Is there anything wrong with mixing incompatible paints? I randomly stumbled upon this video https://youtu.be/TuEBKV6T5aU?t=31s

Where a user modded his Nintendo 64 and gave it a "custom paint job."

He mentions that he used 2 types of paint that were NOT compatible with each other in order to form this paint-job.  He said the paints themselves try to separate which causes the cracking effect.

Personally, I really like this, and would like to do something similar with a project I'm working on.

My questions are,

Is there anything wrong with mixing paints that are NOT compatible?  From what he mentions it's just that the paints don't mix and separate from each other, but is there any danger in doing this by mixing things that shouldn't be mixed?
Are there specific paints that would cause this effect, or would any 2 incompatible paints do this no matter the paint used?  I'm essentially interested in other cool effects that could come about by mixing paints like this, but don't want to encounter any dangers.

note:  I'm not sure if this is the right place for this type of question, or if this is more suited for the Chemistry-Stack?

thanks

So, from my experience...

Wrong? No. Basically, looking at the major art paint options I can't see any that, when combined, would result in a dangerous mix. Some, however, will mix a bit better together than others.
Yes and no. The key to the cracking effect is difference in drying times, some paints dry faster than others and when you apply a fast drying paint over a slower one, the result can be that the upper layer will crack. The "no" part of this comes from the ability of some mediums to adhere better or worse to each other. For example, acrylics use water and oils, well, oil. When you try to apply acrylics over oils, it will crack and split (your desired effect), but it will also tend to flake, which is less desirable. In any event, some mixes will probably work better than others, but there's likely to be some trial and error involved.

So, my suggestion is that if you're going to give a go, do so on some items you don't care about, but that also has the same surface material and try a few combinations using some student-grade paints (much cheaper).


Cutting circular corners in beveled mat I have a silk-screen print on a square sheet of paper.  The corners of the printed area are arcs with about a one inch radius.

I would like to cut a beveled mat for this print with the opening about a half inch larger than the print area, but I cannot come up with a way to cut the corners.

If I were making a non-beveled mat, I would use a compass with a blade to make the cut, probably making multiple cuts to make it all the way through the mat. I would cut the arcs first, then join them with straight cuts.

One way to do the beveled arc would be freehand, following a drawn curve, but I know that I don't have the steadiness to pull this off, certainly not so that all four corners would be identical.

Another way would be to use a compass as mentioned above, and arrange the swing leg so that it doubles back to cut at a 45 degree angle, but for it to work it would have to be done in one pass. (If done in multiple passes, each pass would be a slightly different angle, or some magic adjustment would have to be made for each pass.)

For the straight cuts, I have a Logan beveled mat cutter. (in the old days I just made multiple cuts holding the knife a 45 degree angle - of course being freehand after the first pass, each cut was at a slightly different angle from the previous and the results were not always pretty.)

I am hoping there is some way to cut the corner arcs with a device that would produce clean bevels like I get from my straight line bevel cutter.

Does someone know how to do this?

They actually make tools for this. They're called circle cutters. Some of them have the option to do a beveled opening. They're designed to make full circles or ovals but I'm sure you could use them for partial ones, too.

As an example this one has excellent reviews on Amazon and is made by the same company as your straight mat cutter but it looks like it may not be small enough as the minimum circle diameter is 4-3/4 inches and you said you wanted a 2 inch diameter circle.

Here's an example of a mat cut with this cutter:

Hopefully you'd be able to find a similar product with a smaller diameter.


Which steels are most suitable for knife making? What steels are best for all-round knife making (i.e. not for any special applications)?

Carbon steels, 420C, 440C, VG10, RWL34, Damasteel... There are a lot of options.

Looks like there was already an answer here, but there are a lot of variables not considered:

If you are going to send out your blades for heat-treatment, then any steel with medium carbide volume is going to be fine. These include the simple carbon steels, from 1070-1095, O1, A2 as well as stainless steels like AEB-L (Sandvik 13c26), CPM-154, S35VN. Note that CPM-154 and S35VN are both higher carbide volume, but made with a powdered metallurgy process, which reduces the disadvantages of high carbide volume. I would avoid the super wear-resistant or ultra-tough steels, as they are more specialized and you've asked about general use knives.

For most people who don't want to maintain carbon steel, I'd recommend CPM-154 or S35VN. If you're going to the trouble to MAKE a knife, don't start with performance and market-limiting blade steels like the 420 series or 440C. Yes, you can make a very good knife with them, but you're starting with an unnecessary disadvantage only to save a few dollars in material. Most of the cost of a custom knife is labor.

For carbon steels, I'd recommend 1084 if heat-treating at home for stock-removal blades, and 80CrV2 if forging at home.

The poster below makes some good points - I answered with steels available in North America. Steels available in Europe and elsewhere will be different. I believe RWL34 is very similar to CPM-154 (or is it 154CM? powered or not is the difference).

I've spent months on ocean-going ships with my 154CM blades (that I made), and no corrosion problems. Of course I wasn't processing fish in the Bering sea...  A small amount of maintenance will go a long way.  Just keep it clean and put it away dry. If corrosion-resistance is a priority, be sure to use (or specify) the lower tempering range, not the secondary higher range, which reduces corrosion-resistance in many high-alloy steels. Nitrogen-heavy steels win in this category, but some (like H1) are not hardened in the traditional manner, and may be harder to manage for the home craftsperson.


What is the best materials to make snow on minatures? What is the best materials to make snow on miniatures except crushed glas?

Like many things to do with miniatures, there are things you can buy and things you can make.

Buy

You can buy what's known as modelling snow from most manufacturers of scenic products. This is likely to contain crushed glass, but does save you from crushing it yourself.

Make

The other well known material for making snow is Bicarbonate of Soda (AKA Baking Soda) - available at virtually every food shop or supermarket. This looks great at first, but over a period of a few years becomes increasingly yellow.

I've also heard of people using flour...don't do this. It's too coarse, and has a tendency to rot if you're not careful.

      Image from a basing tutorial I wrote a few years ago showing snow made with bicarbonate of soda.

I also recommend that you use water effects (clear resin) to stick the snow down instead of PVA, it looks better.


Sewing machine: how to sew a straight line left ⇆ right (instead of front ⇆ back)? Instead of reinventing the wheel, I'm looking for advice to use a (basic) sewing machine to sew a line from right to left (or the other way). The feed dog of my sewing machine (and most machines) is made to stitch a line front to back

I know that I will need to cover the feed dog (using a cover plate), then I will need to slide the fabric manually from  right to left with the steadiest speed (for aesthetic: to keep a regular space between the stitches).

If you tried it with a normal sewing machine, I'll be glad to collect your advice! (Does anyone knows what this is called? It's difficult to Google it without knowing the term.)

(That would be useful for many things like drawing a long line following a long tube such as a pant leg)

  I don't see how to cover or deactivate the feeding dog so it won't
  interfere.(@Elmy).

You just need a feed dog cover plate:

You are describing the technique used for "free motion quilting." On some sewing machines, you can lower the feed dogs instead of covering them. Your machine may come with a "darning foot" or a "free motion quilting" foot which should be used when doing this type of stitching to hold the fabric down while the needle is in the fabric, then lifts when the needle comes up so you can move the fabric.


How can I best repair or protect this torn cover? I recently received a large hardback book I ordered online, only to find it was damaged during the mail process. There's a tear in the cover just on the back edge of the spine. It's not a huge tear, but it's unsightly and definitely has the potential to worsen and further damage the book.

I'm wondering if anybody would have suggestions on how to best repair this damage and/or protect the rest of the book. I'd just tape it up, but I know that adhesives can have adverse affects on paper via aging, acids, etc.
A search online for a solution to this problem only seems to throw up tutorials on completely replacing a book spine, reattaching a separated cover, etc - but I imagine there has to be some knowledge out there about a common, relatively small problem like this. Any thoughts or advice? Is there somewhere else I should be asking? Complete book repair newbie here.

There are several ways to repair, one of the easiest would be to use book repair tape. There are several different ones available through Dick Blick.
Two that I have used in the past and have worked well are Lineco Spine Repair Tape and 3M Scotch #845 Book Tape. The first is basically a cloth tape available in both black and white. The 3M tape is a thick, clear tape if you want still want to be able to see the spine.
I prefer the 3M tape (mainly for being able to see the spine). My recommendation is to cover the entire spine of the book and to extend the tape at least 1" from the top and bottom. Then fold the tape down in between the cover and the book pages. Trim the foldover into a trapezoid shape for ease of insertion. Once you have taped the spine, leave the book closed for a day or longer so the adhesive in the tape can bond securely to the cover.


Using colored pencils, is it better to ink the outline, or start coloring over it? For colored pencil art, is it better to ink over your initial pencil outline, or just start coloring over your pencil outline? And if I just color over the outline, how can I avoid smudging the lighter colors?

Color pencil considered as a light to dark application, thus tracing your initial sketch with any dark medium will ruin it (they will be visible beneath your painting, unless you intentionally want to do so like mixed ones) . So in my opinion you definitely  should not do that. Try to keep your pencil sketch as light as possible, barely can be seen. Then start with the lightest color / value and least pressure, continue by lying down darker tones gradually to build up the painting.

You should preserve the light from the white of the paper or cardboard and you always can go darker but using an eraser will disturb both your pencil marks and the surface texture.


Fabric alternative for leather I'm planning to sew a costume based on a character who is wearing what appears to be a leather duster. I'm trying to pinpoint what fabric to use, as leather is expensive and I can't afford to buy enough at a time to make a full jacket. I'm considering other options such as upholstery vinyl, but it doesn't have the same weight and looks visibly thin when it drapes or folds (maybe backing it with interfacing would work....? I haven't worked extensively with interfacing.)

What alternatives to leather are there? I'm looking for options less than $15/yard, give or take, that closely mimic the texture and weight of real leather.

Waxed cotton has the weight and drape. Here's a wiki link https://en.m.wikipedia.org/wiki/Waxed_cotton

Another benefit to waxed cotton is its ability to "heal". Once punctured leather, pleather, and vinyl will keep that hole. Also waxed cotton would be great as your mockup so you can tailor and make adjustments.


How to sew a button? So, my button's stitch came off and I was wondering, what is the simplest and best looking way to sew it back on so it stays on?

The trick with sewing on buttons by hand is to make sure you use a spacer! This adds a little space between the two fabrics add the button itself. I do this all the time and they never come off. The little bit of breathing space really helps.

How to Sew on a Button
Step 1: Thread the Needle & Knot the End
How much thread do you have?  If you have 24 inches go ahead and “double over,” which means sliding the thread through the eye of the needle and then doubling it over until you have equal amounts on either side.  You want at least 12 inches to work with.  A doubled-over thread can just have the ends knotted together in a basic square knot, or you can use the same method as a single end.
Step 2: Create Anchor “X” Point
Starting at the back end of the fabric, run the needle through to the front where the button is going to be needed.  Run the thread through to the back, and then again back to the front.  You want to create a small “X” where the button will be centered. This X is also the reinforced anchor for the thread to ensure it doesn’t loosen during stress.
Step 3: Position the Button

Put the button on the anchor “X” and begin sewing by pushing the needle from the back to the front through the first button hole. At this point you want to add the spacer (a second needle or a toothpick, pin, or small stick can be used).
Push the needle up from the underside of the garment and through one of the holes on the button. Pull the thread all the way through until the knot snugs against the underside of the fabric. Use a fingertip to keep the button in its place.

Turn the needle around and push it back down through the hole opposite the one you came up from. Push it all the way through and tug the thread tight. You should be left with a single small line of thread across the button, connecting the two holes.
You’ll repeat this process for six passes, three for each set of holes on the button.

Step 4: Create the Shank
On your last repetition of the previous step, come back up through the fabric but not through the button. Come up like you were going to go through the usual hole in the button, but turn the needle aside and bring it out from underneath the button.

Use the needle to wrap your thread around the threads beneath the button. Make six loops around the bridges of thread that connect the button to the fabric, behind the button itself.
Pull tight and then dive the needle back into the base to be tied off on the other side of the fabric.

Step 5: Tie It Off
Make a small knot on the back side of the fabric. You can use the needle to guide the thread through a knot or you can snip the thread off the needle and tie the knot in the slack with your fingers, but either way you want it snug up against the back of the fabric.
Make a small knot on the back side of the fabric. You can use the needle to guide the thread through a knot or you can snip the thread off the needle and tie the knot in the slack with your fingers, but either way you want it snug up against the back of the fabric.

Probably the easiest knot to tie off is a simple overhand loop tied with the needle still attached. Pin the thread down right against the back of the fabric, under the button, then make a little circle in the thread just beyond your fingertip and pass the needle through the circle. Tighten it down and then cut off the excess fabric. - How to Sew on a Button

When I do buttons, I try to hide the first knot as seen in this YouTube video: An Easy Way To Sew On A Button


How can I improve my control over spray paint? I wanted to start with some spray painting art. I am talking about a technique used to paint planets in space. Something like this.

I ordered Montana Black spray paint cans (I have a feeling that this was a bad choice and I should have bought the Gold line instead) and all caps from the Montana portfolio.

But I have a problem with the amount of paint. It doesn't matter which cap I use, everytime it gives too much paint on too large an area. Is this because of the high-pressure cans? I tried to paint from a larger distance, but it covers a larger area, so...

If you have any more tips, please tell me, as I am a total beginner.

Spray painting needs some getting used to. With these cans, you have to work quickly, and use smooth hand gestures. Mind as well, that they are used to paint large areas by default.

For your purpose, I suggest you buy cans from the Montana Gold line.

  Montana GOLD is the perfect tool for all artists and creative workers.
  The specially developed low-pressure system guarantees maximum
  accuracy to meet the highest requirements while giving professional
  results! High-covering and quick-drying acrylic lacquer.
  source

The change in coverage between different types of nozzles can be significant, too. That all of them don't work well for you, probably is a sign that you bought a wrong set - these cans are perfectly fine for (relatively) detailed work. Naturally, a stable and sure hand will also have a huge impact.
I'd suggest you look into the different cap levels by Montana, as demonstrated in this video. Here is a chart showing the same differences in their levels system:

Of course, other manufacturers will have different and specialized nozzles, as well. I suggest you compare whatever brand you can get your hands on, and see for yourself which work the best for you.

As for some tips:

After use, turn the can upside down, and spray (unto something that is allowed to go to waste) until only the gas comes out. This will clean both the nozzle, and the tube of the can.
Additionally, clean the nozzles directly after use. Here is a good way to do so.
I have only rarely used spray paint for detailed work in the past, so as to working techniques, I cannot really give any - except the general rule that practice makes perfect: keep experimenting and your technique (and fun) will improve.


How can I knit faster? Although I don't knit every day, I'd say my knitting level is intermediate to advanced. The results that I get are good, but I feel I can improve my knitting speed. (And that 'just practice more' won't help.)

So, what techniques are used by people who can knit very fast?
I'd like to find out if there is something I can do as well, to improve my knitting speed.

I'm knitting continental style (and am right handed).

I have a couple suggestions.  If you knit in the French Method, try the German Method. If you knit in the German Method, try the French Method.  Try a peg loom knitting.  Or even machine knit. Else Weave & Sew, an entirely new topic.

Knitting with the yarn in the hand opposite the working needle (i.e. the left hand if the knitter is right-handed) is commonly referred to as Continental knitting, German knitting, European knitting, or left-hand knitting. The term 'left-hand knitting', however, is discouraged by left-handed knitters because it leads to misunderstandings. Unlike English knitting, the tip of the working needle is used to hook the yarn and bring it forward; the motion is thus sometimes known as picking. Continental knitting can be done at a greater rate than English knitting, as the stitches are formed closer to the needle points and the yarn has a shorter travel...

English knitting, also known as right-hand knitting or throwing, is a style of Western knitting where the yarn to be knit into the fabric is carried in the right hand. This style is prevalent throughout the English-speaking world, though it is by no means universal.

Other Western knitting styles include continental knitting (also known as "left-hand knitting") and combined knitting. Despite the names, choice of knitting style has little to do with the handedness of the knitter; plenty of left-handed individuals use the English style, and plenty of right-handed knitters use Continental. Various non-Western styles also exist, many of which are substantially similar to these, but which twist each stitch, making for a subtly different-looking fabric... but this can also be called French Knitting...


How can I effectively adhere things to scratchboard? I want to glue cut-out pieces from a shiny silvery Bristol board onto scratch art paper (or scratchboard). I also want to adhere flowers (I haven't figured out whether to used dried or fake yet) to the board.

The problem I'm facing is that the scratchboard has a very smooth painted surface. Without the rough texture of paper, I'm worried my items will not properly adhere.

Is there a type of glue, or technique for gluing items to a very smooth surface like scratch board?

I find a hot glue gun very versatile and forgiving for these types of applications. And it works phenomenally well for sticking irregularly-shaped items to smooth surfaces.

Product Search: Hot Glue Gun


What can I do to store and segregate my embroidery thread? Was thinking about starting some simple cross stitching projects. I can usually pick up some cheap embroidery skeins in a large pack.

The problem I have had in the past, and from what I have seen of other thread collections, is that once you take the paper off a few of them is that they get all tangled up in a mess. Makes you just want to throw out the lot.

What are some storage solutions that I could use to keep my thread preferably  together in the same container?

My personal floss storage method is floss bobbins.

via Michaels

These are typically available in any craft store that sells embroidery floss, in the same aisle as the floss. They're available in either thin plastic or cardstock, and typically have little notches at the top or bottom that lightly hold the floss in place as you wind it (and for storage).

If you are feeling crafty, you can get free templates (e.g. here) to print and cut out your own -- either the more traditional "spool" profile, or more interesting/adorable shapes.

via Little White Whale

To keep the floss bobbins all stored together, there are a lot of possible storage methods. The above floss bobbin set has an included ring to hold the bobbins together. You can put them all in a plastic bag. You can build a custom box to hold them all in neat little rows. (The biggest limitation is your personal creativity.)

via Kat the Craft

Always write the floss color number on the tab so you know what color it is after the paper is gone! This does require a little up-front organizational work, but it's less effort than throwing out the tangled mass of thread and driving to the store for more :)


How to best judge grey values for paintings? Seeing colors as black and white values is an essential skill in classical paintings. Yet art manuals and instructors usually only recommend to squint and, at most, to buy a grey scale.

Lame!

This is in the form of a Q&A, where art meets craft, though I would appreciate any other contributions.

So, how do you easily see grey values in color?
Or train yourself to?

Here are some of my solutions

Red filter

Anything seen though red is unsaturated; this is the easiest way particularly to see the scene to paint as a whole. Some DIY glasses have red lenses, some photo filters and gels too, cellophane plastic, plexiglass, tinted glass, or red light bulbs to light the scene.

The cheapest and easiest way by far is to buy a sheet of red-colored acetate plastic. You can just hold it to your face or fashion a simple visor
with it.

Grey scale

Typical photo grey scales go from white to black, with indentures on top. If you need gradations you don’t need extremes, forget highlights and darkest shadows, if you use a typical grey scale you will end up with 2-3 gradations dominant in the painting. Moreover, the gradations are machine made and may not reflect the reality of the values you need.

The best way is to paint a grey-scale yourself with at lest 7 gradations that are needed. You can also paint several of them varying dark tones, light tones, and colors scales.

Wheel grey scale.

Typical grey scales are rectangular with indentation on top. That doesn’t really work because you see the values of all of the other colors above it. Visually, the values of colors change when seen next to each others. To get an accurate value of a specific part, that color must be seen independently from the other colors.

The cheapest and easiest way is to use an old camembert wheel box for the disk. You need a hole in the center, only big enough to see through. Divide the wheel into parts 8 or 12 quadrants and paint the scale on it. Also, you can paint the back of the disk mat black so you can see and judge the color from the other side without distractions or white reflections. You can glue the disk to a thin handle to easily vary the distance from you eyes.


Paper Bridge Project I am an engineering student and, for my final project this semester, I have to build a paper bridge. I plan to use rubber cement to glue the tubes of my bridge, but I want to use something else to glue the joints together. Elmer's glue has been suggested but it could warp the paper. Is there anyway to stop this? Or, does anyone suggest some other type of adhesive. It needs to be strong and light weight, and I need to try and apply it in thin layers, if possible. My bridge will be graded on weight to weight held ratio, so that's why.

I'm inclined to think Elmer's Glue-All (PVA glue) is a good choice, even for the tubes.

I would definitely apply it with a paint brush (like a wide artist's paint brush) rather than just glob it on. It could distort a single sheet, but if you're dealing with rolled tubes I don't expect you'd have too much trouble.

Note that painting it onto, say, the surface of a rolled tube, like a "varnish", will form a composite material with much, much greater strength than the paper tube alone. This is the same principle used in fiberglass and carbon fiber composites.

I would definitely experiment with the particular members you'll be working with. Get a feel for the methods that work before depending your project's success on them :)

You can "seal" an end or even a broad cross section with a thin coat painted on and left to dry. After that, even a big glob will not distort the surface because the fibers have been stabilized.

If you really, really needed to coat a single sheet, perhaps to act as a tension member, I would try pressing it flat (while still wet) after applying the glue to both sides (absolutely as thinly as possible). You would need some sort of non-stick surface for the pressing, perhaps that paper backing that address labels come on or a silicone baking sheet. You might also need some heat to drive off the moisture, maybe a very, very low oven (100F) or just a blow dryer.

A blow dryer will speed drying for many joints, which can be handy during sub-assembly and final assembly. Again, experiment a few times to work out how hot is too hot.

The notion of applying (and letting dry) a thin, brushed-on "primer" coat to key areas before final gluing can be an important one. That way you can use glue "beads" that will provide something of a fillet that can greatly improve the strength of the joint.


Pliers for chainmail that don't scratch the the rings I enjoy chainmailling in my free time, although I am still no expert.
I wanted to know if there are special pliers that exist that one can use to open and close rings without scratching the rings or removing anodized coloration.
The ones I currently have are small flat nose pliers (without the grooved texture for grabbing) but sometimes if I slip even the corners or flat surface it can scratch the rings.
I've tried putting paper between the rings and the opening of the plies to act as a cushion but it's not a very viable way to work and the paper rips often.
Are there any pliers with rubber lining that exist for this purpose or can I use a glue gun on my current pliers to try to avoid scratching? Please advise.

In addition to your own answer:
Jewelers (and most chain mail workers that I know, including myself) use a type of pliers called "chain nose pliers."  I don't really know why they have that name, but they have nice pointy tips for getting into the rings and smooth surfaces on the inside.  Here's an article about chain nose vs. round nose pliers:  http://blog.consumercrafts.com/jewelry-main/tool-comparison-round-nose-vs-chain-nose-pliers/
Also, using a glue gun probably won't work well, but you have the right idea there.  Instead you want to look for a product that is designed to coat the metal on tools.  Here is a short article about this concept. The product used in the article, and that I have also used in the past is called "Tool Magic," but doing a search for "rubber coating for tools" turned up a bunch of different products that could work equally well. I would test whatever you try to make sure you can remove it easily like she mentions in her article, but otherwise use whatever of this type of product that you can find.
The article also mentions using tools like the one that you linked to in your answer, but I, like the author of the article, have been disappointed whenever I have tried those tools--mostly because the additional surfaces made it difficult to work within the fairly restricted confines of the rings used for chain mail.


Digital textile printing with Dupont inks onto natural fabrics I am embarking on a project which will require me to get 50+ meters of heavy organic cotton jersey digitally printed.

I have sourced a print house to do the printing at a reasonable price and they use dupont inks. They have told me that I don't need to pre-treat my fabric (which I am sourcing elsewhere), that dupont inks adhere well and that I won't lose much colour through washing. I'm not sure if this is actually the case.

I was wondering if anyone has experience with these types of inks. I am concerned that if I don't pre-treat my fabric, the colour will fade too much. But pre-treating can be a costly endeavour which I would like to avoid if possible. It is important that I use natural fabric and that the print will withstand a lot of washing. I'm working on a limited budget.

Also, is it true that synthetic fabrics hold colour better than naturals?

Thanks in advance for any help

I don't know about the inks your referring to specifically but given your concern about too much fading, you may want to consider pre-treating your fabric and being done with it, esp. if you don't trust your print shop or its very important it is to my customer that the design not fade.  My perspective is more of from that of a professional artist/craftsman working on a project, although I would want to spend as little as possible, I would need to weigh the cost of doing it once well against the cost of having to redo something that didn't work out.  I hope this helps.


mixing cement with plaster? I have heard that adding a small amount of cement to plaster produces a stronger plaster. I’ve also read one report of this failing miserably. Does anyone here have experience with this?

It works well. Dry mix the cement and plaster first - before adding water. Success really depends on what you’re doing with the mix. For instance, are you casting? troweling? With just cement and plaster you have no aggregate, like sand or gravel or binders, fibers, etc... so your structural performance will depend on several other factors.

If you want to strengthen plaster you should first determine the type of strength you require: surface hardness, durability-resistance to abrasion, improved compressive strength or impact resistance.

Fibers of polyester, glass, nylon, metals are all added to enhance performance of concrete and all of these work well in plaster. There are plasticizers which improve flow through molds. Not unlike adding manure, straw, horse hair or grain chaff to clay to stucco, adobe and daub.

One of the easiest strengthening additives is plain white glue. Test a small batch.


What is this small hand held cutter? I was liberating some old hand tools from my grandfather's shop again, before grandma throws them in the garbage, and found some more interesting things. This cutting tool was one of them.

The following is a picture of the blade removed. The cutting edge when assembled faces inside the tool. The other is the underside of the tool.

Definitely designed to be hand held and has a blade with the cutting edge facing towards my hand in the picture. There is an adjustable guide that would allow cutting "stock" to 3 mm up to 18 mm.

My hunch is that you could trim veneer or cut of inlay stock by drawing the tool on a sheet edge but I am not sure. I can't go on anything but a hunch as there are no markings (that I can see) on the tool. It is possible that it is even not a wood working tool. My grandfather was also an electrician but this does not seem to fit for that profession. It was also in a wood working drawer and he was pretty organized.

What is this called, and more importantly what is it used for?

Okay, I had a hunch that this was a leather-working tool, but could only find a similar tool for twine cutting, until I got a nudge in the right direction.

This is called a strand cutter, or lace cutter, or even just strander. This particular version is a vintage/antique made out of what appears to be cast iron.

To use this, you would adjust the width of the lace you want using the knob at the top. Then, you put the flat of the adjustable piece flush against your piece of leather and pull towards you. As long as the blade is sharp, and you keep the tool flush, you'll get even strands of leather.

Here's another such tool:

And here's a modern alternative, called he Australian Strander:

The modern tool performs the exact same function, except it's made from chrome-plated steel and takes replaceable carbon steel blades, so you don't have to sharpen it. Tandy Leather has a demonstration video here.


Which needle size will give me the longer scarf? I bought two nice skeins while on vacation, and cannot go get any more of the same wool. Now I want to knit a scarf, but I'm afraid it may be a bit too short for my taste, so I want to maximize the length. I want to use a specific pattern and cannot change the number of stitches per row. The length is flexible, it works up to any number of relatively short repeats.

Under the circumstances, I don't know which needle size to use to maximize length. If I were able to do a fixed width no matter how many stitches it takes, large needles would be a better choice, since I would then have higher rows and use less wool per row. But now that I will be doing a fixed number of stitches per row, no matter what width it creates, I am not sure - if I use small needles, I will get more rows out of my fixed length of wool.

Can I predict which scarf will be longer under these conditions (fixed stitch number and fixed amount of wool), or does it depend on the exact size of the needles and yarn thickness?

Update: Swatching is not an option here. I cannot afford to use up my wool on swatches, and don't want to open and reknit because the yarn is on the fluffier side and will probably change after being knit once.

Also please note that I have already made all my decisions about pattern, etc. I am certainly not going to add pieces in another yarn, change the stitches per row, or some other such solution. The only variable I want to change is the needle size, and I want to change it in such a way that the physical length (not the number of rows) is maximized.

Take a yarn in a similar weight, measure out a few yards - knit it with the smaller needles you considered (3mm).
Take that same yarn and measure out the same length - knit it with the larger needles you considered (6mm).

Measure both.

I really think the trade off between "more yarn used in a stitch but taller stitches" on the larger needles and "less yarn used in a stitch but shorter stitches" will be neigh-on impossible to predict without either a swatch or at least physically measuring a stitch.

My prediction is that the larger needles will result in a longer fabric for the same length. This is based on the idea that larger needles = a less dense fabric which means more "air space" incorporated. A smaller needle will result in a denser fabric which means more space filled by yarn and less by air.
This is a theory, please at least swatch in a different yarn.

This may also help. I actually just stumbled on it yesterday:

http://www.knitdarling.com/blog/needle-material-affects-on-gauge

The link contains a summary of an experiment a blogger did on how needle MATERIAL affects gauge. The metal needles made the longest test piece for her and the resin needles made the shortest.


What alternatives exist instead of freezer paper when it comes on shirt bleaching? I have seen this video where you can customize tshirts with bleach. As a necessary part of it is freezer paper where you transfer stencil design on it. But in Greece is hard to come by, therefore I want to ask would an oven paper (locally known as ladokola) would be a good substitute, as the image shows bellow?

Also I want to know if the freezer paper is the same as the ladokola (oven paper) as well. Also I want to know what alternatives I can use (eg. Bucher paper)

Freezer paper is a product that has a waxed coating on only one side. It's sort of like a hybrid of oven paper (also called parchment paper, baking paper, or ladokola) and wax paper.

Neither wax paper nor oven paper can substitute for freezer paper in this particular application, because the wax on one side is being used as a temporary adhesive. After heat is applied, the paper stencil stays in place firmly enough while the bleach solution is applied, but lightly enough that it can be peeled away when you're done.

So some possible alternatives -- which I admit I haven't tried, so they are all hypothetical:

Oven paper (or butcher paper) will work to keep the bleach solution, but will not have the same adhesive property and the stencil might move out of position while you work.
Use contact paper -- the video you link to doesn't recommend it because it will stick right away, not allowing for repositioning, but it would stay in place.
Use a spray adhesive to stick your oven paper down. (Make sure you look for one that's relatively weak, you don't want the paper on the shirt forever.)
Make a substitute for freezer paper per this online tutorial: a plastic bag ironed onto regular paper.
I wouldn't use wax paper with an iron because the wax would get on your iron, but maybe you could use a layer of wax paper under a layer of oven paper, protecting the iron but still letting the stencil stick!


Resin Casting - How large must the compressor be to quickly fill a 10 Liter/2.6 gallon pressure pot at 60 psi? Doing some resin casting and bought a 10 liter (2.6 gallon) pressure pot - wondering how big the compressor chamber must be. Any other tips would be great too!

I have a 2.5 gal pot and use my 21 gal 125 psi compressor. It works with no problem at all. For a smaller and less pricey solution, I would go with at least an 8 gal 125 psi compressor, as it looks like it can provide the pressure for the pot. From the specs I see one like that would give you 5.5 CFM @ 40 PSI. My 2.5 gal pot requires 4.0 CFM @ 40 psi. You'll probably want to run at 30-35 psi, so you'll be good no matter what.

Depending on where you live, I can say that the 21 gal is worth the money if you're buying from Harbor Freight, as it is only somewhat more than the 8 gal and that 21 gal will keep the thing from running all the time. That's how I ended up with the big one.


It is possible to create powerful crucible that you can melt plastics in it? If yes, how can I create it from simple materials? I’m asking this because, I’m trying to find how to make a powerful crucible that when you melt any plastic in it, it doesn’t not happen anything to it, and you can also hold it with your hands even though it contain molten plastic.

Question: It is possible to create a powerful crucible from simple materials that you can hold it with your hands and in the same time contains molten plastic in it without causing any problem? If yes, what type of simple materials I need to create this kind of crucible?

First you need to check the melting point of the specific thermoplastic you intend to use -- some will burn or give off nasty fumes at temperatures where others are still solid.  And you need to be sure you actually have a thermoplastic and not a thermosetting plastic.

But for most common thermoplastics, ordinary ceramic kitchenware will handle the heat perfectly well. If you melt the plastic then pour it into the bowl, you'll be able to handle the bowl.  If you want to put the bowl in an oven to melt the plastic, obviously you'll need something like oven gloves to handle it with.

If you really want to make something yourself, clay will do the job (it will work just dried, without firing). Unglazed it will be hard to clean.


What are these balls of wool bound together with a rubber band? I am trying to look up what these are, to no avail:

Note: this was the closest thing I could find

They are balls of wool, cut into small pieces, with a rubber band stuck in the middle holding it together.

The closest thing I could describe them as is "fuzz ball", but that's too general. I'm trying to create one. I need to search a tutorial for it but that is difficult when I am not sure what this is.

These are just pom poms on elastic  bands. Those particular ones appear to be made from rabbit fur. That is, according to the less that useful description given from the site where this image came from.

  Korea cute fashion real rabbit fur ball hair ring hair rope single ball wholesale

 Page appears to be in Chinese Simplified and that is what I got from Google Translate

The ones pictured are used as decoration or as an accessory.

Coincidentally we had another user ask about how to make those recently. Have a look at the answers to this question and you should get an idea of what to do. The only thing that is different is the presence of the elastic band. If you do want that it would just be a matter of attaching that into the pom pom as it is being created.


I have a bunch of bright white cardstock. Is there something I can add to make it glossy like glossy card stock so I ended up with a bunch of bright white card stock I want to print trifolds on. Since I want to use up this paper, is there anything I can get to add onto the paper AFTER the print job that will add gloss to it?

Want to see if I can DIY before I go and buy glossy paper.

Bonus points if there is something that I can add to the paper BEFORE printing (on an inkjet printer)

I tried some basic Mod Podge, but haven't used the clear spray stuff.

I used this for what it is worth: https://www.hobbylobby.com/Scrapbook-Paper-Crafts/Glues-Adhesives/Liquid/Mod-Podge-Gloss/p/80649315?gclid=EAIaIQobChMImsKT5Z_z3wIVlR-tBh0vSwJ7EAQYAiABEgJZDfD_BwE

Have you considered using a high-gloss clear spray paint?

And I would suspect that gloss = plastic to some degree, and an inkjet printer basically sets down ink droplets. If you print on glossy paper that's not specifically designed for inkjet printers, you might end up with a smear of ink. So I'd suggest do printing first, then if you use spray paint you could possibly do several pages at once.

Bonus perk of post-print gloss: inkjet ink doesn't always stay put (can be smeared by malicious fingers), so glossing the paper afterwards will help seal that ink in.

HTH


How to knit a thumb on a (fake) mitten? I'm knitting a miniature mitten in the round (for a tea cosy). I start the mitten with Judy's Magic cast on, and it goes well until I get to the thumb, where the pattern calls for:
previous row = 12 stitches
"CO 3 sts, cast off/bind off 3 sts, knit to end of rnd."  (CO meaning cast on)
The next line tells me to keep on knitting and do a two stitch decrease
According to the picture this should give me a little bump of a thumb, but all I'm getting is 3 big holes and no thumb at all. What am I doing wrong?
Thank you for reading!

I tried the instructions from your pattern as written, and it gave me a single hole with a string running across it. That string would be a problem in a real mitten, but it might be okay for a decorative one. Presumably the pattern will have you pick up stitches around the edge of the hole and knit a thumb. I have no idea how you're getting 3 holes. Please add a photo of that, and maybe we can give you some more customized troubleshooting.
A normal way to make a thumb opening is to bind off stitches on one round. On the next round, cast on an equal number of stitches. So for your pattern, it would go like this:

Thumb round 1: Bind off 3 sts, knit to end of round
Thumb round 2: Cast on 3 sts, knit to end of round

After the main part of the mitten is done, you would pick up 6 or 7 sts around the edge of the thumb hole, knit several rounds to make a tube, then decrease with one round of all k2tog, then break yarn and draw it through the hole.


Removing stitching from jacket I have a sports jacket from a team I used to play for. It's a very high quality jacket and I would like to continue wearing it, but the team name is written in large text across the upper-back of the jacket.

I would like to remove this writing but I don't know how. It appears to be some kind of stitching but it's quite heavily coupled with the jacket material.

Is it possible to remove this? See attached photos:

Outside:

Inside:

I've tried cutting just a small section of one of the letters but I'm not sure if it's working properly. The stitching is so fine that there's still a thin white outline:

Edit: Thanks everyone for the feedback! This strategy is working. It will take a very long time, but I will get there:

I’d be using tweezers to remove the final remaining thread with a magnifying glass if needed. If the jacket's fabric is synthetic do this more carefully than if it is cotton.

You might need to as a last step, go over it with a green kitchen scourer. This will help remove fibres caught in the actual jacket fabric. Again if synthetic, go gently.


How to knit a button loop? If knitting an item which needs a button to secure something - like a button on the back of a pair of glittens, (a fingerless glove with a retractable mitten) how would you knit this into a row? Assume, say a 27 st per row, and the loop would be in the absolute middle so st 14.

Option 1: yarn over (small circle)
A yarn over generally works well. Do remember to reduce afterwards, so your stitch count stays the same. In your example that would be:

k13, yo, k2tog, k12

Knit the next row normally. Treat the yarn over as if it was a normal stitch.
Option 2: double yarn over (larger circle)
If you want a bigger buttonhole, it is possible to use a double yarn over. Remember to decrease on both sides in this case, so your stitch count remains the same. Use ssk for a left leaning decrease and k2tog for a right leaning one.

k12, ssk, yo, yo, k2tog, k11

Knit the next row normally, except the two yarn overs. You have two options for handling this one:

You can knit one and purl the other.

You can slip the first yarn over off the needle, so you only have one left. Then you knit that stitch through both the front and the back.

Option 3: bind off and cast on (long)
Alternatively, you can make a long buttonhole. The top two options are a bit easier and are generally sufficient, but it's good to know a long buttonhole is possible too.
With the right side of your work facing you, you bind off a couple stitches. On the next row you cast them on again. For example (assuming flat stockinette):

Row 1 (right side): k10, bind off 7, k10
Row 2 (wrong side): p10, cast on 7, p10

You can use your favourite method to cast on the stitches on row 2 that works in the middle of a row, for example one of these.
I am not affiliated with either of the linked blogs. I simply believe they offer good explanation of the techniques. If they exist, or exist in the future, feel free to replace them with links to questions on this network instead.


Glue river rock to canvas Looking for the best glue to use for placing river rocks on painted stretched canvas?
Since the rocks have a little weight, I want something that can hold them as the finished product will hang on a wall. I don't want to use a glue gun as I want something VERY strong.
Thanks

There are really two aspects to gluing the stones.  One is the glue.  The materials (canvas and stone) are different in almost every way and the canvas is not really a rigid surface, so you will get the most reliable, long-term attachment with a glue that remains flexible and adheres to both kinds of surfaces.  E6000, as suggested by Lyssagal, was the first glue that came to my mind, also.  Regular superglue is brittle and not good for attaching to fabric.  There is a variant that contains rubber particles and is also much more viscous that remains more flexible and might work.  Silicone adhesive is another that might work.  Gorilla glue will also work, but as Buzz notes in a comment, use the type that doesn't expand.

Note though, that if you are gluing to dried paint rather than canvas, some glues may not adhere to it well (the surface texture provides more bonding area, but the glue may not bond well with the paint).

A second problem is that no matter how well the glue bonds with the paint, the stones will be only as secure as the attachment of the paint to the canvas.  Even if the glue bonds with the paint, the stones may eventually fall off with the paint firmly attached to them.  If you want a reliable bond, you need to glue the stones to the canvas, itself.

The best solution would be to sketch the design on the bare canvas to identify the stone locations, then glue the stones to the canvas before you paint.  If painting is already completed, I would suggest creating glue areas for the stones.

Position a stone where it will be glued, then draw an outline on the painted canvas smaller than the stone so it will be completely hidden.  Within that outline, remove as much paint as you can.  How you do that will depend on the type of paint, how thick it is, and how recently it was applied.  After removing as much paint as you can, it might help to scuff the surface within the outline to expose some bare canvas (use a cutout template to protect the paint outside the outline).

But if you are gluing a lot of heavy stones, that kind of weight might cause the canvas to stretch more over time and start to sag.  I would be tempted to glue something rigid to the back of the canvas (like Masonite, thin plywood, or even thick corrugated cardboard), the full size of the stretcher frame opening.


I want to make antlers for a costume, what materials should I use? I want them to be very realistic and about the height of my head. My biggest concern is weight, I’m unsure as to what materials to use. I also want the way they are attached to be very discreet and look very natural. I need it to take carving well and be strong enough for my clumsy self not to break by accident. Possibly, and likely going to be hollow in order for minimal weight. Also what paints should I use?

I don't know how "handy" you are but I would suggest Papier-mâché over a simple wire armature. It would be lightweight, fast and inexpensive to make, require minimal tools and be very forgiving of mistakes. For a bit more durability and added texture, add a final layer of simple cheesecloth after the form has been built up. Then paint or stain for the desired effect. Any paints would do – inexpensive watercolors, etc.

As for the form and how to wear them – depends on how large you want the antlers to be (e.g. moose antlers can be huge. Deer antlers smaller, etc.). Perhaps sacrifice a "baseball" type hat to build off of and add a "chin strap" to keep it from slipping off of you head.


How can I eliminate spray paint odor? A week or two ago, I repainted a mirror (about 2.5ftx3ft) with some less-than-stellar quality spray paint. The paint's smell is still hanging around, and I'd really like to get rid of it. What can I use to eliminate the paint odor without damaging the mirror?

I unfortunately can't leave it outside because I live in an apartment, and I'd prefer cheaper, natural options.

The reason for the smell is because of the VOC (Volatile Organic Compounds) content in paint.

  The best way to avoid breathing in paint fumes is to not have them to begin with. Most indoor and outdoor paints contain volatile organic compounds, or VOCs. These compounds are ingredients in the paint and are responsible for the odors emitted as the paint dries. Low-VOC paint is commonly available. It has less of an odor and is safer for both you and the environment. (Source)

Whether there are low-VOC paints in spray cans I don't know.

There is a cheap and environmentally friendly way to remove the fumes provided by Greenopedia.

  Salt, lemon and vinegar all have the power to soak up paint smells pretty quickly. And because you’re absorbing the chemicals instead of pushing them around with a fan, they won’t linger in your air ducts or spread to other parts of the house.

Another idea is using onions, as suggested in the link above.  Cut them in half and put the halves around the house or cut them into small pieces into bowls and add some vinegar.

  Grab some bowls and fill them halfway with water.
  Add a few slices of lemon and/or a quarter cup of salt to each bowlOr instead of lemon & salt, fill a few bowls halfway with vinegar.
  Place the bowls around the room and let them sit overnight or until the paint smell is gone.
  Rinse the salt water or vinegar down the sink and discard lemons in the trash or compost.Do not eat or drink them.

The reason why you MUST NOT eat them is because they will become toxic.  They will contain paint solvents as the salt water, vinegar and lemons will have absorbed them.


Use laser toner for embossing powder? I'm looking at the potential to use residual laser toner as a replacement for colored embossing powder; they're pretty similar (given the caveat that toner is messy stuff to handle and clean up).  I couldn't find anything in online searches.

Embossing powder is used in several ways.  What might be the most practical for toner is melting it in a melting pot and pouring it into molds as a casting resin.  But I don't know if toner is formulated to flow as a liquid when it melts.

The main way embossing powder is used is to add a 3D appearance to ink (i.e., embossing).  That may be a challenge for toner.  One big difference between the two is grain size.

Embossing powder has much larger grains.  They're small and light enough to stick to the ink, but large enough to melt and flow together to form a raised plastic layer.

Laser toner has microscopic grains.  They melt and stick to the paper, but a layer of toner particles is so thin that it doesn't form a raised layer.  A big issue with toner would be getting a thick layer to stick to the ink.

People do color clear embossing powder by adding colored powders to it.  So toner could theoretically be added to clear embossing powder.  However, the tiny particles may interfere with the embossing powder sticking to the ink.  Also, this doesn't seem like results would be consistent, and the toner color would be greatly diluted.  This solution also requires expensive embossing powder in order to use the free toner.

Has anyone explored toner as a replacement for embossing powder (for either embossing or casting), and can provide insights on doing either one successfully?

You should not handle toner powder at all without a high quality filter mask and potentially safety glasses. Loose toner is a health risk for the respiratory system due to it's particle size. It's not toxic, but some studies compare it's effects to the fine dust of diesel exhaust or even asbestos. You should at least expect an irritation or even inflammation of the upper respiratory system. (Source1, source2)

In any case, have a look at the material safety data sheet of the toner cartridge you want to open before exposing yourself and others to the powder.

Apart from the health issues, the melting tempetature of toner is 120°C / 250°F (which is lower than that of embossing powder) and at that temperature it should have a viscosity of oil (Source, PDF). But I doubt that you could cast anything in toner, especially left-over toner from an empty cartridge, because the volume of melted toner is much less than the powder would suggest.

I have no experience with embossing, but as far as I know it works pretty much like laser printing. You make a powder stick to certain areas on paper, then melt the powder to fuse it with the paper. You should be able to achieve the same effect with toner. I just propose using a heat source that doesn't blow the toner all over the place like a heat gun would do. Due to the small particle size I wouldn't expect it to feel any different from a laser printed paper.

A more practical approach could be binding the toner in a liquid and using it like an ink. You should be able to stack up a thicker layer of toner that way and achieve the desired 3 dimentional effect. In this video she mixes loose toner powder with isopropyl alcohol and a bit of school glue to get a fairly liquid ink / paint. And in this one she uses a different recipe for toner paint, and at around 13:20 minutes you see how shiny the toner got from being melted.


What are the differences between paper intended for oil painting and acrylic painting? I have an oil painting paper block that has a nice linen finish (looks like canvas). I want to try acrylic painting on this block.

Are there characteristics of oil painting papers that impede the use of acrylic paint? What characteristics do acrylic painting papers need?

I am sure it's fine. It is undoubtedly primed with acrylic gesso; or rather, it is highly unlikely it was sized and primed in a traditional oil technique. In the old days, sizing (protecting the support--the painting surface--from the adverse effects of coming in contact with oils) and priming (painting the surface white for a brighter painting) were two separate steps. The canvas was stretched, sized with an animal glue, allowed to dry and then primed using thinned out (with turpentine) white pigment. If the painting was done on a board, gesso--a mixture of glue, chalk and white pigment--was used. Since the 1950's acrylic gesso has become popular. Acrylic gesso is a polymer-based liquid which sizes and primes simultaneously. It is appropriate for both oil and acrylic supports and, because it is both cheap and easy to use, is the most likely material used to prime your oil painting block.

If you like, you can paint in acrylics, let them dry, and then paint over them in oils. What you can never, ever do is paint in acrylics over oil paint.


Can I use a smaller diameter hot glue stick on a bigger diameter hot glue gun? Suppose there is a hot glue gun that support 12mm hot glue stick. Of course we cannot insert a bigger than 12mm hot glue stick, but can we insert a smaller one, let's say, a 7.5mm hot glue stick into it? Will there be any negative effects, like it will damage the hot glue gun?

Updated: I've tried it. I don't recommend it.

I needed my big glue gun this afternoon and had some small sticks lying around so I gave it a go. Melted glue came out where the stick goes in, then hardened. It was a job getting it out - several minutes of poking around with knives, wire cutters and screwdrivers, and narrowly avoiding getting burnt. I got more glue out of the wrong end than the right end.

 I had previously used black glue; that's what you can see just above the "80 Watts" label. The thin stuff I was testing with is clear. As I took the picture the black stuck itself to both the clear and the feed mechanism.

You will (I previously said "may") find that melted glue comes out where you push the stick in, so you will need a plan for cleaning up before it solidifies, or have a pusher handy (such as wooden dowel - a glue stick of the diameter the gun is used for didn't help).

There is one possibility of damage or more likely scorched glue: some big-stick glue guns (like mine) have two temperature settings. The hotter may be too much for small sticks (which I've only ever bought/seen as cool-melt).  So be sure to use the right settings, especially as you may have glue hanging around in there if it's not feeding very well.

I'd always buy the right size, but would use only use up thin sticks in a bigger gun if I was desperate.


How to clean a plastic eraser? If I rub it in sandpaper then it's sharp edges will become round in my opinion.
Cutting the eraser means wasting the eraser.
Can plastic erasers be cleaned by soap or any such thing by which I can protect the sharp edges.

How to clean a plastic eraser?
My personal choice is to use a blank piece of paper and "erase the dirt" from the eraser onto the paper. If you have shaped your eraser with a knife or sandpaper, this method will be the least destructive.
There are other methods found online. Most curiously, I found a WikiHow article "3 Ways to Clean an Eraser" that describes using a borax solution to clean an eraser. The article is mostly aimed at rubber erasers, but I don't know if the borax solution would work on plastic erasers.


What glue can I use for glass and polycarbonate bonding? I need to glue round glass (20 mm) inside a round hole in polycarbonate (tight fit). Only the glass edge (1 mm thick) and polycarbonate edge (1.5 mm) are surfaces that will hold the glue bond.

Following glue properties are required:

Strong elastic bond
Glue has to be clear (if possible)
Salt water waterproof
Easily removable from glass OR if carefully applied doesn't spill on glass

I actually like a 50/50 mix of Gorilla super glue gel,
and Loctite Super Glue Professional Liquid.

The gel is a little thick, and the other is runny. Mix the two, and you get a great syrupy consistency that would be perfect for what you are trying to accomplish.

Drip a bit of both on a scrap piece of cardboard, then brush it on your surface with a toothpick.

Make sure your glue doesn't soak through your cardboard, because you don't want it to stick to the table. You could use a plastic-lid from a throwaway container instead.


Aligning multi-color woodblock print? I know how the registration of wood blocks works in the Japanese-style wood block printing method (put registration marks on the block to align the paper: see this YouTube channel). Since the woodblock is wet with paste and pigments, the paper adheres to the block and the print can be rubbed off by hand with a barren.

How does registration work with European-style wood block printing, where a printing press is used instead of rubbing by hand with a barren? I imagine that, if you don't fix the paper on the block in some way, the paper might shift while you slide the block (and paper) through the press.

My bachelor's degree was in Fine Arts, with a focus on wood block printing.

The technique I was taught involved marking the center line on the back of the leading edge of the paper. (The end that will feed into the press first.) On the press, lay out a registration paper that clearly marks the location of the block, a corresponding center line, and one or both leading corners. The block is inked and laid on the slab. Then, align the center lines and corner marks, with the other end held high. Slowly "roll" the paper flat onto the block while keeping the leading edge aligned. This minimizes inappropriate contact and ensures a flat lay on the block. The ink will loosely hold the paper in place.

Once the paper is laid, heavy felt blankets are usually laid over the entire thing. There is the chance for paper movement here, so again - a careful "rolling" action from the leading edge back is best. Make sure the weight of the blankets is centered over the block as you do this. These blankets then keep the paper in place while printing, as well as enhancing print quality and embossing.

Ensuring that your press is set to the appropriate height is very important too. Too much pressure will cause damage to the paper, or movement of the block and/or the paper. Once printed, the blankets and then paper are removed in a similar but opposite method.


Sculpting details to clearly distinguish a lion from other large cats I am trying to make a lions head sculpture, but I am having trouble. It is very hard to distinguish the defining facial features of a lion (except for the mane of course). I'm ending up making my piece look like a cougar, panther, or tiger, but since they are all similar felines, it's hard for me to tell the differences that make each type of animal unique, especially since I'm working with a three dimensional medium. Are there any artists that have tips or techniques I can use to help me?

Ultimately sculpting is as much about your ability to observe your subject as your  technical ability to manipulate the medium.

It may help you to do some preparatory sketches. Unless you have a zoo or wildlife park near you you will probably be stuck with sketching from photos rather than life but you will certainly want to look at a range of material.

You might want to look at two pictures of say a lion and a leopard side by side, ideally from similar angles as this will make the anatomical differences more obvious.

The key here is to develop the ability to look at the details of your subject and put aside your prior knowledge of what you 'know' it looks like.

One thing in particular which may help is to look at the proportions of your subject, this goes for both humans and animals. For a face you might want to look at things like, eye spacing and height, head length and width width of the nose etc etc.