I find information worth repeating re: art supplies, tips, techniques, etc. Yesterday was one of those days. In a reply to someone re: resist techniques and the best inks and varieties of ways to create a resist, I provided some further information about understanding inks and different ink properties. It is a wonderful wealth of information, so much I've decided to share it here:
First, I think it is great that you've mentioned a variety of ways to create a resist technique. From Ranger's Clear Resist ink to using a wax crayon. Another not mentioned, is the clear embossed VersaMark ink nor the ironed on crumpled wax paper. {I apologize in advance for not researching the provided links before answering this post, so some information may be new while other info may be repeated.}
Anyways, Each can produce amazing and varied results worth experimenting with and knowing which produces the results one would desire in a piece of artwork. Obviously, the inks can require a stamped image while the crayon would offer the freedom of free-form expression, something I feel is important to note. Although, there is no reason some of the the pads themselves couldn’t be used DTP in creating different backgrounds. I may just have to experiment using each and create me few pages in my art workbook as this is definitely worth exploring further!
Creating the resist technique can create inks stain your hands or any surface they come in contact with depending upon the inks and artist supplies used so wearing an apron or an old shirt maybe required. Care to guess how I know?
The Masters, a product put out by General Pencil works well for clean up. There is a variety pack available that contains the wonderful Kiss Off, a bar of handsoap containing Kiss Off, and a cleaner for art brushes which I've also used to clean my Colorbox Stylus sponges after use. Using gloves may be desired or another option. I havent' tried the Liquid Hands or is it Liquid Gloves? Anyways, creating an excellent resist can become messy so I felt that is worth mentioning, LOL!
I’m not a resist expert by any means, however, here's a bit that I've discovered while experimenting, and I feel it is equally important to note that the use of glossy or matte cardstock will vary the appearance as well as the desired technique to create the actual resist itself.
Any dye inks that are water-based work well on glossy or matte cardstock. I love both Adirondacks and Vivid due to their wonderful color varieties. Pads or re-inkers work well and dry quickly. Load sponges with ink and work quickly with minimum pressure, the more pressure used in circular motion = the higher concentration of color. There is a huge variety of wonderful dye inks available on the market, so experimentation is key as each work well with a variety of results.
Chalk inks by Colorbox work well; due to their juicy pads. Also, being dye-based they require you to work quickly. Remember to heat set for permanence and increased intensity of color. Also to gently roll the re-inkers to mix the chalks without adding in air bubbles to the bottles or shake and allow to sit approx. 15 minutes prior to using.
Pigment inks - must be embossed or heat set on glossy cardstock. These work well for their fade-resistant properties and allow the artist to work slower due to their slow drying properties. Most pigment inks require heat setting anyways, but these are great on slick surfaces such as vellums and heat-resistant transparencies offering a variety of effects on each surface!
Brilliance Metallics will dry on its own if left overnight or can be heat set; Brilliance is another ink that works well on vellum, acetate, mica, and even shrink plastic.
Encore Metallics are best used on matte cardstocks; however, can be sprayed sealed and left to dry overnight on other surfaces such as glossy. Both metallic inks add a degree of texture and depth to the artwork and produce a sophisticated effect.
StazOn is a permanent solvent based ink, often mistaking overlooked for use in the resist technique. What a shame! Designed for porous and semi-porous surfaces, it is great for paper {all types}, glass, shrink plastic, acetate, dominoes, and polymer clays.
One variation of a resist {more of a reversed effect} is to stamp using StazON on matte cardstock and using the Opalites pads in the resist fashion over top. The newer Reflective Interference Ink adds a dazzling, gorgeous sparkle to your artwork - and this ink is amazing as it will provide a reflective quality over the StazOn stamped impressions!
Resist ink, Ranger's Clear Resist, is excellent as it will prevent any dye inks from changing the color of the paper beneath the resist. It is a very fast-drying ink that can be heat set to speed the process. I really need to experiment more using it with other varieties of inks.
Alcohol inks, made by Jaquard/USArtQuest in the Pinata inks, and Tim Holtz's line are solvent-based inks that are permanent and waterproof when dried. The blending solution or alcohol is needed to assist with diluting and the spreading properties. Studio II by Graphic Marker is yet another brand.
Resist techniques can also be achieved using various other mediums besides inks. Acrylic paints, Lumiere by Jaquard, various glazes, watercolor paints and watercolor crayons are excellent for collage work either on paper, illustration boards, and even, gesso-primed canvases.
Krylon’s Spray webbing and leafing pens, Craf-T metallic rub ons, and many mica products from Pearl Ex and Perfect Pearls produce additional enhancements to the resist technique.
Please feel free to add any addition comments or questions to this thread, it is by reading what other’s share that each of us learn. I've learned a lot of the information previously shared here from other stampers, many who inspired and provided me with the courage to explore deeper.
Also, as I've previously mentioned manufacturers are a wealth of information; be sure to visit their websites, contact them with any questions. You'd be amazed at their customer service, knowledge, and wllingness to help the consumer.
Reading has also enhanced my knowledge. There is a lot of information online, in print, and in magazines, technique books, and many art books. Some information is contained in some art supply catalogs.
With anything, there is no all-inclusive information out there, so I do keep an Art Journal. It is more of a 3 ring binder filled with information re: supplies and mediums, techniques I've discovered, templates, and experiments and examples of each. Creating it has been a wonderful source and inspiration to me.... it challenges me to explore and ask the age old question of "what if?"
I encouraged everyone to begin one as you create cards, artwork, ect., jot in what you know re: mediums, leave room for other information to be added, create a technique page using each medium, include instructions, and an example for re-creating it. Trust me, you will treasure this journal and it will help you grow as you are learning.
Don't be afraid to try new things. Don't fear the mistakes along the way --- make notes of what doesn't work, it is a part of the learning process. And even more important, don't be afraid to combine techniques within a piece of artwork, I've discovered some fabulous results along the way for it is by sharing that we all learn!
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