great with polymer clay, too. Gorgeous metallic colors-- and they crackle, too. Just drop a tiny bit onto your sheet of translucent clay, spread it around with a brush, let it dry, and crackle away.
5. Mica Powders
Mica powders, such as Jacquard's Pearl-Ex line, are popular with polymer clay artists, because they have a number of applications. There are a couple of ways to apply them to mokume gane, as well. First, you can put little dabs of them here and there over a sheet of (painted or unpainted) polymer clay. (Be careful not to put too much, as this will prevent the sheets of clay from adhering to one another.) Another way to incorporate these sparkling colors into mokume gane is to mix them with an acrylic base of some sort. Future Floor Finish works well. Just mix a bit of powder into a few drops of Future until you get a nice paint-like consistency. Apply and crackle (or not, as you like).
4. Metallic Acrylic Paints
A number of brands of acrylic paint include metallic and iridescent colors in their lines. By all means, try what you already have, but if you're still building your stock of art supplies, be aware that you don't have to spend a great deal of money on metallic paints. Every brand behaves a bit differently-- and often there are variations within a brand, from color to color-- but often the cheaper "craft paints" work just as well, if not better than, the more expensive artist-grade paint, when it comes to crackling. My personal stock includes some FolkArt Metallics (from Plaid), some Dazzling Metallics (from DecoArt), and a couple of Anita's Metallics. All will work with polymer clay mokume gane. You'll have to experiment to see which crackle best to your liking, but even those that don't crackle as well can still be very pretty in mokume gane (as well as in other polymer clay applications, such as antiquing and dry-brushing).
3. Alcohol Inks
For a dash of transparent color, you needn't look further than alcohol inks. Alcohol inks have a number of uses with polymer clay, and at least a few of them apply to mokume gane. Jacquard's Pinata Colors come in 17 bold colors, while Ranger's Adirondack Alcohol Inks are available in 24 more subtle, earthy tones. Both lines are beautiful and can be used interchangeably. Here are just a few ways to use them with mg (and you can probably come up with more): First, drop a bit on a sheet of translucent clay and use a brush to cover the whole surface. (You can use straight ink for darker color or dilute it with alcohol or extender for a watercolor effect.) You'll be able to see through this layer of color, in the finished pieces. Second, drop the inks onto metal leaf in order to colorize it. Leave the drops as spatters of color or blend them over the whole surface. You'll be able to see through the color to the metallic sparkle of the leaf. Third, apply a drop or two to some polymer clay. When the ink is dry (after 15 - 30 minutes), condition the clay until the color is distributed through it (either evenly or in a marbled pattern, as you wish). Use this clay as a sheet in your mg stack. It will be colored, but still somewhat translucent.
2. Daler-Rowney Pearlescent Liquid Acrylic Inks
Pearlescent Liquid Acrylic Inks (from Daler-Rowney) are a favorite product of many people, including artist Allison Ingham, who uses them to achieve attractive crazing in her polymer clay work. They come in a range of lovely colors, go on smoothly, and crackle beautifully. I've read that the best way to apply them for optimum crackle is to not shake the bottle, but to drag up the thicker "dregs" from the bottom of the bottle and paint with those. Personally, I do shake the bottle and just dip from the top, and I've been happy with the results I've gotten. Try both methods and see which you prefer.
1. Metal Leaf
It's the classic mokume gane addition, and for a very good reason: combined with delicately tinted translucent clay, it creates an absolutely gorgeous effect. Metal leaf adheres easily to polymer clay and crackles easily. The gossamer shimmer of crackled sheets of real metal-- it's the ultimate draw for those of us with inner magpies. Lindley Haunani is credited with pioneering this style of mg. For a slightly different look, apply metal leaft to sheets of untinted translucent clay. Slices from the mg loaf can then be applied to base clay in any color(s) you want. In this ways, you can make mg beads, pens, etc. in a variety of colors, all from one batch.
The Final Word on MG-Related Products:
Whatever you put in your mokume gane, whether you like to "mix it up" and put a little bit of everything in there or your style is more restrained and classic, don't be afraid to try something new. There's no telling what we'll be adding to mokume gane five or ten years from now, and maybe you'll be the one who discovers the next great product!
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