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George Weil Blog & FAQs

Welcome to the George Weil Blog FAQs which includes information about the art and craft products sold on this website. There are project ideas, photographs of items created by our customers, product reviews, and step-by-step instructions.  

If there is anything you would like to see included here or if you would like to contribute an item, please email graphics@georgeweil.com


  • Here we include an Indigo Dye Recipe and a little about the history of this ancient dye. Indigo is probably the most widely used dyestuff of all time - indeed denim jean material is still coloured using indigo dye as it is extremely wash fast. It was used many centuries before the Christian era in the Far East. Marco Polo saw indigo being prepared

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  • Delicious oddments of yarns, the simple tool of a crochet hook and a piece of rug canvas can pave the way to making an original designer hand bag. This bag, made by Coralie Miles, shows the exciting colours and textures that can be achieved from breaking 'the rules'. Coralie hand spun her yarns using both natural coloured and dyed wool tops, creati

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  • Using foil or metal leaf to decorate polymer clay can be very effective. They technique is surprisingly simple yet very effective. Sue Heaser's necklace was made by rolling out a piece of black clay and laying a sheet of Lisa Pavelka Craft Foil over it. The mylar backed foil needs to be placed shiny side up before it is burnished by rubbing it with

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  • There is a strong relationship between the fittings on the spinning wheel and the type of yarn easily produced. This explains why many spinners have more than one wheel. The working unit on all modern spinning wheels is the combination of the flyer (the 'U' shaped piece) and the bobbin on to which the yarn is wound as well as the whorl. The bobbin

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  • with Sue Heaser (see also pages on using Sculpey Flexible Moulds and Layering colours in Sculpey Flexible Moulds) Sculpey Alphabet moulds can be used to mould letters for children’s name plaques. These have dozens of uses such as for party name place markers or room door plaques. You can also glue them above coat pegs, onto box lids and even onto

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  • with Sue Heaser The flexible Sculpey Push moulds are available in a number of themes and once the moulded item has been baked it can be used for decorating handmade cards, boxes, furniture or jewellery. Click here to see Sue in action with a different Sculpey Flexible Mold. Many of these moulds are intended to have different colours of clay pressed

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  • with Sue Heaser 'Sculpey Flexible Push Molds' are incredibly easy to use for moulding all brands of polymer clay. The moulds are made of flexible rubber, so once you have pushed the clay into the mould, you can flex it to pop out the moulded piece. You can use the moulds for many other materials as well - plaster of Paris, air dry clays, melt and p

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  • Inks made from the Selectasine Binders and Pigments provide excellent wash fastness on fabric. It is advisable to allow the ink to dry for at least 24 hours before fixing them with heat. When the print is dry, the screen inks will require fixing (fixing is also known as curing) before it can be washed or dry cleaned. This completes a chemical proce

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  • Preparation before Firing Great News! Although the following still applies to Art Clay Silver Clay, the New Art Clay Silver clay formula has increased the working time of this product! See our "New Formula Art Clay Silver Clay - Tried & Tested by Joy Funnell" page to find out more! Allow your grey white pieces of Art Clay Silver clay to dry tho

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  • FIBRECRAFTS natural dyes can be used in all natural dyeing techniques and colours with vary depending on the mordant or method used. We suggest you experiment with the dyes and keep notes on how you arrived at the finished result. Alderbuckthorn Bark The Alderbuckthorn is a small tree or bush native to Britain. Shades of yellow to brown can be achi

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  • The Fibrecrafts range of these rich hair fibres which include Alpaca, Camel Down, Cashmere, Mohair and Yak Down. They can be used for spinning soft, fluffy yarns and in feltmaking. The fibres do not felt easily as the scales along the fibre are much further apart than the scales on wool, but felting can be achieved using felting needles. The natura

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  • Felt is created by agitating wool fibres until they mat together to form a non-woven fabric. The fibres can be laid flat on a surface or molded around a former such as a hatshaper, cardboard or even a ball. Most commercial felt is made in a dry process by simply tangling the fibres of almost any material. This is carried out with felting needles; e

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  • Felt can be built in many ways using wool fibres as the base. However it is important to make sure that you are using the correct quality of wool fibres. Too coarse a fibre slows felting as fibre below 56's Bradford count (learn more about wool fibres) will not felt easily. Lustrous, fine fibres felt quickly and reduce the time for working the desi

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  • A popular method of making stencils for screen printing is to use the Diazo Photo Emulsion. The screen is prepared with the photo emulsion and a negative printed on acetate is placed on the screen before it is exposed to a bright light source (find out more about Diazo Photo Emulsion). Here is a useful excerpt about emulsion exposure from Ruth Brow

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  • A screen is coated with photo sensitive emulsion and allowed to dry. The stencil is made by placing a "film positive" (i.e. your design printed onto a transparency, or hand drawn onto draftfilm/polydraw using plumtree opaque) on the treated screen, which is then exposed to UV light. Where the light is blocked, which will be your design, the emulsio

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  • You can use Deka L dyes on all natural fabrics including cotton, linen, silk, wool and viscose, although they are not suitable for use on synthetic fabrics. Results from dyeing are dependent on the amount of powder in the dye bath, the fibre content of the fabric, the length of dyeing time and the temperature of the dye bath. Other factors, such as

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  • Creating Cyanotypes The Cyanotype Chemicals Pack contains 100g Potassium Ferricyanide and 200g Ferric Ammonium Citrate. The chemical names sound alarming but are fairly common place. They have no significant adverse effects on us or the environment. The main iron salt, ferric ammonium citrate, is used as a food additive while the other, potassium f

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  • These highly textured, robust papers were made using cotton linters on an A6 Mould and Deckle, (a 250g pack will make approximately 50 A6 sheets). Linters contain partially beaten cotton fibres which are formed into dry sheets that resemble blotting paper. Natural dyes were added to the pulp bath to add texture and interest. Simply prepare the pul

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  • The cotton material for Batik work requires a good finish, needs to be reasonably pliable and be able to accept the resist in order to prevent dye penetration. The Bleached Cotton, the Javanese Primissima and the Javanese Prima all meet this requirement. We recommend both the Primissima and Prima material for more detailed Batik work and fabric pai

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  • Woven Silk Fibres A further variation on the silk papermaking method. Ruth Edwards has taken lengths of dyed and undyed silk fibres and woven them prior to applying the CMC paste. Silk Sea This design, by Alison Bate, has been created using hand-dyed silk fibres and CMC paste by following the silk papermaking method. Other fibres such as cotton or

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