What are the strengths of chalk paint? Last summer I made a pallet style table for a friend. I made my own custom chalk paint using drywall compound and one litre of white latex paint. I followed the instructions here:

  Mix 1/4 cup to 1/2 cup drywall compound into the paint. The amount of drywall compound depends on how thick you want the paint. Do not exceed 1/2 cup. The first coat is normally straight paint with no drywall compound added.

I put emphasis on the portion that I paid attention to. I didn't add too much as I figured it would be too thick or clumpy so it would not apply well. I stirred it well enough that the drywall compound was mixed into the paint.

I thought the end result would be textured but it painted fairly flat. I then distressed it and it did turn out well but I feel the effort in making the paint didn't yield any results.

What is it about chalk paint that makes it popular? Is there something I might have done wrong with my paint mixture that cause less than ideal results?

My experience is with the commercial brands (my wife uses and sells them).  The two main advantages that I see are:

that they allow a very smooth finish with a brush.  If you were to paint furniture with latex paint, you'd get a lot more brush strokes than with chalk paint.
it's easy to do the shabby chic thing (distressing, ageing, etc) with chalk paint.

Disadvantages:

It's damned expensive, compared to regular latex paint.
You can't color match like you can with regular paint (where the paint guy scans a color sample and the computer matches it)
It's not a durable surface at all. For furniture and such it has to be sealed or waxed, which is another step.


Is there an easy way to remove pet hair from knitting projects? I enjoy knitting, and most of my family and friends seem to enjoy receiving my good projects as gifts, but every project from me comes with intricately weaved dog hair. My dog's hair is long(ish) and white. I usually end up sitting there and picking it all out as I go. I'm wondering if there is an easier or more efficient way to do this. Maybe there is some sort of protection for my ball of yarn that I could use?

Basically everything I find on the internet had to do with making yarn out of your dogs hair, so any suggestion is appreciated.

Jo-Ann's lists "Yarn Containers", essentially closed jars with a hole for the yarn to come out, that look like they might work to keep your yarn dog hair free while you work on a project.

You could also make a similar container out of something like an oatmeal box.


How do I go about sealing tiles painted with acrylic ink? I have been painting on ceramic tile's with Liquitex acrylic ink. I would like to seal them so that they could be used as coasters. I want to make them impervious to liquid and coffee cup heat. Does anyone have suggestions on sealing the tile's? When I sprayed some Krylon UV clear protector, the ink was reactivated and began to spread. I was thinking of putting some Liquitex gloss medium on the tiles and thin coating them with clear water-based polyurethane. My other alternative was to use art resin but I'm unclear which would be the best way to go.

Both methods should work; polyurethane varnish seems to be a fairly standard way of sealing acrylic paint on ceramic (see this thread on potters.org for example) and Art Resin* claims that 'the heat generated from a hot mug will not damage the resin surface' and that it is suitable for use on ceramics (ArtResin FAQ, points 24 and 25).

I also stumbled across some people saying that you can bake acrylics in the same way that you can enamels - no guarantees, but you might find that this works for you.

However, given that you've already had some issues with the ink dissolving in the varnish(possibly caused by attempting to varnish before the ink was fully dry) I suggest that you test your chosen method on something disposable before you seal your coasters.

*a brand, but the same points should apply to most clear two part epoxy resins


How best to thin Silicone for Roto Casting I've been trying to cast a silicone part using a mold I've 3'd printed. I've built a roto caster to rotate the mold so that it is hollow. I'm using a 2 part Ecoflex silicone. Unfortunately the silicone does not smoothly coat the inside of the mold.
I'm considering thinning the silicone so that it covers the inside of the mold more evenly.
What is the best substance to use to thin the silicone, mineral spirits, silicone oil?
Is there anything I should be aware of when attempting this (I'm new to silicone casting). Will this lengthen cure time and if so is there a way of knowing how much it will lengthen cure time, for some unit of mineral spirit (or other thinning agent)?

There are various common solvents, like mineral spirits, that will thin silicone.  However, the solvent becomes part of the volume.  Once the silicone cures, the solvent will leach out and evaporate, and the casting will shrink by the volume of solvent added.  This is sometimes done on purpose to make a finished item that's smaller than the mold.  However, the shrinkage can take a long time to complete (days to weeks depending on size), so the results are hard to control if you need a precise finished size.  It can also distort the shape because the evaporation isn't uniform.
I was actually going to try silicone oil but haven't done it yet.  The oil will become part of the volume.  It won't evaporate, but it might leach out over time, producing shrinkage plus an oily mess.  A small amount is supposed to make the silicone softer (which was what I was aiming for), so be aware that it will change the characteristics of the silicone.
Thinning it won't necessarily solve the problem of getting an even coating.  That might be due to waiting too long before getting the mold surface covered, and/or the silicone not sticking to the mold surface (either because it doesn't wet the mold material, or mold release is interfering).  Silicone peels off a lot of materials without mold release, so you might want to experiment with some scrap material to see if you can skip mold release.  If the problem is that it isn't wetting the mold (doesn't stay put after you coat the surface), thinning it with a solvent or oil may make the problem worse.
If it is just a matter of consistency of the liquid silicone, your best bet may be to use silicone that is a better consistency for your purpose.  It comes in different viscosities.


How to remove black glue from Arches paper border? Just got an Arches block of watercolor paper, parer sheets are glues together on 4 sides with a BLACK glue.

It seems a really good paper but i can't find a way to remove the black glue on the border once i take the piece of paper off the block.

They could use transparent glue.

You will have the same problem with watercolor-blocks that are glued on the edges, only that you see the remains of the glue better when the glue is black. What I usually do to remove the glue is one of the following.

Cut the edges with a sharp scalpel (or another sharp knive) preferably with the help of a metal ruler.
Lay the paper flat on a hard surface and scratch the edges (e.g. with your nails) until the glue is gone.

I dont think there is a non-invasive way to remove the glue, as it is made for holding the paper to the block really tight - even when wet.


What sort of fabric could be used for this costume? I want to make a astronaut costume but I have no idea what fabrics I should use.

I would like fabrics that resemble rubber, shiny vinyl that has no texture, and fabric that is good for putting lights underneath for glow.

What is the name of fabric I should be looking for that would meet these criteria?

The question isn't well-defined, and your list of desired materials isn't clear in terms of how you envision using them.  But based on the picture, I'll throw out some ideas to get you started.  Perhaps you can use this to clarify your question.  Recognize that anything that can't breathe will be really hot, even if it's cool outside.  But a few ideas:

You might get enough material for the entire costume from a plastic table cloth (or two).  If you get a white one, you can color it with spray paint that's compatible with vinyl.  An unlined, unpainted table cloth may be translucent enough to put lights inside (but they will add to the heat).
A metallic look would be pretty cool.  You can buy really cheap "space blankets" (one or two should be enough, like these).  Any lights would need to be on the outside (maybe LED strips).
If you need costume segments that will hold a simple shape that you can make from a flat material (like a cylinder or surface curved in one plane), you might want to look at drafting vellum, which you can get in large sheets or rolls.  It's made from thin cotton fabric infused with a material like gelatin to make it translucent and stiff.  You could put lights behind that.  It has sort of a plastic looking surface.
For a rubber look, you could use sheets of craft foam.
You can make shaped sections using a lightweight fabric or gauze.  Create a mold for the shape from any suitable material and put a thin layer of a release agent on it, like Vaseline.  Stretch the fabric against it.  Then infuse the fabric with either PVA glue (school glue/Elmers), or hot melt glue.  Saturate the fabric with it.  As you add the glue, work the fabric into the shape if it isn't flat.  For hot melt glue use a heat gun to melt the glue into a thin liquid so it flows into a smooth layer and saturates the cloth.  Let it dry or cool.  Another method is to make a high concentration starch solution, soak the fabric in it until the fabric is saturated, then work the fabric over the form and let it dry.

The fabric with either type of glue will be translucent.  The starched fabric will look like the fabric. Any of these will retain the shape.
I'm not sure if it fits with the look you want, but Tyvek can look pretty good.  As long as it stays smooth, it has the look of Tyvek.  But it will wrinkle and soften, in which case it will look more like cloth.


How to crop large format paper I've got drawings and other art on 18x24 inch and larger format papers.

How can I inexpensively crop these papers so that the edges are straight and the corners perfectly right angled?  Professionally so?

The simple DIY way

Use a ruler along the line to be cut. Use a cutter.

The more professional way

Use a paper guillotine.

.

The advantage of the ruler + cutter is that you can cut lines anywhere, anyhow, even holes. The guillotine will help you get cuts perpendicular to one edge, and the cuts must start at one edge of the sheet.


How do I remove labels from glass jars/bottles? Glass jars or bottles provide a great base material for many crafts, but the least expensive option (reusing food jars or wine bottles that would otherwise be discarded) require me to do some surface preparation. Specifically, I need to get the labels off.

Right now, I'm just peeling and scraping the labels with a crappy old kitchen knife. But many labels are extremely well attached and there is a lot of glue and paper left. It seems like I can spend hours scraping and still have a sticky, dull, unappealing surface, which doesn't lend itself well to (e.g.) a clean, clear candle holder. Do I just need more elbow grease, or is there a method which helps remove labels and glue more quickly and cleanly?

There usually two different kinds of glue you commonly find.

One will come off if you just soak the label under water over night. Doesn't have to be soapy. It helps to score the surface of the label with a cross hatching with a razor. Some labels are waterproof. You need the water to get through to the glue.

The other kind of glue will come off with VM&P Naphtha (common solvent at a hardware store) You can also use Ronsonol Lighter Fluid, which is basically the same thing, but a little bit more refined and clean. Both are far superior and cheaper than "Goo Gone" or "Goof Off". With Naphtha you pour a liberal amount at the edge of a sticker. Use a plastic scraper to get under the edge of the label. As you lift the Naphtha will be able to get under the label and loosen more of the glue. Keep adding more Naphtha. Peel slowly. Let the solvent glide the sticker off. Don't force it. Naphtha has a strong smell, but it evaporates quickly leaving no odor. It can be used to remove stickers from paper.

If you are removing a sticker from something valuable then I would use the Ronsonol Lighter Fluid. It almost exactly the same stuff as VM&P Naphtha but it's refined to be a little cleaner and less smelly (after all, it's designed to sit in a wick lighter in your pocket). Some people blanch at the idea of dumping lighter fluid on a book to remove a sticker, but after a few minutes the fluid will be gone. Test first. Only very rarely have I found that the lighter fluid will dissolve ink or paint. It's actually pretty neat how well it targets sticker glue without harming anything else.


Cleanly extract homemade candle from glass or plastic mold? I have a melted-crayon decorative candle idea, but I can't figure out the last step.

The concept is based on melting crayons using the sun & foil, to create art or new crayons.

Instead, I want to melt crayons inside a small glass, ceramic or plastic container (preferably glass or even ceramic), such as a shot glass. I will warm up the container with a candle warmer or a beverage warmer plate.

My issue will be removing the formed candle after it's melted as desired. I don't think it'll just pop out once cooled.

Is there a way I can easily remove the wax, keeping the form intact? Or, is there a way to prep the container beforehand?

I should be able to test this on existing small candles or tealights we have that are in glass, but it will be some time before I can test other container materials.

(I don't know if there are different "types" of wax. If there are, please advise what type crayons typically are.)

Wax and Glass have very different rates of thermal expansion. Once the liquid wax has cooled and become solid, and you don't think the glass is at a risk of shattering, I would suggest putting the wax filled mold in the freezer. The wax should just pop loose. If it doesn't a quick rinse of the glass in warm water should release the wax.

This trick also works for wax on tablecloths, napkins, etc.


Is brush-on Mod Podge the same as the spray can variant? Is brush-on Mod Podge the same as the sprayable Mod Podge? I’m using it for a doll repaint but the brush might wipe the watercolour pencil away, or smudge it.
I was thinking of sponging it on to it.

So in terms of the formula used in both versions, they are pretty much the same. The slight difference in the spray version though are to account for the spray version needing to be thin enough to spray through the atomiser.

The best choice of which to use for your particular application, comes down to the mediums you used to repaint the doll, its curing time and permanence, and the potential for the ingredients in each product to react with each other in a "beading" or "repulsion" manner.

I have some questions:

Is the paint you used on the doll water or oil based?
Does the paint you used have a specified "curing" or drying time?
Is the final item going to be placed around infants or pets?

The reason I ask that last one, is that if there is no specific concern that a baby will be putting this in it's mouth or something like that - I might recommend a light, quick spray with a clear satin finish acrylic spray lacquer first, just to set the paint, in case a layer of mod podge does make the paint colours bleed.

ALSO!
Do a quick stress test.
paint a spare piece of wood with the doll paint and test out if sponging it on affects the paints final look.
Good Luck!!


How can I fuse separate, small pieces of ABS plastic that can withstand pressure? I need to attach a relatively small piece of ABS plastic to another. The small piece is about 4 mm wide, 1 mm tall, and I can make it between 3-6 mm long.

I need to attach it so that 1 mm of the plastic hangs out over the edge of the other piece.

This overhang will be subject to regular, small pressure. It's a catch for another piece, to hold it in place. It's not a lot of pressure to hold it, but the pressure of catching and uncatching it can be an issue.

If you look at this diagram, I need to fuse the blue parts, so that the red part can by slid on and off vertically. The red and blue parts that overlap are slightly rounded, and the red has some give, which makes the catching fairly easy.

If it helps, this is for a modification to an action figure. The catch is the kind you'll find on Transformer action figures, which gently hold pieces in place.

PlasticWeld is a hand-mixable, fast-setting epoxy putty that forms a durable bond to most major plastic types. *After mixing, it forms a polymer compound that can be molded or used to build up and repair just about anything made from plastic. When cured, it can be sawed, drilled, carved, sanded and painted. PlasticWeld has a 20-25 minute work life; functional cure occurs in 2-3 hours. PlasticWeld cures to an off-white color, is rated at a tensile strength of 350 PSI. Does not adhere to polyethylene, polypropylene or some other plastics. Test for adhesion first.

Great for:
Rigid & Semi-flexible Plastic
ABS, PVC & CPVC Pipes
Automotive Trim & Bumpers
Fiberglass Parts
Vinyl Siding

Found at most automotive and hardware stores:Products link to O'Reilly's

DETAILED DESCRIPTION
Repair and rebuild any rigid and semi-flexible plastic including ABS, PVC and CPVC
Bonds instantly
Superior strength
Will not shrink or pull away
Rebuild automotive trim, fiberglass parts and vinyl siding
ADDITIONAL DETAILS
Set Time (hr): 0.25 Hour
Cure Time (hr): 3 Hour
Volume (ml): 60ml
Volume (Oz): 2 Ounce
Cure Color: Off White
Material: Epoxy Resin
Color: Off White
Solvent Resistant: Yes
Temperature Range (Deg F): -67 To 300 Degree
Strength Rating (psi): 350 psi
Strength Rating At 400 Degrees (F): 350 psi
Water Resistant: Yes
Waterproof: Yes
Weatherproof: Yes
Type: Epoxy Stick

EDIT: Adding instructions here so it is not lost in comments.

INSTRUCTIONS
CUT:
Remove required amount of putty.
MIX:
Thoroughly knead putty with fingers to a uniform color.
APPLY:
Press putty firmly to the surface to be repaired.


How to Trim Poofy Sleeves I purchased a boho maxi dress a while ago.

I lost weight and it is now big for me.

How to narrow the sleeves to maintain their poofy shape?

Can I simply trim along the seam of the sleeve, or is there something more involved?

I know how to alter the bodice as I've had successful experience (based on this tutorial).

And I'm unsure if I'd attempt to narrow the skirt (length is absolutely perfect though) - I'll save that for another question if the time comes.

Here is a pattern of the dress in question (note the poofy arms)

An assembled sleeve isn't much more than a tube of fabric, but completely disassembled, it looks more complicated.

If you are inexperienced with tailoring, this "quick and dirty" tutorial looks like a good start: How to tailor a sleeve. It requires you to put on the shirt (or dress) inside out, gather the surplus fabric at the existing seams and pin it to your desired size. You then open the original seams, sew along the pin lines and trim and neaten your new seams.

What it doesn't explain is how you match the new sleeve seam to the existing side seam of the bodice.

If you want to reduce the size of the bodice as well, it's perfect to do both at the same time. Otherwise you either need to match the new sleeve seam up to the original side seam (which preserves the puffiness at the shoulders) or you need to sew the sleeve seam in a crooked line back down to the side seam (which artificially narrows the arm hole).

I suggest going with the first solution, because it's the neatest and an armhole that's too narrow is very uncomfortable. This solution is shown in this video: Resize oversized sleeves

The professional way is to dissassemble the sleeves, adjusting the cut of the pieces and reattatching them to the dress. Of course this is more complicated, but if the "quick and dirty" solution doesn't look good, this is the only way to make it look perfect.

First of all, mark which sleeve is the left one and which is the right one, because they may differ very slightly from each other and sewing the left sleeve to the right armhole looks strange and feels uncomfortable.

Then take your measurements as described in Create custom sleeve pattern. Keep in mind that you want to measure your desired sleeve, so if you don't want it to be skin tight, don' t measure skin tight.

Follow that same instruction and construct your new sleeve on a big sheet of paper. Once you're done, measure the circumference of the armhole in your bodice. Then measure the length of the "sleeve crown", the curved line on top, from seam to seam. The sleeve crown should be slightly longer than the circumference of the arm hole.

If your sleeves have cuffs like shown in the picture, reattach them after closing the long sleeve seam.

At the end, sew the sleeves back onto the bodice as shown here: How to insert sleeves.


What stitches are strong for clothing seams when done by hand? As discussed in the question about What kind of stitch makes up t-shirt seams on commercial grade clothing? we can now identify the overlock stitch. A cursory look at the Wiki for that stitch shows that is way too complicated (or at least seems that way) for someone to do by hand.

When repairing a seam on clothing what would be a good stitch to consider that can be done by hand? I mostly use blanket stitches. However, those perform poorly under stress and you can see all sorts of gaps.

Have you looked at the Alabama Chanin books? I've read only the sewing patterns one, which is meant to help readers make the stuff that A. Chanin makes and sells. It's worth a mention for the clear photos and instructions for sewing seams by hand in cotton jersey. They suggest backstitch, plus hand-sewn zigzag or blanket stitch to catch the cut edges.

For repairing a formerly serged hem, I use herringbone or straight-up cross stitch. For side seams that aren't visible on the public side, I use backstitch. Pockets are trickier because they bear weight; I follow Tom van Deijnen there and accept that some patching can be visible intentionally, and lovely in its visibility. Which sorts of seams do you have in mind?


Blocking Acrylic Yarn How do you block acrylic yarn?
I just finished a beautiful Celtic Cable neck warmer with Lion Brand Heartland Tweed yarn, which is acrylic, and I want to make some for my friends for the holidays, but the only yarn I have is acrylic.
I’ve tried looking at various sources at how to do it, and they’re all telling me different things. Some sources tell me to steam block it, because that’s the only permanent way, while others say steam blocking is dangerous due to “killing” the yarn, and that wet or spray blocking is permanent for acrylic as well. Still other sources are telling me to blow dry it with a hair dryer or that you don’t need to block scarves.
What is the truth? How do you block acrylic yarn?

Unlike natural fibers which can be blocked by simply shaping the item while wet, blocking acrylic requires heat. Many people try to wet-block acrylic the same way they would do wool, and they aren't happy with the results so they conclude (incorrectly) that there's no point in blocking acrylic. That's not true. There's simply very little point in wet blocking acrylic. The simplest heat-blocking method is to run the item through a washer and dryer. That's the easiest way, so I recommend trying that first. It should even out any slightly wonky stitches. If you're happy with the appearance at this stage, no further effort is required.
A more intense way is steam blocking. If done correctly, blocking improves the appearance of a knitted item. It smooths out minor irregularities in stitch size and overall makes the item look more polished and professionally produced. It can also prevent edges from curling. Here's how:

Lay the knitted item out flat. Stretch, smooth and smoosh it until it's the shape you want and the stitches are nice and even. If it won't hold its shape on its own, use pins and/or blocking wires to hold it in place.

Use a steam iron to steam it. Hover over the fabric with the iron, not touching it. As you go, pat the fabric gently to smooth it out (in areas where it wasn't already sitting smoothly).

Once you're done, the blocking is permanent. Don't be scared off by the word "permanent;" it's actually a good thing because it means the gift is low-maintenance. Your gift recipients can toss it in the washer and dryer without needing to block it again.

Tips:

Wash your item before steam-blocking it. A knitted item usually needs to be washed after knitting, because your hands aren't always completely clean when you knit (and even when they are they still have natural oils on them). If you steam block a dirty item, you can end up setting oils and stains into the fabric.

Knit a swatch from the same yarn (if you made a gauge swatch, just use that). Practice steam blocking the swatch until you get the hang of what distance to hold the iron from the swatch, and for how long to steam it. Actually try to over-block part of your swatch to the point of "killing" it - that way you know what it actually takes to kill acrylic, and you can avoid doing that. You'll find that it takes a lot more heat than you would expect to kill acrylic.

Irons often have some build-up of calcium salts in their steam holes, especially if you left water in it the last time you used it. The build-up will leave annoying little white crumbly bits on your beautiful knitted item. Run the hot iron over a towel to remove some of the crumbly bits before using the iron for blocking.

"Killing" acrylic is actually an intentional technique that is done on purpose sometimes. Usually for lace. It apparently gives the fabric a lovely drape, but removes all the elasticity. It's probably not appropriate for your cabled scarf, but keep it in mind if you decide to make lace someday.

Ravelry has some very helpful discussion groups about working with acrylic yarns, eg I don't care who knows...I love acrylic!.

If you love working with acrylic, consider investing in a steamer. They work better than a steam iron.


How can I handle the existing thread from a broken seam? What is the general recommendation as to what to do with the thread from a seam that has been broken?

I have this concern when I am repairing stuffed animals, which my kids have a plenty of, that get worn from general play or roughed up by real animals. The following diagram might better illustrate my issue.

In the above image the gray material represents the stuffing of the toy and the red is the existing thread from the stitching.

Normally what I do is repair over the thread a small distance to try and trap the existing thread from pulling out further. That does not always work and sometimes it comes out anyway.

Places where the seam only has thread from one end I tie my thread to the tail of the stitch and work away. I can't do that on both ends though.

I realize this questions motivation comes from small cheap toys but this would apply as well to some clothing seams as well.

If the ends of the old thread are long enough and strong enough, finish them off as you would the end of your hand stitching.

If the ends are strong enough but very short you can use tricks to tie the ends and tucked out of the way. My most used method is to stick the needle into the fabric close to where the last stitch is.
Then I make a loop around the needle and insert into the eye of the needle, in such a way that the thread will make a knot when the needle is pulled through the fabric. If you have enough length, repeat once or twice, to make a more secure finish.
If it is the last tuck, have the needle go up and down a few times going through the fabric of or near the seam.
You can do this instead of tying onto the new yarn, but your method will also work if the yarn is still strong enough.

I would still stitch the new seam over the old one, making the switchover more secure.

If the yarn is likely to break you may want to replace a bigger part of the stitching, even when the thread is not breaking yet. You can stitch over the old stitching or just next to it, or you can take out the old stitching and replace it with the new seam.


How do I remove mod podge bubbles from an irregular surface? I am a miniature painter, and I use brush-on mod podge to seal my minis because it's what I have available and a bottle of mod podge lasts much longer and is easier to use than an aerosol sealer. However, my gloss coat bottle got shaken when my dog knocked it off the table, and I have a lot of trouble with bubbles.

Is there an easy way to get rid of these bubbles when they're on an irregular 3D surface like a mini? Do I need to get a new bottle? Is there a way I can prevent these bubbles even when dealing with odd shapes?

Sources of bubbles

Mod Podge doesn't contain solvents that degas and create bubbles in the finish.  If you are getting bubbles in the finish, it's either because of air bubbles that got mixed into the product, or air trapped during application.

Getting rid of bubbles in the product

As Allison C notes in a comment, the product gets a lot more shaking before it ever gets to you than what it got being knocked off the table.  It's a thick liquid, so it can take a while for bubbles to all work themselves to the surface.  If the container sits for a few days, any bubbles should rise to the top.

The same would apply if you ever decide to stir the contents.  Stir slowly to not introduce air, then let it sit for a few days.

There's a way to speed up getting rid of any air bubbles.  Slowly pour the contents into another container in as fine a stream as you can.  If you want to store it in the original container, pour it back the same way.  For this to work, you need patience to avoid the temptation to speed things up.  Any air bubbles will end up at the top of the product in the container you pour into, where they can easily escape.

Avoiding bubbles in the coating

Even if there are no air bubbles in the product, you can still get bubbles during application.  There are two main ways.  If what you're coating has a lot of surface texture and detail, you can trap air when you apply the coat.  If you use a scrubbing motion with the brush, that can stir in air.  If you are applying a thick coating, air from those sources can aggregate as bubbles.  The coating dries from the outside in, so the surface can trap them.  Even if the bubble pops, the coating may be viscous enough at that point to not flow into the bubble hole, leaving a pock mark.

Techniques to avoid this:

Apply several, very thin layers, waiting between coats for the previous coat to dry enough to be clear.
Try to brush in smooth strokes rather than scrub the Mod Podge into the detail and nooks and crannies.
Inspect for bubbles after each coat.  If you see a bubble or pock mark, that's a sign that you're applying too thick a coat.

Wait for the Mod Podge to dry so you can see its final form.  Fill pock marks with a tiny drop of Mod Podge at the end of a pin or toothpick, slightly overfilling so the drop is a little raised (it will flatten when it dries).  You probably don't need to worry about pock marks that seem too small to fill; they will get filled by the next coat the same way tiny detail got filled by the first coat.  Wait for that to dry.

Inspect to see if any irregularity is visible in the surface.  If so, gently dry polish the area with an abrasive scrubbing pad (the abrasive surface is typically a non-woven mesh of plastic like nylon filaments).  If you need something smaller, try a small piece of nylon fabric wrapped around a cotton swab.   You don't need a perfect surface, just no visible ridges; if any irregularities are barely visible, don't worry about them.  Then give it another thin coating, which will hide any minor imperfections.


What material to use for the spine in the binding of a paperback book? I want to bind a few paperbacks whose sheets have gone loose. Let's say I have already removed all the old glue and I have only loose sheets, with their edges trimmed. I have seen several video tutorials and the procedure is - up to a point - apparently clear to me. (I can post the link to the youtube videos if it can help).

I already have the glue (PVA, ph-neutral for book-binding) but I don't know where to look for the tissue that is used to bind the spine. In some tutorials it appears to be a strip of tissue (not different from a cotton t-shirt). In others they say they use "Japanese tissue", which I have been unable to find.

To be clear, its the tissue that is placed on the spine after gluing the pages, and sometimes before adding more glue on top of it.

Since I am willing to bind several such paperbacks, can you suggest a material that has the desired properties (I guess resistance, ability to absorb glue and bind to it) and has a reasonable quality/price ratio?

I am not asking for specific commercial products but at least to be able to know where to go to find it (hardware stores? painting stores? bookstores? drug dealers?) and what to ask for.

I have used both of these when I bound my hardcover books. I am unsure if either of these are what you have pictured though

Bookbinding cloth

Also known as book cloth or Japanese book cloth. These are paper backed materials, which make it good for applying adhesives, and usually are made special designs. I have use this for just the spine for flair and to make the material last longer (used for more books).

Cheese cloth

This is easier to come by, since it is not exclusively a craft item , and works relatively well. These come in a variety of grades and the finer ones would be preferred for this task.

Both of these should fit your criteria


Does anybody know the name of the perspective most people paint in? Most people paint at a perspective that is like a couple of degrees below the horizontal.
Is there a word for this?

You are assuming that most paintings use this certain perspective, which is not the case. A subset of paintings do and those are landscape paintings which all of your examples consist of. This style typically uses two point perspective with the horizon parallel to the top and bottom of the frame. This could be considered landscape perspective.

The common sense explanation is that this is how we normally see the world, and many artists are simply seeking to capture what they see, especially naive and/or traditional landscape painters as in the pictures above. Plus by selecting a specific genre of painting they by definition have the same perspective.

However there are plenty of examples of "landscape" paintings that do not limit themselves to that POV, including landscapes painted from the birds-eye POV as in the last image. I would say in this day and age, with abstract, pop-art, cubism, and all the other genres there are probably as many if not more paintings that do not use traditional landscape perspective than those that do.


How can I create a custom lamp shade frame? Some people make custom lamp shade frames so it must be possible. A lot of people suggest wire coat hangers but I think they're too flimsy. It has to be rather sturdy.

What materials you use depends on the design of the lamp shade you want to make – is it a hanging ceiling lamp, a desk lamp, etc. How sturdy the frame needs to be depends on what material it is supposed to support (paper, wood, glass, plastic, etc.)  For example, if you are making a paper lamp shade, then the coat hanger wire should be fine (like in those paper lantern lamp shades). If it needs to support glass or other heavy material, then you may need stronger wire, or whatever you can make a sturdier frame out of.

(I’ve made a hanging lamp shade out of just skewer sticks and paper, so again, it all depends on what design you have in mind.)


Is there a website for drop-in life drawing sessions? I draw people from life whenever and wherever I can. But it's tough to find drop-in life drawing sessions when I'm traveling.

Is there a website or database or mailing list for drop-in life drawing sessions?  If so, what are the characteristics of that resource that make it a good solution?

@Kevin, here are the online sites my husband uses to practice figure drawing from home:

New Masters Academy
CroquisCafe on YouTube


Is there a single "best" position for holding a fountain pen while writing? Certain positions are taught in school for holding a pen (not typically a fountain pen or quill in modern times). A variety of grips/positions can be seen in online photos. For example, from Amazon:

These two pictures show very different positions of holding a fountain pen.
Different grips will provide different control and comfort. This question focuses on just those two objectives. Ignore, for example, specialized grips that left-handed writers sometimes adapt with fountain pens to keep their hands out of the wet ink.
This question also focuses on just fountain pens, since pressure requirements are different from, say, ballpoint pens, pressure affects the ink line, and writing on fountain-pen-friendly paper often provides less feedback than most other types of pens.
Using joints and muscles in a natural way must also play a role. For example, one grip may not be familiar to the writer, but could be learned and is just as easy on the body as a more familiar grip. Another grip might make your hand tired or painful more quickly.
In the absence of injury, disease (like arthritis), or other abnormalities, human hands work pretty much the same (ignoring differences in hand size, finger length, and the like), so it seems logical that certain positions that optimize control and comfort should apply broadly to most writers engaged in normal penmanship (excluding specialized writing like calligraphy), and writing characters in the typical range of handwriting size.

Is there a grip/position for writing with a fountain pen that optimizes control and comfort, and is recognized as being superior to other positions for most users?

A poor position (e.g. comfortable but reduced control, or that leads to pain after prolonged use), may not be immediately obvious as poor. Low quality writing could be attributed to insufficient practice by a new user, or eventual pain might not be attributed to inadequacies of the grip. A new fountain pen user has no basis for comparison. If it is the case that different positions work better for different people, how do I judge whether the position I'm using is less than optimal?

You should develop your own style of writing. The most important aspect, is that the hold must be comfortable, especially if you use the pen for long periods of time.
Other aspects to consider, less important: esthetics, quality of the result (i.e. the writing), the coolness factor, the formal-vs-informal setup when you will use it etc.

I used fountain pens for more than 20 years. I use them less now, since the computer is quite incompatible with them. I speak from my own experience, as well as the experience of my family and colleagues.

I guess that holding the pen from the "neck" will allow you better control, e.g. fast writing. Holding it from farther away from the nib would allow you to fuel your imagination and create fanciful text / drawings.
The size of whatever you write / paint also depends on the position of the hold.


What is a chopin chain? I'm trying to select a chain for a pendant, and one of the options is "chopin" chain, vs a "rope" chain (which looks the same to me).

What's the difference, where does this style of chain come from?

The chopin chain is a type of rope chain in which every slightly twisted link embraces two others:

(source. click to enlarge)

Depending on the thickness of the links, the character of the chain can seem a lot fuller:

(source. click to enlarge)

If google images is any indication, the most common type of rope chain, for comparison is the one that, not surprisingly, has the spiralling character of a regular rope:

(source. click to enlarge)

In the rope chain, every straight link embraces four others.
Here is a video demonstrating the making of such a chain.


Preservation of Animation Cels I have several animation cels on celluloid. Does anyone have advice or references on how to mount and preserve them?

They will be on display, so they'll need to be preserved against possible light damage, as well.

(Not knowing your skill set and tool collection, I will answer this question by describing how I as a professional framer would frame this for a customer.  Many of my methods are basically preferences I have settled into over the years.  Where applicable I have included links to other methods.  In this scenario I am cutting the mat, spacers and the glass myself, but I am ordering a custom-made frame from a supplier.  Feel free to ask for clarification on terminology, tools etc... in the comments.)

[1] Design and Cut the Mat: Considerations include: A mat provides a clean uncluttered field surrounding artwork, which can bring the work forward. It is practical if there are edges to the artwork which you prefer to keep hidden. It can serve the purpose of keeping a vulnerable artwork away from the glass.  You can also use a mat to bring out a particular color in the artwork.

Sometimes you may not even want a mat, for instance here you might prefer that the celluloid float minimalistically within a simple frame.

For examples’ sake, here let’s assume that the celluloid’s actual dimensions are 11” x 11”, that the area of the celluloid which you want to be visible is 10” x 10”, and that you would like a mat of 2” width visible. Because it is celluloid you want the mat-artwork-mat sandwich to be “spaced” away from the glass, (“Since animation cels are painted on both sides of each layer, they need to be matted on both sides to insure sufficient air space between them.”)  , and you want to be able to see both the front and back of the artwork.  (The design I am describing here allows you to take an artwork off the wall to see the back side of the cel. If you wanted the artwork to have a finished frame from both front and back, this would be done by working closely with a framer to choose that type of specialty frame moulding, and the assembly steps would therefore differ.)

When I cut a mat, I add the frame’s rabbet depth (let’s say that is 1/4”) and 1/4” to the bottom part of the mat for the optical effect of it being weighted, which is unconsciously more pleasing to the eye than having all of the sides being the same width. [(Bottom-weighting is of course optional. Here is an explanation over at framersworkshop.com of bottom-weighting: “The optical center is higher than that of the geometric center; in other words, where your eye is drawn is actually above the actual center of the space.” This source uses the golden mean to determine the amount to weight the bottom of the mat. I typically just use 1/4” for an artwork of the example size.)][1]

So far, we have a mat design that is 14-1/2” wide by 14-3/4” high, as I have diagramed here:

Therefore, in order to be able to “sandwich” the cel between two matboards, we will cut two matboard “blanks” to the outside dimensions of 14-1/2” W by 14-3/4” H, then cut the beveled openings using a mat cutter.

2 Cut the Glass: Two pieces (for front and back) will be cut using the same outside dimensions that we used for the matboard. Make sure you select the highest-possible-rated UV Protection glass, because, as you pointed out, celluloid is very vulnerable, and would be readily degraded if left unprotected from light.  (You will also want to display this in a room where there is no direct light.)

3 Frame Design: In order to be able to lower your glass and “mat-artwork-mat sandwich” layers into the back of the frame, the inside dimensions of the rabbet of the frame will need to account for approximately 1/8” “slosh room” in both height and width dimensions.  Some frameshops automatically add this, so when you order the frame be sure to confirm if they will be adding slosh room, or if you should include it in your measurements (which would come to 14-5/8W x 14-7/8”H.)

Additionally, some framers just want to know the dimensions of the visible area of the artwork and mat (not including the depth of the rabbet OR the slosh room), which in this example would be 14” wide by 14-1/4” high.  Again, it is very important to confirm with your framer if they would like the dimensions given to them with or without the rabbet depth.

NEVER phone in a custom frame order.  ALWAYS give your order to a custom frame supplier IN WRITING, be it via fax, email, or a COPIED hand-written note.  This way, if you have the misfortune of receiving a frame that is all wrong, you have a paper trail to confirm the information you originally supplied.

For this celluloid, as I diagramed below, you will want to choose a moulding with adequate rabbet depth for two layers of glass (3/32” each), plus 1/4” front and back for spacers to give the artwork room to breathe, plus two layers of matboard (1/ 16” each), plus a minimum of 1/4” working room for securing the sandwich into the back of the frame.  (The thickness of the celluloid, represented by the red line, is negligable.) This total comes to 1-1/16”, which is a very deep rabbet, but not impossible to find (especially if the framer has frame moulding stock that is used for shadow boxes.)

4 Assemble the Mat-Artwork-Mat Sandwich: Wearing clean cotton gloves, and handling the celluloid only by the edges, position it to your liking on the back of one of the mats. Using archival framing tape (my favorite brand is Filmoplast P90) afix the celluloid to the mat board, carefully placing the tape so that the least amount of celluloid possible (I would shoot for 1/8”) is actually in contact with the tape, yet the artwork is secure enough on all sides to not slip within the mat sandwich.  (Because we are working with a two-sided artwork, there is no advantage to using the Hinging Method here.) Using a bone folder, rub the tape well to enhance adhesion. (The folks over at framersworkshop.com have a much more conservative approach about securing a celluloid: “They should not be hinged to their backings. Instead, we use no adhesives on the cels and recommend the use of edge strips that gently hold the layers in place.”)

Once you have the cel secured to one mat, apply some double-sided tape around the outer edges and secure the mats together back-to-back.  (I use 3M ATG tape for this.  It is not archival, but with a 2” wide mat, the ATG should be at least 1/2” away from the edge of the cel. If you are very worried about the use of ATG adhesive that close to your artwork, you could glue the mats together at the edges with acid-free glue such as Yes Glue.)

5 Assemble and Secure All Layers into the Frame: Again wearing cotton gloves, clean one piece of glass and place it into the frame.

Cut precise 1/4” wide strips of 3/8” Foamcore for spacers. White spacers may be overly visible, in my experience black spacers are not noticeable, so either use black foamcore, or color it black with a felt pen.  Cut the Spacer parts to lengths that will fit precisely into the rabbet from corner to corner. Secure them into the frame, abutted tightly against the glass, with ATG.

Lower the Mat-Art-Mat Sandwich into the frame, making sure the side you want to the front, is to the front.

Repeat the placement of black foamcore Spacer Strips behind the Mat-Art-Mat Sandwich.

Clean and place the back piece of glass.

Secure the back glass into place.  There are many possible methods for this including brad setters and point drivers.  It would be risky to use these tools right next to the glass, since the points / brads could scratch the glass, and the tools (especially the point driver which is spring-loaded) could impact the glass, potentially breaking it.  (These are not concerning issues when framing art that only needs to be visible from the front of the frame and therefore has an acid-free matboard or foamcore backing.)  Since we don’t have a backing to protect the glass, I would cut 1/2” - 1” wide strips of matboard, and ATG them along the outside edges of the back glass, then with either a point-driver or brad setter, secure the glass in place.

7 Finishing Touches: Apply a hanging wire to the back of the frame; apply felt bumpers to each corner on the back of the frame. Voilà!


How to starch crochet snowflakes (and other lace items)? I recently tried crocheting a snowflake, and the finished piece is soft and furls, as if there are way too many stitches in each subsequent row. There is only a vague resemblance between mine and the photo that came with the pattern.
I know that starching will make it firm, but will it help with the furling?

How do I do the starching? What are the proportions of water and starch? Do I iron the snowflake after soaking in starch?

This question is difficult to answer without knowing exactly what your finished unstarched piece looks like. Even with a lot of "extra" stitches in each row you should be able to eventually create a flat piece.

I haven't made snowflakes in years so I don't remember the exact process but if I were to do one today I would probably do something like this:

Wet the finished piece with water
On an ironing board (because the cover/padding is soft) I would lay the damp (or wet, doesn't matter) piece out as flat as I could and then using straight sewing pins I would start stretching and "anchoring" all the the edges by poking the pins down into the ironing board padding. If you have a fancy ironing board cover you might want to rethink making pin holes in it but a fabric cover is okay.
Once your piece is stretched out and evenly anchored with pins let it air dry (it should hold its shape).
Get your iron and turn it on to a heat setting appropriate for the type of yarn/thread you used, hopefully your thread can tolerate at least the lowest steam setting. You will be pressing the snowflake before starching.
Now with your iron heated up (and hopefully steaming) carefully remove the pins from one point only of the snowflake and gently press the iron onto that point. You might want to use a thin cloth or pressing cloth between the iron and the snowflake.
Repeat for all of the snowflake points and gently press with the iron. You should now have a nice flat snowflake. Allow it to fully cool.
This is point where you mix the starch. If I recall I used Lacy's Stiff Stuff (available at U.S. craft stores). I would think that Mod Podge could also be used but I haven't tried that. The consistency should be just thin enough to soak into the fiber without gooping up on the surface. You want it to be able to penetrate but not puddle too much underneath.
Carefully place the flattened, cooled snowflake on a piece of waxed or parchment paper and carefully apply the stiffener/starch with a craft brush, allowing the starch to soak into the fibers of the snowflake. Get as much stiffener as you can to soak in without it pooling underneath.
While the stiffener is still wet I like to add a bit of superfine iridescent glitter because I'm crafty. Allow the snowflake to fully dry.
Carefully peel the snowflake from the waxed paper and admire your handiwork!

That's just one way to do it. As I was typing I realized that you could skip the ironing step entirely and just soak the newly-crocheted piece in the stiffener until it is saturated then place it on the waxed paper and "coax" it into shape as it dries with your fingers and/or pins as above.

Make sure you use waxed (or parchment) paper between the snowflake and the ironing board (or other pinnable surface) if you're using pins. Let it dry fully and you have the same result.

I have used both methods. Going through the ironing steps at least let me know what the finished product would look like and if it's even going to look good before wasting stiffener.


Laser printer paper for clear wall decals? Never done anything like this and not sure what to buy I want to print a few things on a clear sticker that I can stick on my walls. But I don't want it to damage the walls when I remove the stickers.
Is there any special paper I can get that I can print on with a laser printer? I see a lot on Amazon that are white but I need/want clear.

Depends on the type of paint on the walls and the type of adhesive on the decals.  In general, with normal PVA the sticker is going to end up damaging the paint either by bonding tightly and peeling it from the wall when you remove the sticker, or reacting with the paint and discolouring it over time.
Some types of high gloss enamels fare better, but in general a sticker on the wall is going to have to stay there until you decide to repaint, otherwise there will be a mark.
Paint also discolours with age due to exposure to air and sunlight. So even if you find a miracle adhesive that doesn't do anything to the paint, it will then instead protect the spot under it and once you remove the sticker there will be a noticable spot on the wall that doesn't match the colour of the rest of the wall.
That said, most clear printable sticker paper and waterslide available are for inkjets rather than laser printers.  However, Silhouette America makes a "printable clear sticker paper" that is supposedly laser printable. I have not used it myself, but you can order it from Amazon


Repeatedly cutting 44mm circles from paper I'm making badges, so need to cut 44mm circles out of photo paper.
I'm currently using sharp scissors and being careful, but that obviously takes a fair amount of time, and doesn't give perfect circles.
The kit came with a circle cutter, but it has no way of gripping, so just slides around the paper giving ovals!
I've seen various compass type cutters, but I don't want to put a hole in the middle.
Are there any devices or techniques I'm missing?

If you can provide links and/or images, my answer can be adjusted, but at first thought, consider the following.
For compass style cutters:
The pivot of the cutter could be attached to a metal disk or to a magnet. The size and shape of the disk or magnet would be dependent on the structure of the pivot.
If the pivot is a magnet, the underlying surface should be metal, but you'd want a cutting mat between the paper and the metal sheet.
If the pivot is a metal disk, the magnet should be embedded in a wood surface or if the magnet is thin enough, cut a matching recess in the cutting mat or equivalent.


What kind of art style is this? I'm currently trying to find a particular methodology with which I can texture the environments in a computer game (stay with me here!). I'm drawn to the clean, low-frequency detailing from a game published in 1995, Delphine's Fade to Black (have skipped to the start of the game here). On the PC this game mixed gouraud-shaded polygons for objects and characters with stark, low-resolution textures for most of the game.
I've always been attracted to low-poly art in CG, and precisionist art in traditional mediums, as seen in the following examples...

Note - hard shadows, distinct blocks of colour with gradients. There are a few games which have borrowed from this style - Ico, Team Fortress 2, Rime (among others) and I think it might work for the game I currently have in mind.
That said - the Fade to Black wall texturing seems to my eyes (despite being a low-res texture map) a little more impressionistic/abstract than Sheeler, Smart et al. Details and folds are hinted at with a simple block of dark green, rust is implied with a couple dabs of brown. In fact, there's a touch of the screaming pope to it, to my eyes:

Obviously Bacon's work is way more detailed and frantic, but I can't help but think that the impressionistic, low frequency detail of the Fade To Black environment texturing has more in common with Bacon than the totally cool, remote Sheeler.
So my question is: Does anybody know of a particular style of art which combines precisionism with elements of impressionism, daubs of paint, implying detail etc.? Does anybody have any examples of this that I could investigate?
In truth, I'm a bit of a traditional art ignoramus, but I think this might be useful research for my project.

What you're talking about isn't just one style or school, but it sounds like you may like works coming from: scuola metafisica, surrealism, American modernism, American realism, expressionism, and symbolism.

Now, as I said, the characteristics you described don't define any school of fine art in particular, so within those schools there will be works that do and don't fit what you're looking for.

Definitely check out Egon Schiele and Giorgio de Chirico.


Smoothing cut glass made from wine bottles For the experienced people that cut glass bottles: I would like to make the bottom of the wine bottle a drinking glass. I have cut the bottles easily but getting a round polished edge is quite impossible with hand. My Dremmel gets too hot. Any suggestions?

Sand down the edges with 150-grit, 220-grit, 320-grit, then finally 400-grit sandpaper to make your glass even smoother. Then, use 1000-grit and 2000-grit sandpaper to polish the edge to perfection. Wipe the edge of the glass with a clean damp cloth once you've finished sanding to wipe away any leftover grit or dust.


What kind of paint best adheres to doll/barbie bodies? Does anyone have experience with full-body repaints for plastic dolls? I'm working on a repaint/restyle and I need to paint the doll's entire body. I'm creating a fantasy creature but acrylic paint doesn't quite stick the way I need and it doesn't work well on jointed areas of the body.

I've tried using nail polish and acrylic base with a sealer, but these are not permanent. This is the doll I'm working with. I'd like to preserve her mobility and keep the paint from chipping away.

This doll is for a child (age 10) so it will go through some wear and tear and the paint job needs to hold up. Is there a brand/type of paint that will work better than what I'm using? Or maybe a specific type of sealant?

Thanks!

Plastics have become less adaptable to paint and vinyl plastics are often the least receptive.  However, I think if you went to a distributor like Blick and visited the sign painter's paints, "One Shot" being the most prominent, you will find a very palatable product.

Palatable in the sense that they mix well, so you can buy a few small jars and blend a skin tone.  And palatable because they just are the best enamel paints ever developed for commercial use.  They are heavily pigmented so they can be reduced and sprayed.  They lay down well and don't leave heavy ridge lines when strokes over lap, should you chose to paint with a brush.  They dry quickly and provide an even gloss finish, which can be flattened if desired.


Is epoxy a reasonable adhesive choice for repairing pottery? I need to repair a cracked pottery bowl - an epoxy seems like a reasonable choice since there are some gaps of around 1mm width. The material seems fairly porous, and is maybe 3-4mm thick.

Obviously this is only going to be good for display, so I don't need to worry about temperature resistance or toxicity too much.

Is epoxy the best choice here, or am I missing something else?

epoxy seems like a reasonable choice

Epoxies are really versatile and can give very strong results. It would have been the first thing I considered as well.

since there are some gaps of around 1mm width

Likely not an issue but most glues need perfectly mated surfaces for good adhesion. There are expanding glues, like Gorrila Glue, but most? epoxies are not meant to fill gaps. As long as there are sufficiently mated surface area this would be a non issue. If you do end up gluing it, think ahead of how the project will be sitting as it dries. Epoxies and take several hours to cure. If something shifts during that time you might be stuck with it (Ha, I made a pun)
I am glad to see you already took some precautionary thought when it came to temperature and toxicity. I would have asked other wise if you had concerns about food safety. Some epoxies are food safe once cured and most have varying temperature tolerances. Read your product documentation carefully.
I used a cheap 2-part epoxy to repair the handle on my pottery mug that broke in 4 places after I accidentally threw it of my work desk.

Part of the handle shifted while curing, as I can see a crack (not very visible on the right hand side of the photo) that should not be there, but it has held strong for over a year now. The "crack" you see in front is a void because I could not find the chip the came from there.


How long does invisible lemon ink last? I tried searching for this online, but after a few minutes I couldn't find a conclusive answer. Does anyone know how long it lasts?

That is if I write a message in lemon on a piece of paper, keep it in a cupboard for x months/years, how long until the message will be lost?

I think the hidden message won't be lost, it will become visible instead.

I don't have any practical experiences after what time the message will become visible, but I'm reasonably sure it depends on the type of paper you used and under which conditions the paper is stored.

Lemon juice as "invisible ink" works by oxidizing the paper, which accelerates it's ageing. Applying heat further accelerates the chemical reaction.

If you put a blank sheet of paper on a hot plate, it will eventually become brown. The parts where you applied lemon juice discolor much faster, which makes the secret message visible. It's not the lemon juice that gets brown, it's the paper itself that does.

If you don't actively accelerate the reaction by applying heat, the lemon juice will react with the paper much slower. Direct sunlight and a hot environment would probably make the message visible within a year. In a cool and dark storage the message could stay hidden for several years.


Which spray adhesive should I use to temporarily glue a laminated piece of paper to plastic? I want to apply laminated piece of paper as an arcade machine video game controller cover but I want to later be able to remove it cleanly from the controller.

There are a ton of spray adhesives but none of them make it clear if they can be removed. Some say "repositionable" but looking at the instructions that usually just means they don't dry instantly so you have a few minutes window where you can remove them.

Effectively I'm looking for an adhesive that is slightly more adherent than a post-it note. Maybe as adhesive as a vinyl sticker which usually come off cleanly in my experience.

(would also love advice on the paper itself ... in the comments?. Need it to stand up to greasy fingers etc. Was going to laminate but if there is some other method, maybe not paper? Note: the final cover will have a design on it and hence needs to be printed.)

There is such a thing as Post-it Note adhesive sticks, which allow you to "make any paper sheet into a Post-it note".

In my experience it works well, but doesn't come off absolutely cleanly. That said, what little residue there is wipes off easily with a cloth.

https://www.amazon.com/Removable-Restickable-Stick-49oz-Repositionable/dp/B001GXFB4K


Making a diaphragm spring out of sheet metal I want to make a relativelly small diaphragm spring for a project of mine. I'm thinking somewhere around 50-70 mm diameter, I can size the other parts to match the spring.

It's basically just a cone with some cutouts.
I have a sheet of material that I've been told is Phosphor bronze. I've measured it and it appears to be 0.2mm thick. According to Wikipedia

Phosphor bronze is used for springs, bolts...

Which makes me think this could work. The problem is I don't really know how to work this material. In particular, I need to turn it from a flat piece into a cone and most likely add some reinforcement pieces to the 'fingers', though I could probably make do with bolting those on.
So the main question is: How do I go about turning a flat sheet into a cone? Do I stretch it somehow? Or should I make a circular cutout and join the edges somehow? Do note that I don't a lot of force from the spring. Worst case I'll make several and put them together.
In terms of tools I'm decently capable with a soldering iron (soft soldering) and have access to a drill that has an attachment that is meant to make it usable as a primitive lathe. Those are all that seem relevant right now.
Now, to avoid the XY problem, I shall describe the X as well.
I want to make a small model of a manual automotive clutch for myself. The key piece that I've been unable to get is the spring. Thing is, I want one that is way smaller than the ones in cars and those that are sold at that size are mostly gonna be way too strong for my application, as they are made for strength, not for looks.
I don't mind if what I make is weak, it's not meant to transfer power, it's meant to look realistic and that is my end goal.
Attempts
Attempt number 1: https://imgur.com/a/zKjpghs

This is a little speculative as I haven't tried it with phosphor bronze, or anything as thin as you got.

First cut a circular piece, and clamp it between 2 rings.  A holesaw and scrap plywood (to support it and to make the rings) may be helpful here, but you don't yet want a big hole in the middle of the workpiece.  Mark the centre accurately, a set of equally-spaced radial lines (I suggest 12), and a  circle a little smaller than the inner diameter of your clamp rings.

Then beat or even press it into a conical shape, using a round-ended tool in the middle (maybe even the blunt end of an old drill bit).  You should have a cone with a slight brim round the edge.

Now drill out the centre hole (using a step drill or cone drill would be best).  This is already a spring, but perhaps rather too stiff - this is a good time to test.  Cut along 3 of the 12 lines (equally spaced) and test again.  If it's too stiff, cut along another 3 lines so every other line is cut, test again, and if necessary cut the last 6 lines.  For the cutting, I'd use a hacksaw with something supporting the workpiece, as you want to remove a little material.  You might be able to use tin snips and make two parallel cuts (my tin snips are heavy duty and not fine enough for this).

If you want it to be flat around the centre hole, instead of using a round-ended tool, drill a small hole and use that to clamp discs front an back, then apply pressure to the discs.

The important bit is to keep everything concentric - you'll probably spent more time jigging than actually making the part.


Can I be a painter as a colorblind person? Based on the results of this online test and previous, "normal" (doctor-aided) tests, I have red-green color blindness ('protanomaly'). As for real life experience, I don't think it's very invasive; I can see the difference in tone and color more or less (at least I think so).
I'd love to learn to paint with oil paint and tempera, and later I would want to try to study at an art university, too.
I can draw with pencils relatively well based on objective opinions (not from family or friends), and I tried painting in the past. Now after a 1-2 year gap I'm drawing again and want to paint as well.
I mainly want to paint nature, landscapes, surreal and futuristic/sci-fi art.

You can be a painter, but you should expect to encounter more obstacles and limitations than a person with normal color vision.

Have a look at the color wheel:
Color wheel

If two opposite colors look so similar to you that you would confuse them, you're going to have problems.

You may not be able to paint some red or green objects in a realistic way. If you paint a red apple in a way that the painting looks like a perfect copy to you, it may look different for a person with normal color vision.
Red and green behave totally different if mixed with different colors. That might actually help you identify the paint on your pallet, but it may cause problems and accidents as well.
Red is a "warm" color, green is a "cold" color. Using the wrong color might totally destroy the mood of a painting, but you could use this as a contrast as well.

You'll have to learn to paint like anyone else, but you'll also have to learn to cope with the fact that you see colors in a different way. This doesn't mean that you cannot become an artist. You have to find your own style like anyone else, but some art styles might be impossible for you to be good at.

You could buy an inexpensive set of colors and experiment with different motives. Read and learn about color theory and show your works to friends and family. I doubt you'll get it completely wrong.


Create a glass replica of something made of plastic (or other material) I found an amazing product online and my only qualm with it was that it came with plastic containers (I try to avoid plastic when dealing with food as much as I can). I asked the company if they plan on making a version using glass but they said no.

Is there a way that I could create the exact same shape as the original containers (just the bottom part) but out of glass?

If I wanted to do this on my own:

What are techniques I could use?
How/where could I find materials and/or tools?
Are all types of glass "Food Safe"? I know there are different
types of glass for different things.

EDIT:
I personally do not have much experience with glasswork (I blew glass ornaments in a class once) so would you recommend outsourcing this instead?

Is there any difference (besides price) in going to a company with a commission of this kind over going to an individual artist?

Also: Cost is not an inhibitor to me. I value my health as it is with me all my life, and I can always make more money.

Unless you are familiar with working with hot glass you would be better off seeking an glassworker to do this for you.

There are a few ways you could replicate the container: different kinds of casting or slumping (heating glass to soften it and letting gravity take over) but they are complicated, involve specialty tools and materials, and 1200°F-2000°F glass. Not something you could do on your own, unless you do glass working.

That being said there are plenty of glass artists around. Try to find a studio in your area. Art schools would also be a good place to find someone to do this for you. It would be an excellent exercise for a student in the glass dept.

A web search for "custom glass container manufacturing" has a few hits, but they are about making longer production runs like specialty bottles for a distiller. If money is no object you might convince them to do it.


Where can I find/make paintable opaque green domes? I've been looking for an item I need which is a hollow hemisphere with outer diameter of ~25 mm. Ideally, I'd like them in green, but I can only find them in clear. Do these sorts of domes exist in opaque color? Would I be able to just stain the clear ones?

Is there another material for this type of object that can serve the same function? I need to be able to paint onto it.

This object will be decorated with a custom image and used to cover pieces in a board game I'm designing for my family.

If you're going to paint them anyway, especially opaque, I suggest spray-painting the semi-spheres. That way, you can get the exact green hue you want them to have, you can control whether you like it glossy or matte, and - dependent on your skills - can have them look really smooth.

I suggest sanding these transparent domes a little first, with very fine sandpaper (≥ ~300);
applying a layer (or two) of the spray-paint. To prevent the light plastic domes from flying away when paint-brushing, tape them on something heavy (like a wooden plank) with double-sided tape;
gluing the custom images onto the surface (depending on the paper by letting them soak in the glue, so they will follow the curved shape of the domes closely);
and finishing it off by applying a layer of transparent (glossy or matte) varnish.


How to hold a thin grip pen? I have got Parker Vector Metallics fountain pen. Its grip is very thin.
I use tripod grip. My thumb and index finger touch each other when I grip this pen. This causes kind of irritation and pain in the lower right side of the hand.
What is the proper way to grip a thin pen?

Finding the right way to hold your pen might simply not work since your preferred way of holding a pen is incompatible with said pen. I hold pens using the (dynamic) quadropod grip, and, although I think it's relatively easy to switch these grips, I doubt that changing grips will prevent your fingers from getting irritated.
I think the problem might simply be a relatively large difference between the size of the pen and one's fingers or hand. Up to a certain diameter, one's fingers will always touch.
Instead, I suggest to get a 'pen grip':

source
You can find them for pens of any size, and in any kind of size or shape.
You can also fashion them yourself out of foam, wood, hair curlers, by rolling rubber bands around the shaft, and a plethora of other options.
I've once used old kneadable eraser to get a surprisingly comfortable (albeit slightly sweat-inducing) 'pen grip':

Reconstruction. But basically the exact same thing.


Method for high clarity plique à jour I notice that Laliques famous plique à jour pieces have remarkable clarity.

Typical modern works, or those examples I see being done by artisans on YouTube are always much more cloudy or translucent.

How is that Lalique was able to get such pure transparency in his cells?

This is completely a guess on my part...but I know that when I was taking a jewelry design class in the early 1990s, my instructor had to eliminate the enameling section of the class because the "ingredients" and techniques had just been determined too toxic to teach, and she hadn't worked with the new resins enough to be comfortable teaching with them.

So, maybe the big difference is our current scientific knowledge about the levels of toxicity that limits our access to the same raw materials that Lalique was using.


Is a parking method a good strategy to cross stitch a pattern with many single points? What strategy shall I use to cross stitch a pattern which has a lot of single points/cross like the one below:

I have seen a lots of video about the parking method, but it seems to be always demonstrated on big fixed "looms", which seems to prevent the parked thread from tangling, and on patterns with at least several contiguous points for each color.

Is this method also good when working on a portable hoop and on patterns with a lot of single points? Are there other strategies that would be more fitted to this situation?

For the pattern you posted, I would look at which stitches are rather close together, and 'hop' from island to island, taking a route so that the thread at the back doesn't form loops that are too large.
When there are single stitches or small groups that are further apart, I reason as follows: are the stitches/groups so far apart that it takes less thread to bind off and start again? If not, I make the thread go underneath one or two of some stitches in between (make sure it doesn't show at the front side, so don't push through completely), so the loops at the back side of your embroidery work are not that large.
If there are no stitches in between yet, you can always secure a large loop when you get there (with another colour).


What do I use to outline a sketch when I want to apply watercolour afterwards? What is the best thing to outline a sketch with when you're going to use watercolour afterwards?

Pencil
Sharpie thick point
Sharpie fine point
Regular black pen
Black colour pencil

As you gave sharpies as option, you seem to want see the drawing when finished with the water colour.
In that case, use whatever waterproof marker you happy to draw with, as the lines will be well visible, you need to draw in such a way that the lines are as you want them to be in the end result.
Pencil lines will work as well, if less obvious, as long as the pencil is waterproof, as most are.
On the other hand, if you want to lines to be almost invisible, a very light and thin pencil line or even pencil of which the lines will dissolve in water and disappear mostly or all in the paint you use later.
So from that you see it is a design decision.
Show or hide the lines, your choice.


Looking for a difficult knitting style or technique, and how to tell whether it's been done well I hope this question is on-topic -- I'm not a knitter myself, and won't be attempting to knit anything you suggest -- I'm actually trying to write a story.  I want to show one character realising that another one knows her stuff when it comes to knitting, so ideally it would be something that's not obvious to someone without some expertise.  It would be good to use a jargon word or two, if that fits -- while avoiding writing anything that sounds ridiculous to people who know the subject well, of course (the way any treatment of "hacking" in early films and TV series does to programmers...).

It will look something like the following, where phrases in brackets show areas probably in need of improvement (but feel free to make other suggestions):

  [Foo-stitch]?  Her eyes shot straight to the [shoulder seams], looking for the telltale [bunching], but there was nothing but row upon row of perfectly even [colourful synonym for stitches].  Row upon row upon row.

  "Well?  Is it any good?" Dan said.

  She swallowed, and put it back down.  "Yes," she said quietly.  "It's good.  It's very good."

In case anyone's interested, what happens is that a glamorous new housemate arrives, and the main character finds to her surprise and dismay that she is actually very good at knitting -- something the main character had thought of as being "her thing".  The crisis sharpens further after that, but it's eventually resolved :)

Thanks!

Our Wiki answer:

background information

Trust me when I say realistically there's not alot of difference between knitting a 4" by 4" square and a metre by a meter cot blanket. Size of project is no indication of skill. Typically a good knitter progresses from plain items to fancy. Shawls are definite "I've made it as a knitter" items, & socks can be too. To put it another way, due to shawls using a number of techniques you wouldn't expect a beginner to attempt or be able to make.

Advanced techniques include:
 lace - one very carefully, literally, knits something that resembles lace

cables, "Aran" is the jargon name

colour work -this includes "fair isle" which is a very particular type.

, "entrellac", (which I've always wanted to do) it looks like someone wove narrow knitted strips together

jogless stripes, ideally ones stripes don't start/finish with an offset. If you achieve this, your stripes line up perfectly they are said to be jogless

A good knitter has even stitches that are not too loose, not too tight They can find and fix there own mistakes, and use many different "cast on & cast off" techniques.

If you want to keep the looking at the shoulder of the Jersey/cardigan your sentence could read

  [Kitchener]Her eyes shot straight to the
  shoulder seams, looking for the tell tale
  pucker, but there was nothing but a row of
  perfectly even [pick any expletive] stitches.

Or

  Short rows? Her eyes shot straight to the
  neckline, looking for the telltale holes
  caused by the wraps, but there was
  nothing but row upon row of perfectly
  even, perfectly slanting curved knitwork.
  Row upon row upon row.

  Fair isle? Her eyes shot straight to the
  colourwork, looking for the telltale
  puckering of tight floats, but there was
  nothing but row upon row of perfectly
  even tension.

Little Arrowhead stitch  is a difficult technique

  "She looked at the Little Arrowhead panels, not a stitch or hole was out of place"
  "Well, Is it any good?" Dan said
  [Mia] conceded that "not only is it good, it's amazing" her insides churning as she felt her thing ripped away by [Naomi]'s clearly superior skill. (Lol)

"Oh don't you just love steeking" gushed Naomi, clearly pleased to talk with someone who shared her passion.

"Yes" Mia agreed matching Naomi's tone, unwilling to admit she had no idea what [private derogatory nickname] was on about

"The thrill as you cut through your stitches; watching them unravel" continued Naomi.
 Mia suddenly realised her new acquaintance had jumped the line between genius and insanity, and was merrily skipping away.

(Steeking scares/horrifies knitters of pretty much any skill level)


How should I keep my unframed A3 size pencil drawings? Just to protect my drawings from dust and smudging them, I used to keep my A4 size drawings in a office file like this.

Now, I've started drawing on A3 sized papers, and I don't know where to keep them. Shall I go with a similar file that I used to use, with a larger dimension, or is there some special file for keeping artworks? And how can I Google it (I tried, but found only office files).

A3 Drawings Briefcase

Google search link


Anything better than baby oil for blending oil pastels? I've only tried baby oil so far for oil pastel painting, I find that it softens the pastels and it's pretty cool.. though the oil could leave a spot. I've heard mineral spirits and turpentine work as an oil pastel blender as well, and I'm wondering how they work differently compared to baby oil? Would they also leave a stain spot on paper? Would they (or any other alternative) make oil pastel painting drier (less smudging) over time?

Baby oil/mineral oil will never dry by evaporation like turpentine or mineral spirits ( AKA naptha , VM & P). It will not polymerize like boiled linseed oil or plain linseed oil. It may be drawn into the paper or canvas which could appear to be drying.


How can I safely cut pieces off a small wooden cube? I would like to make some small wooden cuboctahedron, that is something of this shape:

They should be about 2cm high. So, my idea is to take a long wooden piece (2cm x 2cm x 200cm) and cut some small cube of 2x2x2 cm. I have a jigsaw to cut the cubes. However, I'm not sure about a good way to "cut the triangles" (the jigsaw feels dangerous for my fingers):

How can I do that?

Jigsaw is a poor choice of tool for this given the size of the finished product and that it is a roughing tool more designed for cutting sheet goods.

Tools to consider

Bandsaw

If the polyhedron was a little larger and your valued the tolerance of the finished product I would most certainly suggest the bandsaw as you can use a mitre slide and a custom sled with a proper angle to get all of the cuts accurately. However the tiny size hinders the success of that size you cannot clamp that small and that is too close for the fingers.

Coping saw and/or sandpaper

It might take a little practice but if you are up to using hand tools then I would suggest a coping saw and sandpaper. Use the saw to get the larger sides cut and then just sandpaper to get the triangle faces done. It is small enough to not take too much effort.

Notes on mass production

As per the comments it looks like you are going to try and mass produce these. I still think sanding would be safer but I suppose you could use a disk sander to speed up the process. Just keep in mind that it is still a power tool that can hurt you so always be mindful of that. Don't sacrifice in an attempt to increase efficiency.

I would consider making a small ramp of jig that would give you a 60 degree angle. Looking at an edge view from the wiki that can help ensure the best angles when sanding. You can try and use a set of small squeeze clamps to help keep your fingers out of harms way. Those might become less useful as you form your cube since the sides will be made smaller and there will be less to grip.

Perhaps this product already exists if you are interested

If you do need that many I would look to see if someone already has these machined and sells them. I found this seller on Etsy that makes what appears to be the correct polyhedral. This one as well

Something like a bead supplier could have these and they could likely be finished as well with varnish too.

Woodworking.SE

If you do nail down a process/procedure based on tools available but still need more help consider coming over to woodworking.se and asking there.


How to glue a paper on a three-dimensional shape without creating wrinkles I am trying to create a model of a pair of shoes in paper and I've run into a little problem. I'm trying to shape the toe-piece without creating wrinkles or cuts in the paper - I want it to be shaped as smooth as a real toe cap.

I'm using this method. First I create a shape of soft cardboard. I then glue a sheet of paper on top of this cardboard to represent the outside vamp of the toe (on a real shoe the leather of the to cap). This is where the problem occurs. I've created an image below to describe what I mean.

The three-dimensional representation of the shape.
The side-representation of the shape.
The front-representation of the shape.
The top-representation of the shape.

The red line is the centerline of the toe cap and the blue dot is the critical point where the paper becomes excessive and creates wrinkles.

To illustrate this on a real shoe it's the edge of the toe (blue dot) that's critical.

Since the shape isn't flat but bends three-dimensional a part of a paper glued onto it would become excessive at the blue dot. How can I glue the paper onto the shape without creating this excessive paper? I don't want to make a cut in the paper at the red line as I don't want any cut on this surface.

Any suggestions would be highly appreciated.

The material of the shoe has been stretched and shaped. It is made of materials that are more flexible than paper.

Your best bet is to soak the paper, then lay it on the shoe and position it, ever so gently. Allow it to dry in place, and it will be come rigid. If you want it to stick to the shoe after it has dried into the proper shape, you can now spray a sticky adhesive to the paper and hold it to the shoe. However, the shoe surface is likely to resist the adhesive properties, because it lacks sufficient tooth.

Perhaps there is a better solution. May I ask, why are you interested in doing this? What exactly is your end goal?


Gloss coat then matte coat? I’ve heard that matte coatings are less durable than gloss ones.

The claim was that gloss coatings form a hard protective shell, whereas matte ones do not.

The recommendation was to first apply a gloss coating for the durability. Then after the gloss is dry apply a matte coating to mute the glossy effect and achieve the intended matte finish.

Is this correct or a myth?

Using Krylon spray coatings to finish wargaming miniatures, but answer would likely apply to most any application.

Spray matte coatings can indeed be easily scratched and chipped; I can't speak for spray gloss coatings, as I have no personal experience with them, but brush-on gloss coatings (Triple Thick, Tamiya gloss, Future floor polish, etc) can be extremely durable. The durability you'll want will ultimately depend on how you plan to store your miniatures, however. If you transport them separated in a lined box and treat them overall gently, then a less durable finish can be just fine; if you tend to toss them all in a box, you'll want something more durable to prevent them from getting banged up.

You can layer finishes; when I do miniatures, I do coat them in brush-on gloss (Triple Thick) for durability followed by a spray of matte finish (Dullcote or Purity Seal/Munitorium Varnish) to cut the shine. The minis I've treated in this manner are from a board game and stored in the game box, and so far have not chipped or shown any damage to the paint or coatings. They aren't as matte as they would be had I used only the final matte finishing spray, but they aren't glossy, either; your desired finished look may have some impact in how you choose to finish your miniatures, as well.

As an addendum, if you are using only plastic or metal miniatures, Krylon sprays are likely fine, but if you choose to purchase any "premium resin" miniatures, under no circumstances should you use Krylon on them; Krylon has been shown to behave unpredictably on polyurethane resin, ranging from "it kind of worked but didn't dry/cure well" to "it pitted/ate away at the surface where it was sprayed."


What should I look for when getting a treadle sewing machine second hand? I already explored getting a modern sewing machine second hand in this question. Now I would like to consider a treadle as well. I quite enjoy traditional tools where muscle power is used over electricity. It give me a more accomplished feeling at times.

I see lots of treadle machines online at second hand sites. Likes most things the descriptions are vague and the prices vary.

What do I need to do, test and or feel for when looking at these machines? I'm sure there should be a general list of things to be aware of.

Brand, Model, Functionality and Missing Parts

Singer is first choice, White second, and other brands should be
purchased only if complete (check for bobbins, presence of operating
manual, and condition of moving parts). Singers are more numerous
and, therefore, parts for them are more readily available ...  if
not from dealers, then from other old machines.
Singer made various models, and accessories are not equally easy to
find in all cases. If the machine you're considering comes with only
one or two bobbins, for instance, make sure they're the disc variety
rather than the scarcer long type.
Look over the machine carefully. A few small parts may be missing,
but such pieces are generally replaceable. Major hardware, however,
is more difficult to obtain or repair. Move the treadle to be sure
it functions, and check the rods that connect it to the wheel. See
if the skirt guard — a handy item — is in place. And, no matter what
its condition, if you come on an unusable machine for free or a
couple of dollars, take it. It may be a fine source of parts.
If you're at an auction and overhear some woman saying that she
wants a treadle operated sewer because the cast iron base makes a
nice table or the drawers make pretty flower boxes, outbid her if
you can. This sort of thing is being done far too often, and it's a
terrible waste of good sewing machines.


How to make a cloth brim hat? I would like to make a hat that looks roughly like this one but I'm clueless on how to go about with it.

I need it to be from a material that does not keep heat much (compared to, say, felt) and that won't deteriorate if it gets damp (like paper does). I thought I might use rough canvas, but I'm not sure if it will stay in shape if just sewn. So:

What would be a suitable cloth material to use? Would canvas be alright?
How do I make it stay in shape without making it too thick — should I use wire or fishing cord, do I need something to make the cloth stiffer (if so, what would it be), would sewing it properly be enough?

I have some experience with canvas hats.  I owned a Real Deal (hatmaker from Brazil) for several years. They're made from old canvas tarps, like the ones used to cover truck payloads.

Canvases has its advantages over felt.  It is slightly more breathable, and wicks moisture away a little bit better.  It's a marginal improvement over felt.  The greatest advantage is in durability.  With reasonable use and care, canvas will last for years.  Mine survived about 4 years of heavy abuse.

For heat control, eyelets will be helpful, especially high up near the top.

To help the top of the hat keep it's shape without making it too thick, there's stuff called boning that is used in fitted dresses and corsets.  Its a thin plastic mesh that adds stiffness without adding significant weight.  Asking around at a fabric store will put you on the right track.

Perhaps the easiest way to help the brim keep its shape is a piece of wire.  You can cut it to fit and then secure it to the edge of the brim with bias tape.  To keep the tips of the wire from poking through the tape, you can tie them together with dental floss,  a heavy dab of epoxy or if you have the ability, welding the tips together.


What is an easy way to waterproof large pieces of cardboard? I am building sets and props for an outdoor performance. We must use recycled materials as much as possible, and will thus use cardboard a lot since it is readily available. We plan on painting or sticking on some decor to build the props, where they will then be mounted on frames/sticks to stand or to be puppetted by stagehands.

As the performance is outdoors, the pieces will inevitably face the perils of water (tropical climate; high humidity and precipitation) repeatedly due to rehearsals and accidents. I am concerned about the cardboard pieces falling apart from water damage. Most of the cardboard is 1-ply, if that is important.

How do you cost-effectively waterproof large pieces of cardboard with paint on them and protect them from getting soggy? They will be on the order of 0.25 to 16 m^2 in surface area per piece.

Waterproof paint for the flat parts, tape for the edges.

Any kind of spreadable waterproof fluid will do for the large faces of the cardboard sheets. Paint or glue could both work, but paint is probably more cost-effective. There are many types of waterproof paint (acrylic, enamel, anything listed as exterior-grade).

The edges will be harder to deal with using paint. Even if you managed to paint the edge itself successfully, water could still trickle down the corrugated part to the inner parts where your paintbrush couldn't reach and destroy the cardboard from the inside out. But the edges can be covered using waterproof tape. Duct tape would be best for strength and durability, but if you don't want it to be visible and spoil the image of your painted props, you could use a strong clear tape instead.

See also this Quora article:

  There are various ways you could seal cardboard but basically you'll have to cover every part of it that would ever come in contact with water or even humidity, and do that completely and without even tiny gaps.

  So you could seal it with waterproof (or at least water-resistant) liquids, or with waterproof tapes (duct tape, clear packing tape, etc), or by using something like shrink-wrap plastic or other solid but flexible plastics, or with flexible metals like aluminum foil, or even just by enclosing it inside a waterproof acrylic or glass display box or dome.

  The most water"proof" liquids would be permanent paints (acrylics, latex, enamels) or clear finishes like polyurethane and epoxy resins and even less waterproof ones like thinned-down PVA glues** and acrylic mediums, etc.
  (Many other pasty, etc, materials that are thicker or not intended as finishes/paints could work too but they wouldn't usually be as smooth or thin.)

  ** aka permanent white glues, craft glues, etc --Elmer's GlueAll is most commonly used or book binding glue-- and "decoupage mediums" like Mod Podge which are already thinned down white glues


What is the name of this drawing style of images? Please ignore the added filters:

Wouldn't say this is really a specific art type but "Naïve figurative marker drawing" or "cartoon style marker art" come to mind.


How many pages does a book leaf have? A co-worker asked a riddle that got me wondering about the anatomy of books and book binding methods.

The Riddle:

  A leaf is torn from a paperback novel. The sum of the remaining page numbers is 15,000. What pages were torn out?

According to the answer (and a lot of the internet), it claimed that a leaf:  is a single sheet bound in a book, and a leaf has two pages.

I thought this assumption was vague and that a leaf can either have two pages or four pages depending on how it is bound. This assumption also changes the answer of the riddle.

Leaf with two page binding:

Leaf with four page binding:

Are both definitions of a book leaf correct? Or is there only one? Is one more commonly assumed than the other?

A quick Google search revealed that

  Very generally, "leaves" refers to the pages of a book, as in the common phrase, "loose-leaf pages."

  A leaf is a single sheet bound in a book, and a leaf has two pages. (Source: Biblio)

A folded grouping of leaves is a "gathering", so the left image under "leaf with 4 pages" in your question is actually a gathering of 4 leaves (8 pages).  The right hand image is a gathering of 2 leaves (4 pages)

Note that if you tear one leaf out of a bound book, as books are more commonly bound in gatherings, often one other leaf will also become loose, and maybe fall out — especially if the leaf torn out is in the centre of a gathering. But that is a separate leaf, not the other half of the same.


How to remove Corona bottle printing? I'm planning to use recycled Corona bottles to pack some juice I'm producing, but to put my own logo on these bottles, I want to remove the original printed brand. In my city, and even in my whole country there is no recycling plants so there is basically nowhere to get help.

I tried using paint thinner, paint remover, acetone, and brushing, only the last one worked but the bottle was unsuable after that.

So, the question: HOW TO REMOVE THE PRINTED BRANDING IN A CORONA BOTTLE?

A commercial paint remover of sufficient potency may solve your problem, although great care should be taken in handling and use. A friend runs a shop using aircraft paint removal chemicals. Once applied and placed in sunlight, the paint bubbles and scrapes off easily. The same chemical burns like a match if even the smallest drop touches skin.

Perhaps slightly safer and possibly as effective would be automotive brake fluid. Every bottle of the stuff has warnings about damage to paint, although there is a possibility that the silicone based stuff would not be as damaging. A quick Google check shows that silicone based brake fluid DOES NOT damage paint.