Designing and Making Paper Items

There are several ways of decorating paper. Most of the techniques were born out of experimentation of the artist with the colours and other materials found in the environment. This implies that aside from those methods that will be detailed, every artist must endeavour to create new ways of designing paper items.

1. Marbling (controlled and uncontrolled)

2. Comb-pattern

3. Wax resist

4. Doodling

5. Spraying

6. Roller and twine pattern

7. Ink-blowing

1. Marbling (controlled and uncontrolled)

Marbling is a method of making decorative patterns on paper by transferring colour from the surface of a liquid onto paper. Tools and materials required for marbling include paper, brushes, thinner, basin or trough, various colours of oil paint, cooked starch, empty tins, stick, and water.

Controlled Marbling

Process:

1. Fill a trough with cooked starch in an even consistency.

2. Sprinkle different colours of oil paint on the starch.

3. With the aid of the stick, stir gently for the colours to mix on the surface of the starch in order to make the patterns.

4. Place paper flat on top of the starch and tap the back to remove trapped air.

5. Hold one edge of the paper and remove it by dragging it along the edge of the trough to remove the starch.

6. Excess starch is washed off with water and hanged to dry.

Uncontrolled Marbling

Process:

1. Fill a trough with water.

2. Sprinkle different colours on the water.

3. Stir in different directions for the colours to come together over water.

4. Place paper flat on top of the trough and tap the back to remove trapped air.

5. Hold one edge of the paper and remove it by dragging it along the edge of the trough.

2. Comb-pattern

The tools and materials are large brush, paper or hair comb, cooked starch, water, powder colours, paper.

Process:

1. Mix powder colour with cooked starch to an even consistency to form a thin paste.

2. The brush is used to paint paste over the entire surface of paper.

3. The comb is used in making rhythmic patterns on the sheet.

4. It is hanged to dry.

3. Wax resist

Tools and materials required for this paper pattern making technique include brush, crayon or candle, powder colour, paper.

Process:

1. A sheet of paper is folded and creased to create parallel lines.

2. Wax is used to draw lines within the folded lines.

3. Go over the lines for a second run.

4. Colours are mixed and painted over the waxed paper.

Another technique is to sprinkle molten wax on paper. It is painted over with any high key colour. Wax is sprinkled over again and painted over with a low-key colour. After drying it, place the paper between two sheets of newspaper and iron to remove the wax leaving the patterned design.

4. Doodling

The tools and materials used include pencil, colours, paper, and brushes.

Process:

1. Create doodles to cover the entire sheet. Doodles are scribbles make on paper without any forethought plan.

2. Different colours are mixed to paint familiar shapes created by the doodles.

3. Erase the extensions created by the pencil.

5. Spraying

Tools and materials used include spray diffuser or shoe brush, paper, colour, cut out shapes, natural objects.

Process:

1. Arrange the natural objects or patterned templates and maintain their positions with drawing pins on the sheet of paper.

2. Spray colours on the patterns using the spray diffuser or an empty pen barrel with a mesh held at one end.

3. Gently remove the drawing pins and the cut out patterns.

4. The sprayed patterns on the paper is left to dry.

6. Roller and twine pattern

Tools and materials used include paper, printing ink, two hand rollers, rags, twine, thinner, glass slab.

Process:

1. Twine is wound around one hand roller.

2. Printing ink is placed on glass slab and rolled over with the second roller.

3. Printing ink is transferred onto the twined roller by rolling it over the glass slab.

4. The inked twined roller is rolled over the paper from the edge to edge and covered all over.

5. The rollers are cleaned with thinner and a different colour is used to go over the already created pattern to give a two coloured effect.

7. Ink-blowing

Tools and materials used include ink, paper, and empty pen barrel.

Process:

1. Sprinkle the paint at different sections on the paper.

2. Blow the paint to sprinkle it in a hairstyle manner using the empty pen barrel.

3. Leave the paper to dry.

Decorative papers are used for making book covers, endpaper, wrappers, wallpaper, background for calligraphy etc.

How To Know If Your Piercing Is Infected

You decided on a body piercing, found a reputable piercer, and survived your appointment. Now your piercing is doing something unexpected, and you’re worried that it might be infected. Are these the normal signs of healing, or are you and your piercing headed for trouble? Read on to find out how to tell if your piercing is infected.

Any time your body is injured – including piercing – you might see the five signs of inflammation: redness, heat, swelling, pain, and loss of function. These are normal and indicate that your immune system is at work, but they can also be signs of infection. The difference is a matter of degree and timing.

Symptoms

Your piercer should tell you what to expect during healing. If you know what is normal, you will be able to detect trouble early. Let’s look at the possible symptoms of infection:

Redness – It is normal for a new piercing to be slightly reddened because blood flow to the area is naturally increased. Sure signs of trouble include redness that won’t go away, an expanding area of redness, or red streaks that track away from the piercing.

Heat – Heat also occurs because of increased blood flow and indicates a problem if it increases over time, is hot and not just warm, or just will not go away.

Swelling – Swelling is caused by a build up of fluid. Oral piercings are especially prone to it – a tongue piercing can take a week to ten days to settle down. Swelling is problematic if it does not go down as quickly as expected or gets worse. Your jewelry must be long enough to accommodate swelling. Otherwise, it is very hard to clean, and there is a risk that the jewelry could pull through the piercing and be lost under the skin.

Pain – It is normal for a piercing to be tender for a few days, especially if it is subject to movement (e.g. tongue, lip), or aggravated by clothing or bumping. Pain that worsens with time or is extreme indicates a problem.

Loss of function – An eyebrow might not have a lot of work to do, but a tongue will be slowed down by a piercing, and an infection will make this worse. A pierced body part that will not move or is too painful to move is not normal – you may have an infection.

Two more symptoms

Fever/chills/nausea

- Fever, sometimes accompanied by chills and nausea, is a definite sign of trouble. You either have a localized infection at the piercing site or a more serious (potentially fatal) systemic infection. Consult a doctor if you have a high and/or persistent fever, chills, or nausea. These are not normal reactions to piercing and you may need antibiotics.

Pus/discharge – Not every discharge indicates infection. During the early stages of healing, a healthy piercing will discharge lymph, which is just blood plasma without the larger proteins. It is a clear or slightly yellowish fluid that dries to a crust and is easily removed with warm water.

Pus, on the other hand, is definitely a sign of infection. It is largely made up of dead white blood cells and bacteria. It may be whitish, yellow, green, or gray, and may have bloody streaks and an odor. Yellow, green, or foul-smelling pus indicate a serious infection. Seek medical attention.

What to do

If you think you have an infection, contact your body piercer immediately. Piercers are often more knowledgeable than doctors, who can be prejudiced against or unfamiliar with piercings. However, if you think you are in trouble or your condition worsens significantly, you must seek medical attention. If you lose a piercing, you can get it redone – it is not worth risking your life or serious tissue damage.

Mild infections can likely be treated at home. One time-tested remedy is the salt-water soak. Dissolve 1 teaspoon (5 ml) of sea salt in 1 cup (250 ml) of warm (not so hot that you scald yourself) water in a clean cup, ideally a disposable plastic one for each treatment. Soak the piercing or make a compress with a clean washcloth saturated with the salt water. Do this two or three times per day, fifteen minutes per session.

Avoid antibiotic creams or ointments as they trap dirt and debris and do not allow the piercing to breathe. Do not remove the jewelry from an infected piercing. This could allow the piercing to seal, trapping pus and causing an abscess. Pay special attention to infections in facial or oral piercings – their proximity to the brain makes them especially dangerous.

Prevention

The best strategy is prevention; follow the aftercare instructions from your piercer. He or she will recommend a mild cleanser and a cleaning schedule. Never touch a piercing with unclean hands. Never use alcohol, peroxide, iodine-based products or harsh antibacterial soaps. They are much too strong and will dry skin, kill cells, and impede the healing process.

The History and Evolution of Arrows in Graffiti Art

One of the most important design elements in graffiti art is the arrow. Arrows express movement and energy. In her groundbreaking book “Tag Town”, Martha Cooper photographed vintage graffiti tags in her Washington Heights neighborhood, still visible from the early 1970′s to 1980′s (tags are those hard to read scribbles you see on mailboxes and other surfaces around most cities). Many of these tags contained arrows, as well as stars, hearts, numbers, and crowns. From studying the images of these early tags, we were able to determine that the complex variations of arrows we see in today’s advanced Wildstyle graffiti letterforms originated from simple graffiti tags.

An arrow is an internationally understood symbol that is used on signs to simply indicate direction, as in “Entrance” or “Exit”. In graffiti art, however, an arrow is a powerful, visual tool that is often combined with letters to give them motion and dynamism. An arrow guides the eyes of the viewer in a specific direction. An arrow can project out from any side of a letter, weaving in and out, backwards and forwards, and around in circles, across a two-dimensional surface, creating depth and rhythm. Graffiti artist Ezo says that every graffiti writer has his or her own arrow and it’s true: the variations and design possibilities of an arrow are endless. An arrow can be drawn in all shapes and sizes; thick and chunky or long and spindly, pointy or squared, single or with multiple ends. An arrow can organically follow the flow and direction of a letter, like a vine. Or it can blast off of the side from which it protrudes, like a missile, as in the artwork of “The Rammelzee”, known as Gothic Futurism.

So, early graffiti writers incorporated simple arrows and other basic design elements into their tags to make them stand out and grab attention. From that simple beginning, the arrow has evolved into a multi-faceted, complex and autonomous art object of its own. One New York artist and graffiti writer, Mare 139, actually creates beautiful, 3-dimensional sheet-metal sculptures that contain only arrows, with light and space as parts of his designs. We think arrows are a fascinating and diverse element of graffiti letterforms, providing artists and students with continuous possibilities for innovation and style. We totally love arrows.

The Origin, Characteristics and Uses of Roman Lettering

The Roman lettering style was developed from an old inscription found at the foot of a column built by Emperor Trojan in Rome in 113 B.C. A Frenchman called Nicholas Jenson first created the Roman lettering style in the fifteenth century precisely in 1470. It is also referred to as ‘Classical Roman lettering’ or ‘Quadrata’. The Roman alphabet took at least seven centuries to develop and did not contain the letters, J, U, and W.

Roman letters have ornamental or finishing strokes called serifs at both the top and bottom parts of the letters. These serifs give the vertical strokes of the letters stability and also make the letters graceful. The serif may be angular, thin, rounded or rectangular in their representations. This accounts for the varieties of serifs such as beaked serif, hairline serif, bracketed serif, sheared serif and slab serif.

There are other features that distinct this style of lettering from other forms of lettering. The letters have varying strokes of thick and thin. The vertical strokes are generally thick while the horizontal strokes are usually thin. Also, the letters have different proportions or sizes due to the transcending of thick and thin strokes. They are extremely beautiful and attractive because of the diversity in their stroke formation. Variety, which is a feature that breaks monotony or one format, is highly acclaimed with elegance by many people.

In addition, the letters stand erect or upright. This formal outlook of this lettering style makes it very appropriate to be used for official documents. This explains why mot documents for such purposes are usually restricted to be created in this lettering style.

Furthermore, the letters are carefully drawn or constructed. Due to the close attention paid to proportion and space, measuring devices are used by amateur designers who create these letters manually. Measuring tools on design software help in creating accurate representations of letters on personal computers.

This lettering is widely used for various purposes. It is used in writing the reading materials in books, newspapers, and magazines due to its excellent trait of readability. Also, they are used in designing packages for products and greeting cards for wishing people success in examinations, speedy recovery in ill health situations and many others. Again, they are used in writing the text on posters, banners, and other visual communication tools. Moreover, messages on citations are written in Roman lettering style. Names of participants in workshops, seminars, and other educational programmes are written in roman lettering styles on certificates.

It is one of the elegant lettering styles that ensure the designing of products in visual communication. Its rudiments must be carefully mastered and utilised by artists to achieve the maximum benefits.