Think Crafts Blog – Craft Ideas and Projects – CreateForLess

Scissors, Rotary Cutters, Paper Trimmers, Craft Knifes, Decorative Scissors, & Paper Punches

• Never cut with a dull blade.  Dull blades can tear, rip, and damage.  Paper dulls blades very quickly so keep extra blades for paper trimmers, rotary cutters, and craft knifes handy and sharpen scissors on a regular basis.

• Rotary cutters are the easiest on your hands.  Rotary cutters now come with a wide assortment of decorative blades as well as perforating and scoring blades.

• Keep all cutting tools dry and stored safely.  Wipe and clean blades that have any substance on them.  Store flat.  If you use your cutting tools with glued or painted items, consider investing in Teflon coated blades.

• Sharpen punches with aluminum foil and “oil” them with wax paper if they begin to stick.

• Craft knifes are best for cutting straight edges and curves.  This is probably one of the most universal of all cutting tools and will cut through most materials with ease.  There are swivel head knifes that make detailed cutting even easier.

• If cutting out small items, consider a pair of micro-tip scissors.  These are best for intricate cuts.  When cutting bring the paper to the blade and move the paper, not the blade for the smoothest cuts.

• Do not use blades for anything but cutting.  It’s tempting to use the tips of scissors to pry something open, but you can end up breaking the tip.  Blades can chip and once damaged the blade is no longer useful.

• Keep track of what scissors and punches you have and keep the list handy when you are shopping for supplies. 

• By turning decorative or patterned scissors around you will get complete different look. Try cutting a strip of paper with scissors one direction and on other side of paper turn the scissors other direction.

• Don’t use more than one or two different decorative edges on a page.  Too many decorative edges makes the page look busy and confusing.

• Punches often have guides or bottoms that open.  These can be removed without harming the punch. 

• Hand punches with cushioned grips are the most comfortable for your hand.  There are also hand tools that when combined with flat punches make it easier to “punch” down.

• Chalks and pastels are a softer form of color that can be added to your creativity. 

• Most chalks available are acid free, but read the packaging to make sure.  Chalks normally come in containers and an applicator is needed.

• Applicators include sponge tipped sticks, brushes, cotton swabs, make up sponges, and even your fingertips.  If you use chalks a lot you will want at least 2 applicators, one for light colors and one for dark colors.

• There are two types of pastels.  One is oil based and isn’t the best selection for scrapbooking, the other is water based, a little less dusty than chalks.  Pastels also come in raw sticks or as a pencil.

• Using chalks and pastels is messy since the chalks and pastels get dusty.  Keep an eye on your work area to make sure the chalk and pastel dust isn’t getting onto items you don’t want chalked!

• Chalks and pastels add interest to die cuts, wood cut outs, rubberstamp images, paper printed photos, and punched shapes. 

• Although it is stated that chalks and pastels “set” or become permanent after 24 hours, keep in mind that chalks and pastels will fade and can be rubbed off over time.  A fixative or spray sealer should be used to make the chalks and pastels truly permanent.  Krylon’s Preserve It works well to seal the chalks and pastels.

• As with most color, you will have the best results if you work or add the darker colors first, then bring in the lighter hues.

• Darker colors will shade and add depth.  Lighter colors highlight and add dimension.

• You can stencil with chalks just as you can with paint and inks.  It’s another way to use your brass templates!

• If you make a mistake, there are chalk erasers on the market.  If you work quickly, you can remove some of the color with a clean cotton swab. 

• You can mix chalks and pastels to get additional colors just like you can with paints.

• Chalks and pastels work best on porous surfaces like paper and wood.  Chalks and pastels will not adhere to nonporous surfaces like plastic or tile.

• Tap the surface of what you are chalking between colors to remove any excess chalk.  Tap onto a scrap of paper or paper plate.

• Just like baseball or other sports “trading cards”, artist trading cards are to be traded and collected.

• This art form has few rules, but two are very important. The first one rule is that the dimensions of the ATC must be 2.5″x 3.5″. The second rule is that the cards are always traded without cost; you should never pay for an artist trading card.

• It’s not a rule, but artist trading cards should be signed on the back. Since ATC are used in trading, most artists also include some contact information like an e-mail address.

• The cards can be created using digital elements (on your computer!) or using more traditional artist materials like paint, brushes, ink, paper, markers, pencils, and rubberstamps.

• Artist trading cards can be one dimensional like a paper collage or highly dimensional using a broad span of textures and found objects. Almost anything goes when creating these miniature pieces of art and it’s a great way to experiment with textures, color, lines, and balance.

• Trading cards are stored as a collection in several ways. A popular solution is to use albums with 9-pocket sheets available used to store more traditional trading cards. However, since we are talking about a creative adventure, many display their cards by framing them or incorporating them into other frame-able home accents.

• Within artist trading cards there are cards called, signature cards. These are like “business” cards for the artists. A “masterpiece” is created and used as a signature cards for that artist.

• ATCs are also called pocket art, miniature art or art in your pocket.

• Cards are traded in person at trading sessions, consumer shows, and also by swaps or mail exchanges. The idea is to use the trading cards as a means of introduction and a way to share your love of art and creativity.

• You can find Artist Trading Card galleries on the web. Just use the keywords artist trading cards or ATC in any web search engine.

• Usually traded just as a card, artists also enjoy embellishing ATC envelopes as a way to expand the creativity of the basic ATC.

Materials

Needle Punch Tool and threader

Floss, cloth and pattern or Kit

Tight fitting hoop

How To

1. If using a purchase kit, you pattern has already been transferred to the cloth.  If not using a kit or pre-printed pattern, you’ll have to transfer a pattern to your cloth.  Unlike other types of needlearts, the needle punch pattern is at the back (or printed on the back) of the cloth.  So you are working the back of the finished piece, not the front of it.  The loops you’ll be creating for the design with your needle punch tool will be the front of the design.
2. Thread your needle punch.
   • The instructions of the design will let you know if you are using a single thread of the floss or you might be using 2, 3, 4, 5, 6 threads.  Floss is usually 6 strands of individual threads twisted together.  You may need to separate the threads.
   • Needle punches vary.  Some come with different needle heads (small for a single thread, medium for 2-3 threads, large for 4+ threads or even yarn) while others are just a standard needle head that can’t be changed, adjusted, or removed.  Some needle punches allow you to change the length of the punch (thus letting you have short or longer loops of thread to the front of the pattern).  All these options are just personal choices for you to make as you learn the craft.  A standard needle punch may be best for the beginner as well as purchasing a simple kit.
   • Follow the threading instructions that come with your needle punch tool.  First you’ll thread the needle (you must use a threader that usually comes with the needle punch), and then you’ll thread the eye of the needle.
3. Place cloth or fabric in hoop.  Make sure the fabric is wrinkle and crease free and is tightly stretched in the hoop.
4. Begin to punch.  Leave a 1-2″ tail of floss as you begin.  Place needle tip to cloth or fabric and press down gently, bring needle back up to fabric, move just a bit and punch back down again.  Repeat Steps 2-3 until that color or area is done.  Remember to leave a 1-2″ tail as you end a thread too.
5. Finish.  Once done you will prep the design for finishing.  Instructions are generally given in a kit.

Faux finishing is the technique of using paint to simulate a surface or material like wood, marble, brick, tortoise shell, and much more. Paint and technique are combined to fake or counterfeit another material. Although the art world holds faux finishes in high esteem, the methods are really more craft in nature. According to the experts, most finishes are easy to learn and quickly mastered with experience. The true craft of faux finishing is to perfectly duplicate the material such as marble or stone, the more realistic the finished design, the truer the faux finish is considered. Wood can become stone, stucco, leather, moiré, or sky of clouds. Fabric can become copper, brick, granite, or marble. Paper can become wood, rusted metal, leopard skin, or malachite.

Faux finishes are the hottest techniques in home decor. Not a new trend, mind you, most of the basic techniques involved in faux finishes have been around for centuries. As the craft industry gets savvy and sophisticated, faux finishes are finding the way into everyone’s home. Thankfully, the new materials and products presented by the industry have made marbleizing, texturing, sponging, and other finishes easy to handle and simple to complete. Faux finishes range the spectrum of deep, rich hues to sparkling, airy pastels. The processes add variety and interest to wall surfaces, show pieces, and more. Faux finishing is versatile and adaptable to any craft and in a time when the customer is demanding sophistication, you can’t lose with a faux finish.

In most cases the investment into faux finishing is minimal. Paint plus an assortment of items commonly found around the house will be all that is needed. Items such as Spanish moss, plastic bags, cheap sponges, rags, cardboard, or a scrap of wood become the tools of the trade. As skills and detailing develop, brushes, sponges, and combs of every size and texture can be added to the toolbox. Many craft professionals find that learning from kits available on the market provide excellent product knowledge and technique lessons. Great sources for information can also be found on the Internet.

Craft industry manufacturers are also on top of the game with faux finished. New and more exciting techniques are being introduced on a regular basis. From realistic rust to buffed marble, there are few finishes not available to the professional crafter. The process for most finishes is as simple as 1, 2, and 3. Clean up is easy and the craft industry is providing safe water based materials to the professional crafter. Some techniques to require that your work surface be covered and that the crafter has some space to move the surface and oneself to complete the object being finished. Yet, the techniques once saved for walls and flooring are now being seen on everything from the smallest of decorative boxes to large pieces of furniture. Discover the world of faux finishes.

Antiquing to make a new design or object look old.
Basic Technique: A sealer is brushed over entire surface. Allowed to dry. An Antiquing gel or medium is then sponged, brushed, or wiped on the surface. Quickly it is rubbed off leaving a dull coating and often left thicker in some areas of the surface. Allow to dry. Apply a sealer coat over the Antiquing. One can also use a wash, tea, and other medium to age.

Combing is drawing or sliding a comb or toothed instrument through wet glaze or medium.
Basic Technique: Basecoat surface. Apply glaze or paint to surface. Drag or comb a toothed instrument or metal brush over wet glaze or paint leaving a design or pattern like Moiré or wood graining.

Crackling is a process of Antiquing, giving the look of peeling or aged paint.
Basic Technique: A basecoat of one color is painted onto a surface. The crackle medium is then brushed over the basecoat. A second color of paint is added over the crackle. Then effect is an aged or weathered look with the basecoat color peeking through the cracks. A final coat of sealer is then added to the surface.

Decoupage is the art of decorative cutting.
Basic Technique: Color paper prints are delicately cut out and glued to a surface. Several coats of varnish or glue are used to coat and protect the paper. The objective is to have the effect of painted work rather than paper work as the design. Up to 25 coats of sealer can be used on the finest pieces of decoupage. The layers are lightly sanded between coats. Decoupage may also be placed under glass.

Distressing is a form of antiquing or aging a surface
Basic Technique: A surface is distressed by chipping, over-sanding, and nicking. A hammer, chain, or other hard object is struck against the surface to dent and give weathering and age to the surface.

Foiling is applying a very thin film of metal to a surface.
Basic Technique: A basecoat of color is placed on surface. A foiling glue is painted over the basecoat color. Allowed to dry for 24 hours. A sheet of foil is then placed on top of glue and gently rubbed into the glue. Once the sheet is lifted a thin layer of metal foil is left on the surface. The surface maybe entirely covered or just spots of foil applied depending on the effect desired.

Gilding is to apply gold leaf or other metal leaf to surface.
Basic Technique: Just like foiling, but materials are true metals.

Glazing is to apply a transparent coat of paint.
Basic Technique: Transparent tint is applied to the surface by brush, sponge, or rag. The transparent color may or may not need additional sealing depending on the desired result wanted. Different from pickling and washes, in that detailed designs can be created and stand-alone.

Marbleizing is to give the look of marble
Basic Technique: Basecoat surface. Apply second color or glaze in dabbing fashion with sponge or rag. Apply third and fourth glaze or paint in same fashion. Feather out or blend colors to soften the texture. Apply veining (linear pattern of marble often metal toned) and seal

Pickling is to add color is to a sealing medium to give protection to surface with a hint of color.
Basic Technique: Paint is thinned with water a sealer. Usually in a 1 to 3 part ratio. Paint or Pickling is then brushed on surface. The surface does not need additional sealing. The pickling allows the grain of the surface to show through the color.

Texture is to give the appearance of 3-D to a smooth surface
Basic Technique: Basecoat surface. Layer glaze or paint and use tools to give the look of a raised surface or textured pattern when surface is really flat and one-dimensional.

Texturizing is o give raised effect to a flat surface.
Basic Technique: Using different styles of gel or chalk materials and mediums, gesso being one of the best-known mediums for texturing, a flat or smooth surface is given dimension. The texturing medium is brushed or applies to the surface and tools like trowels, palette knifes, combs, and more give texture to the surface. The texturing medium is allowed to dry. The textured surface may now be sealed, painted, or faux finished.

Sponging is to apply color or hue with sponge with a light dab stroke.
Basic Technique: Paint may or may not be thinned. Sponge is dipped into paint and then patted down on a paper towel or rag removing all excess color. The sponge is then used to dab color onto surface. Different effects are achieved with different sponge textures.

Wash is when paint is thinned to an ink consistency so grain of surface shows through color.
Basic Technique: Paint is thinned with water or other medium to give transparent color. Craftsperson must work quickly and not over paint with the wash.

Wipe Off means to remove color after color has been applied to surface.
Basic Technique: Color is placed on a surface and then removed quickly with a sponge or toweling. In other words, color is removed to give a light airy effect, highlighting, or shading.

At the end of your work day do you ever hear yourself saying, “Oh, my aching back?” Or maybe you feel numbness in your hands, stiffness in your shoulders, or swelling in your feet? These are common complaints of many in the work force. So common in fact that too often the pain is overlooked as just part of the job! Many of us may be working ourselves into permanent health problems by not seriously listening to our bodies and evaluating work habits. So Stop taking two aspirin while soaking in a hot bath and take a good hard look at your work place.

Ergonomics is the key to good health and productivity in the workplace. The study of ergonomics started during World War II when heavy performance failures due to human error needed to be overcome. Today, ergonomics is used in the design of everything from workstations to toothbrushes, aircraft cockpits to craft tools. People working in ergonomically designed workplaces or using products and tools with ergonomically design have proven to be less tired, less uncomfortable, and less likely to hurt themselves on the job. Productivity and quality of finished product is also much higher.

The formal definition of ergonomics is the systematic application of knowledge about the psychological, physical, and social attributes of human beings in the design and use of all things which affect a person’s working conditions: equipment and machinery, the work environment and layout, the job itself, training and the organization of work. In language you and I can understand it simply means fitting the job to the person through properly fitted equipment and procedures and adapting the person to the job with procedures and training. The “fitting” comes in two distinct areas, which are the physical and mental well-being of the worker.

Physical Ergonomics

It is assumed that ergonomics starts with a healthy individual. This doesn’t mean an individual who is without physical limitations, but rather an individual who is eating properly, getting exercise, and getting restful sleep. These are lessons that every mother and high school health class drilled into our heads, but it is the first area of health that we often let slip during our hectic schedules. It is a known fact that lack of physical health habits is one of the leading causes of work place accidents and low productivity. Review your personal health routines seriously. Take the time you need to keep your overall health well rounded and in good form.

The work place is your concern as a professional crafter. Most professional crafters are self employed and based out of the home. This gives you ultimate control over your work place. Several areas need to be carefully considered: Lighting, chair position, table height, and tool selection. Most professional crafters prefer natural lighting, but a back up of full spectrum lighting in a must. Eyestrain is a leading cause of fatigue in the worker and quality control drops accordingly. Notice any glare or bouncing light. Seeing clearly at any point in your workday allows for detail tasks, color matching, ease in reading, and overall comfort for the body.

Any chair used in the workplace should have seat height and back (especially lower back) adjustability if the worker is sitting for more than one to two hours daily. Consider the following when selecting chairs/seating for your workplace: 1. Padded seat. 2. Support for back and legs. 3. Feet support with ability to place feet in a footrest or flat on the floor. 4. Swivel seat. 5. Separate adjustments for back and seat cushions. Try out several chair types before selecting a chair. While sitting in the chair go through the motions you would put your body through in a given day. Most professional crafters spend the majority of the workday sitting, so invest in a chair that goes easy on your body.

The work surface of any production area or studio should be adjusted to how the worker is going to use the area. If the worker is standing or using a stool to lean on during the workday adjust the table/work surface so the worker is not stooping over the table. The same adjustment is needed for the worker who sits in a conventional chair. Arms should rest comfortably onto the work surface. There should be no need to hunch or stoop over the work surface. The ideal situation would have the worker with a straight back, feet firmly flat on the floor, and looking slightly down at the production work.

Repetitive motions are the leading cause of carpal tunnel syndrome and the flare up of arthritis in the hands. The selection of your crafting tools may make all the difference in your health and comfort. In most cases, carpal tunnel and arthritis aren’t “cured” by wise tool selection; however, additional damage can be stopped to your body. The wisest advice is to test all tools for hand comfort, hand stress, and overall ease of use. Look for tools that are spring loaded, padded, and ergonomically designed. Also take a look at how you use your tools. Are you using them within the guidelines recommended? It may seem faster to cut 6 layers of fabric in one cutting, but the stress applied to your hands is too much. It is important to make sure all handles, triggers, and grips are designed for your hand size. Look for tools with adjustable grips.

Several leading manufacturers (Berroco, Adhesive Technologies, Fiskars, Body-Rite, and OTT-Lite Technology) in the ergonomic area have put together a seminar taught at the craft industry trade shows. Here is a list of tips these companies’ highly recommend to Professional Crafters:

1. Chair: Invest in a proper sized chair for your work area(s) if you sit for more than 1/3 of your work ay. You should be able to sit back comfortably in the chair with your feet flat to the floor. Do not cross your legs while working.
2. Break: Schedule regular 15-minute breaks for every two hours of work. Every 30 minutes stand and stretch.
3. Work Circle: Create a work area that forms a circle. The more a tool or supply is used the closer it should be to your reach.
4. No Slouching: Mom was correct and you should watch your posture to avoid neck and back problems.
5. Note: Make notes of repetitive movements in your work. Try to vary and change the repetitive movements.
6. Lighting: Invest in it. Natural light is the best, but make sure that there is plenty of non-glare lighting where you work.
7. Tools: Try and test tools before buying and look for friendly designs like spring-loaded, padded handles, easy grips, and other comforts. One size rarely fits all! Get the proper fit!
8. Pain: If it hurts, feels painful, goes numb, or any other discomfort is felt…STOP. Learn a new way of working the situation or process
9. Rest: Don’t work when tired or fatigued. The number one cause of accidents is carelessness and carelessness is often brought on by fatigue.
10. Place: Everything in its place and that is not on the floor or any other traffic area. Organize and schedule. Most accidents are very preventable.

Mental Ergonomics

One area we do tend to overlook in ergonomics is the mental health side of our workplace. There are many influences of our mental well-being that go into a given workday. It is not easy, but the problems of our home life should be left at home and the problems of our workplace should be left at work, however, the professional crafter faces a special challenge. For most professional crafters home and work are within the same walls. There is no time to gear up for work or wind down from work that many commuting working are given. The professional crafter must create his or her time to get in the mood for work and get in the mood to return home. Give yourself a schedule and create set working hours. Develop a routine that gives you time to make the mental adjustments to start your workday and end your workday.

The stress of working with clients, customers, or suppliers that aren’t easy to please or pleasant to deal with is another evaluation you may have to judge carefully. I recently found that one client I worked with was such an unpleasant business relationship that each time I had to phone the client I found myself anxious and a bundle of nerves. Upon looking closer at the situation, I found that my other jobs were suffering. My apprehension was so sever that I didn’t want to sit down and start production of my craft products. After trying to resolve the conflicts with the client, I found I needed hours of precious time to put the conflict out of my mind and settle back into work.

After much soul searching I finally decided to end the relationship. Even though I gave up a good job I am still way ahead. My productivity has increased significantly and I have new clients I searched out are much better work with than the old client. Part of maintaining a positive well-being is to make sure we avoid those stressful situation that aren’t necessary. When overloaded, get rid of those less profitable or high stress jobs. When a design is not going right, stop, put it aside, do something less stressful. Avoiding useless stress will increase you attitude towards your work and your productivity.

Evaluate every job for all the ergonomic values of physical and mental safety and health. Ergonomics, the comfort, safety, and well being of the workplace is not a new field of study, however, in the past decade a wealth of information has been gathered and placed into layman’s terms. Put into practice the knowledge that is available. If ergonomics can build better aircraft, better packaging and better toothbrushes, then it surely can improve your workplace too!