DIY Shrinky Dinks # 6 plastic

DIY Shrinky Dinks

By: Chrisjob 

My parents are both science teachers: which means they always ruined the secrets to magic tricks, they forced me to identify every tree by leaf and bark type, and we always created our own versions of ‘science-y’ toys. We used to cook our Easy-Bake Oven meals with foil and a light bulb, and created our own slime with cornstarch and food coloring.
    And, when we wanted our own shrinkable art, did we get the sweet pre-printed HeMan or Strawberry Shortcake sheets? Nope. We freehanded it on blank sheets of plastic, and copying the designs from coloring books. (Luckily, neither of my parents could draw, or else we might have had hand drawn versions of those, too.)

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    The process is simple. I don’t know what kind of Shrinky Dinks are available, if any, but I’ll always be able to make some on my own… I guess my parents actually taught me something. Nuts.

Ingredients:
    Clean #6 Plastic
    Permanent Markers
    Scissors
    Aluminum Foil
    Oven and Tongs or Oven Mitt

 1. Obtain a piece of #6 plastic (polystyrene). Most clear containers at salad bars, delis, and grocery stores will work. Just flip it over and look for a “6” inside the recycling arrows. If you ask nicely, they’ll usually give you a fresh one.

2. Cut any excess plastic away to make a flat sheet (use both the top and the bottom), and recycle the excess.
3. Draw or write your desired image or text on your plastic canvas using permanent markers. The total image will shrink to about a third of its original size, and five or six times its original thickness. (My parents, of course, would make us measure before and after, and figure how much it had changed.)

4. Pre-heat your oven to 350°, and place a rack in the lowest position. Create a “tray” out of the aluminum foil by bending up the sides. Technically, you could cover a baking sheet with foil, but  the thinner surface allows for more direct heat and quicker shrinking.
5. Place your art in the tray, then use the tongs or an oven mitt to place the foil on the bottom rack.
6. For the first minute your art will curl up all crazy-like, but soon, it will flatten itself out. If you have an oven door through which you can see, then just keep an eye on it. If your door is solid, open it just slightly (as you would do when broiling) after 90 seconds. Total time for a large piece (5-6” starting size) will be about 3 1/2 minutes.

7. Using the tongs or oven mitt, remove the tray. At this point, it’s still plyable, so if you want to flatten it more, or add waves or bend the corners, do so CAREFULLY within the first ten seconds.
8. Now, you can do as you please. It’s still cut-able, sand-able, drill-able, glue-able, and plenty more. Attach it to jewelry, make a luggage label, or even a guitar pick!

Please include more application ideas in the comments below. Cheers.

tagged
shrinky_dink, how-to, DIY, art, nostaglia, Toys, childhood, 70s,80s

mind your beeswax

Beeswax is Just the Beginning We've recently added a new editorial team for our sister publication, Stitch, to our Sudbury, Mass., offices. Among the getting-to-know-you questions asked between the new and pre-existing staff members is, “What kind of art do you make?" Followed closely by, “Oh, can you teach me about that?” One of the techniques Assistant Editor Rose DeBoer (who sews and knits) would like to learn more about is encaustic collage and painting. Cloth Paper Scissors Editor Jenn Mason and I promised to bring in some examples to show her. I also referred Rose to Jenn's week of blog posts on encaustic painting and collage, beginning with encaustic basics; moving on to encaustic supplies and tips from the pros (with tips from Amy Stoner, Patricia Seggebruch, and Crystal Neubauer); covering encaustic painting inspiration; and finishing up with some of Jenn's own encaustic collage work to show the variety of techniques you can explore in encaustic art. The following is an excerpt from that last blog post. Jenn writes: In this series, I’m working with just small Encausticbords. These are thin wood boards prepared with an encaustic gesso. The small size (about the size of a baseball card) makes for an unintimidating day of experimentation.     Try to Resist Me   Truly, Madly, Dearly   An Extravagant Waste           Old envelope front was adhered to wood with gel medium (on the back side only). ”Sender” was stamped on the envelope Encaustic medium was brushed over the surface. 3 wax hearts were “painted on to the surface with a metal encaustic tool dipped into melted wax and then quickly painted onto the surface. Old resistors were bent and attached using both encaustic medium and charcoal gray wax.   Surface was stamped using a heat-moldable foam stamp and alphabet stamps. Part of a letter was layered on with gel medium (back side only). A coat of encaustic medium was added. A stripe of white wax was painted on. A Red heart was painted on as in “Try to Resist Me.” An awl was used to carve into the cooled wax and an oil stick is rubbed over the carving. The excess color was removed leaving color in the carved areas.   Surface was painted with a coat of encaustic medium. A small white rectangle was painted on the top left corner using a stencil. Layers of colored wax and encaustic medium were layered concentrating in the bottom left corner. Small scrap of paper were embedded in the encaustic medium. 2 small washers were added with encaustic medium. Metal encaustic tool was used to carve out small craters of wax revealing the build up of layers. Jenn’s List of Try-able Techniques Add lots of thin layers of encaustic paint (wax) in drips and brush strokes then carve away craters to reveal the layers Cover a board with paper collage using gel medium on the back side only and cover with encaustic medium for a faded look. Add extra bits of scraped away wax to another piece and heat with a heat gun to fuse. Fuse a little longer than necessary to break up the paint and reveal the layers below. Stamp your surface to create the base layer for your painting. Add a little bit of text under one or two layers of encaustic medium and then cover with encaustic paint. When dry, scrape away the paint to reveal the words underneath Scrape or scratch a pattern into the wax and color over it with an oil stick. Wipe off the excess color so that the color remains only in the wax. Use encaustic medium to embed found objects in your piece. Jenn's blog series on encaustic art has me even more eager to show Rose the possibilities of encaustic medium and collage. I think I'll have her start with Amy Stoner's excellent Cloth Paper Scissors Workshop video primer Encaustic Collage: Layers with Beeswax. Then maybe we'll have an after-work encaustic party. And, if I'm lucky, Rose will teach me how to read a knitting pattern.

Cate Prato, Online Editor Cloth Paper ScissorsToday

Diego Rivera Murals Return to New York after Eight Long decades

http://www.voanews.com/english/news/arts-and-entertainment/Eight-Decades-Later-Diego-Rivera-Murals-Return-to-New-York-135055638.html

Vanity Fair Collage.

Lune Vintage: Black Friday, Cyber Monday SALE at Lune Vintage!

Lune Vintage: Black Friday, Cyber Monday SALE at Lune Vintage!: Good News! Yeah, we're Canadian, but how could we not join in on the biggest retail sale time of the year with our American friends? I ...

vintage clothing headed for landfills

http://community.seattletimes.nwsource.com/archive/?date=20070225&slug=pacificpink25

altered tin with wax

You don't need rain to rust! Just sand them down and set them outdoors in a dish of water... salt water or a bit of ammonia in the water will help age the metal faster. You don't need a BBQ, make a little twig fire in an old cookie tin or set them on a rock and take a torch to them. There's a lot of ways to prep and many variations on the standard methods depending on your equipment, time needed etc... 
much depends on what you want your final result to be. Even if you are just going to glue papers on, a good sanding will help your glue adhere over the long run. My favorite glue for paper to metal is "WeldBond" but many others probably work just as well. 

One small tip that I like to remind people of... (and you'd be surprised how many times the comment comes up "My tin won't close/open now that I've altered it"... 
No matter what you do to the rest of the tin, be sure to keep the inside edge of the lid clean as well as the upper lip portion of the bottom of the tin. That includes the area in the back by the hinges, as well. Sand them down extra if needed and don't add any paint or finishes to either lip. 

some info on transferring images using toner based copies

These are my favorite methods of transferring images:

Acrylic transfer: Nearly any gel, medium or acrylic paint will lift an image. My preference is soft gel gloss and matte medium. Golden or Winsor Newton are my favorites. Images printed from a laser printer, toner based photocopy or ink jet printouts either on paper or transparencies work for this method. If I’m using an ink jet printout I use my Epson printer with Durabrite inks otherwise the transfer will fade over time with other inkjet printers. This method is good for paper, wood, fabric or organza ribbon.

Xylene transfer: Xylene (Home Depot) and old rags. *This method is toxic I do it outside wearing a respirator and thick rubber gloves. Please read warning labels as well. Toner based photocopies or laser copies and a burnishing tool. This method is good for paper, wood, fabric.

Caulking transfer: This is hands down my favorite transfer technique. It is very consistent and the final outcome is very stable and clean. Especially in assemblage pieces. For this you need Clear caulk. I like Elmer’s Squeeze ‘N Caulk is fabulous - no odor. I buy mine at Ace Hardware. Toner, laser or ink jet printouts and a burnishing tool. This method is good for paper, wood and fabric.

Heat transfer: A finishing or tacking iron, clothes iron or a heat transfer tool that comes with some wood burning kits. Toner based copy. This method is good for wood and glass.

Some Tips:

Remember to mirror the image in the copy machine or your printer if there is text or it will come out backwards.

For acrylic transfers, I usually take the image I am wanting to transfer and lay it image side up on a piece of wax paper to keep it from sticking to the table. Apply a healthy coat of medium to the image you are wanting to transfer. Note: If I am using an inkjet transparency as opposed to a paper printout. I apply the medium to the surface I want to transfer to instead of applying to the transparency.

Remember to only apply it to one side of the paper - the side with your image. Begin smoothing the medium out across your image. Make sure to not leave any globs. You can use a brush if you would like. I use my fingers as it is easier for me to get a feel for how much medium is on the paper. It takes awhile to figure out the right amount of medium. Basically, you don’t want it too thin but you also do not want it to be too thick.

Once you have coated the entire image carefully lay it down on the surface you are wanting to transfer to. Smooth it out with you hand. And holding it down a bit at least until it adheres begin to burnish it across the back starting from the middle. I use circular motions and just work my way to the edges. You want to press down with a fair amount of pressure but not so much that you distress the image underneath. Also, you don’t want the image to move - this can happen if you have too much or too wet of a medium. At this point I like to set the piece aside to dry for a few hours or overnight. You can speed this up with a blow dryer or heat gun. However, If I am using ink jet transparencies it’s not necessary to wait for the piece to dry. With an ink jet transparency, after about a minute or so of burnishing I pull up a corner and peak to see if the image is transferring well. Burnish more if it is not fully transferred and lift off the transparency if it is. Voila you are done if you used an inkjet transparency. If you used a paper printout then onto the next step.

When I use a paper printout I like to set it out for a few hours or overnight to let it dry. When it is dry I take a wet but not dripping washcloth and lay it across the back of the paper that I am transferring from and let it sit for a minute. Slowly and lightly I begin pressing the washcloth around the paper until is becoming more transparent and I can see the image underneath. Starting in the middle of the paper I take my fingers and slowly rub the back until the paper starts to come up. Working slowly and occasionally applying more water when needed I rub the entire back until another large layer of paper is gone. At this point as the image dries there is usually some bits of paper left leaving a sort of white haze. I usually leave this for 10-20 minutes, letting the newly surfaced image dry out again. I then start this process of wetting and rubbing over again until I have gotten all the paper bits off and the image is crisp and clear.

happy wedding couple

encaustic painting

WHAT IS ENCAUSTIC?

Encaustic is a paint composed of beeswax, damar resin and pigments. The term “Encaustic” is often used to describe both the paint itself, and the method for using it. Encaustic paint is applied molten to an absorbent surface, and then fused, (or re-melted), to create a variety of effects. Unlike other paints, encaustic is never wet or dry – it goes from a liquid to solid state and back again in seconds, which means additional layers can be added immediately, without disrupting your composition. Once the surface has cooled, the paint has reached a permanent finish, but the painting can be revised and reworked with heat at any time – minutes or years later.

WHAT DO I NEED TO GET STARTED?

Encaustic must be melted to be used. For this reason, it requires a basic set-up which includes: An Encaustic Palette, or other appliance to melt the paint in; A variable speed heat gun, or alternative tool to fuse the wax; Ventilation - It is important that your studio be vented for use with encaustic. Click here to read our Ventilating Your Studio for Encaustic Technical Sheet.

CAN I TEACH MYSELF?

Artists have been teaching themselves to use various painting mediums since the beginning of time, but because of the unique attributes of encaustic, it can be extremely helpful to take a workshop.  Click here to get find the right workshop for you.

IS THERE ANY LITERATURE ON ENCAUSTIC PAINTING?

Click here to see a list of available books and catalogs. Visit our Resource Center for technical information on painting with encaustic.

WHY USE ENCAUSTIC MEDIUM AS OPPOSED TO JUST PLAIN BEESWAX?

Medium is made up of beeswax and damar resin. It can be used as an extender for colors, as an isolator between layers in order to create a sense of depth, and for dipping paper or objects. The damar resin raises the melting temperature so the wax is less susceptible to heat damage, allows it to cure and harden over time making it more durable, and prevents blooming (a whitish haze that can appear on the surface of a painting). Resin also allows the encaustic to be polished to a high gloss, giving it more depth and intensity- although beeswax and medium are translucent, beeswax by itself will not maintain its’ translucency, while medium (because of the presence of damar resin) will.

WHAT CAN I USE STRAIGHT BEESWAX FOR?

Beeswax can be used for sizing supports (if used thinly) as a cheaper alternative to medium. It can also be used when artists want to make their own medium. Beeswax is also suitable for some works on paper, where the attributes of the resin discussed previously are not a concern.

WHAT IS IMPASTO MODELING WAX?

Impasto Modeling Wax is made up of beeswax and microcrystalline waxes (petroleum based wax). It is useful for building up texture. Since it has a higher melting temperature than encaustic which allows for more time to mold, shape, model, cast, carve and form objects; this also allows encaustic to be painted on top and fused without loosing its’ shape beneath. It is less expensive than medium so building up those layers doesn’t break the bank. Please note: Impasto Modeling Wax will oxidize and yellow over time. It is recommended that you do not use it as a top layer (unless you want those results). Keep in mind that any transparent color used over it will have the impasto undertone that may eventually yellow.

WHAT IS THE DIFFERENCE BETWEEN PARAFFIN AND SOY WAX?

Paraffin is a white wax that comes from the refining of petroleum. R&F used to recommend paraffin for cleaning brushes for no other reason than that it was the cheapest wax available. But paraffin is derived from petroleum, and we needn't tell you that the cost of petroleum has been skyrocketing. In addition, we all know that petroleum is one of the biggest environmental contributors of carbon dioxide. So this combination of increased price and environmental impact has caused use to search for potential alternatives. We at R&F as well as a number of our customers have been experimenting with partially-hydrogenated soy wax as a replacement for paraffin. The results have been encouraging. Soy wax is non-toxic and burns cleaner than paraffin. Soybeans are a renewable source, unlike paraffin. Soy wax is naturally biodegradable. Soy wax is also easier to remove than paraffin wax, so after the color has been cleaned out of the brush, the brush can be washed with soap and water and is reusable in other mediums.

WHAT SUPPORTS CAN I PAINT ENCAUSTIC ON?

For best results, encaustic should be painted on a rigid, absorbent, and heat resistant surface. Some examples include: wood (maple and birch plywood work very well); lauan plywood, doorskin (i.e. hollow core doors), heavy watercolor or printmaking paper glued to board, raw canvas glued to board (avoid pre-gessoed canvas boards); plaster; brick; unglazed and low-fired ceramic; or cast paper.

DO I HAVE TO PREPARE MY SUPPORTS?

You can paint encaustic directly on any rigid, absorbent, heat resistant material but in cases where you want a white ground, we suggest priming with our Encaustic Gesso.

CAN I USE ENCAUSTIC WITH OTHER MEDIUMS?

One of the best attributes of encaustic is its ability to be combined with other painting mediums. Take a look at our workshop program or our gallery of artwork to see the endless possibilities.

CAN I PAINT ENCAUSTIC OVER OR IN COMBINATION WITH ACRYLICS?

Not advised. Acrylic is not an absorbent enough ground for encaustic. Acrylics should not be used in combination with encaustic since it is water-based and not compatible with wax.

CAN I PAINT ENCAUSTIC OVER OR IN COMBINATION WITH OIL PAINT?

Click here for information on oil and wax.

HOW DO I SHIP MY ENCAUSTIC WORK?

For good reason artists are often concerned about shipping or transporting works in encaustic paint. Encaustic in extreme situations is particularly vulnerable to cracking, chipping, flaking, or softening (or worse, melting). This is especially true when the shipment or transportation is done in very hot or very cold temperature conditions.

HOW DO I STORE AND CLEAN MY ENCAUSTIC WORK?

Encaustics should be cared for as you would for any fine art piece. Work can be stored, wrapped in waxed paper and bubblewrap (be sure to face the bubbles out so they don’t make imprints in your work) at room temperature and out of any direct sunlight. Encaustics can be wiped clean with a soft cloth or paper towel. If the piece is especially dirty, it can be wiped with a water-dampened cloth.

CAN / SHOULD I VARNISH MY ENCAUSTIC WORK?

No, varnish will partially dissolve the wax, “reactivating” the surface. In addition, encaustic has the natural appearance of a varnished surface (the damar resin creates a “varnish within”) and can be buffed (rubbed with a soft cloth or paper towel) to enhance that quality.

HOW DO I GO ABOUT EXHIBITING MY ENCAUSTIC WORK?

We find the best way to exhibit your work is by first educating the gallery on the medium. Encaustic has exploded in the last few decades and more and more gallery owners are familiar with it as an important painting medium.

CAN / SHOULD I FRAME MY ENCAUSTIC BEHIND GLASS?

The greatest attribute of encaustic is its’ exquisite surface quality. A good deal of this gets lost when the painting is framed behind glass. Although, the glass does protect the surface from denting or scratching, but if the painting is properly exhibited/stored/shipped, this danger is minimized. Almost all encaustic works exhibited today are done without being glassed. We suggest, that only when the painting is done on paper that is not completely dipped in the wax, or if it is extremely old (as in the case of the Fayum portraits), should it be glassed. In addition, framing behind glass can intensify the heat (particularly from gallery lights or sunlight) causing a greenhouse effect, that could soften or even melt the wax.

HOW CAN I ACHIEVE AN ENAMEL-LIKE SURFACE?

This is a technique that requires practice. Enamel or glass-like finishes are achieved by slow, thorough fusing. It can help to pre-warm your panel before you begin painting, and use a soft brush, as wide as you can get away with. This way, your layers of paint will lie down easily, and you will not have as many overlapping brush strokes to even out. It can also be helpful to gently scrape your layers after you apply them, so that you even the paint out and do not have to labor over the fusing for as long.

HOW CAN I ACHIEVE A HIGHLY TEXTURAL SURFACE?

The advice for this is basically the opposite of the advice above for a smooth surface; use less heat, rough brushes, and cooler paint. Fuse less frequently and at a lower temperature. R&F’s Impasto Modeling Wax can also be helpful in building high relief.

WILL ENCAUSTIC PAINTINGS MELT IF LEFT IN A WARM ENVIRONMENT?

In certain extremes it is possible, but not typical. Cars are the greatest hazard because the heat of the sun is intensified through car windows. Indoor environments, even very warm ones, are not usually hot enough to melt wax, though they could make the wax soft, and therefore difficult to work on. It takes at least 160 degrees to bring wax to a molten state, and probably a little bit more than that to actually cause it to move.

IS ENCAUSTIC TOXIC?

One can make it toxic by overheating it or adding toxic materials to it, but if used responsibly with temperature control and good ventilation, encaustic is only toxic if you eat it.

WHAT IS BLOOMING, AND HOW CAN IT BE PREVENTED?

Blooming is a whitish haze or spots that appears on the surface of a wax painting. This can occur when the wax has been exposed to extreme cold, causing unsaturated hydrocarbons in the beeswax to migrate to the surface and crystallize. The addition of resins, or waxes that contain saturated hydrocarbons help prevent this. These include damar resin or microcrystalline wax. The saturated hydrocarbons solubalize the unsaturated hydrocarbons of the beeswax and prevent the blooming that occurs from cold.