I will periodically add Q & A ‘s here that seem to be of interest to many readers. These will probably be mostly about techniques on my DVD, since that is what I get the most questions about. But feel free to e-mail me with questions and I will attempt to answer them here.

Q.) I am at my wit’s end locating hot stamping foil. I cannot find it in any craft
store, and the online suppliers cater to large sale orders to businesses.
Any suggestions?

A.)You can also e-mail me at jacquelinesullivan@mac.com. I have gold, silver or copper, it is $4.00 per package included US postage.

Q.) Where do I buy the small iron that you use on your DVD?

A.) This iron is made for quilters. It is manufactured by Cloverleaf. You can buy it at most fabric stores as well as JoAnn’s and Michaels in the quilting department. Any iron will work, but this one gives you more control of the placement of the foil.

Q.) On your DVD, it seems that each watercolor piece (layer) is fairly thick and laying over a textured surface. How are the layers adhered to each other?

A.) The pieces on watercolor paper are done on 140 lb. cold press paper. The layers are divided by a piece of foam core, usually. I attach the foam core with glue and double faced tape. My current favorites are:
The Ultimate! Crafter’s Glue
Terrifically Tacky Tape (pink tape in the scrapbooking aisle)
Both are available at Michael’s, JoAnn’s and Hobby Lobby.

Q). How do you frame the layered pieces? I would think that these works would not go under glass since that would somewhat negate the tactile and visceral impact of them.

A.)I do put them under glass to keep them clean. It does take away from the tactile sense but preserves them in the long run. Museum Glass is very good and very clear, you can hardly see that it is there when viewing it straight on. But it is very expensive. Even some of the small canvasses I put in a frame and under glass. But, I am a framer and enjoy incorporating the frame as part of the over all design of the piece.

Q.) Since the layered pieces do not appear to lend themselves to being matted, how are they framed?

A.) I do mat them. I float them over a textured matboard that becomes part of the collage. I build the mat out with foamcore so it is level or higher than the last layer on the collage.

Q.) Would you recommend applying the entire layered painting to a cradled board for instance, so that no frame is required (similar to that of using a gallery wrapped canvas that needs no framing)?

A.) Yes, I have done that, it looks good, but then I often put a floater frame around that, just a small edge that gives it a more finished look.

Q.) If so, what type of adhesive would be best for that application?

A.) I always use two adhesives. Right now, the two named above for everything. But they are permanent, so would not be able to be removed from the board.

Q.) I would like to incorporate my own images in a similar way to your Asian Woman painting that is printed on Sumi Paper (shown on DVD) I will be ordering a thin rice paper that is coated and designed for use in inkjet printers.

A.) I just use regular sumi paper that you buy in an art supply store. I cut it to 8.5″ x 11″. It is not made for inkjet. It goes through my HP Photosmart printer just fine. Also, image transfer techniques work well for this type of thing. I have recently started transferring stuff directly to a painted surface. Watch my website for links on classes on image transfer techniques.

Q.) Do you leave a smooth painted area where the image overlay will go or do you apply it over a textured collaged surface area?

A.) Yes, usually I do, or else you have a textured image. O.k. sometimes, but not great on faces 😉

Q.) Also, do you adhere the image by using the medium under or over the image, or both?

A.) I use medium over and under the image. If you keep the moisture even you get less wrinkling. I often coat the image on both sides with Gloss Polymer medium and let it dry before using it. This evens out the moisture and it goes down with less buckling and wrinkling. Be careful on inkjet images – they might smear. I spray them(heavily)  with Blair no-odor workable matte fixative before coating them with medium

Q.) Do you stretch the 140 lb. watercolor paper first? Do you gesso it first?

A.) No, I don’t usually stretch the watercolor paper. It’s not getting that wet and usually does not curl. And I don’t usually gesso it first. It’s a good working surface as it is. Sometimes I put down gesso and scrape through it and then the translucent coat going over it appears different on the two different surfaces. It’s a great technique! I teach it in my “Go for the Gesso” class and on my Go for the Gesso DVD.

Q.) What is the best adhesive for attaching heavier non-flat objects?

A.) Again, I use “The Crafter’s Ultimate” . I have a piece of metal on a canvas that I am trying to remove and I can’t get it off. It’s a very good glue! The bottle says “the only non-toxic super glue” or something like that!

Q.)I fell in love with the journal you show on your DVD (the one that has been packed in your suitcase many times). It is gorgeous! Do you actually assemble the journal yourself?

A.) Yes, it is a Coptic Bound book. I used my aluminum foil technique on chipboard for the covers. I sanded the edges and painted the edges and inside the covers. There is lots of bookbinding info on the web. There are some scrapbooking sites that have videos. You can sign up for my Newsletter on my website. I am hoping to do some online classes that will incorporate bookbinding. In the meantime, a friend makes the panels using many mixed media techniques and glues them to the cover of existing journals/sketchbooks. I just took an old hardbound sketchbook and painted the outside of it with acrylics and am adding techniques to it. This I did Gesso first.