Welcome back to another installment of In Detail. This week, we’re talking about Stencils.
Before we get started, we want to let you know that the scissors in the In Detail: Essential Tools post have been replaced by the Teflon coated scissors shown here.
It seems as if every other paper crafting project these days involves the use of stencils in some way, and more and more manufacturers are including stencils in their offerings. Price point is definitely one of their attractions – most stencils sell in the $5-7.50 range. You will find the stencils offered at Ellen Hutson in the Tools Category, under Masks/Stencils.
I’m approaching the use of stencils from that of a cardmaker. My cards are typically 4 ¼" x 5 ½" (both portrait and landscape orientations). Mixed media artists undoubtedly would have a somewhat different take on the use of stencils than cardmakers.
Rather than talk about the stencils based on their manufacturer, I’m showing different ways to use stencils on your projects and listing considerations accordingly. Image size and image design are two big factors to consider when choosing a stencil for your project.
While I’m not sharing examples of finished card designs using stencils, I have included a list of links at the end of the article for inspiration. Many of my examples show the use of the entire stencil; however, another one of their attractions is the ability to add subtle pattern and color by partially inking, painting or applying embossing paste.
There’s a lot of information included in this article, but by no means is it exhaustive in describing the many ways to use stencils in papercrafting. Our friends at Online Card Classes have provided a special offer to Ellen Hutson customers for their Stenciled class. The coupon code is included at the end of this post.
Inking
Let’s start with applying inks through the stencil. Personally, this is the method I’m most likely to use a stencil, and one for which I feel they are well suited.
For my first example, I’ve applied a combination of Distress Inks through the Tim Holtz Clockworks stencil.
The Tim Holtz stencils have an image area that’s 3" wide by 6 7/8" tall. The image size is both wider and taller than a Size 8 Manila tag (that’s a size #8 tag in the photo). If you’re working on a tag, you can place the stencil over the tag, and tape the stencil to your work surface, such as a craft sheet, with washi tape.
Where and how you tape the stencil, and the surface on which you’re working, is something that I found to be of utmost important for the success of working with the stencils. It’s important to have the stencil tight to the surface. If it isn’t, the ink applicator can lift the stencil from the paper or get snagged on intricate parts of the stencil. For this tag, I taped the stencil on all four sides, but I did not tape the tag. If I had taped the tag, I'd have a spot covered by tape on the tag that wouldn’t be colored by the inks. Instead, I applied pressure with my hand in key spots to make sure that the tag didn’t move underneath the stencil. If the tag were to move, the effect of the stencil would be different. There are cases where you might want an effect generated by moving the stencil, but in this case, that was not my goal.
For my second example, I used the same method with the Memory Box Tessatina stencil.
The cardstock on the right is 4 ¼" x 5 ½". As you can see, the Memory Box stencil image area is smaller in width; it is 3 7/8" wide. In this case, because there was space on the sides to tape my cardstock, I did so, making it less important for me to apply pressure to the stencil as I applied the inks. On the other hand, if I was planning to use the finished piece as a background for a card, I would most likely cut it down from the top and bottom. An alternative would be to mask the stencil on the top and the bottom so that the finished stencil project would have an even white margin in all four directions.
I have several similar Memory Box stencils, similar in that they have a defined top, bottom and sides. There seems to be a variation in the width and height by ¼" or less. Additionally, the Memory Box stencils are thinner than those made by other manufacturers I tested. What this means to a crafter is that the product could warp, so having the stencil taped securely is even more important.
In both of the above examples using inks, the stencil images were such that there was a good ratio of open space to stencil. It’s more difficult to apply ink to a stencil with a lot of open space because there’s less support from the stencil itself.
With their latest collection, Penny Black has released a set of four stencils with companion stamps.
The two can be used in combination or separately. As I’m new to mixed media, I stayed inside the lines with my example. I stamped Softly with black ink, and then I placed the Promenade stencil over the stamped image to apply various distress inks, using small sponge applicators. I found this an easy way to color the stamped image. I've seen wonderful examples with the Penny Black combination stamps and stencils also using gelatos to color the flowers and leaves.
Dry Embossing
Stencils can also be used in a similar method to embossing folders for dry embossing.
I used the Hero Arts Tweed stencil whose image size 4 3/8" wide by 5 ¾" in height. I trimmed the panel for the photograph.
For stencils, I use an embossing sandwich as follows:
Generally, the results of dry embossing with a stencil are more subtle than the effect with embossing folders. Something to consider, embossing folders are typically designed for the 4 ¼" x 5 ½" card front, so you can dry-emboss a card base front, rather than embossing a card front panel that you would attach to a card base. On the other hand, certain stencil sizes might leave unwanted crease lines when dry-embossed, so more than likely, dry-embossed backgrounds will need to be trimmed and attached to a card base.
You can also combine some of these techniques, as I did with the Tim Holtz Stars stencil.
I dry embossed the tag, and then I taped the stencil over the tag and applied a variety of Distress Ink colors. The dry embossing gives the tag some texture in addition to the color.
Embossing Pastes
A popular use of stencils is the application of embossing paste. For my first example, I used the Tim Holtz Bubble stencil with white Wendy Vecchi embossing paste.
Most examples I have seen using white paste are done on white cardstock; I applied the white paste to colored cardstock for illustrative purposes. When choosing a stencil for embossing paste, you’ll want enough open area in the design that the paste can be applied through the opening, but not so much that you’ll have a huge expanse. Embossing paste is often added for a bit of an accent in a corner, as I’ve shown here. The Tim Holtz Bubble stencil with a rough edge works well for a partial application of the design. Additionally, by only applying through a portion of the stencil, it’s easy to tape both the paper and the stencil securely, which is necessary when working with a wet medium.
You can easily color white embossing paste. I've done so successfully with both dye inks and acrylic paints. If you're intersted in trying embossing pastes with stencils, start with the purchase of white.
For my next example, I’m using the Crafter’s Workshop Birds of a Feather stencil with Dreamweaver silver embossing paste. Dreamweaver manufacturers the Wendy Vecchi line of embossing pastes as well.
In this case, I only wanted a portion of the stencil. Because I didn’t want to pick up any of the branch above the image or the birdcage to the right, I had to mask off the stencil and/or the cardstock underneath accordingly. Crafter’s Workshop has a large variety of stencil designs in both 6" x 6" and 12" x 12" sizes. (Although not relevant for this particular stencil, one advantage to a square stencil is that all-over patterns can often be used both vertically and horizontally.)
The silver paste was slicker than the white embossing paste, making it even more necessary to have the stencil secured tightly to the cardstock so that there would not be seepage underneath the stencil.
In my final example of using embossing pastes, I’ve used a portion of the My Favorite Things Graduated Stars stencil with Viva Decor Ferro Metal Effect Paint.
Similar to the example above with the Crafter’s Workshop bird cage stencil, I only wanted to use a portion of the My Favorite Things stencil. (By the way, the finished product on the right is upside down from the stencil design.) With a combination of sticky notes and washi tape to mask off the portions of the stencil I did not want to use, I spread on the gold paint without worrying that it would get outside the lines, so to speak. The Viva Decor product is quite coarse, almost like sand.
Paint
Stencils work well with the application of paint through the stencil and on the back of the stencil.
I applied Distress Paints through the Tim Holtz Rays stencil by putting the daubing the paint onto my craft sheet and then applying the paint with a sponge dauber. You can see at the top of the tag where I taped the tag to the craft sheet, resulting in an unwanted blank spot on the tag. Like the application of the inks, the stencils that work well with paints have enough open space to apply the paint, but not so much that it’s difficult to keep the stencil in place.
You can also print with the stencil by applying inks to the back and then pressing the stencil onto the cardstock or tag to get the reverse of the design.
I applied a variety of Distress Paints to the back to the Tim Holtz Burlap stencil, spritzed the tag with a water mister, and then pressed the painted side onto the tag. In this case, I did not tape the tag to the work surface because I wanted to cover the entire tag with the paint. For this technique, you need a stencil with enough closed space to hold the paint.
Misting
Stencils work great for misting as well. I must say upfront, I have little misting experience.
I sprayed through the Crafter’s Workshop Chunky Chevron stencil with a retired Mister Huey’s mist. The cardstock panel is 4 ¼" x 5 ½". I took my craft sheet outside, placed the stencil on top of the cardstock and secured it with washi tape directly to the craft sheet. The cardstock was not taped. To spray, I stood somewhere about 18" from the project. Because the stencil was larger than the cardstock, I was able to remove the stencil easily. When misting, the paper will curl, pushing the stencil off the cardstock. You have to work fast to remove it.
For my second example, I misted the Memory Box Rhapsody stencil with Mr. Huey’s Canyon Color Mist.
As you can see, the cardstock I misted is larger than the stencil image size. In this case, I would trim the dried cardstock down to use on a project. There were issues misting cardstock larger than the stencil. It was more difficult to lift the stencil off of the cardstock than it was in the above example, where I lifted the stencil off of the craft sheet. As the paper curled, I ran the risk of smearing the misted project, as I lifted the stencil off.
Both of the stencils I used for misting had a good ratio of open space to stencil. A stencil image design with a lot of open space would obviously absorb a lot of ink.
Here’s another example of mixing techniques.
I misted a tag using the Tim Holtz Clockworks stencil with Butterscotch Adirondak Color Wash.
What I didn’t realize is that the tag I misted had been painted using the Tim Holtz Measured stencil with Picket Fence Distress Paint. (The paint is light on the manila tag, so it’s difficult to see.) When I misted, the portion of the Measured stencil I had painted became visible. Combining techniques is an effective manner for also including a variety of stencil patterns on your project.
There are several techniques I haven’t shown:
Stamping through a Stencil - I tried this technique unsuccessfully with a wood-mounted text background stamp. I've seen successful examples of this technique in which the stencil is stamped with a handheld, small cling stamp, such as the text stamp in the Tim Holtz Love Struck set. This technique is best combined with the application of color through the stencil before stamping.
Heat Embossing - I haven’t tried to heat emboss through a stencil. The small Versamark ink pad is recommended for this technique.
Finally, with the Crafter’s Workshop blank stencil material you can make your own stencils with die cuts.
Want to learn more about incorporating stencils into your cardmaking? Online Card Classes have provided a special offer to Ellen Hutson customers for their Stenciled class.
Additional Reading – There is a lot of information about stencils in the Ellen Hutson Archives, check out or bookmark these articles:
The Many Ways to Use a Crafter's Workshop Template
Masking with Stencils...1,2,3 by Julia Stainton
"If You're Afraid of the Dark" Altered Trading Cards by Ellen Hutson
Texture & Dimension With Embossing Pastes
How have you been using stencils with your papercrafting? What technique are you planning to try next?
--Jean
