Viva paint onto metal

OK so I'm being a good girl and reporting back to you the next part of my Viva exploration! The trick to discovering the versatility of these paints is to play around with them!!!

It seems these precious metal colours are happy to be applied onto any surface, but the shinier surfaces (metal, acrylic) do take a bit more effort to build layers initially.

This sample is a painted acrylic tag. First you need to choose some colours, many people find this the hard part, so to simplify, try choosing 3 shades: light, medium, dark....and 2 of those should contrast...eg. pistacio (light), blue lagoon(medium), olive (dark), then you can have gold or any 'standard' metallic as an accent. This works really well if you have some texture on the piece to highlight lumpy bits! (see previous post on ferro texture)

Before you start , shake the bottles well until you hear the ball bearing 'clack', and look at the colour to ensure the top half of the bottle is blended with the bottom. Some colours take more work that others! I always replace the lids properly while working, and shake before I use every single time. I find I keep turning the bottles upside down on my desk, so the metallic pigments don't settle too much while I'm working.

Ready to start? Open the bottle, place a square of cut and dry foam over the mouth of the bottle, then tip the bottle up and back down before removing the foam square. You should have a nice round spot of paint on the foam. To evenly dispense this spot on the foam, dab it a couple of times onto your craft sheet, then immediately start dabbing the paint all over the surface you are working on. Dry with a heat tool and repeat 1-3 times until you have a good even base.
TIP: If you don't dry paint well inbetween layers, then you may find that you get 'spots' where the new, wet coat paint might lift off previous layers, so you want to build this base coat with a light dabbing action, and make sure you dry really well in between coats.

Next, colour 2 (medium shade). This could be a slightly darker green (eg lime) or you could opt for a contrasting colour like blue or pink. I like the pearl blue a lot, also turquoise...but whatever you select as colour 2, you should find you need less paint than the first coat. To apply, again, tap your paint spot onto the craft sheet to soften the spot, then starting at the very edge tap gently to apply the colour to the sides of your substrate. I like to work around the sides, and occasionally bring the colour towards the middle. Keep tapping, and renew your spot if it starts to dry out. For contrast it's good to not put colour 2 everywhere, otherwise what was the point of colour 1???.....so work around the edges, but maybe leave2-3 sections of the edges with colour 1 (base coat) visible. If you do obliterate all of colour 1, the great thing about paint, is that you can come back over colour 2 with colour 1 again...this is also how you build nice depth, by allowing sneek peeks of earlier layers to be seen.

When you are happy with the balance of colours 1 & 2, then you can add colour 3, the darkest. This will only need a small amount tapping on, again starting from the edges works well, or you can apply paint to a stamp with the cut and dry foam, and stamp the paint onto the background. You can see this was done in turquoise on the 'acrylic' sample. Try stamping in your accent metallic (eg gold). If you find you 'zones' of colour are too defined, then using stamped texture images (numbers, textures, script, patterns) across the light and dark sections is a good way to soften the zones between colours 1 & 2.

If you wish to stamp a feature image (face, person, house, castle etc), or a quote onto the painted base, then a dye based permanent ink is best. Stazon ( a solvent ink) will not show up very black on these paints, so I prefer archival jet black (ranger). The quote I stamped in black uses archival ink. It's also better to stamp in black on the lighter sections of your background so that the image is more clearly seen, and try to avoid busy areas (eg script stamped sections in the medium colour), because then your quote will be competing with the dark script/pattern for attention.

To finish the acrylic sample, I stamped the castle SICC7 in black stazon onto aluminium metal, layered the metal to humungo tape and cardboard (tape sandwich technique), then outlined the lines with a pointy teflon tool, and then cut out and stuck down the sandwich to the paint with foam pads or gel medium. (matte gel medium is the safest adhesive for the long term) Finally flower embellishments were also added with a small spot of gel medium, and bling accents work well in the centres. Ribbons at the top finish off nicely.

Ok so let's move onto another shiny surface to paint...metal. This castle sample using SICC4, started life as an aluminium piece of metal. From the precious metal colour Viva paints, I worked with lime green, Blue azure and turquoise . Blend well by dabbing gently. Then I stamped squiggly mini 15 (spots) in gold down the right hand side, and dried that.

I stamped the castle in archival jet black ink....remember, if you paint is not properly dry, you will not be able stamp on top effectively, so take time to add thin coats of colour, and let dry between coats well.

To add texture to the castle and the spots, you need a pointed teflon tool, these come in the basic tool set, or you can buy diff size and styles of teflon tips in the 'eraser' sets which i have in small and medium size. Yes you can use the 'erasers' to remove mistakes from the metal....do this on an acrylic mat.....but i love to use the rounded teflon tools to puff out areas, and i use the chisels to refine (flatten) in tricky to reach places, or to define areas more sharply that you can with a paper stump.

Back to the spots. Gently (that means don't press hard! - you don't want to scratch off the paint!) trace around the circles of a few randomly chosen spots. Flip the metal over onto a soft mat from the mat set. Ideally you want to use a ball and cup to stretch the metal working in a soft circular motion, but if you spots don't fit the ball and cup, then you can use a rounded teflon tool, or a fine paper stump to stretch the metal. Flip your metal back over to see if the spots are as deep as you like them, then working on the acrylic mat, use the 'cup' end of the ball and cup and press down over the ball. This flattens the surrounding metal to make the ball 'pop'.

Now back to the castle. Again, take the teflon tool, and outline the castle walls, if you want you can do this on the thin soft mat, or if you don't want such deep texture, work on a wad of paper. How cool is that? You have just added depth to your stamped image...this is why working with metal is so much fun, you can add an extra level of dimension to your work quite easily. If you want to enhance this further, then you can flip the metal over, and puff out the shape a little more as I have done in this green and pink sample. The camera has caught the shadow down the left hand side. of the castle, which helps you see how puffed out the roof and turret sides are.

Maybe you are wondering where this stamp comes from? You probably don't realise it, but the turrets are designed so that you can build your own.

Start with SICC3 (crowns & castles plate 3), and stamp the pointy turret in black archival, remember, you are stamping onto metal, so you need to be firm, but try not to grind on the stamp too hard, or you will stamp blurry lines by pressing too hard.

So we can now lengthen the walls of the turret, and to do this you will need the side wall stamp from SICC1. Make sure your block work on the stamp is facing towards the inside of the turret. There are a couple of tricks to getting the line to match up perfectly. Either place the ez-mounted stamp onto a see through plastic ruler or acrylic block that has a grid...I use Tim Holtz' ruler, but an acrylic block with a grid is even better, because for a small stamp like this a smaller block is easier to handle than a longer ruler. As long as the line of the wall matches the line of the grid, you are fine. You can test on a line ruled on a piece of paper first. The other method, is to draw a permanent pen line on the cling foam , then when your stamp is on the block, you can see a guide line..again, test on paper first.
Once you have lengthened the walls of the turret to your preference, then you can fill any block-work gaps with the block work stamp...just check you have it sitting straight on the block before you stamp.

In a similar way, you can also extend the knobby castle wall out to either side of the turret. The extra knobby bumps are also on Crowns and Castles Plate 1. You can match them up the same way. To make the wall look ralistic, you will also need to stamp extra blockwork below the knobby wall line.

So now you can see how easy it is to build your own castle. From plates 1, 3 and 9 you can create a wonderful vista of castles. Try stamping, cutting out then layering them so you get great depth.
If you did all this on metal you could make an amazing surround for a birthday cake or centre piece for a medievil feast!! Fun fun fun!!!


Next time...stamping onto metal with metal extra stamps, or even flowers to make textured embellishments for all kinds of situations! Oh and I must show you some of the sketches i have been churning out for my suziblu class I signed up for.

Please leave a comment and let me know how you are enjoying crowns and castle stamps, metal or vivia paints! I love hearing what you are up to.

Leandra