Friday, December 30, 2016

Studio Saturdays: Stamp Carving

I have so many rubber stamps that I could stack them together with mortar and build a good-size house. Way before I discovered mixed-media art I was stamping cards and envelopes, and using stamps to decorate paper for book covers, and add designs to fabric. But stamp carving booted me into a whole new realm of happiness.

Stamp carving has a very short learning curve, and is one of the most meditative creative pursuits. You can sit and carve stamps for hours, watching TV or listening to music or a podcast, be in the zone, and feel like you’ve accomplished something major—because you have. The stamps you create are not only unique, but the images and what you create with them truly represent your artistry. Hand-carved stamps will also last you a good, long, time, and you’ll always find new uses for them.

Hand carved stamps

If you’ve never carved stamps before, rest assured you don’t need any special skills—you don’t even have to know how to draw. The carving part takes a little practice, but a few helpful tips will shortcut your path to success.

The tools and supplies needed are minimal and fairly inexpensive: a carving block (I like the Speedball Speedy-Carve blocks), a linoleum cutter handle with a chuck, a set of linoleum cutter blades, a craft knife, cutting mat, scrap paper, ink pads or water-based markers, and some baby wipes. Having two cutter handles allows you to switch between different blades quickly, instead of having to switch out blades in one handle. Cutter handles with a simple chuck system are easy to use–simply insert a blade and tighten it down.

Stamp carving materials

It doesn’t take much to get started with stamp carving; the basics include cutters, a stamp block, and ink pads or markers.

Any type of design will work for stamp carving, but if you’re just beginning, I recommend starting with a simple shape, like a solid heart, leaf, or flower. The three-layer technique I’ll show you isn’t difficult, but practice first with some basic designs to get the feel of the blade and the block. I drew my image (a flower) onto copy paper with a dark graphite pencil. You can also use copyright-free images, either tracing or re-drawing them.

Drawing an image for a hand-carved stamp

A hand-drawn image for a hand-carved stamp

Here’s the best part—to transfer the image to the block, simply place the drawing, right-side down, onto the block, and rub until the image appears (I used the end of the pencil). Lift up the paper to make sure your image is transferring, trying not to move it—you may want to tape a corner down before rubbing. If you want the image more defined, trace over the lines on the block with permanent marker.

Transferring a design to a stamp block

Rub the back of the pencil-drawn image, and the design will transfer to the block.

It’s as easy as that! Here’s my design on the block. After transferring the image I cut around it with a craft knife so I’d have a smaller piece to work with.

Transferred image for stamp carving

The image transferred perfectly!

When I carve, I almost always start with the small U-gouge, which creates a very thin line. I run it along the outside of my design first, creating an outline, then go around again, widening the line. You don’t have to dig deeply into the block—just put a little pressure on the blade to remove some of the rubber.

Carving the outline

Start the carving by creating a thin outline around the image.

Remember, everything you carve away will not print, and everything left behind will print. Also, the transferred image will be backward on the block, but oriented correctly when you stamp the image.

For the flower, I wanted a fairly thick outline for each petal, and have some lines inside the petals. As you can see, I didn’t follow the outline exactly–you can try to match your image, or take a little artistic license.

After carving more around the outline, I created a border for the petals that was about 1/8″ wide. When you carve, go slowly. This isn’t a race, and you’ll be more pleased with the results if you don’t rush. Also, one of the most important things to remember is to always carve away from yourself. Never angle the blade toward your hand—it can easily slip or skip across the block and cut you—the blades are quite sharp. When making curved lines, keep the blade steady and turn the block, but—let’s say it together—always angle the blade away from you. Two more helpful tips: Have a good light source, and don’t carve when you’re hangry. Get that blood sugar nice and level.

After carving the border I carved the inside of the flower, leaving those lines in the petals. To carve away larger areas I switched to the bigger U-gouge, which removes more rubber. Then it was time for a test—this is an important step in stamp carving, allowing you to check your progress and see what still needs to be carved and cleaned up. Before inking the stamp, brush off any tiny pieces of rubber, or give it a cleaning with a baby wipe and dry it.

You can see here how I’ve got the basic shape, but a lot of carving lines still remain. I like to leave a few extra lines, and how many you leave is completely up to you; some people like to leave a lot to emphasize the hand-carved look.

Carving the stamp

The insides of the petals were carved away next, leaving a border.

Here’s the stamp and the stamped image after an initial cleanup:

Stamp carving

The image is starting to look good, but more carving is needed.

A little more cleaning:

Stamp carving

Looking better, but not quite there yet.

And here’s the final image. As you can see, it’s far from perfect, but I really like it. I also cut around the flower with a craft knife to make it easier to stamp. I could have stopped here and been as happy as a clam with a stamp. However, I’ve been seeing this trend in commercial stamps of layered stamping—stamping parts of an image in different colors to achieve a dimensional look—and I wanted to give it a try.

Final version of the hand-carved stamp

The final stamp. I left a few carving lines, which gives the image a hand-carved look.

I went back to my original drawing and drew around the inside of each petal, then carved just the petals.

Stamp carving a layered stamp

I carved another stamp to fill in the petals.

For one last layer I drew a smaller portion of the petals, and carved that.

Layered hand-carved stamps

The third layer adds dimension to the petals.

I needed some leaves, and carved a base layer and an overlay. I also wanted a little detail stamp, so I carved some dots from a piece of rubber I had cut away.

Hand-carved layered flower stamp

I added two-layer leaves and a small motif stamp.

I like that the flower and leaves don’t exactly line up, so the images will always look slightly different. But to make sure I stamp all three layers as accurately as possible, I made a small dot at the top of each stamp as a reminder.

Marking hand-carved stamps

Marking the backs of the stamps with a small dot makes them easier to align.

Here’s how the stamp looks on a page in my art journal; I added a simple label that I also carved (the letters are purchased stamps):

Art journal page with hand-carved stamps

A page from my art journal, with the hand-carved stamps.

Like any stamp, this one’s quite versatile. Here’s the image stamped in navy blue permanent ink, and colored with watercolor:

Hand-carved stamp colored with watercolor

The stamp takes on a much different look when colored with watercolor.

I painted the stamp with watercolor, stamped it, then used a water brush to spread some of the color around:

Hand-carved stamp stamped with watercolor

Using watercolor directly on the stamp gives it a hand-painted look.

And here, I stamped the petals with pigment ink, then removed some of the ink with the dot stencil to get a polka dot pattern.

Removing ink with a rubber stamp

Removing some of the ink with the small dot stamp resulted in a polka dot design.

You’ll probably get on a roll when you start stamp carving, as I did. I decided to make a quarter repeat stamp, which is a quarter of an image that can be repeated to make various combinations of designs. I did this quickly, and frankly, I wasn’t super happy with the results and almost tossed it.

Quarter repeat hand-carved stamp for stamp carving

Wasn’t a big fan of this one at first.

But…when I repeated the image clockwise three more times and added some doodles with a black pen, I was suddenly head over heels.

Quarter repeat stamp

When repeated in a circle, this stamp quickly became a favorite.

Repeating the stamp in the same direction gave me this cool pattern, which I stamped in acrylic paint over a painted background in my art journal. Don’t get discouraged if every attempt doesn’t turn out exactly how you expect it to. Give your stamps a chance, and see how they work best in various patterns and with different mediums.

Quarter repeat stamp art journal page

Repeat stamping without turning the image resulted in this pattern.

By the way, you can care for your stamps the same way as you do commercial rubber stamps: Keep them away from heat and light, and clean them with stamp cleaner or alcohol-free baby wipes. If you stamp with acrylic paint, wash them immediately afterward so the paint doesn’t dry on the rubber. Hand-carved stamps can be mounted as cling stamps for acrylic blocks, or on wood blocks, if you prefer.

I imagine you wanting to get going on some carving, so here are a few more things to check out from the North Light Shop before you head out on your stamp carving adventures!

Carve, Stamp, Play by Julie Fei-Fan Balzer

Julie Fei-Fan Balzer’s book Carve, Stamp, Play is the perfect companion to stamp carving. Check Julie’s blog for her #CarveDecember tutorials and inspiration!

Art Stamping Innovations: Carving Workshop with Gloria Page

Learn stamp carving basics and more in the video Art Stamping Innovations: Carving Workshop with Gloria Page.

XXXXX issue of Cloth Paper Scissors magazine

Learn all about stamp carving in the May/June 2014 issue of Cloth Paper Scissors magazine.

Art Journal Courage by Dina Wakley

Discover fun stamping techniques and more in the book Art Journal Courage by Dina Wakley.

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