3 New products 2015

Transcription

3 New products 2015

New products
2015
New products 2015
19 years of CREARTEC
Life is a roller coaster. He had barely left his successful company, built over a span of 21 years, when he opened his new company
CREARTEC on 2 February, 1996.
After concluding his studies in economics, Klaus-P. Lührs founded hobby-time Bastel-System GmbH, located in Neukirch by Lake
Constance, on 2 May, 1974. He had started out as a „1-man company“, but he then expanded so diversely that it soon numbered
among the most important companies in the hobby industry. The basis for this was the unique technical programme that only hobbytime could offer in such an assortment: polyester and epoxy resin, ceramic casting slips for creating reliefs and figurines, wax products
and Tiffany-technique products..
The company rapidly evolved. And so it was understandable that even the company management needed support. But that was not so
simple. Lührs was glad when, after his long search for a partner, he finally saw the goal of his dreams. On 1 July, 1995 he was able to
take on a partner in his company as an executive partner, whom he equally provided a half share in his company.
This was the most disastrous decision of his life! From the very beginning this partnership did not work and had tragic consequences.
Six weeks later, K.P. Lührs was demoted as CEO of his company. Three months later followed the definitive, immediate „expulsion“
by his „partner“!
The former hobby-time boss was left on the street. Poor and penniless! Everything that he had owned had been invested in his
company. This was, as would later be discovered, a fatal mistake.
Unfortunately he had not yet realised by this time that with his partner he had gotten involved with an economic sect. And these people
are not only ruthless, but brutal. They are characterised by getting what they want ... A bitter defeat - the result of 21 years of hard
work, time and many hardships - to stand at the edge of nothingness by the end.
But that is not the case for Klaus-Peter Lührs. When people talk about him, they speak of someone who bounces back. For him, his
departure was also a new beginning!
On 2 February, 1996 he founded a new company: CREARTEC trend-design GmbH. Of course he was once again a 1-man company as
before, once again in a garage, but this time in Weitnau in the Allgäu region.
For his new company he went for a different business plan. Ultimately he was lacking in the most important thing: capital. So this
company devoted itself to the development and production of self-designed hobby ideas and the necessary products. These were only
delivered to the wholesale and mail-order businesses in the creative industry.
With much early praise and trust awarded to him by former distributors, competitors and customers, the small enterprise quickly grew.
Soon the company was forced to move into a larger location in the town of Weiler, located just 20 km away, for space reasons.
This was where the first employees could be hired, which allowed for the positive development to continue, and already a few years
later another relocation, this time in the same town, to a large neighbouring factory building was possible.
This would not be the last move. Another followed exactly five years later - by this time the company already had 18 employees. They
moved to Lindenberg, 7 km away, where today 55 employees work at a 3500 m2 production site.
In the meantime the production programme has expanded significantly. The manufacture of silicones and other latex and gelatine
die casts has also been adopted. In addition, many new products for the model construction and artist markets have arisen from the
development of art paints and special adhesives.
Due to the delivery to these additional businesses, new and different products were developed and produced for this target group:
modelling and spackling casts, artex model glues, art resin, glycerine soaps, supplies for crib models, glaze resins and theme
programmes such as branding, glass engraving, encaustic projects (painting with hot wax), pewter figurines and the most recently
developed programme - metal oxidation.
But things did not stop with the now achievable rust and verdigris effects of this programme. A series of innovations are on the
roster for the year 2015: Shabby-chick - a contemporary colour design programme; CreaStone - a fantastic concrete cast with
many applications for hobbyists and artists; and last but not least, the cherry on top for the coming year - glass crystal paste.
The brilliant innovation of a completely transparent crystal paste, for which special stencils have been developed. 2-dimensional
trims, frames and window pictures were applied to windows, mirrors and plastic surfaces following the do-it-yourself method.
An incredible contribution to finally, effectively incorporate glass surfaces into the ambience of a fashionably chic home.
And so it will continue. The most special thing about this company is that it solely works with the production of chemical products
that are not only manufactured for the hobbyist and artist market, but also for art companies and industrial firms interested in these
„art idea products“. It is thus beneficial that CREARTEC is in the position to quickly and securely make product ideas possible
through its own development.
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New products 2015
This also means that corresponding handling instructions have been written for all products. This recently led to Klaus-P. Lührs also
becoming active as a book author, writing numerous specialist books for the products he has produced, and which he publishes
through his own established production house: encaustics, embedding in synthetic resin, self-made casts, DIY candle dipping, glass
engraving, colourplast, coating with cold glaze, branding, mosaic colouring, etc.
Several years ago CREARTEC, as part of an innovation competition held annually by the publication „HobbyArt“ and the Frankfurt Event
Company, received top prize for the best hobby product of the year. At the centre of this award was the product „Mosaic Colour“.
In 2014 this was followed by another award for the best sculpture packaging: „Glowing Wax Spheres“.
While the Lührs family company continues to swiftly evolve, company management was personally enhanced in 2005. The eldest
daughter, Anja Lührs-Hofer, came on as a fully accountable executive and has since become responsible for acquisition, production
and personnel. In September 2014 the second daughter, Janet Lührs, joined as well in order to work with the continuously, globally
growing hobby, artist and creative market as Chief Marketing Officer.
On this occasion we would like to thank all of our business partners for your loyalty, faith and the good, cooperative partnership.
Furthermore, we look forward to seeing if we can so successfully continue into the coming year under our selected motto
Success is the best proof of good ideas.
The family Lührs: (from left side) Janet, Klaus-Peter, Dinawanda, Romina, Anja
The team from CREARTEC
New products 2015
Colouraplast
In the early 20th century the chemist F. Pollack developed a duro-plastic synthetic material, from which
the first coloured cups, plates, egg cups, trays, etc. were produced. That was the beginning of a new
era - the age of synthetic techniques. While a mixture of urea and formaldehyde was used for this, the
substance used by us today consists of glaze granulate and polystyrene (PS). That is a transparent
granulate that we dye many colours, which we first introduced to the market 15 years ago under the
name Colouraplast.
In contrast to many other synthetics, this material is completely non-toxic, even when handling
it. The unusable parts or material scraps can be composted normally, or tossed into the home
rubbish bin. What is interesting about this product is the relatively low melting point, wherethe material melts at a temperature of 190 - 200 °C, and immediately becomes firm and
hard again upon cooling down. It is thus suitable for creating the well-known colourful
panes, lampshades, bowls and window images. It is treated in the home toaster or baking
oven, which makes it very simple and can even be done by children 10 years and older.
b y
Through the constant development of this product and resulting supplementary products, we have created a contour liner with which image motifs, heat-resistant up to
220°C, can be drawn on normal parchment paper, providing the opportunity to paint and
produce wonderful pictures on your own - creating glowing Colouraplast window pictures.
Handling instructions: Place parchment paper on a painting template and fasten with tape. The
image lines are traced onto the parchment paper with a contour liner equipped with a fine brush. After drying, retrace all lines with
the contour liner, causing this lines to elevate, which is important because afterward the image fields will be filled in with various
Colouraplast pearls just as thick.
20 different colour hues are available for filling out the image fields. In these packs are „Colouraplast“ colours, which are great for
perfectly designing the window fields. Lay the finished contour image onto a baking tin which will then be placed in the oven. Beforehand all image fields will be filled equally high with the Colouraplast pearls. Different colours may also be combined together for this,
sometimes even mixed.
Nothing else needs to be done. The finished image pattern will be melted in the oven at a temperature of 200°C and become liquid.
The colours will run so that all image fields exhibit a consistently smooth image surface. That is the moment when the oven will be
turned off and must cool off for approximately 10 minutes. The picture is then pulled out from the oven, and a beautiful suncatcher handmade - is ready!
Colouraplast picture set „Musical Animals“
With the 3 different picture patterns of funny, musical animals, wonderful suncatchers
that can immediately be hung up in the window, shining in the sunlight, enthralling, and
spreading good cheer can be made in no time. Incredible craft-time fun!
Contents:
3 various painting patterns format A 4 (elephant, hippo, grasshopper)
2 sheets of parchment paper
1 bottle Colouraplast contour liner black 88 ml
1 bag with 100 g Colouraplast in the colours: light blue, light green, light red, yolk yellow
3 metal hanging loops
1 handling instructions
53 002
Colouraplast picture set „Musical Animals“
Gift set
PE 4
Gift set
PE 4
Colouraplast picture set „Animal Musicians“
In this packet you will find all materials for creating three more wonderfull windowpictures.
Contents:
3 various painting patterns format A 4 (bunny, mouse, cat)
2 sheets of parchment paper
1 bottle Colouraplast contour liner black 88 ml
1 bag with 100 g Colouraplast in the colours: brown, pink, light red, yolk yellow
3 metal hanging loops
53 005
Colouraplast picture set „Animal Musicians“
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New products 2015
Redesigning in the „Shabby Chic“ style
Changing the surface of an object provides sheer inexhaustible possibilities during the
development of myriad colours and effect media, and is thus fully considered during
restoration. This has now led to a new design trend that is considered a requirement
for owners of „antiques“ with the motto „shabby-chic“. Simply because much of the
furniture and other utensils stored in the cellar or in the attic are well-suited for revision
with this new decoration style, e.g. figurines, reliefs, bowls, jars, lanterns, doors, garden
gates, lamps, furniture, cars, bicycles, tractors, old wagon wheels, children‘s toys, picture and mirror frames - i.e. everything that could possibly be collecting dust with an
uncertain future in a house somewhere, unnoticed for years.
After restoration these pieces not only look fashionably stylish, but also quite interesting
because everything indicates that its appearance had changed from years of use and
the elements. They are weathered, the paint is marked with an effective craquelure by
the traces of time, hinges are rusted or coated in verdigris. You thus present the much
sought-after flair of the untouchable, the unique attribute or a no longer replaceable
treasure.
And they are treated as such. Gladly observed decorations that enhance the ambience
of a well-decorated home with something special, a rarity that amazes every observer
and which also contributes to the memory of the good old days. That is exactly the
purpose of these antiquities no longer in fashion. They embody something that was
largely missing, thereby turning dreams or memories into reality. So it is understandable
if these altered artworks are placed throughout the home or the garden. A good opportunity to allow others to partake in the pleasure, e.g. with the entirely rusted car, the old
agricultural machine, the lanterns covered in verdigris, rain water buckets or the flower
tubs once made from zinc casting, but now entirely rusted.
Not only the appearance of older, but also newer decorative and implemented items are
thereby changed or, to be honest, so beautified that they correspond to the requirements
of the shabby-chic epoch.
New products 2015
Also included in this are the many valuable, ugly objects imported from the Far East, so
redesigned with these materials that they can then be reused stylishly.
Let the old look chic again...
For these design techniques we have compiled the required colour products and thus
offer a rounded, complete programme that allows the home craft-maker to successfully
redesign or restore with tested products:
How is Shabby Chic used?
Part of the revision of raw wooden furniture is the attempt to paint over it, to which end
various colours can be combined. Afterward the partial abrasion or distressing with
classic oil patina, whereby darkening with distressing is also possible, signifying „old“.
The implementation of Shabby Chic virtually demands experimentation, opening up
one‘s box of tricks. It is also a lot of fun, because corrections can be made at any time,
further enhancing the appearance of the revision.
The claim of owning a „shabby chic“ piece is only justified if old furniture or items are
reutilised. Of course it is worth arranging it such that the old, classical appearance is
once more visible or recognisable.
White base
Especially well-covering white primer with which wooden parts - boxes, chairs, tables, picture and mirror frames, door signs, candle holders, dressers, wooden walls,
etc. - receive their original colouring once more. At most they are lightly scraped after
drying, and then painted over with other lacquers, colours and effects.
71 776
White base
150 ml = 125 g
Plastic bucket
PE 6
71 777
71 779
White base
350 ml = 500 g
Plastic bucket
PE 3
White base
1000 ml = 1500 g
Plastic bucket
PE 3
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New products 2015
White Acrylic Dispersion
Premium acrylic dispersion with food viscosity and coverability, ideal for painting over furniture or decorative items painted over with primer, for instance. The disperser is directly handled
from the container and coats the items in a semigloss white: When restoring old, abrasive
furniture or metal parts a perfect tracing of old paint can be made. This is possible when the
acrylic disperser is only lightly applied to effect areas, such as abrasive edges, etc. while
other surfaces are coated in the full covering power of the paint. It is thus also possible after
drying to change the coat with abrasion by sandpaper so that only a partial, irregular colour
coat can be seen through the many „years of use“.
The disperser is also ideal for painting cardboard, wood, glass and metal. Synthetics may
be perfectly painted over after priming with Universal undercoat (71 801). It is also possible
to tint the acrylic disperser with powdered pigments, e.g. Paint pigment powder (71 511) or
liquid colour concentrate (71 501) so that a beautiful pastel is created. This also allows for art
nouveau or baroque effects to be perfectly imitated.
Application: 140 - 150 g/m2.
Brush cleaning occurs with water.
71 821.98 White acrylic dispersion semigloss
300 ml = 500 g
Plastic can
PE 3
500 ml = 800 g
Plastic can
PE 3
1000 ml = 1500 g
Plastic can
PE 3
Semi-transparent acrylic dispersion (Impasto) - semigloss
This acrylic disperser creates a delicate, barely visible white shimmer after application that
is comparable with a semigloss glaze. That is why it is especially suited for painting over
furniture. Because of its consistency it leaves behind a consistent finish that can then be
treated with additional paint, oil or patina products. Coarse and newly produced wooden parts
receive an incredibly fine white veil after application of this semi-transparent disperser, often
bringing about the prize antique age effect.
To even further facilitate the desired flair of „shabby chic“, corners and angles of the prepared items are irregularly scraped to accentuate the „old“ status more effectively.
Yet the product offers even more. Because of its „nearly“ transparent composition it is remarkably suitable as a base dispersion for mixing colours, possible in connection with paint pigments (71 511) or paint concentrate (71 501). The final colours can additionally be brightened
by the addition of water (max. 10 %). The acrylic dispersion and/or the paints created from
it adhere to paper, cardboard, wood, polyurethane foam (PF), leather, stone,
ceramic casts, plaster, wall plaster, metal, etc. Cleaning of brushes and tools
occurs with water.
Application: 130 g/m2.
71 826.98 Semi-transp. acryl. dispersion – semigloss
300 ml = 500 g
Plastic can
PE 6
500 ml = 800 g
Plastic can
PE 3
1000 ml = 1500 g
Plastic can
PE 3
New products 2015
Shabby chic – chalk colour (semigloss)
While furniture used to be coated with a lime paint and then a linseed oil mixture would ensure that this semigloss coat would remain smear-resistant, that can be much more easily
and effectively done today with the special paint designed specifically for this purpose.
The important thing is that the items are rub-resistant and moisture-proof afterward, and
that they can maintain their appearance for a long time.
Shabby chic chalk colour offers many more benefits, however. For instance, dark colours
are used as a base. A craquelure coat is applied which is then completely coated with a
soft pastel tone. That alone is enough to alter these pieces so much that they totally comply
with the shabby chic requirements.
Just a few minutes later an incredible craquelure effect will show through, representing the image
of an old, used piece of furniture. The created cracks will make the underlying shabby chic chalk
colour used as an undercoat visible, providing an effective contrast to the remaining coat.
Shabby chic colours can also be used without craquelure. Because the paint does not have the intense
pigmentation of normal paints, the pigment applies lies right in the middle of a standard colour and glaze.
This offers the advantage of being able to take an antique piece of furniture that is still covered in dirt, dust
and old paint, paint over the surfaces with this paint after cleaning, all while making the structures still recognisable after the first coat. That is important because in the end this indication as a classic trademark of
shabby chic will be prized. Should you like to intensify this effect, a careful application of sandpaper on the
dried paint coat (grain 40-60) will suffice to enhance this effect. Sand the corners more intensively, as they
are the most burdened during common use, thereby creating the typical image of a used piece of furniture.
The shabby chic colour system offers you a classic colour selection with which all paint ideas can be quickly
and effectively implemented. And if you would like to make treated items even older, this is always possible
with the additional application of a patina (75 505) diluted with patinating fixative. The furnishings can then
also be properly „trimmed“ to the vintage style. Clean brushes with water.
Application: 130 – 150 g/m2.
Dark primer colours:
11
bordeaux
71 842
16
aubergine
Shabby-chic - Basecolour
22
petrol
250 ml (500 g)
32
green
Plastic can
PE 6
Typische Shabby-chic-Farbtöne:
01
pastel rosé
03
apricot
13
pastel purple
17
pastel lilac
25
pastel blue
31
pastel mint
38
pastel green
68
white
69
ivory
72
grey
71 842
Shabby-chic - chalk colour
250 ml (500 g)
Plastic can
PE 6
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New products 2015
Shabby chic with craquelure effect
1.
Everything that is old and becomes functional once again after restoration, but still looks
plain, is given a fantastically stylish, valuable appearance with this colour system.
Wood, ceramic and porcelain items were once painted, glazed or lacquered after they were
made. Influenced by weather (cold, warm, moisture) the applied coating would contract.
A network of variably slender and wide cracks would form, filled with dust and dirt over
time, looking contrastingly dark. With other models the underlying primer coat could be seen
through the cracks, creating a unique colour contrast.
These cracks are called craquelure, and are an important part of the „shabby chic“ style. It
is thus beneficial that they are also visible on the revised or newly created paint surfaces.
They form from the multiple layering of two various paint or lacquer systems, one of which is
thin and the other is thick. They contract differently while drying, leading to tension = tears
in the surface.
Paint the frame with universal primer.
There are two application methods for this slick design technique:
2.
1. The craquelure finish is directly applied to the untreated surface and then coated with
the craquelure medium (e.g. Shabby chalk paint) after drying. A few minutes later the
desired crack effect will arise, which can be further manipulated:
•
should the craquelure finish be applied conservatively, fine cracks will form. Heavy application of the finish will make the cracks wider and larger, and thus more rustic. The
craquelure effect can be produced to match the objects. For porcelain, ceramic and enamel items, fine cracks are suitable, whereas large cracks are ideal for the front surfaces
of wardrobes and dressers, thereby making them appear more rustic.
2. The base surface of the item will be coated with the desired colour. After drying apply
the craquelure finish, which must also dry. After the following application of Shabby Chic
chalk paint, the first cracks will form after a few minutes. The undercoat colour will once
again be visible, contributing effectively to the desired colour contrast.
The craquelured item can additionally be distressed. The thinly applied patina must dry
for approximately 30 - 60 minutes and is then to be rubbed away with a soft cloth so that
only a thin veil of colour remains on the white surface. At the same time the craquelures,
filled with patina enhancer, appear darker, creating a unique contrast effect. An oily patina cream (75 501) is mixed and thinly treated with a condenser (patina fixative 75 621).
Cover with shabby-chic base colour; colour with
craquele-medium.
3.
After the patina is completely dry, which takes 10 - 15 hours, the item
can be sealed once again with a solvent-containing transparent finish,
e.g. Outdoor finish (70 021) for indoors, or with a UV-resistant top coat
(70 096) outdoors. Both finishes are available in the tones colourless,
semi-gloss and shiny.
After drying finally cover again with shabby-chic chalk colour- after some
minutes the first craquele rips appear.
New products 2015
Craquelure set „Shabby Chic“
The package contains the complete coating system for creating an effectively white craquelure effect, e.g.:
Product:71 87171 872
1 can craquelure finish
100 ml
250 ml
1 can craq. medium white
125 ml
250 ml
2 stirring stick
x
x
x
x
Instructions: cover the preconditioned and cleaned object with craquel
medium. Then paint the surface with white craquel medium-finished!
71 871
Craquelure set „Shabby Chic“ I
225 ml (300 g)
SB set
PE 3
71 872
Craquelure set „Shabby Chic“ II
500 ml (600 g)
SB set
PE 3
SB pack
PE 3
Craquelure complete set „Shabby Chic“
This package contains all colour media for effectively creating a classic craquelure effect on all wooden items, e.g. wardrobes, tables, chairs, dressers,
wooden boxes, writing boards, etc.
Contents:
1 can base colour bordeaux 250 ml
1 can craquelure finish 250 ml
1 can Shabby Chic chalk paint ivory 250 ml
1 bottle patina auburn 20 ml
1 colour mixing bowl
1 stirring stick
1 patina brush
71 873
Shabby Chic complete set
770 ml (1070 g)
Craquelure finish
You use this water-based special finish to coat an item with antique craquelure. It adheres to
paper, cardboard, wood, leather, PF, hard foam, metal, stone, plaster, glass, ceramic, porcelain
and ceramic casts. In order for it to adhere to plastic, these items must first be treated with
colourless Universal primer (71 801.99).
The craquelure finish may then be thinly or thickly applied with a brush*. After drying follows
another coat with white (70 077) or semi-transparent acrylic medium (70 081) or any desired
acrylic paint. A few minutes later small cracks form on the surface, always becoming wider
and more intense. The crack formation depends on the previously applied
layer thickness of the craquelure finish. A thin finish coat creates fine
cracks, and a thick coat creates thick, rustic, broad and intense
cracks.
Material application: 140 - 180 g/m2
Clean brush with water.
*A thin application creates fine rips, a thick, rustic creates width and strong rips.
70 061
Craquelure finish
50 ml
Plastic bottle
PE 6
70 062
Craquelure finish
100 ml
Plastic bottle
PE 6
70 063
Craquelure finish
250 ml
Plastic bottle
PE 3
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New products 2015
Craquelure medium (white – semi-gloss)
So that items can also be redesigned in the classic style of „shabby chic“, the surfaces previously pretreated with transparent craquelure finish (70 06) are painted over with this white
craquelure medium after drying. A few minutes later the desired craquelure will form. The
semi-gloss surface can also be coated over with transparent finish, which is recommended
when the item is to be designed with a shining finish. There also exists the possibility of
coating the object with a classic oil patina instead of the finish, to let the antique character
become that much more visible.
Material application: 140 g/m2
70 074
Craquelure medium (white)
125 ml (200 g)
Plastic can
PE 6
70 075
Craquelure medium (white)
250 ml (400 g)
Plastic can
PE 3
Craquelure medium (semi-transparent – semi-gloss)
An artistically painted item can also be so craquelured that the paint is easily recognisable
through the cracks. To do this the item is first painted with a craquelure finish and then coated
with this semi-transparent craquelure medium after drying. (A thin finish creates thin cracks,
and a thick coat creates rustic, broad and intense cracks.) A few minutes later
the craquelure will form. The final coat can then be patinated, enhancing
the antique character.
Material application: 140 g/m2
70 081
Craquelure medium (semi-transparent)
125 ml (200 g)
Plastic can
PE 6
70 082
Craquelure medium (semi-transparent)
250 ml (400 g)
Plastic can
PE 3
Patina cream
With this painted, glazed or finished items are thinly coated so that the cream - based on oil
emulsion and mixed with pigments - coats the surface. Should any craquelures or depressions be found, this cream enhances them. After a drying time of 20 - 40 minutes excess patina
is so carefully wiped away with a soft cloth that much of it remains in the depressions, leaves
behind a slight colouration on the surface, and ensures a unified, optically aged surface
image, allowing the item to look even more like an antique.
56
red brown
75 501
Patina cream
20 ml
Glass bottle
58
dark brown
78
black
PE 6
Patina fixative
Patinas are composed of the linseed oil-containing mixture of resin and siccatives. Due to the
oil within the mixture, the drying time often takes more than 3 - 5 days. To accelerate the drying time, these patinas are mixed with the patina fixative, thinned and brightened as desired,
which offers additional benefits: the patina receives better flowability, may be treated dark
or bright, and dries more quickly, within 12 - 18 hours depending on the amount of fixative,
coat thickness and ambient temperature. The patina can also be made so viscous for special
applications that structures, such as to imitate wood grain, can be designed.
75 521
Patina fixative yellow-transparent
60 ml
Glass bottle
PE 6
75 522
Patina fixative yellow-transparent
250 ml
White tin can
PE 3
Important: the cloth used to polish the patina must be packed into an airtight, sealable container (polybag) after use and disposed of. Otherwise there is the
risk that it will ignite upon reacting to oxygen.
New products 2015
Outdoor finish
In order for the colouration of a painted, craquelured or patina-coated surface is protected
from moisture and the elements, it is evenly and thinly coated with this transparent, solventcontaining special finish. The finish possesses good adherence on nearly all surfaces, except
plastics.
It is distinguished by its even flow and glossy surface consistency, providing long-term protection from dust and dirt. Furthermore it is weather- and erosion-resistant, as well as highly
rub-resistant.
A soft finish brush should be used for applying the finish. The brush should be cleaned with
the biological brush cleaner (75 686).
98
semi-gloss
99
shiny
70 021
Outdoor finish colourless
60 ml
Glass bottle
PE 6
70 022
100 ml
White tin can
PE 3
70 023
250 ml
White tin can
PE 3
Coat finish UV-resistant
The transparent 2-component coat possesses a light filter and thereby protects the coat
surface as well as the underlying paint from yellowing / bleaching from sunlight.
As a solvent-containing 2-component coat it also provides long-term surface protection
against influences from weather and erosion. It is thus also suitable for overcoating painted
and stained items made from wood, CreaStone (cast concrete), ceramic casts, stone, ceramic, plaster and metal surfaces, as well as those with a rust or verdigris coating set up or
utilised outdoors.
Material application: 120 – 140 g/m2.
Brush should be cleaned with the biological brush cleaner (75 686).
The coat finish is delivered as a 2-component system in a complete package:
Contents: I (140 ml)
Finish coat
Glass
60 ml
Stiffener
Glass
60 ml
Coat thinner
Bottle
20 ml
Mixing bowl 2 pc.
30 ml
Stirring stick
2 pc.
Handling instructions
1 pc.
II (250 ml)III (550 ml)
Glass
100 ml Can
250 ml
Glass
100 ml Can
250 ml
Bottle
50 ml Bottle
50 ml
2 pc.
2 pc.
2 pc.
2 pc.
1 pc.
1 pc.
98
colourless semi-gloss
99
colourless shiny
70 096
UV coat finish I
140 ml
SB-set
PE 3
70 097
UV coat finish II
250 ml
SB-set
PE 3
70 098
UV coat finish III
550 ml
SB-set
PE 3
SB-set
PE 6
Red sandpaper
For sanding the items coated with Shabby Chic, coarse sandpaper is required in
a suitable size.
Package contents:
2 sheets 115 x 280 mm grain 40
2 sheets 115 x 280 mm grain 60
51 130
Red sandpaper - 2 x 2 variable
115 x 280
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New products 2015
RUST is in!
...and it continues with that which was once avoided and is now sought after. Rust - until
yesterday, everything that was rusty was considered unclean, ugly, used up ...
Now it is showing its beautiful sides, at least in the decoration world, where everything that
looks rusty is in demand. But that is not all. Rust is not just rust. One can find it in yellowochre, soft brown, auburn, rustic black, and - surprisingly - green!
All of that is possible, thanks to the innovation begun by CREARTEC over a year ago. The result is this unique programme of metal oxidation, with which all semi-precious metals (brass,
bronze and copper) can also be changed so drastically in appearance that they receive the
typical verdigris effect in tones of bright green, olive, regular and dark green up to cyan and
turquoise.
All of that is possible with seven different oxidation methods that can equally be applied for
iron-containing and semi-precious metals. The dual function is exhibited in the thereby creatable variety of colours, from rust to verdigris.
The basis of these nearly non-toxic chemicals are of course salts, raw materials from nature,
dissolved in water into a sustainable, easily thixotropated dispersion. These are often basic
chemicals that every student in chemistry class makes on their first atempts, thus making it
worthwhile to experiment with these oxidants so as to create more interesting colour effects
on your own. Often it is enough to apply another, different oxidant onto already oxidated metal
surfaces to create entirely different, just as chic colour patterns.
Of course, all oxidants are labeled with the current hazard symbols of the Chemical Act as per
the new GHS (Globally Harmonised System)*. The danger of these products is thus comparable with the use of common household chemicals, such as those used for cleaning.
The metal oxidation is, however, not only based on the refining of metal items. Objects made
from coardboard, papier-mâché, MDF, wood, hard foam (PF), plaster, stone, concrete, ceramic
casts, ceramic, glass, polyester, epoxy, polyurethane, phenol and other resins may be coated
with a rustic rust or elegant verdigris or bluish effect.
In order for all of that to be generally possible, pieces made of glass, aluminium and synthetics, even absorbent undercoats such as raw wood, MDF and raw ceramic can be applied
with a primer (71801) beforehand. This is more affordable, because the metal base then only
needs to be coated twice for it to be effectively prepared for the following oxidation. For all
other material undercoats the iron or metal base is directly coated, whereby first one base
and then the actual material application are required.
And if you are looking for utensils with surfaces you would like to alter with these products,
you will find a handful in your home within a few minutes. What you choose need not necessarily be ugly or super modern. They may be pieces with aesthetic flaws, such as decorative
and usable items that were damaged or found with small „impurities“ in the attic or the cellar.
New products 2015
By coating the iron or metal base, imperfections like cracks and holes can simultaneously be
closed up and neutralised. Sometimes flaws no longer become bothersome, such as how the
broken wingtips of a rusty angel only need to look like that because this item can no longer
be perfect after decades of use, which is then confirmed by the layer of rust sticking to it.
1.
When treating these items one thing must be remembered: You must consider the effect of
two totally different surface effects. Whereas that which you design to be rusty looks rustic,
sometimes dirty and thus „untouchable“, you achieve exactly the opposite with the verdigris
effect. Objects that look old (or are old) are decorated with this, thereby looking even more
valuable, and for this reason stand at the centre of a beautiful decoration.
As variable as the end results of these oxidation techniques are, so diverse are the forms of
application. While you select level, smooth items for the rust effect, e.g. collages, stretcher
frames, doors, signs, flower pots, rain buckets, hand cards, pumps, vehicles, candles, figurines (with few details), with the yellowed bronze, reddish ducat gold or classic copper you
select sculptures, reliefs, hinges, lamps, columns, vases, stairway railing, grating - items with
which it is important that the structures attached to them are just as easily recognisable after
oxidation as they were before.
2.
For example: When creating children‘s toys, it is ensured that they have few details. They are
designed so that children can easily play with them but cannot be injured by them. In comparison to similar professional and collector models, there are no conspicuous details. Could
you imagine placing one of these small, plastic model cars made for children in the best
glass case in their bedroom? Probably not. We say that you will do it, because by applying an
oxidised iron layer, you will create an extraordinary decoration piece that will become a real
eye-catcher.3.
...and this is how to create a unique, rusted beauty from a regular plastic model:
•
•
•
•
•
•
Because the iron base does not adhere to plastic, the car is first entirely
coated in Universal primer (Fig. 1).
A short time later a base coat with iron base is applied (Fig. 2).
After a brief drying period of 10 - 15 minutes the car is once again completely
coated in iron base, which is done by brush. The drying time amounts to 1 hour.
Then comes the coat with the selected oxidant. Within the following 8 - 10 hours the
oxidation will cause the previously applied iron components to rust. A natural rust coat
forms (Fig. 3).
In order for the resulting typical rusty tone to not be altered by moisture, etc., the coat
with a transparent protective finish is now applied. A glossy metal protective finish (nitrocellulose lacquer) is good for this, for instance.
After the finish has dried, the surface treatment of this object is complete. The entire
reassembled model has become a unique piece of art (Fig. 4).
3.
4.
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New products 2015
Metal oxidation
And the technique - or rather the chemistry required for this? CREARTEC has developed an
effective process that is initially applied when producing the metallic surface of iron, bronze
or copper. Afterward comes the oxidation, and then the conservation, ensuring that the old
and rusty/verdigris-coated items retain their unique appearance and no longer change.
There are three practical starter kits for learning and trying out this oxidation technique.
The kits contains:
1 can Universal primer
125 ml
1 can metal or iron base 125 ml
1 bottle oxidation medium 125 ml
1 bottle metal protective nitrocellulose lacquer 60 ml
2 stirring stick
2 protective gloves
A soft paint or lacquer brush is also required.
18 581.83 Metal oxidation Copper - Effect: Verdigris cyan
435 ml
Pack
PE 3
18 586.27 Iron oxidation
- Effekt: Mittel-Rotbraun
435 ml
Pack
PE 3
18 586.51 Iron oxidation
- Effekt: Ocker-rotbraun
435 ml
Pack
PE 3
The oxidation system
The products contained in the starter kits are provided individually and are a component of this sophisticated system:
Universal primer
Metal and iron bases are composed of a water base free of solvents. They thus do not adhere
to every undercoat. To this end, items made of glass, porcelain, raw and glazed ceramic,
lacquered wood surfaces, MDF parts, plastics and synthetic textiles must first be treated with
this primer. Absorbent pieces of wood and raw ceramic must also be primed with it. This prevents multiple coats of metal base, which is more costly than applying this adhesive primer.
Universal primer is thinly applied and dries within 30 to 40 minutes. It was water- and corrosion-resistant and was modified so that it firmly adheres to both smooth and structured
surfaces, simultaneously providing secure adhesion for the iron and metal base, as well as for
all other paints, lacquers, spackles, etc. This also creates a consistent undercoat which can
be aesthetically beneficial for the subsequent iron and metal base coat.
Colours:
Material application: 140 g/m2 - depends on undercoat!
56
auburn
72
grey
99
colourless
71 801
Universal primer
125 ml
Plastic can
PE 6
71 802
Universal primer
250 ml
Plastic can
PE 6
71 803
Universal primer
500 ml
Plastic can
PE 3
New products 2015
Gesso
So that iron or metal bases can also be applied to textile undercoats, such as screens, textile
structures, frames, etc., these image projectors are first coated with the light- and ageresistant gesso. Gesso tightly joints with the undercoat. With one-time application a rough,
consistent, flexible painting surface will form, which paint and spackle adheres to. The drying
time depends on the layer base and the applied layer density, amounting to around 2 – 3 hours.
Colours:
68
white
78
black
99
colourless
78 136
Gesso
300 ml
Plastic can
PE 6
78 137
Gesso
500 ml
Plastic can
PE 6
78 138
Gesso
1000 ml
Plastic bucket
PE 1
Casting paint base (colourless and black)
Transparent water-based foundation that is preferable applied for even sealing of porous surfaces, e.g. stone, concrete, plaster, ceramic casts, porous concrete, raw ceramic, etc. Casting
paint base is thinly, evenly applied with a brush and then dries transparently.
Material application: ca. 80–90 g/m2 – depends on the absorbance of the undercoat. Clean
brush with water.
Colours:
78
black
99
colourless
56 801.78 Casting paint base (black)
100 ml
Plastic bottle
PE 6
56 801.99 Casting paint base (colourless)
100 ml
Plastic bottle
PE 6
56 802.99 Casting paint base (colourless)
250 ml
Plastic bottle
PE 3
Iron base
In order to create an authentic rust effect on the most diverse of items, the items must first
be coated with an iron base - a base dispersion mixed with iron powder. Iron base adheres
to nearly all raw, absorbent undercoats. Should smooth, non-absorbent surfaces be treated,
these must first be coated with Universal primer (71 791). Then the priming with iron base
occurs. The surface is coated with only a small material amount with a soft brush, and it dries
within a few minutes. Approximately 10 minutes later the surface is once again coated with
a consistently thick material layer, and this is done with a brush or with a wooden spatula for
even surfaces.
There also exists the possibility of irregularly designing the surface, thereby the separately
available iron powder can be utilised as well. It is strewn about the iron base surface, but can
also be directly mixed in.
After firm drying - which takes some 60 - 80 minutes - the overcoat with an oxidation medium occurs. The oxidation occurs immediately with a soft brown colouration, though this
depends on the respective oxidation medium. Eight different oxidants are available, the rust
effects of which span from ochre yellow, to rust, to auburn, up to a rustic dark brown, black
and green.
Material application: 140 - 160 g/m2 – depending on applied layer density.
18 496
Iron base super fine
125 ml = 250 g
Plastic can
PE 6
18 497
250 ml = 500 g
Plastic can
PE 6
18 498
500 ml = 1000 g
Plastic can
PE 3
18 501
Iron base fine
125 ml = 250 g
Plastic can
PE 6
18 502
Iron base fine
250 ml = 550 g - 600 g
Plastic can
PE 6
18 503
Iron base fine
500 ml = 1000 g - 1100 g
Plastic can
PE 3
18 504
Iron base fine
1000 ml = 2000 g - 2200 g
Plastic can
PE 1
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New products 2015
Iron powder
Iron powder can me mixed into the iron base so that it becomes denser, thereby facilitating a
structured coat or modelling. It can also be strewn about the finished iron base surface and
be precisely worked into it so that various traces of rust form.
18 516
Iron powder fine
350 g
Plastic can
PE 6
18 517
Iron powder fine
800 g
Plastic can
PE 6
Grain size 140 mg base material for normal layering
18 521
Eisenpulver superfein
350 g
Plastic can
PE 6
18 522
Eisenpulver superfein
800 g
Plastic can
PE 6
Grain size 20 mg – also suitable for standard work on model trains!
Sheet metal and gold leaf foils
The sheet metal or gold leaf foils applied to cardboard, wood, ceramic
casts, ceramic, porcelain, glass, metal, plastic, leather, etc. with lead adhesive (Metallicoll 77 822) can of course be effectivelly aged with the
oxidants. This occurs via direct application onto the already firmly stuck
foils with a soft brush.
81
silver
84
gold
85
copper
77 822
Leaf adhesive (Metallicoll)
50 g
Plastic can
PE 6
77 823
Leaf adhesive (Metallicoll)
250 g
Plastic can
PE 3
42 901.81 Metal leaf silver
14 x 7 cm
SB-set (25 pieces)
PE 6
42 901.84 Metal leaf gold
14 x 7 cm
SB-set (25 pieces)
PE 6
42 901.85 Metal leaf copper
14 x 7 cm
SB-set (25 pieces)
PE 6
Metal base
The metal base (copper, silver, gold, ducat/red/oriental gold) mixed with fine powdered semiprecious metal is thinly applied onto the undercoat with a soft brush and must dry for around
10 - 15 minutes. After that a second coat is laid, creating a consistently covering layer.
Exception: only one, thin metal base coat should be applied for finely structured surfaces
(figurines, reliefs, etc.) so that the surface structure remains entirely recognisable.
And because the adherence of this special dispersion does not occur well on all undercoats,
smooth undercoats of glass, aluminium, iron and plastic must be pretreated with Universal
primer (71 801). This pretreatment should also be performed for smooth items made from
wood and raw ceramic, as the adherence seals the surfaces well, thereby ensuring good
adhesion for the metal base that will not then „soak“ into the surface.
Drying time: about 60 – 80 minutes. Coating with the oxidation medium can then immediately
occur.
– depends on undercoat.
81
silver
83
gold
84
ducat gold
85
red-gold
86
oriental gold
87
cooper
18 511
Metal base
125 ml
Plastic can
PE 6
18 512
Metal base
250 ml
Plastic can
PE 6
New products 2015
Oxidations medium
After applying the oxidant onto a metal surface it immediately begins to oxidise. After 10-20
minutes it shows the desired reaction, displaying its full colouration after a period of up to
12 hours. While the various oxidants create a rust colouration from yellow-ochre to brown,
auburn up to rustic black, even to blue, one coat is all it takes. to achieve colours in the green
spectrum, the item must be coated twice with the same oxidant. The second coat is laid after
an 8-hour drying period. With other oxidants a second coat often enhances the oxidation
process, thereby appearing darker and more intense. Additional effects are possible if various
oxidants are applied in succession.
The oxidants are suitable for the post-treatment of the items treated with both the iron and
metal base. The desired green tone is exhibited on the semi-precious metal surfaces (silver,
gold, ducat gold, red gold, oriental gold and copper), depending on the oxidant used. Bright
green, olive, middle and dark green, turquoise and up to intense cyan suffice. The effect of
the oxidants varies by undercoat, but changes from delicate to intense on a surface layered
with silver metal base after the 2nd application.
The dual function of these oxidants is beneficial because it ensures various colours on the
iron and metal base. The metal colouration not only concentrates on the metal bases offered
in this programme, but also on all metal sheets such as sheet metal and leaf metal, selfadhesive copper and brass bands, such as those used for the Tiffany technique. They are also
effective on all items produced from these metals, whereby handmade decorative and utility
items made cast from bronze, brass or copper are also included.
With colour effect on:
Metal base
verdigris
pastel green
turquoise green,
ochre brown
patina brown
patina-green
cyan
white green
Iron base
dark brown
auburn rustic brown
white green
brown/auburn
auburn-black
white-turquoise cyan
Product
18 606.15
18 606.19
18 606.21
18 606.23
18 606.27
18 606.29
18 606.35
18 606.37
Oxidation effect:
Metal base
Material application: 70 - 80 g/m2 – depends on undercoat!
Clean brush with tap water.
Iron base
Metal base
Iron base
15
cyan-auburn
19
olive-dark brown
21
Green-mahogany
23
ochre-white green
27
cyan-brown
29
dark brown - dark green
35
green-white turquoise
37
white turquoise-cyan
18 606
Oxidations medium
125 ml
Plastic can
PE 6
18 607
Oxidations medium
250 ml
Plastic can
PE 6
Safety notes for oxidants
In contrast to commercial oxidant chemistry, low-risk metal salts dissolved in water are used
for this colouration. Of course, all products are labeled with hazard symbols as per legal regulation, and also inscribed with safety notes which must be observed and adhered to.
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New products 2015
New products 2015
Weather protection/waterproofing (colourless-gloss)
The solvent-free transparent coat, produced in compliance with the newest chemical insights
(formula) is weather- and erosion-proof. It is especially suitable as a glossy finish for all oxidised items. Furthermore this coat is also used as a finish for the protective glaze of painted
cardboard, wood, metal, ceramic cast, CreaStone (cast concrete), stone, ceramic, plaster, etc.
69 876
Weather protection/waterproof
100 ml
Plastic can
PE 6
69 877
250 ml
Plastic can
PE 6
69 878
Plastic bottle
PE 3
1l
Metal protection/nitrocellulose lacquer (colourless )
This solvent-containing metal protection/nitrocellulose lacquer is especially good for coating
oxidised items. A consistently thin coat is important, and it will dry within 2-3 hours with an
evenly transparent - i.e. not visible - surface film.
Clean brush with biological brush cleaner (75 686).
98
99
colourless shiny
70 086
Metal prot./nitro. lacquer (colourless)
60 ml
Glass bottle
PE 6
70 087
125 ml
Tin can
PE 6
70 088
500 ml
Tin can
PE 3
UV coat clear
Premium, solvent-containing, colourless 2-component lacquer suitable for even coating of
items that are set outdoors or will be used outdoors. The UV light protection contained in the
finish protects colours from fading in sunlight, and also prevents yellowing of the coat so that
long-term, weather- and erosion-resistant protection is provided. Applicable for all items, especially those used outdoors and those made of wood, metal, ceramic cast, CreaStone (cast
concrete), stone, ceramic, plaster, etc.
Clean brush with the biological brush cleaner (75 686).
The 2-component coat is provided as a lacquer system:
Contents: I (140 ml)
Coat
Glass 60 ml
Hardener
Glass 60 ml
Coat thinner
Bottle 20 ml
Mixing bowl 2 pc.
30 ml
Stirring stick
2 pc.
Handling instructions
1 pc.
98
II (250 ml)III (550 ml)
Glass 100 ml Jar 250 ml
Glass 100 ml Jar 250 ml
Bottle 50 ml Bottle 50 ml
2 pc.
2 pc.
2 pc. 2 pc.
1 pc.
1 pc.
99
colourless shiny
70 096
UV coat clear I
140 ml
SB-set
PE 3
70 097
UV coat clear II
250 ml
Pack
PE 3
70 098
UV coat clear III
550 ml
Pack
PE 3
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New products 2015
Cold glaze
A cold glaze that gives glaze-like pieces an especially valuable appearance gives metal basetreated decorative and utility pieces antiquated with oxidants a premium lacquer-like protective coat. The glaze forms a uniquely brilliant shine that is especially suited for picture and
mirror frames, vases, flower pots, glazed tiles and decorative pieces (figurines). At the same
time an effective surface protection is provided, allowing these used and decorative pieces to
look as though they are made of porcelain.
Cold glaze is a 2-component material, entirely transparent, solvent-free and is mixed in a 1:1
ratio. The glaze is applied with a wooden spatula. It hardens within 10 - 12 hours, coating the
completed pieces with a rub-resistant, glassy clear glaze, the efficacy of which is enhanced
because it is thereby made weather- and erosion-resistant.
Material application per m2: 140 - 175 g.
50 100
Cold glaze pack
I
100 ml
SB-set
PE 6
50 101
Cold glaze pack
II
200 ml
SB-set
PE 6
50 102
Cold glaze pack III
500 ml
Pack
PE 3
Kaltglasur „UV“
Alternatively this likewise shiny glaze is provided UV protection. It is preferably applied for
objects that will be kept outdoors, such as for over-glazing a note board, for plant holders,
metal parts of lanterns, garden gates, garage doors, house doors, etc.
The glaze prevents yellowing as well as the fading or yellowing of the underlying oxidation
or paint layer.
The pack contents are identical with those of cold glaze 50 100 to 50 102.
Material application per m2: 140 - 175 g.
50 096
Cold glaze pack I „UV“
100 ml
SB-set
PE 6
50 097
Cold glaze pack II “UV”
200 ml
SB-set
PE 6
50 098
Cold glaze pack III “UV”
1000 ml
Pack
PE 3
Antioxidant
The silicon-containing protective finish is applied with a brush, sponge or soft cloth onto the
oxidised objects as a thin protective coat. The coated objects must then dry for approximately
2 - 3 hours and are then carefully post-polished with a soft wool cloth or a brush.
This creates a fully effective protective layer that is resistant against further oxidation, weather and erosion. However, constant repetition of this treatment is required every 6 months or
so. The appearance of the treated objects is thus fully maintained and is also resistant against
all other environmental factors. Through this treatment the objects are provided a semi-gloss,
seemingly natural surface finish.
Material application per m2: 18 251 60 – 70 g/m2
18 258 30 – 40 g/m2.
18 251
Antioxidant (liquid)
50 ml
Glass bottle
PE 6
18 258
Antioxidant spray
300 ml
Spray bottle
PE 12
New products 2015
Kneadable soap
Many people have dreamed about a kneadable soap. This provides the opportunity to create
unique pieces of soap, which can also be dyed and aromated, all on your own! That is now
possible with these small, grated soap crumbles!
Creating the kneadable soap:
Mix 100 g of soap crumbles with 40 g/ml hot water and a tablespoon of cooking
oil (ca. 10 ml).
And because the soap can be dyed, some transparent soap dye is also added (58
031). And if you want the soap to be scented, another 1 - 2 drops of soap aroma
oil are included as well (58 061).
Important: the putty may not become too dry. You will discover this upon modeling, which is why you can also add more oil or water as desired. Let the soap
„ripen“ for 10 minutes. Only then will the intensive kneading occur, whereby you
should put on disposable gloves before dying with the soap colouring.
Afterward you can begin shaping and transforming the putty into animals, cars,
figurines - any self-designable model you desire. You can also spread the material out onto the work surface, roll it out and shape out small soap blocks from
the putty with cookie cutters.
The completed soap bars must dry for 3 - 4 days until they are ready for use, or
to be nicely packed in cellophane as a gift.
Contents:
1 pack soap crumbles 500 g
3 bottles soap dye a 10 ml
in colours red, yellow and blue
1 cutout shape - fish
1 Instruction
3.
1.
2.
4.
57 850
Kneadable soap
SB-set
PE 6
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New products 2015
Soap crumbles
These are small, finely grated soap crumbles that can be diversely used as indispensable
accessories for making soap. They offer numerous possible applications, some of which you
can make reality right away:
•
The crumbles are stirred into the melted glycerin soap mass in the desired amount enough that the soap mass can still flow. After drying the soap mixture with transparent
soap dye (58 031) the crumbles will shimmer through the soap mass, giving off the
impression of a marble soap that can immediately be formed into pre-made shapes,
looking highly decorative as finished soap.
•
An extraordinary kneadable soap mass can be made from the small crumbles. A quantity of 100 g crumbles with 40 g of hot water is mixed with a little soap dye, and a
tablespoon (10 ml) of cooking oil. If you wish for the kneadable mass to be aromatic,
1 - 2 drops of soap aroma oil (58 061) are stirred in as well. Allow the mixture to sit for
10 minutes so that all ingredients mix well. Afterward comes the kneading. Check whether the kneadable mass is usable or if it still needs to dry. Possibly add some more
water or oil and then assess how kneadable and shapeable the material is. The kneading
mass may also be rolled out to 8 mm-high cakes, from which small pieces of soap can
be stamped out with cookie cutters. These must then dry for an hour until they are firm.
Only then can they be pushed out from the kneadable mass.
•
Create tiny floating soaps from the soap crumbles. As these soaps must be light, there
is a special recipe:
001)
n soap (58
50 g glyceri
1)
t oil (58 10
50 g coconu
er oil
10 g sunflow concentrate
m
a
fo
p
4 g soa
(58 071)
umbles
30 g soap cr
ter
25 g hot wa
Instructions: Heat and melt glycerin soap and coconut oil in a heatable container (tin) in a water-filled pot on the stove. Add the other
ingredients to the complete coconut oil soap and then carefully mix everything together. It is then also possible to add more soap dye
and soap aroma oil. Then remove the pop from the stove and stir the mixture with a handheld stirrer at the lowest level for one minute.
The consistency of still flowing sour cream will form, which is then poured into the soap shapes rubbed with an oil-soaked cloth.
8 - 10 hours later the hardened soap pieces are removed. The soap edges are ground down with a sharp knife to polish the shape.
Then the finished shapes can easily be pulled out from the shape cutter.
These are only a few of the many possibilities available with the fine soap crumbles. If you are interested in other soap ideas, you will
find many fascinating tips and tricks in the new soap book „Soap Dreams - Soap Foam“, which among many things discusses the
self-designing of soap markers, soap balls, shaving soap, bath beads, etc.
All of these cosmetic products can be created with this programme‘s soap products. Furthermore, a few materials are required which
can be found in the household.
57 855
Soap crumbles
600 g
Pack
PE 6
New products 2015
New soap shapes „tradition soap“
There are many different design possibilities for soap creation in order to perfectly make modern or
nostalgic soaps. Some of these traditional soaps can now be created in these shapes. As soaps
used to be made solely opaque, only opaque soap dyes should be used for dying the soaps,
e.g. in the colours ochre, olice and cyan, which fully equates to the classic colouration of
these soaps.
To effectively replicate the lacy effects of these soaps, these shapes are delivered with a
silicon ticking that perfectly suits the soap shapes and can always be reused.
57 917
Mummy‘s + Daddy‘s Soap
57 918
handmade + Ahoy
57 917
Soap shape with silicon ticking „Mummy‘s + Daddy‘s Soap“
SB-set
PE 3
57 918
Soap shape with silicon ticking „handmade und Ahoy“
SB-set
PE 3
Gift pack
PE 4
Felt soap (gift pack)
A beautiful gift pack for creating a felt soap. Hidden behind this is an incredible
soap idea that you can now realise and use on your own. With the contents
you can create six colourful felt soaps, with which the wool felts upon
washing and then ensures a subsequent, amazingly soft peel effect. You
will surely enjoy this innovative soap idea.
But that is not all. By using the soap it will always grow smaller.
This was also considered for the felt coating, which also shrinks
along with the soap, thereby always clinging tightly to the soap. A
subtle effect that is not shocking, but rather intriguing.
Contents:
1 block glycerin soap white 250 g
5 bundle felt wool à 15 cm in the colours:
grey, green, red, blue, yellow
2 nylon socks
1 soap shape 3x (oval, round and square)
… and the most special thing about this idea: after using the
soap you can always purchase the materials separately!
57 997
Felt soap
25
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New products 2015
Bath toys 9x
Creating your own round or heart-shaped bath spheres is exciting and inspires you to
create ever newer shapes with other design possibilities. This is why a type was created for
children, with which unique bath toys can be made.
The mixed bath sphere extract is simply pressed into the shapes, and it must then dry for
2 - 3 hours before hardening. Afterward the finished bath toys can be pressed out from the
shapes. However, they must sit another 3 - 4 days before they can be used like normal bath
spheres.
The shape is also suitable for pouring with cast soap, wax, ceramic casts, etc.
57 823
Bath toys (9 pc.)
SB-set
PE 3
Glass can with clip lock
This mini version of the orginal small glass jars with typical bottling jar lock are a practical
decoration idea best suited for painting with the glass designers (transparent effect colours
(72 125). This allows for beautiful storage of sweets, holding colourful self-dyed bath salts or
for bath toys: a wonderful gift idea that is good for all occasions.
Size: 85 x 45 mm - Holds 70 ml
85 187
Glass cans with clip lock (4 pc.)
Gift box
PE 4
New products 2015
3D glass designer
While glass containers used to be painted with solvent-containing glass paints,
now it all happens with completely transparent-drying paint with which 3D
structures, picture elements and writing can be created.
3D glass designer is directly applied from the normal paint bottle onto the glass
and painted. You can also spread the paint around the glass with a trowel, toothpick and other utensils so that finely chiseled glass structures can be created
along with normal lines and pictures.
The paint is paste-like and viscous, which has the benefit of it remaining on
the glass where you painted it, thereby allowing for diverse 3-dimensional and
other painting techniques that are not possible with liquid paint. So, for instance,
various paint lines can be created and then carved through with a toothpick,
creating astonishing colour spirals and ornaments.
3D glass designer adheres to any undercoat, even on plastics, and it dries
3-dimensionally, becoming almost as hard as glass. The finished
decorations are thus hard to distinguish from actual glass, and exhibit the same
transparent sheen. The paints developed specifically for this application technique also
efectively contribute to this. They can thus be mixed together, allowing for further subtle,
effective colour effects, transitions, etc. The incorporation of metallic pigments (70 121) is also
possible, whereby metallic tones are created with a fantastic silver, gold, copper or mother-of-pearl
effect. And because this mixture is possible with any colour, this not only results in yellow gold, but
red, green or - combining silver, green and blue - a bizarre icy green. Colour glazes that are not
usually so common.
But 3D glass designer offers much more: The adhesion of this extraordinary paint provides the
opportunity to stick items, e.g. pearls that can be turned into a pearl ribbon, onto the painted areas. It
is also possible to attach metal ribbons that may rim the glass decorated with this paint, or that may border
the specific colour fields. Smaller metal decorative elements or linking letters - be they glass, metal, plastic,
etc. - are also possible. All in all, there are endless design possibilities.
3D glass designer is completely non-toxic. It has no scent when being handled and is no longer dissolvable
in water after complete drying. It can thus be stylishly used for decorating precious items such as broaches,
rings, etc.
3D glass designer transparent (72 125):
05
rubellite
(pink)
08
ruby
(bright red)
11
granite
(dark red)
17
violet (purple)
31
apatite
(cyan)
36
emerald
(dark green)
38
peridot
(bright green)
45
citrus
(yellow)
81
cairngorm
(silver)
84
gold
21
sapphire
(dark blue)
26
aquamarine
(bright blue)
63
fire opal
(orange)
99
crystal
(transparent)
3D contour liner - opaque (72 131):
68
white
78
black
72 125
3D glass designer
30 ml
Plastic can with paint nozzle
PE 6
72 131
3D contour liner
30 ml
Plastic bottle
PE 6
27
28
New products 2015
CreaStone – concrete cast
CreaStone is an innovative, non-toxic, universal concrete cast that is
exceptionally ideal for creating stylish, modern decorations like
bowls, candle holders, flower pots and vases, as well as for casting
decorative pieces such as figurines, reliefs, flower holders, etc.
All standard plastic, latex and silicon shapes as well as
synthetic, yoghurt and plastic containers, etc. can be used
for casting with this incredible concrete cast. CreaStone
is immediately poured into smooth, non-porous shapes
made from plastic, PVC, latex or silicon without using a
separator. This creates cast models with smooth, often
shiny, sealed form walls. The concrete perfectly imitates
the shape of the form surfaces and often develops a
marble-like appearance with very smooth surfaces. This
is especially successful for smooth shapes cast on a level
work space, like coasters, table trays, flower bases, wall tiles,
sometimes flat reliefs where the marbling comes out well on
smooth surfaces. The multi-coloured composition of the contents
within this special cast are fully visible sometimes. A smooth, mainly
grey concrete structure often shows for 3-dimensional containers, giving
these pieces a stylish, modern appearance.
Pieces made of porous material like wood, plaster and ceramic casts must always first be
coated with a separator. Shape separator wax (60 611) or normal household oil (sunflower
oil) are especially good for this. Glass, metal and plastic pieces should also be pre-treated
because this makes the shaping of the casts poured into them easier. The separator makes
it more difficult for the air contained within the cast to leave, whereby the form models
have smooth surfaces that are also coated in many small holes.
Especially popular is the casting of cylindrical vases and candle holders, which are often
made in the premium candle bowls (80 885) (diameter of 70 - 90 mm). The special candle
shapes with a silicon ticking (80 951) are also ideal for the same application, because the
concrete cast into it exhibits a fantastic structured outer design instead of the flat outer sides,
making it look valuable coupled with concrete.
By using these shapes there also exists the possibility to only fill them with a small amount of
concrete at first so as to create a ca. 10 - 12 mm-high base. A plastic sheet with a suitable
diameter is rolled up and taped together on top of this. The resulting hollow space up until the
rim is then filled with CreaStone. This creates a fantastically pretty concrete vase.
The „concrete pillars“ structured with a silicon ticking (candle shapes), which are only
half- to three-quarters-cast, are filled so that a tea light can be cast into the top of the
concrete as well. This creates a unique candle holder wherein the used tea light can always
be replaced with another.
Another interesting form variation is using the pyramid candles. Here as well, the shapes
are merely cast at different levels and then placed into a plate cast into a plastic container.
The result of this design is a modern decoration that is stylishly modern! A gift good for
anybody and on any occasion!
Also interesting is combining the concrete with transparent or amber-coloured polyester
resin. First a small amount of concrete is filled into a shape that must then thoroughly
dry so that the resin mixed with hardener can then be poured over it. Both materials mix
together. Of course casting objects such as glass balls, stones, mussels, roots and other
items can be mixed into the transparent resin as well. It is also possible to dye the resin
mixture with resin tinting paint so as to create colourful cast resin.
New products 2015
The contrast: raw concrete surface with the glassy cast resin provides another, very
interesting allure that ensures uniqueness in the creation of special decorative or utility items.
Pouring another concrete layer onto the hardened resin is also possible. However, this can
only occur when the resin has just dried, i.e. it is still sticky. While the water contained
in concrete normally does not combine with the resin, in this case it does occur. Should it
be apparent upon demoulding that it did not work, a small mark is placed on the concrete
part and the resin coat, and the concrete is removed. Then mix a new, small amount of
resin with the proper hardener and apply it to the resin-concrete surface with a brush.
Combine both parts again (marking). Two to three hours later they are almost tightly
clung together (stuck). A fashionable vase is complete.
More information can be found in the new book, „Embedding in Resin“ (05 112).
56 071
CreaStone
1000 g
Plastic bucket
PE 6
56 072
CreaStone
2500 g
Plastic bucket
PE 3
56 073
CreaStone
8000 g
Plastic bucket
PE 1
56 074
CreaStone
25 kg
Plastic bucket
PE 1
29
30
New products 2015
Pigment powder
This natural pigment, universally created for water- and solvent-containing media such as
paints, spackle paints, adhesives, lacquers and colour silicones - based on iron oxide - is also
used for colouring ceramic casts, plasters and concrete casts. The pigment is non-fading,
heavily colouring and immediately dissolves clump-free upon mixing with a watery or solvent
mixture. After careful stirring (dispersion) of the pasty pigments, a consistent colouration arises.
The various pigments can also be mixed together so that individual shades and hues may be
made.
Pigment ratio:
1 – 4 % to colourless and white substances (finishes, ceramic casts)
1 – 5 % to white adhesives, limewater colours!
2 – 6 % to grey concrete casts, plaster and cement
02
skin
07
brick red
08
medium red
09
ruby red
35
leaf green
45
citrus yellow
47
sun yellow
50
ochre
60
terracotta
68
white
72
cement grey
78
black
71 511
Paint pigments (powdered)
10
dark red
52
earth brown
100 ml
20
ultramarine
31
cyan
55
rust brown
57
oxide brown
Plastic can
PE 6
Remember the great age of relief casting. We have developed several new casts yet again to this end, which receive a unique,
decorative appearance with the CreaStone concrete cast. And because the final figures need not be completed with colours or other
aids afterward, this model creation is very simple.
The great thing about it: The appearance of any given figure always looks different because of the material composition of the
concrete mixture. Each piece is one of a kind, making it look even more priceless.
88 151
Young man
320 mm high
88 152
Young lady
280 mm high
88 153
Love melody
310 mm high
These standing figurines have
two parts, consisting of a base
and the sculpture. They are
tightly attached with the glue
provided in the pack.
88 154
Young love
260 mm high
New products 2015
By decorating the concrete wall tide
with grass and leaves, the picture
will be a natural beauty
88 216
wall panel decor
ca. 250 mm x 250 mm
88 217
wall panel decor
ca. 250 mm x 250 mm
88 151
Young man
ca. 320 mm high
SB-set
PE 3
88 152
Young lady
ca. 280 mm high
SB-set
PE 3
88 153
Love melody
ca. 310 mm high
SB-set
PE 3
88 154
Young love
ca. 260 mm high
SB-set
PE 3
88 216
wall panel decor
ca. 250 mm x 250 mm
SB-set
PE 3
88 217
wall panel decor
ca. 250 mm x 250 mm
SB-set
PE 3
Butterfly (cast)
By casting these enchanting butterflies, fantastic decorations can be made from a diverse
range of cast materials. The form created for this is universally applicable:
•
filling with ceramic casts that can be coated or glazed after demoulding. That way it has
a porcelain-like appearance. Small magnets may be poured into the butterfly base so it
can be placed on refrigerators and other surfaces containing iron.
•
filling with modelling putty so that the finished decorations can be carefully pushed
out after drying. With modelling adhesive (55 210) they can then be stuck to the most
diverse of undercoats such as clay, terracotta, stone, ceramic, etc.
•
the painted and coated bases can be used for collages, vases, gift decorations, table
decoration or used for flowers (pour into the small shapes filled with casting solution
as well as the base of a shish-kebob skewer). The finished bases are then placed into
flower pots.
•
it is also possible to stick and paint the salt dough (55 161) butterfly on a linoleum base
(32 954). A wonderful Mother‘s Day present is complete!
88 102
Butterfly (cast) 11 pc.
SB-set
PE 3
31
32
New products 2015
Fabric stiffener
Crocheted or knitted work, e.g. caps, legwarmers, textile tissues, ribbons, jeans,
crocheted trimming, etc. become so hardened after immersion in this colourless,
scentless and non-toxic textile stiffener within a few hours that they remain as
hard as lead for a long time. Furthermore they are also weatherproof, water-resistant
and machine washable up to 40°C.
Colouring: is possible by mixing Universal colour concentrate (71 501), compatible with
this product. Other mixtures are not possible as Fabric stiffener will then clump, making
it no longer water-resistant.
Painting: The items hardened with Stiff-Stuff can be painted, lacquered and embroidered with effect materials.
Handling: Fabric stiffener is poured into an appropriately large plastic container and the
selected textiles are immersed in the waterproofing liquid. After removal they are wrung
out. They are then hung up to dry and shaped as they will later be used.
Drying: This requires 6 - 8 hours, during which the pieces can also be shaped out. They
may also be weighed down with plastic or glass so that they receive the proper shape.
Design examples:
• wrapping around a rectangular plastic container with a crocheted trim to make a
container.
• a crocheted, woven or knitted fabric is placed into a bowl after waterproofing and
pressed down into it so that it fully adopts this shape. After drying and stiffening
the piece can be used as a wonderful lampshade.
• creating a practical container as a basket for bread, fruit, flowers, as a desk
accessory or holder for personal items ...
Product trademark: Somewhat viscous glue emulsion with extraordinary fluidity
ideally suited for waterproofing porous textiles made from wool, linen, silk, flax and
burlap, etc., and ensures that the wood-hard textiles remain weather- and waterproof,
thereby making them suitable for outdoor use.
Adhesive: Premium textile waterproofing based on a non-toxic vinyl-acrylic copolymer.
The product has a pH value of 3.8 and is label-free. Use: 1200 to 2,500 g/m2.
77 867
Fabric stiffener
500 ml
Plastic can
PE 3
77 868
Fabric stiffener
1000 ml
Plastic can
PE 3
New products 2015
Fabric waterproofer
Intensive submersion of textiles causes the tissues contained within to absorb this
waterproofing solution. This only requires a small material amount, whereby the
submerged fabrics are wrung out, resoaked and then wrung once again in order to finally
shape them and hang them up to dry.
The now waterproofed fabrics receive their shape from rolling them around in plastic
containers, jars and other items: The required drying time is about 2 hours. Afterward the
somewhat stiff pieces can be shaped out and then harden within the next 6 - 8 hours.
Fabric waterproofer is transparent, and can thus be dyed with all colour media, e.g.
Universal colour concentrate (71 501), pigment powder (71 511) or metal powder
(70 121). It is thus possible to create coloured shapes, such as wraps for figurines or
decorations, with this.
The firm and stiff items, such as a plant container created from old jeans, a shawl
created from a self-crocheted trim, crocheted or knitted door signs, coasters, bags,
collages or Christmas tree ornaments, can also be painted or decorated by attaching
embroidery materials.
Product substance: Non-toxic waterproofing substance with good flow, especially
suited for waterproofing and stiffening fabrics.
The material may be diluted with up to 10 % water as needed. The resulting fabrics are,
however, now as stiff as those made with Stiff-Stuff. Furthermore they are only usable as
decorations indoors.
Colouring: The transparent waterproofing solution may be dyed with all water-soluble
pigments (71 511 = pigment powder) or 71 501 (= Universal colour concentrate).
Application: Waterproofing and stiffening absorbent textiles that, after a brief treatment
period, can be shaped and stiffened as desired.
Adhesive: Premium textile waterproofing solution created on the basis of a non-toxic
poly-glycol ether.
Stiffening: The waterproofed textiles should dry for about two hours. Afterward they are
shaped and stiffened again, which requires a period of 6 - 8 hours - depending on the
absorbency and fabric thickness of the tissues treated.
The product is non-toxic - pH value 8.
Material application: 1350 – 2800 g/m2 (depending on absorbency
and fabric thickness).
2.
1.
3.
77 862
Fabric waterproofer
77 863
Fabric waterproofer
77 864
Fabric waterproofer 250 ml
Plastic bottle
PE 6
500 ml
Plastic bottle
PE 3
1000 ml
Plastic bottle
PE 1
33
34
New products 2015
Honey-yellow beeswax candles
Creating classic honeycomb candles is the simplest and quickest way to make candles,
and it thus enjoys great popularity. A craft technique that anyone can learn within
minutes and immediately try out themselves.
Instructions: Lay honeycomb flat onto the workspace. A waxed wick, approximately
1 cm longer than the honeycomb, is laid on the edge. The honeycomb is tightly and
evenly wrapped around the wick so that a typical candle stick forms. If the candle
diameter is too small, another honeycomb is wrapped around it. This makes the candle
thicker. Depending on the desired design, another honeycomb may follow. Nothing else
needs to be done. The wax honeycombs stick together so that the candle firmly holds
its shape.
In addition small decorative pieces can be cut out from the wax with cookie cutters,
and then stuck onto the candle. An atmospheric candle smelling happily of beeswax
is finished.
Tip: The colour of the honeycomb or honeycomb candle fades with time. It acquires
its old colour again after blow drying for 10 minutes, and glows with a natural honey
yellow.
Contents:
4 wax honeycombs (140 x 180 mm)
4 wax honeycombs (100 x 180 mm)
4 waxed wicks (200 mm)
2 decorative bees (plastic)
80 065
100 %
reines
Bienenwachs
Honey-yellow beeswax candles
reines
Bienenwachs
100 %
Gift set
PE 3
Tea light painting set „For You“
Turn the simple appearance of a tea light into a small candle artwork by using a
neat-looking paint pattern. This is possible with the 3D wax liner that is simple
painted in circles onto the surface of the candle. The resulting interspaces are
then filled by painting with this colour, but in a different tone. Afterward comes
the distortion of the colours with a toothpick. It couldn‘t be easier: this creates a
neat-looking tea light with a unique and priceless design.
The brief instructions included with the kit explain this painting technique
and show how not only this, but a whole range of designs made in the same
manner can be painted. Truly unique decorative lights are the result. Each one is
a treasure in itself, a party souvenir or a cherished gift.
Contents:
10 Tea lights round 40 mm Ø
3 Tea lights round 56 mm Ø
6 Toothpicks
3 3D wax liner à 30 ml in the colours:
red, orange and yellow
1 Handling instructions
72 253
Tea light painting set „For You“
Gift set
PE 3
New products 2015
Floating candle set „Cones“
Yet another great candle idea gift set that contains all the supplies for creating your
own amazing floating candles. Of course this design technique is also so simple
that the fun of making them can immediately begin upon melting the wax.
Handling instructions: Lay the shape onto the workspace. Cover
workspace with foil so that any spilled wax can easily be disposed of.
The composition wax in the package is melted and poured into small
mixing bowls, which are then placed in a pot filled with hot water.
Each of these little pots is given a wax pigment so that it will melt in
the water and then show the colour of the wax mixture after stirring
the liquid wax with a wooden stick. Colour mixtures also arise upon
mixing the pigments.
Next a small hole is cut into the tip of the candle with fine nail clippers,
and the wick (included in the set) is placed in the hole - this is done with
the soft end of the wick that is knotted on the outer side. The end marked
in red is intended for the tip of the wick and is knotted on a wire rod above
the pour hole at the top of the candle shape.
The prepared candle form is partially filled with some of the dyed wax, which is repeated
for the others as well. You may decide the amount of wax. The wax must cool off in the shape,
which takes about 15 minutes. The next bit of wax is poured in, which must also cool off, so
that another layer of wax can be applied. You decide whether the candle should have one,
two, or several colours.
After complete drying of the candles, the wick knots on the tip of the candle must be cut off
with scissors and the candles are carefully lifted out from the shapes. Then the other wicks
are cut as well. The floating candles are complete.
It looks neat when you suspend the candles in a water-filled bowl or in a glass vase. They
float just above the surface of the water so that the candlelight reflects in the water and
ensures an enchanting, romantic light effect.
The candles get smaller as they burn over time. However, the candle surface continues to
float just a couple of millimetres above the water, thanks to the wax composition developed
for this candle-making technique. Of course it is also possible
for these candles to be enhanced with a wonderful aroma
(candle aroma oil (80 411)).
Contents:
1 cone candle mould
1 pack composition wax 600 g
1 wax pigment each in the colours:
red, white, purple
6 wick à 15 cm long
4 wire sitcks à 14,5 cm
3 spatulas
1 adhesive tape 6 cm
79 951
Floating candles set „Cones“
Gift box
PE 4
35
36
New products 2015
Beautiful „neon style“ wax bowls
With the newest development of neon-coloured wax pigments, it is now
possible to create your own beautifully glowing „neon style“ wax bowls.
Creating these glowing candles is identical with the description of the glowing wax
bowls. The kit contents are thus also nearly the same. Instead of the standard
wax pigments, a neon-coloured pigment is used.
The sets of the neon wax bowls are available in four neon colours:
Contents:
1 bag candle paraffin 250 g
2 balloons
1 wax pigment
2 tea lights
1 stirring stick
1 bag quartz sand 125 g
04
neon pink
80 020
33
neon green
44
neon yellow
62
neon orange
Beautiful neon style wax bowls
Gift set
PE 4
Embedding in resin
The book is finally available again. Totally revised and significantly expanded, this new
edition presents everything that is important and worth knowing in the field of polyester restin
techniques: Working with clear polyester resin has become so diverse and thus more
interesting, whereby this book provides a very interesting introduction in the field of
practical resin techniques over its 168 pages. This is supported by many crucial details,
from a coloured glass bowl and car models up to superbly shaped and coloured cast resin
blocks with incorporated mussels, stones, flowers, leaves and the prized insects - beetles,
scorpions, spiders and butterflies.
After explaining the preparation of small mammals, crucial notes on the embedding of
these water-containing animals are included, which can of course be embedded in the same
manner as scientific cross-section models of tomatoes, potatoes and lemons in the special
XOR cast resin.
But the book now goes even further. It shows how beautiful cast resin jewels, candle holders,
picture frames, napkin rings, table coverings - naturally with embedded natural plants - can
be created.
Also interesting is the combination of cast concrete with resin, especially as both products
can be used to create many decorative utility items, unique in their own appearance.
The third section of this book deals with the technical handling of the resin for creating
wood-like figurines, metallic-looking clock faces, fibreglass (FG) lampshades, small ship
models and garden ponds.
In conclusion the book contains an introduction of the universally adhesive, enamel-like,
colourless or transparent cold glaze with which fantastic surface coats can be made.
The right specialty book for the professional - 168 pages - in which many colour photos
effectively emphasise the thorough informative notes and instructions.
05 112
Embedding in Resin (4th edition) – 168 pages – German edition
Instruction book
PE 1
New products 2015
Metallic effect pictures
1.
Still greatly, indecisively astounded last year, in the meantime it has become a coveted
wall decoration: half-finished „stretcher frames“ that are still merely painted with a
semi-adhesive and completed by the subsequent rubbing of the metallic foil.
What is interesting about these pictures, flat during delivery and assembly, is the stretcher
frame-like construction. By all means the finished pictures look like posters stuck onto
cardboard or a frame. A design technique that particularly speaks to young people,
especially those who have never tried their hand at designing such picture models. The
stylish, partially consciously selected image designs that are always combined in pairs,
also speak to this.
2.
Handling instructions: The adhesive liquid is squirted directly from the fine nozzle of
the bottle onto the unpressed places of the image and evenly spread around it. After a
drying time of 30 minutes the thin effect foil contained in the package is placed over it
and firmly rubbed onto it with the fingertips. Afterward the foil is immediately pulled away.
What remains is a stunning silver and gold decorated image that has received the famous
„icing on the cake“ from this treatment, becoming a unique picture design.
3.
The kits contains all the materials for one or two pictures (pair):
2 picture motifs – pressed onto the required picture frames
1 bottle 3D deco liner á 30 ml with paint tip
4 effect foils (220 x 100 mm) in various metallic colours, based on the respective designs
02
„Glitter dream“
2 pc. 29,5 x 21 cm
11
„Four seasons“
4 pc. 21 x 16 cm
78 001...
Metallic effect images (2 pc.)
03
„Eros & Venus“
2 pc. 29,5 x 21 cm
04
„Skyline“
2 pc. 29,5 x 21 cm
12
Summertime
2 pc. 21 x 16 cm
Complete sets
PE 3
37
38
New products 2015
Glass crystal paste
A mirror, a window- or doorframe at home, at work, in the office or the glass door of
the shower - all of these receive a unique, crystalline appearance by applying this glass
crystal paste. With this glass design a completely new decorative aspect is created,
which used to be unknown and impossible in the world of glass design.
With the development of the glass crystal paste it is possible to incorporate the glass
surfaces in any given room into the full design, which leads to a unique, previously
unknown ambience.
It was once possible to design glass objects with a glass etching paste, turning
glass-etched decorations into a beautiful contribution to the beauty of the interior. As
the glass etching cream successfully used and handled by us with no problems for
years is no longer possible because of the REACH (chemical) Act due to suspected
hazards, we sought an alternative and have thus developed this product.
The result is a completely new glass design material with which an opposite form of
glass design is possible. While the glass used to be etched, i.e. negatively processed,
this performs the opposite with a positive glass design that creates a prettier, more
effective aesthetic for glass.
At the same time we have been able to create a technique that for the first time includes the transparent glass or a mirror into the realm of designing an individual
decoration, so that normal glass surfaces in windows and doors can provide an
independent contribution to the overall ambience. Furthermore, this effect may also
be realised on glass containers.
The products and its handling technique are just as incredible as the fact that anybody
can immediately start realising them, allowing this glass design technique to offer a
crucial contribution for the DIY world.
Glass crystal paste is a state-of-the-art combination of a dispersion amazingly
applicable to glass and other smooth, porous and non-porous surfaces, mixed with
small transparent crystals, leaving behind a wonderful and crystalline appearance after
drying.
Through the simultaneous development of decorative plastic stencils that are helpful
when applying the crystalline paste, the value of this technique continues to increase.
Simply with that it is possible to incorporate crystalline ornaments and images onto a
glass surface so that a plain glass surface transforms into a light-flooded painting that
barely affects the light entering the room because of its transparency. The simplicity of
handling the materials only adds to the positive aspects of this new decoration idea.
The foil - placed onto a glass or mirror surface, possibly with an adhesive - is coated
with the glass crystal paste, and the material is evenly spread over the free areas cut out
from the foil with a spatula. The foil is then immediately removed, cleaned and is now
once more usable for designing another glass surface.
New products 2015
With the special design selection of the special foils developed for this design technique, it is
possible to create extraordinary design effects. For instance, a mirror may be decorated with
crystalline corners, a windowpane with a quadratic or rectangular ornamental frame that is
applied laterally with a small increment or right in the middle, etc. Glass doors or doors with a
window in the middle are provided modern or classical vertical picture ornaments. They thus
also contribute to the masterfully designed home.
It is thus generally possible, to effectively incorporate existing glass surfaces and partitions
in the home decorations.
Glass crystal paste outdoors
The product was modified so that it can also decorate glass surfaces outdoors. To
ensure long-term effectiveness, the decorated surface must be sprayed over with all-weather conservation spray (78 531) after a drying period of 3 - 4 hours. The spray requires
8 - 12 hours to dry on the crystal paste (depending on the ambient temperature), and then
ensures longer durability of this decoration. To guarantee the spray will take effect, the
glass surface is then carefully scrubbed with a soft brush. This allows the conservation
spray that was spread along the adjacent glass surface to be wiped away with a soft cloth.
Cleaning the crystal surfaces
Due to the coarse crystal surface it is also necessary to clean it, which is done with
normal soap and water. To ensure long-term preservation, the glass surface should also be
re-sprayed with the all-weather conservation spray every 6 months after being cleaned.
Removing the glass crystal paste
A damaged or no longer desired glass crystal design is removed simply by scraping
with a stovetop spatula. This offers the opportunity to incorporate this product in the
window decoration. It allows for individual designs, especially for advertisement campaigns
on Christmas, Valentine‘s Day and other holidays, to be made affordable.
Glass crystal paste
The crystal paste, consisting of a premium vinyl dispersion, is mixed with small, shiny,
glass-like particles that allow for smooth troweling onto all glass, ceramic, porcelain and
plastic surfaces. The paste may be spread or dabbed with a brush, or applied by using a
stencil and a spatula. It firmly dries within 3 - 4 hours.
•
•
•
Glass crystal paste is completely non-toxic and solvent-free.
Clean brush and tools with tap water.
The designed crystal decorations may be removed at any time by
scraping with a stovetop spatula/scraper (49 187).
78 341
Glass crystal paste
200 g
Plastic can
PE 6
78 342
Glass crystal paste
325 g
Plastic can
PE 6
78 343
Glass crystal paste
650 g
Plastic can
PE 3
39
40
New products 2015
Master stencils
A broad range of modern and classical stencil designs are available for decorating glass, mirror and plastic surfaces. As ornaments or
artfully designed trimmings and frames are best suited for doors and windows, these are contained in the programme together with
enchanting mirror corners and designs, and ensure an extensive decorative layer on glass, plastic and mirror surfaces.
The glaze stencils made from elastic-stable polyester were specially developed for decorating glass, mirror and wall surfaces (ceramic
tiles). They are resistant against most dispersions, including those containing solvents or modified with resin.
Each stencil design is designed so that right and left (mirror-wise) image designs can be created. When applying a design onto a mirror,
first the left side is decorated and then the stencil is flipped so that the same ornament may be applied to the right.
Application tip: For large windows the stencil is first coated in the adhesive and assembly spray (77 834) along the ends and in the
middle, and multiple adhesive points are applied in the middle. After a drying time of 30 - 60 seconds the stencil can immediately be
placed onto the coating surface and fastened there. It is always possible to remove it so that it may be revised or placed elsewhere.
After completing the layer it is immediately, carefully removed. The important thing is that the coat is no longer wiped or damaged. The
stencil is washed with water and is reusable after drying.
In order to maintain the usability of these premium stencils, they are carefully rolled together (while dry) with a protective paper
covering it, then packed and carefully sealed in the storage tube.
Storing the foils
The foils should be stored in a dark room - with no sunlight - at room temperature. This will prevent premature aging or embrittling,
so that they may continue to be used for years on end.
Mirror and picture corners 21 x 14,5 cm
Contents:
1 stencil
1 image template with application examples
45 121
Grating vines
45 122
Elegance
45 121
Grating vines (mirror/picture corners)
21 x 14,5 cm
SB-set
PE 3
45 122
Elegance
21 x 14,5 cm
SB-set
PE 3
(mirror/picture corners)
Mirror and picture corners 21 x 29,7 cm
45 141
Leaf twine
45 142
Art nouveau
45 144
Ribbon decor
45 145
Classic ornament
45 146
Loop ornament
45 141
Leaf twine 21 x 29,7 cm
SB-set
PE 3
45 142
Art nouveau 21 x 29,7 cm
SB-set
PE 3
45 144
Ribbon décor
21 x 29,7 cm
SB-set
PE 3
45 145
Classic ornament
21 x 29,7 cm
SB-set
PE 3
45 146
Loop ornament
21 x 29,7 cm
SB-set
PE 3
New products 2015
Trim
The stencil designs vary in width and are suitable as ribbon ornaments which can be used
vertically in a doorway, or as a horizontal decoration on a window. This is why some stencil
packs also contain an additional corner stencil that facilitates the completion of four-cornered
frames, such as for large window surfaces, mirrors, room partitions, shower walls, etc.
This new technique for effective glass design provides entirely new design possibilities that
can be directly incorporated into your home decor, helping to revise the often plain ambience
of glass to make it the centrepiece of the room.
As the application technique for this fantastic crystal effect is relatively simple, no glass
workers, painters, decorators or interior designers are necessary for applying the mirror
corners, decor and frames. Especially because the practical know-how and experience
of many do-it-yourselfers has progressed so far that professional craftspeople and home
workers can quickly learn the process and then apply it successfully.
The stencils that are delivered with a corner template are labeled with „CT“ (corner
template). All templates are packed individually in a practical and secure plastic
container with precise operating instructions. They should be washed with water after
use and carefully rolled and stored in this container after complete drying.
Trimmings - stencil format 21 x 90 cm, partially with CT (corner template)
45 211
String 4 cm*-ET
45 215
Classic 6 cm*-ET
45 216
Celebration 6,3 cm*
45 221
Sunflower 6,6 cm
45 224
Lilienornament 7 cm*-ET
45 227
Leafs-tendril 7 cm
45 211
String 4 cm* - ET
21 x 90 cm
SB-Set
PE 3
45 215
Classic 6 cm* - ET
21 x 90 cm
SB-Set
PE 3
45 216
Celebration 6,3 cm 21 x 90 cm
SB-Set
PE 3
45 221
Sunflower 6,6 cm
21 x 90 cm
SB-Set
PE 3
45 224
Lily ornament 7 cm* - ET
21 x 90 cm
SB-Set
PE 3
45 227
Leafs-tendril 7 cm
21 x 90 cm
SB-Set
PE 3
41
42
New products 2015
Trimmings - stencil format 21 x 90 cm, partially with CT (corner template)
45 228
Rondello 8 cm*
45 252
Pansy 11 cm
45 230
Petit fleurs 8 cm
45 253
Flower ornament
11 cm*
45 236
Lily band 8,5 cm*-ET
45 258
Circulare 12 cm*-ET
45 244
Flower band 9 cm*-ET
45 261
Garland 12,5 cm*-ET
45 245
Country style 9 cm*
45 266
Roses 13 cm
45 249
Geometric 10 cm*-ET
45 276
Ivy vine 15 cm
* Some of these trimmings also come with a corner, making it possible to combine these with frames instead of a straight or vertical image, so that a window pane can
be individually surrounded by a perfect crystal frame, directly or some distance from the frame.
45 228
Rondello 8 cm
21 x 90 cm
SB-set
PE 3
45 230
Petit fleurs 8 cm
21 x 90 cm
SB-set
PE 3
45 236
Lily band 8,5 cm* - ET
21 x 90 cm
SB-set
PE 3
45 244
Flowerband 9 cm* - ET
21 x 90 cm
SB-set
PE 3
45 245
Countrystil 9 cm
21 x 90 cm
SB-set
PE 3
45 249
Geometric 10 cm* - ET
21 x 90 cm
SB-set
PE 3
45 252
Pansy 11 cm
21 x 90 cm
SB-set
PE 3
45 253
Flower ornament 11 cm
21 x 90 cm
SB-set
PE 3
45 258
Circulare 12 cm* - ET
21 x 90 cm
SB-set
PE 3
45 261
Garland 12,5 cm* - ET
21 x 90 cm
SB-set
PE 3
45 266
Roses 13 cm
21 x 90 cm
SB-set
PE 3
45 276
Ivy vine 15 cm
21 x 90 cm
SB-set
PE 3
New products 2015
Glass decor 35 x 40 cm (stencil format)
45 308
Polka-dot
30 x 30 cm
45 304
Crystals
38 x 32 cm
Special stencils for create a decorative
partition.
45 304
Crystals
decor format: 38 x 32 cm
SB-set
PE 3
45 308
Polka-dot
SB-set
PE 3
45 322
Starlight
28 x 28 cm
45 234
Flower festival
28 x 28 cm
45 322
Starlight
SB-set
PE 3
45 324
Flower festival
SB-set
PE 3
45 346
Decor: Floral
70 x 53 cm
45 348
Decor: Baroque
81 x 56 cm
45 356
Decor: Gemetrico
79 x 49 cm
45 346
Decor: Floral
SB-set
PE 3
45 348
Decor: Baroque
SB-set
PE 3
45 356
Decor: Geometric
SB-set
PE 3
43
44
New products 2015
Adhesive and assembly spray
A thin layer of the transparent adhesive spray is applied to the corners of the stencils once.
The stencil can immediately be placed onto the glass surface after a drying time of 30 - 60
seconds, so that the glass crystal paste may be applied. Should it become apparent that the
stencil was not properly positioned, it may be removed at any time and then properly placed
onto the glass surface.
After using the stencils they are simply removed from the glass surface and can immediately
be reused. Should the stencil not be used beyond this point, the adhesive coating is sprayed
with stencil cleaner (75 675) and any adhesive residue is wiped away with a soft cloth.
Once it has completely dried, the stencil is covered in protective paper, carefully rolled up, slid
into the storage tube and sealed inside. It may be reused at any time.
77 834
200 ml
Aerosol tin
PE 12
77 835
300 ml
Aerosol tin
PE 12
Plastic bottle with pump spray
PE 6
SB-set
PE 3
Stencil cleaner
The biological stencil cleaner is delivered in a bottle with pump spray, and
is particularly suited for removing adhesive residue both from labels as
well as other adhesive vestiges. By applying the cleaning solution, synthetic
or lacquer surfaces are not affected as this cleaner is based on a biological
composition of solvent-free sugar ester. However, it has a much better, and
especially more conservational cleaning effect than other solvent-free cleaners.
The label is label-free.
75 675
Stencil cleaner
125 ml
Stovetop scraper
In order to simply remove the design applied to the glass with a glass crystal paste
on a glass or mirror surface, this is simply done with this stovetop scraper.
The scraping blade is placed against the design, pulled back and
removed. The scraper comes with 5 replacement blades.
49 186
Stovetop scraper with 5 replacement blades
Weather protection-conservation spray
The final glass, mirror or plastic surface decorated with glass crystal paste is effectively
protected against moisture and the elements as well as pollution from emissions by spraying
it with this conservation spray after drying. After a drying time of 8 - 12 hours the surface is
carefully polished with a soft brush and any excess residue is wiped from the adjacent glass
with a soft cloth. The conservation spray holds for 6 months. This protection should thus only
be renewed after said period. Dirt can be normally washed and removed with soapy water
at any time.
18 261
Weather protection-conservation spray
200 ml
Aerosol tin
PE 12
New products 2015
Paper-making
Materials for paper-making
These papers are torn into small pieces, mixed with water and minimised in a food
processor so that a raw paper mass is created, which is poured into the container filled
with water. This is the base material for creating a pulp (specialist term for the raw
mass used for paper creation). Based on the paper used, this mixture is grey or brown,
does not look very pretty and also does not create very attractive paper, of course. But
this can be remedied if either only a small amount of these used papers are used for
paper-making, and then white cellulose or short- or long-haired cellulose fibres are
added. Depending on the amount added to this „new“ raw paper mass, this can
create a whiter pulp. Essentially a pretty, white-looking paper will only be created by
the variably long and short cellulose fibres and mixing in the white cellulose. This basic
compound can then be individually refined, such as by adding kaolin or potato starch,
for example.
Absorbent sheets of paper may also be produced, which can be painted or written on. To
do this, the pulp must be mixed with some additional ingredients. White chalk and glue
are good for creating cross-bonded paper with a full, smoother surface so that it may be easily written and painted on.
If you desire completely smooth paper, the completed sheets of paper are coated in liquid gelatine.
These are only a few tips for creating fantastic paper, an artistic craft that can be very exciting, thereby opening the door to fascinating
paper results. Everything you need for paper-making can be found in this programme, although without the obligatory food processor
for mincing the paper, although an affordable machine can be found at your electronics or hardware store. In the hardware store you
will also find the plastic basins required for the pulp, whereby a size of approximately 75 x 45 x 30 cm - capacity: 60 L will suffice.
Paper-making
The technique of making one‘s own paper is so well-known because this craft is taught in many schools as a crucial part of
making crafts. However, this usually does not result in pretty sheets of paper because newspapers and packing paper are used as
raw materials - papers that are still good for recycling, but that do not satisfy when it comes to making one‘s own paper. Especially
because they either look grey or brown, which is not very beneficial as the result of strenuous paper-making.
Making one‘s own paper should be fun and enjoyable, which requires that the results look just as good. We have thus made the effort
to offer qualitatively good and premium tools and materials with this programme, with which beautiful paper can be made. In the end
the paper maker will also write on, paint or individually revise the finished paper so as to create a cherished conclusion to the first
self-made sheet of paper.
Paper-making double frame
Good work can be done with a good tool. This is why, while designing this frame, we
paid particular attention to how we can create a stable, durable frame with a sieve that
is just as taut after the 280th use, and the 100 uses after that, as it was at the very
beginning.
The frame was produced from waterproof pine wood, as it naturally absorbs
very little water. The frame is thus well-suited as a craft tool for constant
submersion in a paper fluid made of watery pulp. The frame consists of two
different frame elements: the base frame with the fastened tensile sieve, and the
cover frame that merely serves as the border for the paper surface that will be
made. A separate, smaller frame with the tightly fastened sieve was incorporated
into the base frame, which offers the advantage of the sieve‘s outer edge being
firmly integrated into the base frame, and is so isolated with a water-resistant resin
compound that it does not come in contact with water, thereby not being lifted up
or removed. At the same time it provides additional stabilisation of the entire frame,
guaranteed throughout a long life.
Outer frame format: 359 x 282 mm suitable for a paper format 210 x 297 mm
55 302
Paper-making double frame 359 x 282 mm
SB-set
PE 3
45
46
New products 2015
Cellulose fibres
for the paper. They are available in various wood qualities, and in different lengths:
thin, average and long, fine and ground.
By stirring the fibres into the mixture water, they become limp and soft, merging
together so that a sort of laminate forms. It is thus beneficial if at least two different
fibres are combined because this will result in paper with an even surface consistency
which can be made smoother and finer by adding the aforementioned ingredients.
55 401
Cotton/short
55 411
Birch/average
55 421
Cotton/ thin/fine
55 426
Eucalyptus/long
55 401
Cellulose (white) - short (cotton)
750 g
Plastic can
PE 3
55 411
Cellulose (white) - average (birch)
500 g
Plastic can
PE 3
55 421
Cellulose (white) - thin/fine (cotton)
500 g
Plastic can
PE 3
55 426
Cellulose (white) - long (eucalyptus)
500 g
Plastic can
PE 3
Pack
PE 3
Plastic bucket
PE 6
Cellulose fibres
These cellulose fibres were industrially purified, cut and pressed into stable discs.
They are especially suited for paper-making because they are first torn into small
pieces like scrap paper, then added to water and shredded in a food processor
until it becomes a viscous broth. This creates a fine pulp that can be mixed
especially well with the cellulose fibres so that a universally usable pulp
forms, with which all other ingredients can be mixed in,
The colour of the cellulose disc is ivory. After processing a white
cellulose substance is made, which dissolves well in water and binds well
with the other ingredients in the pulp.
Disc format: 21 x 21 cm - 40 g - pack with 25 pieces.
55 441
Cellulose disc white – long fibres 21 x 21 cm 1000 g
White chalk powder
White chalk powder (calcium carbonate) not only ensures sustainably white
paper. It also works as an acidic powder and thereby extends the durability of
the created sheets of paper. The quanity added only depends on the total
processed amount (in terms of weight) of cellulose and pulp, and amounts to
3 - 4 %.
52 337
White chalk powder
1000 g
New products 2015
Potato starch
To achieve even better paper quality, a starch derivative is added to the finished pulp. As
potato starch or cationic, it is especially ideal for this application. It adheres directly to the
cellulose fibres and is thus not lost in the mixing water. Because of is adhesion it also ensures
a firm binding of the components used for making paper (cellulose, scrap paper, chalk, kaolin,
dried flowers, etc.). The amount added depends on the features the paper shall have.
•
•
Fixing the filling agent
= Quantity added based on total dry contents incl. cellulose etc. = 0.3 to 0.5 %
Improving paper quality
= Firmness, sound, rub- and erasure-resistant = 1.0 to 2.5 %
*The starch must swell up in the pulp for at least 30 minutes and is then intensively mixed in. Then the pulp is
ready for use.
55 341
Potato starch
600 g
Plastic bucket
PE 6
Cellcoll (wallpaper glue)
To achieve a good adhesion of the paper mass that influences both the firmness and density
of the paper quality, 2 g Cellcoll per L of water can be added to the mixture. It is best if the
wallpaper glue is stirred into the pulp along with the potato starch, as it must also react for
about 20 minutes (maceration) first.
77 945
Cellcoll wallpaper glue
100 g
Plastic bucket
PE 6
77 946
250 g
Plastic bucket
PE 6
77 947
450 g
Plastic bucket
PE 6
Kaolin
Kaolin is a bright white, almost ivory-coloured porcelain clay used to brighten the paper
mixture and thus lose its transparency. The amount added is based on the total quantity of
dry goods uses (cellulose fibres, cellulose, potato starch, chalk, etc.) and
amounts to about 8 - 12 %.
55 326
Kaolin white
600 g
Plastic bucket
PE 6
55 327
Kaolin white
1250 g
Plastic bucket
PE 6
47
48
New products 2015
Couch felt 340 x 250 x 3 mm
The finished paper sheet is directly taken from the sieve and placed onto the couch cloth and
covered with a second couch cloth. By firmly pressing and rolling with a rolling pin, a portion
of the water still contained in the paper will be pushed out. Afterward the upper couch felt is
carefully removed from the paper. The now firm sheet of paper is also carefully removed from
the lower couch felt and hung up to dry. A common clothesline will suffice, and is covered
with a cloth so that the paper maintains an even shape and then efficiently dries.
The dried sheets of paper are then stacked on top of each other, capped with a larger wood
board suitable for the size of the paper and then weighed down with other items. The paper
stack must remain untouched for several hours so that the sheets can dry further, becoming
smooth. Instead of this method, a common paper press may also be used, which of course
ensures an even smoother paper.
55 310
Couch felt (2 pc.)
340 x 250 x 3 mm
SB-set
PE 3
Paint pigments
Water-soluble paint pigments are used for creating coloured sheets of paper, and they do not
fade after the paper has been made. There are two colouring possibilities:
•
Dissolving powdered pigments (71 511) in water and mixing into the finished pulp
•
Using Universal colour concentrate (71 501) that is directly stirred into the finished pulp
Pigment powder
The pigment powder is water-soluble and is especially ideal for colouring a pulp. The pigments are poured into a small mixing bowl with some water, and intensively mixed in with
the water (pasted). The brothy, completely dissolved - clump-free - paste is then added to the
pulp and carefully stirred in (mixed). It is then possible to create coloured paper.
Pigment quantity: 1 - 4 %. With a lower quantity of red pigment added this will create a pink,
whereas a larger amount of red creates a more intense hue. The pigments may also be mixed
together, so that colour pastes are possible in any desired paper colour.
Important: note that the pulp absolutely must have potato starch mixed in as well.
02
skin
07
brick red
08
medium red
09
ruby red
10
dark red
20
ultramarine
31
cyan
35
leaf green
45
citrus yellow
47
sun yellow
50
ochre
52
earth brown
55
rust brown
57
oxide brown
60
terracotta
68
white
72
cement grey
78
black
71 511
Paint pigments (powdered)
100 ml
Plastic can
PE 6
New products 2015
Universal colour concentrate (liquid)
These colour solutions are water-soluble! They may thus also be immediately added to the
prepared pulp. Mixing these colours creates individual mixtures, meaning that any colour is
possible. The pigments entirely dissolve in water and bind with the paper materials, resulting
in the created sheets of paper being coloured all the way through after completion.
Important: note that the pulp absolutely must then be mixed with potato starch.
08
medium red
09
dark red
13
purple
20
blue
31
cyan
56
terracotta
58
brown
63
orange
68
white
78
black
71 501
Universal colour concentrate (liquid)
37
green
45
yellow
25 ml
Plastic bottle
48
ochre
PE 6
Gelatine (instant)
The powdered gelatine (instant) is dissolved separately in hot water. For instance, 250 g of
hot water is poured into a mixing bowl and 10 g of gelatine are added. The gelatine dissolves
within a few minutes, but must be intensively stirred into the water so that no clumps form.
This is used for smoothing finished sheets of paper. To this end it is evenly spread along the
dried paper surface with a soft brush, giving the paper a gentle, silky shine depending on the
amount applied.
The finished, hot gelatine may also be coloured with Paper Perfect. To do this, Paper Perfect
is stirred in with the hot gelatine and spread over the paper. By using differently coloured
gelatines, additional refined colour effects are created.
Chilled gelatine hardens and becomes gel-like. It must be heated before further
use. The mixing bowl is placed in a pot filled with hot water on the stove. After
heating the water, the gelatine liquefies and it is stirred with a wooden spoon in
the mixing bowl until it has become completely liquid. Then it can be applied on
paper once more.
55 321
Gelatine (instant)
95 g
Plastic can
PE 6
55 322
Gelatine (instant)
225 g
Plastic can
PE 6
49
50
New products 2015
Paper perfect
With this - also based on coloured cellulose (ready-to-use pulp) - finished sheets of
paper may continue to be treated in many ways after removal from the couch felt.
For example, Paper Perfect is carefully dabbed onto the paper with a soft sponge or
brush, creating delicate and effective colourations. It is also possible to spackle
Paper Perfect onto a foil so that a motif arises. The foil is then placed onto the
paper between the two pieces of couch felt and firmly pressed down. The paper
thereby binds with the colour image on the foil, and subsequently firmly dries.
Paper Perfect may also be spackled onto the already dried paper at any time and
edited at any time based on the picture. The pasty mass perfectly binds with the
paper so that flat, modelled structures and other objects may be applied to it.
Mixing Paper Perfect with the dissolved, hot gelatine creates an effective shiny
lacquer that can be directly brushed onto the finished sheets of paper.
Paper Perfect is also suited for decorating surface layers, whereupon the coloured
paper mixture can be draped over and designed like spackling putty. It is also possible to
incorporate effective 3D-like structures onto the paper by using a stencil. This technique
is also sufficient for designing finished cardboard boxes, table and invitation cards, papiermâché boxes that can be further designed and decorated in many colours, etc. After drying,
the finished structure or image is firmly integrated into the item.
There is another design opportunity in drizzling the finished image or structure layers with
gilt, velour or other effect materials. They adhere to the image and ensure refined colouration.
05
pink
14
violet
16
purple
25
light blue
31
ice green
38
yellow-green
45
pastel yellow
51
ochre
63
orange
68
ivory
72 316
Paper perfect
125 ml
Plastic can
PE 6
New products 2015
Basic recipe for making paper:
This example recipe can of course be altered as desired, or changed by including or omitting individual components during the
paper-making process. The recipe is written for a water quantity of 10 L:
Preparation: Pour 10 L warm water into an appropriately large
plastic basin. Add the individual raw ingredients and carefully
mix/stir them in with a stirring stick or wooden spoon.
The finished paper mixture (pulp) should be left out to
react (macerate) for 3 - 4 hours or overnight. The mixture is
intensively stirred one more time before adding the sieve.
55 401 Cellulose fibres short (cotton)
55 426 Cellulose fibres long (eucalyptus)
55 441 Pulp (finely ground – pasty)
Material amount - cellulose
225 g
225 g
300 g
750 g
52342 White chalk powder (4 %)
77 945 Cellcoll 2 g/l (for 10 L = 20 g)
Total dry quantity
30 g
20 g
800 g
55 341 Potato starch 0.5 % (of the dry amount)
55 326 Kaolin 10 %
Total amount of dry goods for 10 L
4g
80 g
884 g
It roughly suffices for creating 120 to 160 sheets of 20 x 30
cm* paper.
* The paper‘s durability depends on removing the sieve from
the pulp. If it is removed slowly this will create thicker paper,
whereas quick removal leaves behind less pulp, and the paper
is thinner.
2 colour recipes for colour paper:
it not only receives a slightly coarse, easily writable surface, but also a decent colouration. The
papers coated with this are then suitable as gift cards, get-well-soon, table and menu cards.
•
glossy colour paper:
50 g hot water
6 g Universal colour concentrate admit
8 g gelatine stir carefully
Distribute the coloured medium with a
soft brush in the shape of a cross on the
paper surface:
•
rough colour paper:
50 g hot water
20 g Paper Perfect and intensively
stir together.
8 g gelatine, carefully stirred in to
create a homogenous liquid.
Distribute the coloured medium evenly
in one direction with a soft brush on the
paper surface.
The final coat mixture is brushed and spread over the paper surface with a soft brush after a drying
time of 3 - 5 minutes. An irregular structural surface may also be consciously created, which also
looks interesting. After drying the paper surface is written on with felt-tip and ball-point pens, etc.
51
52
New products 2015
CREARTEC® trend-design-gmbh · Lauenbühlstr. 59 · DE 88161 Lindenberg/Allgäu
[email protected] · www.creartec.de · Tel.+49 83 81/80 74 00 · Fax.+49 83 81/80 74 0- 10

3 New products 2015

Transcription

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