Plaster paper: textured paper produces tactile teasing

Expression, Nov-Dec, 2004 by Cecilia Swatton

I once received a reprimand from an art museum guard for impulsively reaching out to touch the wonderfully textured surface of a sculpture. You may picture me as a child at the time ... but in fact I was 23.

The memory documents my love for texture, which has only grown in the years.

Helen Keller experienced much of the world through her sensitive fingertips. Unlike Helen. I have the blessings of eyesight and hearing--but I've never experienced the sense of smell. And sometimes I think of Helen and her compensation for lost senses when I find myself experiencing life more fully through the tactile enjoyment that I receive in running my fingertips over interesting surfaces. The "surprises" in a piece of art created by texture are, for me part of the fun of the creative process.

For instruction and information that launched me into experimenting with "plaster paper." I thank two writer-artists: Claudine Hellmuth, author of Collage Discovery Workshop and Nancy Welch, author of Creative Paper Art. I highly recommend both books to anyone interested in decorating paper.

INSTRUCTIONS

Making Plaster Paper Be sure to make "plaster paper" on a sturdy backing--use watercolor paper (140lb or heavier) or if you want to create a lot of cracks, use mat board. For the textured topping, there are two products you can alternate between, depending on the results you want: tubed spackle from a hardware store, or modeling paste. Spackle is less expensive, yielding the heaviest and most brittle final product. It can crack after drying, especially if handled roughly. If you want an aged, weathered look, cracks can add character. (If trying to create multiple cracks, I use mat board as the base, since a base of watercolor paper is more flexible.)

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If you want a finished product that's lightweight--to make greeting-card covers let's say--use modeling paste instead of spackle. My favorite modeling paste is made by Golden[R] and labeled "light." The first step is to gunk on the topping and spread with a plastic palette knife. After creating a texture that interests you, embed torn scraps of aged-looking documents, crackled images, or copies of vintage photographs. At times, I write words or draw simple graphics in the still-wet topping. Be sure not to waste too much time, the topping will dry fast. For drying time, I rely on the manufacturer's label, as drying times differ. Overnight is a good rule-of-thumb, especially when humidity is high. After the topping is completely dry (no longer cool to the touch), apply Liquitex Acrylics in Raw Umber, Terra Cotta and Pale Yellow. Sometimes I thin these paints with water before brushing them on. Other times, I brush on full-strength paint, but use a rag to quickly wipe most of the still-moist paint off, leaving a residue tint with darker concentrations of color in cracks and ridges of the textured surface. If paint dries too fast to wipe off easily, use a spray bottle with water either on the surface itself or on the rubbing rag. When I use it on the surface, I'm rewarded with a speckled effect that enhances the vintage look I want. Another way I create this speckled look is to spray still-moist paint with a spray bottle filled with rubbing alcohol, or drop the alcohol onto the paint from an eyedropper.

For "Oil-paint Transfers" To make image transfers using oil paints, first make fresh photocopies of photos you've taken. (Sometimes I first alter these pictures using a computer program, then print them out and photocopy them.) Next create a "runway" of oil paint using a rubber brayer to mix, and spread paint on a cutting board with a slightly roughened surface. Oil paints vary--If the paint you're using is too stiff, mix in a few drops of gum arabic or glycerine. To make sure I was keeping the paint mix moist enough, I created a new "runway" every three transfers or so. I get best results mixing two or more colors, thinking in light hues, which means using lots of Titanium White with dabs of other colors to tint.

Roll the brayer down the "runway" to load it with paint, then roll it across the photocopied image you want to transfer. Immediately place the image facedown on the receiving surface--I chose an old piece of sheet music. From the dry backside of the photocopy, rub with your fingertips, a smooth wooden knob, a bone folder or anything similar. Work fast--otherwise the paint will adhere the photocopy paper to whatever surface is accepting the transfer. Before peeling the moist photocopy sheet off the accepting surface, lift one corner to make sure the image has transferred; if not, burnish a little longer. I often save the used photocopies for future projects since they themselves usually come out with a beauty all their own.

Let the transfers dry for several days, depending upon humidity. Before doing anything further, check for dryness by carefully rubbing a fingertip along the edge of a transfer. If a haze of color lifts off, the paint transfer needs more drying time. Tip: It's possible that high-viscosity acrylic paint will work in place of oil paint. I tried water-based printmaking ink and although it yielded soft, blue-tinted transfers, the images faded into invisibility within a few days!