the

book

Te c h n i q u e s a n d I n s p i r a t i o n fo r Crea ti ng Mi x ed - Media Art

Barbara D e l a ne y
sealed with a
stitch
an exercise in collage and embroidery
by viv sliwka

t he decorative quality of vintage ephemera has always

had a great appeal to me and nothing more so than
vintage envelopes and letters. The muted, worn colors and
textures of these items, whether from home or abroad, with
text both mechanically stamped and handwritten, provide
an interesting backdrop on which to combine collage and
embroidery, breathing new life into a transient item.

I enjoy using found papers in my

work and prefer vintage envelopes
for the stories they can tell. I think
to myself, “Who was it who wrote
with such a fine hand?” “Did he
survive the war?” “Why did she
write that letter?” All of these
unanswered questions are part
of the joy of working with these
little snippets of everyday history.
But I would also consider using a
special, maybe newer, envelope—
one that contains good news,
for example. If the envelope has
an interesting date on the back,
 I open the envelope up, so that all
the points of interest can be seen.

preparation
Sorting through my stash of found
papers and ephemera is part of
my process. Thumbing through
old books and magazines until
I find the right imagery and text
is also a big part. (Be wary of
copyright when doing this.) For
example, the sweet little girl that
I used (left)—it just felt right to
use her, instinct you may say—has
nothing whatsoever to do with
the envelope itself. It is all part
of expressing one’s particular
interests.
What I have in mind as I work
is to build a coherent visual piece
using collected papers and fabrics
from many sources. I sometimes
include my own drawings or
monoprints. I want to achieve
depths of opacity, with added
text, color, and texture. I use
embroidery to highlight not only
my love of flowers, but also my
love of the decorative stitch. With
embroidery, I bring surface texture,
color, and interest to my work;
I take each piece down another
avenue and have more fun with it.
The final touch is the addition
of buttons: wonderful, beautiful,
old buttons. They, too, have a story
to tell, even better if they are from
your mother’s or grandmother’s
button box! I adore how they
catch the light or brighten a piece
Top: Buttons, trims, and vintage fabric for collage.
Bottom: Preparing an encaustic surface for collage. of work with their cheery colors,
shapes, and sizes; somehow they
just finish the piece beautifully.

t h e C l o t h P a p e r   Sc i s s o r s b o o k 3
 translucent transfers
by dj pettitt

i am always on the lookout for products that have versatile

working properties and offer a variety of approaches to
mixed-media artwork. I was instantly intrigued when I began
experimenting with Translucent Liquid Sculpey (TLS) and
remained captivated by the wide variety of styles that I could
easily attain with this adaptable medium.

4
 materials

• Black-and-white photocopies
• Household iron
• Translucent Liquid Sculpey
getting started (TLS)
• Dry wax or grease-resistant
sandwich wrap (deli wrap)

My fascination grew with further experimentation and a desire • Bamboo skewers

to create the perfect transfer. I wanted a transfer that was fast • Fabric scraps
and easy with no soaking or rubbing, one that could be made as • Permanent markers (I prefer
a stand-alone collage element, and one that could be transferred Faber-Castell Pitt Artist
Pens and Y&C FabricMate.
directly to paper or fabric. The transfer technique that grew
You may substitute another
from this exploration will add unlimited creativity to your altered favorite marking pen, so long
books, ATCs, and collage and fiber art. as it is permanent and the
When making photocopies, produce a transfer with more ink remains wet long enough
for you to blend it. Most
I have found that setting the of a distressed or aged look.
permanent markers dry too
copy machine’s contrast a little Moisture and steam create quickly.)
higher than normal produces wrinkles when parchment • Soft colored pencils
better transfers. However, paper is heated, causing
too much contrast will cause uneven areas in the finished note: Translucent Liquid
the transfer to lose detail and transfer. There are times Sculpey is a bakable transfer
and color medium available
possibly smear when it is heated. when I like this look, but the
at most hobby/art supply-
If you are unfamiliar with the results are less predictable stores. It is nontoxic, but
machine that you are using, than with deli wrap. should be used in a well-
I would suggest experimenting  Slick, nonstick surfaces such ventilated room.
with the contrast setting before as heat-resistant craft sheets
starting. and the paper backing from
note: Be sure to make iron-on webbing will work
copies in reverse (set copier well for this technique, too,
to “mirror”). but will leave the surface of
I have had the best results the transfer shiny.
making transfers with the kind of  F
 reezer paper or wax paper
paper used as deli wrap. Some cannot be used as a nonstick
other papers will work, but keep surface for this technique.
in mind the following:
 ilicone-treated parchment
S
paper will work, but the
results can vary and will

t h e C l o t h P a p e r   Sc i s s o r s b o o k 5

5
materials
• Extra-soft embossing metal
(I use ArtEmboss)

metal magic
• Mouse pad, or similar
• Stencils
• Ballpoint pen
• Embossing tool
• Paintbrushes by beryl taylor
• Coloring agents for metal, such
as glass paints, alcohol-based
inks, and nail polish
• Gesso
• Paper towels
• Modeling paste
i ’ve always enjoyed working with metal, and it took
considerable time for me to find the “perfect” metal.
Soft embossing copper is now my favorite; it’s so soft
• Glass bead gel
• Hole punch, regular and craft/ and pliable, it’s almost like working with fabric. At one
shapes (I used flowers and stars)
time, I thought being able to emboss and stitch onto it
• Watercolor paper
would be the ultimate. But, with the amazing products
• Beads
• Strong glue (I use E-6000) now available, you can do so much more. Metal can
• Basic sewing supplies, including even be distressed with gesso—wow! There are also
a needle for handstitching,
scissors, and thread (When a lot of products that can be used to add a patina to
machine stitching metal, I use metal. You can apply heat and obtain amazing results,
Gutermann 100% polyester
thread) too, but I try to keep it as “safe” as possible and am
• Water-soluble paper quite happy using paints and inks for coloring.
• Rubber stamps, deeply etched
• Acrylic paints
• Manufactured silk flowers It always seemed to me, and to
• Ultra-thick embossing powders most people, that stitching metal
• Embossing stamp pad, clear with a sewing machine would be
• Heat gun a “no-no,” but with this thin, soft
• Sewing machine metal it is no problem at all. In fact,
• Decorative thread (I use DMC) I just use a standard 90/14 needle
and polyester thread (needle
• Unbleached cotton fabric
and bobbin) and do fine. I cut a
• Patterned cotton fabric
number of pieces of metal in lots of
• Felt
different sizes and decorated them
with a variety of techniques.
Where paint, paper, fabric,
metal, and wax all come to play

Uncover the very best articles and projects from Cloth Paper COn ten ts
Scissors magazine. Editor Barbara Delaney has assembled a
Introduction
gold mine of hands-on inspiration and ideas for mixed-media
Getting Started
artists of all types. Explore the exciting worlds of collage, • Toolbox
journaling, encaustic, printmaking, assemblage, surface design • Glossary

and more. Printmaking and Surface

In addition to the tips and techniques, the experts elaborate Design

on their favorite tools and mediums. Perfect for all skill levels, Journals and Bookmaking
The Cloth Paper Scissors Book showcases inspiring projects Collage and Assemblage
for both those who are new to the world of mixed media Mixed-Media Stitching
and those who already love mixed media and are looking for Encaustic, Metal, and Jewelry
exciting new ideas. Get Your Art Out There!

Meet the Contributors

Resources
B a r b a r a D ela n e y is the assistant editor of
Index
Cloth Paper Scissors magazine. She has always loved
working with fabrics and has grown to adore mixed-
media art in its many forms.

Paperback
8½ × 10¼, 160 pages
ISBN 978-1-59668-397-6
$24.95
Available September 2011