Blade Rubber Stamps: Using Stewart Gill Alchemy and Byzantia Paints, Embossing Powders, Flakes and Chips

Using Stewart Gill Alchemy and Byzantia Paints, Embossing Powders, Flakes and Chips

Stewart Gill Paint Techniques are from class sheets of one of the popular classes given by Freyja

These beautiful, duel tone metallic effect paints are especially made for fabric painting. However they also suitable for use on most surfaces and you can achieve lovely effects on paper and card. There are 20 alchemy colours in four ranges - earth, fire, water and air. The 20 embossing powders include interference colour, metallic and crystal effects, which can be used directly onto the wet paint or with, pigment inkpads.
All colours are inter-mixable and will mix with a variety of other paints, plain and metallic etc. to extend the range. They will also mix well with other pigment inks and powders. Experiment, but expect some deterioration of properties.
The new Byzantia paints have an intense metallic/pearl finish, are opaque, but are not interference colours like the Alchemy but will mix with them for interesting colour effects. Use straight from the pot for painting on white and light card. When using on embossed images and very dark card thin with water as the paint will obscure the embossed lines when full strength. Very watery paint on black card gives a lovely delicate irridescent finish.
The various decorative flakes and chips are not easy to use with paint but are very effective if glued on after stamping and painting.

Interference Colours; a brief explanation.

Colour is made from light. Each ray of colour from the rainbow has its own wavelength. When a surface is hit by light certain wavelengths are absorbed and others reflected back. A particle of ultramarine pigment will reflect back only the part of a light ray that will allow the eye to see blue, all other rays are absorbed. Black absorbs all light, Titanium white - the densest white- reflects all light back - hence the colours seen, black and white. Interference colours are made be attaching a tiny flake of mica - a naturally occurring brilliant and sparkling, laminated mineral - to a flake of titanium dioxide and adding to a regular coloured pigment. The new pigment has a sparkly, whitish appearance with a hint of colour in a jar or painted onto white paper. However it comes alive when painted onto black paper when the particles reflect and transmit light depending on the angle to the light source. The coloured pigment and complementary colour become an iridescent shimmer. Interference pigments are not new, used by the Egyptians and Persians in cosmetics and glassware. They are now used by carmakers for metallic automobile colours and for cosmetics and craft paints. Interference PearlEx is a well known craft product, almost identical to iridescent eye shadow powder. To show the colour of an interference embossing powder on white paper you must first paint/stamp with a darker under-colour or the result will be almost white. I suggest that you make a colour strip of all your paints showing the effect of each on black and white card to show the true colour effects; the official colour chart is not the best guide. Also experiment with the Eombossing Powders.

Ideas for using Alchemy Paint with textured card.

Lovely effects can be achieved using plain diagonal strips or patches of toning colours on textured surfaces. Bark, ribbed, hammered, linen, elephant hide effects all give added interest to the painted surface, fabric effects can be achieved this way.
Heat and/or leave to dry, apply anti-static pad to surface and over stamp/emboss.
If the paint seems 'sticky' you will need to tap the back of the card very sharply to remove unwanted embossing powder and brush off unwanted particles on the surface.
Attach stamped/embossed acetate panels over patches of painted card. Use eyelets, paper fasteners or sewn on beads to attach by the corners.

Used as Regular Colouring Paint.

Use straight from the pot unless too thick. It is possible to thin with water but some of the effect is lost by separation so use a little Stewart Gill 'Extender'. Well worth buying to save wasting paint. A good stir will often restore liquidity.
Carefully choose suitable colours when colouring on white/light card. Some colours can get 'lost' or look murky so this is where your own colour chart is essential.
Black/dark card is easy to colour with all paints, again check with your chart.
While the paint is wet it is possible to apply embossing powder - heat as usual.
Stunning on vellum, paint with a small acrylic paint brush and while wet 'plump out' the back of the painted area with the end of your brush from behind for an embossed effect. Mix colours for a shaded effect.

Jacquard/Damask Effect.

Jacquard uses two or three colours and damask - as with fabric - uses just one colour.
Choose a simple stamp with solid areas - a circular design is easiest. And carefully choose the colours depending on the card chosen to work on.
Paint quickly using a bristle flat or round brush in patches of toning colours covering the card. Dab and scrub the paint rather than brushing out.
Before drying use dry stamp over the point with a tiny 'twist' each time to bite into the surface. Mix a little SG into any good pearlescent white medium or pearl paint (try Cryla) for a pale pearl effect suitable for use on light card.

Highly textured, Raised Effects.

Blistered effect - apply paint thickly and heat with heat gun, add glitter, bits or embossing powder and heat. Paint will blister. Works well, with shrink plastic and on CDs.
3D effect - add small pieces of facial tissue while thickly painting onto card. Apply layers of embossing powder onto small areas, heat, dry/ink stamp while wet giving deeply impressed images.

Collage /Serendipity - mixed effect paint/stamp/emboss technique.

This is fun and a great way to practice using your paints with other art supplies. Best on black card, try random adjoining patches of paint/embossing powders, inked or dry stamps and extra bits of sparkle, beadz etc. Even when dry add extra paint or Versamark to emboss. Looks a mess! But cut into squares/tiles and assemble for fabulous cards or box tops. Include a stamped panel for added interest. Even when finished extra bits and embellishments can be added, eg peel-offs, jewels, glitter paint.
Make raised filigree effects with Byzantia filigree fluid. Apply direct to a stamp or freehand draw dots, squiggles etc. then heat with embossing powder or over-paint.

Using with Acetate.

Stewart Gill Paints and Acetate are 'made for each other'.
Card /acetate transfer: Quite thickly paint two or three toning colours onto black card - it is not necessary to completely cover card, some black spaces can be an advantage. Lightly press a piece of acetate over the paint then gently peel off the card, an attractive ridge pattern is formed.
Use the acetate (over plain card) and the card separately.
Leave the acetate on the card and the two will be adhered together when dry.
Trap 'bits' between card and acetate for lovely effects and damage proof surface.
As previously mentioned, use plain or stamped and embossed acetate overlays on plain or stamped painted panels.

Direct to Stamp Technique.

There are endless possibilities when using Paint and embossing powder with stamps. Choose solid type stamps to show the paint and powders to best effect.
Apply paint directly onto the stamp with brush or fingers (the most easily cleaned!) Stamp and /or emboss and heat.
Experiment with paint thickness. More thickness will show more of the duel colour of the paint. Heating will give an attractive blistered finish.
For fine, outline stamps use paint on a tiny sponge roller, this is very delicate and is suitable for the finest stamp.

Other ideas.

Try using the paint with stencils
Alter the colour of plain dark card by spraying with a weak solution of paint and water for a wonderful iridescent look.
Paint beads and charms; add sparkles and/or embossing powder before heating.
Use scraps under peel- offs or with punches for unique and stunning embellishments.

A Word on stickiness.

Stampers have a problem with the sticky feel of the paint, even when dry or heat dried. This is fabric paint, designed to stay soft and supply on fabric, even when washed. We are 'borrowing' these properties to use with great effect on paper and card.
On paper these paints need to 'cure' as do many other paints and finishes - lacquer for decoupage is a well known example. Dry by heating with your heat gun and use an anti-static bag before embossing. Not all designs need precise embossing; an imperfect or smudged image can be preferable for a contemporary design. After a couple of weeks you will find the paint has dried very well.
Organize well in advance, not everything needs to be instant! However, the end result is worth the wait as you will discover new and exciting ways of adding interesting and elegant effects to your stamping craft, and its fun!

Have fun and experiment.