Making of the Christmas Decorations 3D acrylic Paintings by artist Purple Faye

Here’s how I made my Christmas Decorations 3D acrylic paintings.

Istarted by roughly drawing out the designs then cut them out. As they are so small each one only uses one layer of cardboard, I then used modroc on top to create the textures. Once they were dry I then used acrylic paints.

Make your own using one of my kits available to buy here:

etsy.com/uk/shop/purplefayeshop

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How artist Purple Faye made the ‘Mummy and Baby African Elephants’ 3D acrylic painting

Do you like elephants?

Here’s how I made the ‘Mummy and Baby African Elephants’ 3D acrylic painting.

It was made while I still had my shop studio space in Castleford, see more about that here, after I’d completed the ‘African Elephant’ 3D acrylic painting and was pleased with how it had turned out. (See the making of that one in this blog post I wrote about it.)

This was one of the first of my 3D acrylic paintings that I had made into embossed printed greetings cards. The embossed printing means that they are raised to reflect the 3D nature of the original painting. I still have a few available for sale from my etsy shop here.

My 3D acrylic paintings are made by drawing directly onto the cardboard that I have carefully selected and cut down to the size of the canvas I’m going to use. I then cut out the drawing and layer up the cardboard to make it 3D. The cardboard layers are then stuck down onto the blank canvas and covered with modroc (bandage with plaster of paris impregnated). Once the modroc is completely dry I then paint it with acrylic paints.

 

If you’d like to try the technique for yourself I have a selection of kits available from my etsy shop: etsy.com/uk/shop/purplefayeshop

Any questions or comments get in touch info@purplefaye.co.uk or message me on social media.

 

Till next time.

Take care.

Purple Faye x

purplefaye.co.uk

How artist Purple Faye made the large square ‘Unicorn’ 3D acrylic painting using a Purple Faye ‘Make Your Own Unicorn 3D Picture Kit’.

I wanted to have a finished ‘Unicorn’ 3D acrylic painting to show people who are interested in my kits, when I do craft fairs etc, so I thought it would be helpful to make it using one of the kits I’d made so i can show you how I do it.

If you’ve bought a kit from me to make your own square unicorn 3D picture then hopefully you should find this useful if you get stuck when making yours.

If you don’t have one of my kits yet but you’d like one then you can buy them from my etsy shop or message me/ email info@purplefaye.co.uk

 

 

I used the template to get the shape and followed my instructions of which bits to cut out to make it 3D. Once all my cardboard layers were stuck together on the canvas I then covered it in modroc, adding texture as per my instructions. I then used acrylic paints, mixing my own pastel colours to get the shades that I wanted, to paint it once the modroc was completely dry.

This video shows how I put the modroc on:

This video show’s how I used acrylic paints to paint it.

 

If you need any help with your kits or if there’s a kit that you would like me to make for you then please get in touch. Comment below, message me, or email info@purplefaye.co.uk

 

Till next time.

Take care.

Purple Faye x

purplefaye.co.uk

Making of the Teddies 3D Acrylic Paintings by artist Purple Faye

Here’s how I made the original ‘Teddy’ and ‘Teddy 2’ 3D acrylic paintings.

I made these after I’d finished making a previous 3D acrylic painting for my boyfriend’s niece Eden. I was pleased with how the teddy came out on it so I wanted to try making some more. I decided to make a pair as I felt that they would look nice waving at each other side by side in a child’s bedroom. I chose neutral colours, creamy light yellow and greys so it would work with any colour scheme in a child’s bedroom, making it easier to give as a gift.

I used my usual technique for making my 3D acrylic paintings, starting with the drawing on cardboard. Even though I was making a pair that I wanted to be similar to each other, the nature of the technique means that they wouldn’t be identical. I drew the first one on cardboard and then cut it out. I then used this as a template by flipping it over so I could get the mirror image for the second one. I then created more subtle layers by overlapping certain areas to raise them slightly as well as making more dramatic layers with extra pieces of cardboard cut to shape for the nose and one foot. Once these were all stuck down in place on the canvas I used the modroc to create slight texture in the fur then I begun to paint them with acrylic paints once the modroc was dry.

 

If you’d like to buy these, either just one or the pair, they are still available, I also have embossed greetings cards available.

If you would like to make one for yourself let me know and I can put together a kit for you.

Leave a comment or email me at info@purplefaye.co.uk

 

Till next time,

Take care.

Purple Faye x

purplefaye.co.uk

How Artist Purple Faye Made the Highland Cow 3D Acrylic Paintings at Holmfirth Artweek Artist Demonstrations 6th &7th July 2018

This year I took part in the artist demonstrations at Holmfirth Artweek on Friday the 6th and Saturday the 7th of July. It was my 4th year of doing this, you can see my previous posts about being there here: 2015, 2016, 2017, 2018

I decided to work on some of the Highland cows that I have been making at previous artist demonstrations that I’ve been taking part in. I had 3 at 3 different stages, modroc stage, base coat paint stage and more painting stage.

I worked on the smaller one first as that had the least amount of work to do to it.

I then worked on the one that had a base coat of paint on. Buliding up the layers of paint, mainly using brown, orange, yellow, white and a bit of black for the nostrils. I then mixed up a light green for the background.

 

I ran out of time to paint the one that was at the modroc stage, so that can save for when I do another demonstration.

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If you are one of the people that have one of my “Make Your Own 3D Picture Highland Cow Kits” then hopefully you have found this helpful when you come to paint yours.

If you do need any help email me at info@purplefaye.co.uk

I’m going to be posting some more blogs showing how I made the other original 3D acrylic paintingss that my kits are based on. So look out for those.

 

Till next time.

Take care.

Purple Faye x

purplefaye.co.uk

 

 

Making of Sleeping Dexter 3D acrylic painting by Pontefract artist Purple Faye at Holmfirth Artweek Demonstration 2017

On Thursday 6th and Friday 7th July 2017 I took part in the artist demonstrations at Holmfirth Artweek, which you can read more about here. I made four small 3D acrylic paintings while I was there, doing the cardboard and modroc stages on the first day then leaving them to dry and painting them on the second day.

This is one of the four that I made. ‘Sleeping Dexter’ working from a photograph of my cat Dexter that I had on my phone. I started by drawing directly on the cardboard, then cutting it out and overlapping the seperate pieces to make certain places stick out more than others. After the cardboard was stuck down with glue I then put the modroc on top.

The next day once the modroc was dry I started by painting white all over the cat shape, then the background a nice light purple. I then painted the rest of the details in. All the while talking to the people that came to see what I was doing.

The final 3D acrylic painting now has pride of place on my hallway wall along with the rest of my collection.

I’ll be showing the making of the other three paintings I made at Holmfirth Artweek soon, so keep a look out for them.

Don’t forget that if you would like to make your own 3D picture I have kits and do workshops.

Contact info@purplefaye.co.uk for more information.

 

Till next time,

Take care.

Purple Faye x

info@purplefaye.co.uk

purplefaye.co.uk

Art Adventure: Screen Printing Workshop with Laura Slater at The Art House, Wakefield

On Thursday, 8th June 2017, I managed to get a cancellation booking to do a screen printing workshop with Laura Slater at The Art House in Wakefield. A few days beforehand, I got the cancellation booking on the Monday morning, I received an email explaining that I needed to have my image ready to print. This meant having the master image and then separating it into the different colour layers that were to be printed.

At first I was going to do my screen print of my cute cartoon cat characters so then I could experiment with different colour combinations, but while I was sketching them out my little doggy Jeffrey kept looking at me as if to say “why are you doing cats when you could be doing a picture of me?” So I did a few sketches of him then painted my final master design and made the separate colour layers ready for Thursday morning.

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The first thing we did on the Thursday morning was prepare our screens by applying a light-sensitive emulsion to the surface then leaving it to dry. While it was drying we photocopied each separate layer of our design onto acetate, doubling each layer up to make them even more opaque to stop the light getting through.

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Once the emulsion was dry and the acetates ready we could then use the exposing machine to transfer the designs onto the screens. We did this by putting the acetate, with the design the correct way round, on the glass top of the machine. The screen was then placed emulsion side down on top of the acetate and the rubber lid lowered over them.

Next the vacuum was turned on so the rubber lid formed a tight seal over the screens, stopping any movement that could happen during exposure, then the shutters on the exposure unit were opened so the light could get to the coated screens. These were left open on a preset timer so that they were exposed to the light for the correct amount of time.

After the screens had been exposed we then needed to wash away the areas that had been shielded from the light by the design. This is how the photo process works, the light- sensitive emulsion gets baked onto the screen when it’s exposed to the light. Any areas that weren’t exposed to the light due to the design blocking it out doesn’t get baked. These areas can then be washed off to let the ink through when printing. That’s why it works better to do your design in black to make it as opaque as possible to stop the light getting through.

While the screens were drying, after having the unbaked emulsion washed off, the next job was to mix the inks ready for printing with. I needed a background colour, obviously I went for purple which I made light to contrast with the darkness of the black and grey, then I needed a black and a grey for the body. In my original design I had a black body with grey highlights for the ears and nose. Sadly I had to change this slightly and swap them round as the grey wouldn’t have shown up printed on top of the black, but apart from the eyes I don’t think that it negatively affected it too much.

Once the screens were dry and the ink mixed then we were ready to start printing. As the layers needed to print on top of each other I started by printing my background. I was doing edition printing, this meant that I’d been printing the same thing over and over again so I’d have a set of prints that were all the same. The joy of hand printing means that each one would still be slightly different though.

After the background was printed they were left to dry and I cleaned the ink off the screen. I could then set up ready for the next layer of printing. This meant securing the screen in the hinges that held it in place on the printing board, then lining up the background image to the screen so that it would print in the right place. Using masking tape on the corners of the paper to help register the next one in the same place.

You may remember from the blog post that I wrote a few months ago about my older work, read it here, that when I was studying A level printmaking I always felt that my registration let me down. So it was nice when Laura told me that it’s those things that make hand printing different to being perfectly printed by a machine. The so called mistakes or errors make each one unique even when it’s part of an edition. This made me feel a lot better and more positive towards that older work.

For the last layer of printing I again had to line up the paper with the new screen, using masking tape to help register the rest to the same spot. Also using the acetate print outs to help with this step too. Then it was time to leave them to dry and wash up the screens etc.

I really enjoyed the workshop, it was nice to go back to screen printing after the 15 or so years since I did it at college.

Till next time

Take care

Purple Faye x

purplefaye.co.uk