The Design Part

Design
Cut Out
Paint the Background
Crackling
Glue Paper Down
Touch Up Edges
Seal

Design

No one can teach you to design well. You can learn this by imitating designs which you find pleasing. If you are using only a few images, then odd numbers are more pleasing than evens (eg 3 flowers rather than 4). If you are using only a few images, don't put them in a straight line. This is boring. Overlap them and tilt one or two.

Cut Out

If you are serious about this hobby, then you should invest in a pair of high quality curve bladed scissors. Manicure scissors will do while you are learning, but if you intend to keep it up, you need really good sharp scissors.

When holding the scissors, have the blades curving outward from your body. If you are right-handed, the blades will curve to the right. If you are left-handed the blades will curve to the left.

When you are cutting out your design, move the paper and guide it into your scissors. Do not move your scissor hand (other than to open and close the blades).

If you are cutting out something quite complex, cut out the interior spaces first by piercing the white space and inserting the scissors from below. This way you can see what you are doing. Another way to cut out the interior spaces is to use a scalpel and cutting board.

Paint the Background

Paint your piece with a sponge brush for the undercoat. Most folkart paints require two coats to cover. Use a natural sea sponge to apply the 2nd coat.

You can create new colours by sponging two or more colours together while they are wet. Do not mix them too well. This is called applying paint wet on wet.

If you let the first coat dry and sponge another colour over it, this is called applying paint wet on dry.

If you are decoupaging the entire surface, paint the edges only (ie where the edge of the tablemat is or where the edges of the box meet).

If you want a painted background, you will need a minimum of 2 coats of paint. The metallics and some light colours do not cover well and will require more coats. When using pale gold, I do an undercoat of Turner's Yellow so less irisdescent gold is needed.

Matisse background paints cover very well and have a sealer built in, so you don't need to apply Liquitex Gloss Medium & Varnish to your piece before painting.

Painting a solid background and then sponging the next coat with a sea sponge dipped in several colours will give a depth to the finished piece. With experience, you will be able to imagine what a piece will look like when the pictures have been added and sunk beneath varnish.

If you want a crackled background, see my separate instructions on crackling but remember these essential points:

There are two different types of crackle medium – one that is applied between coats of paint (this is what my instructions describe) and one that is applied on top of the finished work. Make sure you choose correctly.

The size and shape of your crackles depend on the sponge you use to apply both the paint and the crackle medium. The larger the holes in the sponge, the larger the crackles. When planning your crackling, decide which colour is to be the top colour and which colour is to be the crackle. Using colours that contrast well gives a more pleasing result. (For example, for a red box with white crackles, paint the white first, then crackle medium, then red paint)

Crackling

The only type of crackling I have been successful with is where the crackling medium is sandwiched between two colours of paint.

I use the Duncan brand Quick Crackle.

Paint your base coat. This is the colour that the cracks will be. For example, black.
Apply the crackle medium with a sea sponge. Put on a heavy coat and rotate the sponge as you go.
Leave it for about 45 minutes. After that time, it will be slightly tacky to touch. This is the recommended time. But don't despair if you forget and go back a few hours later. I have done that without any problem to the crackling.
Now sponge on your top coat fairly thickly and quickly, rotating the sea sponge as you go. Do not go back over areas you have covered. Crackling will begin immediately, so you can't go back without destroying out the crackles.

Your crackles should be appearing and will continue to develop for about half an hour. This technique takes practice. I used to practice on cardboard until I felt confident to do an object.

Practice with colour combinations. If you use black as a base and red or green as the top coat, the effect will be like leather. Another attractive combination is Iridescent Gold as the undercoat and Red (Naphthol Crimson + Cadmium Red) or Green (Hookers Green) as the topcoat.

I have put a ruler beside the crackles in the photographs so you can see the difference in size.

These crackles were made by applying a base of Pale Gold. The crackle medium was applied with a foam brush in broad horizontal strokes. When the crackle medium was tacky I applied the top coat of Hookers Green with a foam brush in broad horizontal strokes. This is the result.

Glue paper down

Use decoupage glue from the craft shop, use Mod Podge or Liquitex Gloss Medium and Varnish to glue your bits of paper. If you are not experienced, decoupage glue is better for you because it's drying time is greater which will help you reposition something if it's not quite where you intended it to be. Both Mod Podge and Liquitex Gloss Medium and Varnish dry quite quickly and you may not be able to reposition something without ruining it and your painted surface.

For Australian Readers

You can make your own decoupage glue from 3 parts Clag to 1 part PVA glue. Mix together and store in a small screwtop jar. This has a long drying time and you can easily reposition the bits of our design.

Always apply the glue to the surface not the paper cutout. Put a little glue on the top of the paper cutout and move it around with your fingers to dislodge any air bubbles and smooth the paper.

Clean excess glue off with a damp sponge.

If any glue dries on the top of the paper cutout or on the painted surface, you can remove this with vinegar. Most books recommend using vinegar to water 1:4, but I use it full strength without any problems.

Touch up edges

Sometimes you will see white edges on your cutouts. If you turn the piece in the light, these white edges are highlighted.

To soften them, you can use oil-based pencils of a colour that blends with the cutout. Rub the pencil gently along the white edge. Your piece must be dry when you do this, otherwise you will tear the paper.

Alternatively, if you are very fussy, you can paint the white edges before you glue the paper down.

Seal

After touching up, seal the whole piece with Liquitex Gloss Medium and Varnish. Some teachers recommend 6 coats applied at right angles to each other. Now it is protected from finger marks, dust and other disasters.