Inktense techniques free download

The trial version I made that used for the pocket is from the largest group. You can just do some light sketchy swipes and then smooth it out with a wet brush. For this project, I just did simple shading by adding a little more color after the initial layer dried. This embroidery design is not particularly realistic in the first place but adding some shading on the flowers does add interest and dimension. Inktense pencils work best on white or very light colored fabrics. The brown fabric muddied the colors somewhat and scrubbing with my stencil brush disturbed the nap in several areas.

Note: This collection comes with a plain outline and then a detailed leaf design. Use the plain version to cut out a shape slightly larger than the actual design. Stitch the outline version first, place the leaf over the outlined area, then stitch the full version. Hi everyone. Just to let you know that some of the links on this site are affiliate links. What that means is that if you click one of them and buy something… I get a commission.

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I found them on Amazon where else? They come in various size sets and I started with the 36 pencil set. Autumn Leaves. Tangled Floral Doodle Blocks. Halloween Haunted House Mini Quilt. Winter Friends Quilted Wall Hanging. Lindee Goodall is a veteran master digitizer who's won awards for her beautiful designs, been a guest on numerous PBS sewing shows, written articles for a variety of home and industry-related magazines, and is a Craftsy instructor.

Lindee G Embroidery is her second company, following Cactus Punch, which was founded in Join Our Newsletter! Remember me Log in. Lost your password? Your personal data will be used to support your experience throughout this website, to manage access to your account, and for other purposes described in our privacy policy.

Add to Wishlist. Quick View. All Designs Autumn Leaves. Add to cart. Lindee Goodall Lindee Goodall is a veteran master digitizer who's won awards for her beautiful designs, been a guest on numerous PBS sewing shows, written articles for a variety of home and industry-related magazines, and is a Craftsy instructor. Search for:. Paper — If you are using paper, all watercolour techniques apply and I suggest using a decent quality watercolour paper that is at least Lb.

I tend to use a good medium quality watercolour paper. The cheapest paper is usually just that. You want a watercolour paper that the water will stay where you put it, will absorb without bleeding, and the surface will stand up to working the colour a bit and not pill or ripple excessively.

Therefore I have several different sized pieces of foam core laying around the studio. Before applying the tape to the edge of the paper, I stick the tape lightly to my clothes to remove a little of the tackiness. There are many of them from different manufacturers and I use different ones for different purposes in my multi-media artwork.

For this I need a medium that is not glossy, sticky or pearlised. The addition of a few drops of the textile medium increases the viscosity and surface tension of the paint, resisting the bleeding tendency of the liquid paint into the fabric. Below is an example of Inktense paint with and without textile medium painted on fabric. Techniques: Colour Selection — Most paintings are not done with all available colours. Artists choose a more limited set of colours for any particular work.

Some have their favourite colours that they work with all the time. Audition and mix the colours you want to use on scrap pieces of paper or fabric. Setup and making stock colour — After setting up your workspace, wet the pan paints with enough water to make a shiny little puddle of water on top of the pan paints you will be using. I usually use a large round brush to add clean water to the top of the pan. While the paint is softening, add some water to each of the palette cups in which you will be mixing paint.

I seldom use more than a teaspoon or so of water. This is true also if you are using Inktense blocks for your colour source. If fabric medium has been added, adding water to the dried mixture will generally not reconstitute the paint properly.

Mixing Paint — Place a small amount of clean water in the palette cup, dip a large round brush into the softened paint in its pan and discharge the colour into the water. The intensity of the paint depends on how much of the pigment you put in the water. Repeat until the colour is what you want.

At this point if you are working on paper, fly, be free, experiment and have fun. If you are working on fabric, add a few drops of the textile medium and mix well. Changing to a brush that does not hold a lot of moisture, try out the paint on some scrap fabric to see if it bleeds or not. With this medium, you only have the option of wet medium onto a dry or wet surface. If you want control and placement of paint, use wet on dry. Wet on wet is very uncontrollable on fabric as it bleeds even more than on paper.

But it can create some really cool effects. So look at a watercolour book and try some things. Glazing — or over-laying. Because this medium is permanent when dry, you get some really cool depth to colour layering when you let the previous layer dry and then work further. Mixing colours by glazing is subtly different than mixing the paint colours wet and applying it.

Finishing- when you are done with your fabric painting, let the piece dry and heat set with an iron according to the instructions on the textile medium.