Painting a Perfect Stripe

Painting perfectly spaced stripes with crisp, clean edges can be a challenge.  With these simple tips you can master wide or narrow stripes with ease.


Consistent spacing without measuring


Once you have decided what size(s) you would like for your stripes to be, purchase masking tape in these widths.  Multiple widths are available for small projects at rebeccabaer.com.  For home decor applications you can find a variety of widths in the paint department of the hardware store.  Don't overlook abutting different widths to reach the desired size.  For example, our narrow width tapes include 1/8", 1/4", and 3/8" sizes.  Two adjoining strips of 1/4" tape make a 1/2" stripe.  By combining sizes, any width is possible.  The "stripe" tape can be reused to minimize waste.  


Between your stripes there are spaces.  Again, you will need tape matching this width.

• Place the tape to create the first stripe.  In my illustration this strip of tape is orange.  If you are creating a border along the perimeter of a surface you can begin with "spacing" tape along the edge to establish the inset for the "stripe".

• Next, abut this tape on both sides with the "spacing" tape.  I have used red and purple tapes to show this.   

• Remove the tape where the stripe will be painted.  If you are creating a single border, the taping is done.  If you want a series of stripes reuse the "stripe" (orange) tape placing it against the existing spacing tape.  Place another strip of "spacing" tape again peeling away the stripe tape.  Continue this process until you have covered the desired area. 

Eliminating paint bleed


There are several ways to minimize messy edges on your stripes.  Of the three noted here the last, by far, is the most expedient and produces the crispest results.  For all three methods begin by making sure all edges of the tape are pressed firmly in place.


Method I

• Once all areas have been taped seal the edges of the tape with the base color of the surface.  This does not eliminate paint bleed it only assures that the bleed matches the base color.  Once this has dried, paint the stripes as desired.  There are two drawbacks to using this method.  First, the dried sealing paint may chip as the tape is removed, causing irregular edges.  The second pitfall is that this method only works on a monochromatic (single hue) base.

Method II

• Seal the edges of the tape with a clear acrylic medium such as multi-purpose sealer or glazing medium.  When dry, paint the stripes as desired.  As with the first method this process is a two-step approach requiring twice the work as the following solution.

Method III

• For this method you will treat the taping as a stencil; "dry" paint doesn't bleed.  To do this select a stencil brush that is roughly the size of the stripe.  Pick up the desired color on the clean, dry brush.  Wipe the brush on soft paper towels to remove the excess so that the brush is only damp with paint.  The paint should not look wet.
• Next, swirl over the stripe to deposit color.  Remember to wipe the brush each time you pick up more paint.  Once the stripes have been stenciled remove the tape to reveal impeccable  stripes with crisp edges.

Pecan Encrusted Pork with Black Cherry Reduction

Pecan-encrusted pork loin with black cherry reduction

Gourmet doesn't need to be synonymous with expensive.  I am pretty frugal so I take every opportunity to cut expenses without sacrificing quality.  Brining a regular pork loin creates a moist, tender cut that is a fraction of the price of tenderloin and creates significantly more servings.  For even greater economy of both time and money look for whole pork loins then cut, brine, package the number of portions you use for a meal and freeze so they are on hand when you need them.  


I purchased a whole pork loin on sale for less than two dollars a pound then proceeded to cut several thick chops, for recipes such as this one, as well as thin strips for stir fries and soups along with a several thin cutlets.  I brined the meat after cutting to reduce the time needed in the brine.     


Brine

• 1 Quart of water
• 3T. Kosher salt
• 3T. Sugar

Method
Place cuts of like-size in the same container and cover with prepared brining liquid. Allow small or thin cuts to brine for two or three hours in the fridge and thick cuts a bit longer--four to six hours. Remove from the brine and pat dry.  Freeze in vacuum seal bags* for maximum protection.  


*Savings tip: Use regular freezer bags to separate the meal-sized portions (two chops in a bag, etc.) then place several of these in a larger vacuum bag.  When it comes time to use an inner bag of meat, whack the larger bag on the edge of the counter to break apart the inner bags then cut as small a hole as possible to extract an inner bag then re-vacuum and seal the larger bag before returning it to the freezer.  By using one larger vacuum bag (cut from a roll) you save the excess length required for sealing several smaller bags that need that extra sealing length at both ends for each and every bag.  I use this method to conserve vacuum bags when freezing all types of food. 


Pecan Encrusted Pork with Black Cherry Reduction


The combination of succulent brined pork and black cherries with just a hint of sweetness provide the perfect complement to the toasted pecan crust.  This dish finishes in the oven allowing time to prepare the sauce and side dishes as well as get the kitchen under control.


Ingredients:  Pecan-encrusted Pork

• 2 thick cut (brined, boneless) pork loin chops
• 1/4-1/2 c. AP Flour
• 1 egg, beaten
• 3/4 c. Finely chopped  pecans
• Salt and Pepper
• Olive Oil

Method

Preheat oven to 325 degrees.

Pat the meat dry with paper towels, season with salt and pepper.  Dust with flour and shake to remove excess.  Quick tip:  The pork can be floured by shaking in a paper bag. Discard the leftover flour and bag for quick clean-up.

Coat each chop with the beaten egg then press the pecans firmly onto both sides.

Heat a skillet over medium to med-hi heat and coat the bottom with a thin layer of olive oil.

Pat dry & dust with flour.         Coat with egg.      Cover with pecans & brown.

Brown the pork on both sides. Remove to an oven safe dish and place in pre-heated oven.

Cook to an internal temperature of 170 degrees (test with a meat thermometer).   The time to finish will depend on the thickness of the cut.  Mine typically take 20-30 minutes.

If excess oil remains drain the pan but don't remove the fond (tasty brown bits)

Ingredients:  Black Cherry Reduction

• 1/2 Pint**  Black cherries canned in juice, drain and reserve juice
• 1/2 Pint**  Chicken broth
• 1 T Peppercorn extract
• 3 Cloves of Galic, peeled and sliced in half
• 2 T Butter
• 1/2 Lime

**I used my home-canned cherries and broth so they are listed in half-pint (8 ounce) sizes.  If you are using commercially prepared ingredients you can opt to adjust the amounts of the other ingredients to make a higher volume of sauce or just measure and use the amount needed.


Method
To the dirty pan used to brown the pork, add the cherrry juice, broth, extract (if you do not have peppercorn extract add a tablespoon of brandy and toss in a teaspoon--or two if you like pepper--of whole peppercorns) and garlic.  Simmer over medium heat to concentrate the flavors and thicken the sauce.  Do not adjust seasoning until the sauce is reduced as they will intensify as the liquid evaporates.

Reduce liquids, remove solids.   Add a squeeze of lime and incorporate butter. 

Remove the garlic and peppercorns.  If you prefer a pristine sauce you can strain through a fine sieve.  I'm fine with a more rustic presentation.  When the liquids are reduced to a glaze and a spatula leaves a path in the pan add the butter and lime juice. Warm the cherries separately so any residual liquid in the fruit does not dilute the sauce.


Serve the pork with your choice of starch and vegetable.  I typically use sauteed spinach or steamed broccoli.

Technical Savvy: Photographing Your Art

Whether you are creating images for the purpose of promoting a workshop, selling tangible products online or presenting your art with hopes of licensing, the photos can be the deciding factor in whether or not you successfully reach your goal. 

Ideally, I prefer to scan my art in order to get the best representation.  At times this is not possible either because the art is dimensional, the paint is wet or the surface doesn't fit or conform to the the scanner bed.  Some materials don't scan well like iridescent pigments or gilding, which tend to look flat or dark.  It is at times like these that I must resort to taking photos.  You don't need a fancy camera to take reasonably good photos, just a few tips regarding lighting and presentation.

Taking quality photos presents several challenges including lighting , clarity, perspective and focus.  

Lighting

First, consider the lighting.  Unless you have a professional setup complete with diffusers and the like, you do not want to use a flash when photographing your art.  It will create a hotspot where the color is washed out or reflections if the surface has any sheen beyond flat matte. Midday daylight on an overcast day is ideal but not always available when you are ready to take pictures.  

Photos taken in sunny conditions
have warm hues & distracting shadows

In sunny circumstances you can duplicate overcast conditions by using a white umbrella.  Simply position the umbrella so that it casts a shadow on the object you wish to photograph.  This will neutralize the warm temperature of the sunshine allowing your colors to appear true.  Not into freezing or sweating for the sake of quality lighting?  Then let's more indoors.  You can set up an area using clamp lights (available at hardware stores) fitted with full-spectrum (daylight) bulbs.  Make sure you have several (I use six to eight) surrounding your work to eliminate cast shadows.

Photos taken using a white umbrella
exhibit true colors.  Seamless
background paper showcases the work.

Lastly, familiarize yourself with the features available on your camera.  Many include "white balance" options for taking photos in various light conditions.

Clarity

The absence of clutter, a.k.a., clarity in your photos will make your art the focal point.  Nothing screams unprofessional like a background of blacktop or grass.  Keep props to a minimum as well lest you confuse the viewer.  Seamless background paper is available on large rolls that you can pull down so that it curves behind dimensional art  flowing from the vertical to horizontal position without a hard crease.  If you select only one, a neutral grey is the most versatile and least likely to influence the colors or your work.  Alternative backdrops include fabric (smooth or draped), mat board and art paper.  The size of your work will have an impact on the background choices available to you.  In a pinch, us the plainest backdrop you can find and resort to photoshop to remove unwanted area and replace it with a neutral background.

Perspective

The angle at which you take you photo can distort your art in an undesirable manner.  For flat art you can place your setup on the floor and stand directly over it to take the photo.  Pay attention the the edges of the frame.  Each side of the flat art should should be parallel with the corresponding edge of the frame.  If the sides slant away from the corners then your camera is positioned at an angle relative to the art. You need to tilt the camera until all are aligned.  Large artwork may require a step ladder to allow enough distance to fit the work in the frame.  Conversely, a macro setting is helpful for small works or extreme closeups.  Digital zoom can cause distortions so use it with caution. 

Dimensional art should be positioned so that you can take the photo so the work is viewed at eye-level.  This can be achieved by raising the art or lowering yourself.

Focus

Although this one may seem obvious it cannot be overlooked.  You can't fix blurry.  With auto-focus being a standard feature on digital cameras blurry photos should not be a frequent issue.  In most cases you are too close for the camera's preset minimum distance for auto focus.  In this case select the macro feature, if available, or step away from the art.  The image can be cropped using photo-editing software.  Another cause of blurry photos is camera movement.  To combat this, use a tripod.  The mounting plate on a tripod turns so that you can position the camera as needed for the proper perspective.

With minimal investment you can portray a professional image with the images you present.  Your photos are sometimes the only opportunity you have to make an impact on a potential client.  It is worthwhile to take the time to make sure they speak well of you.

Related Tutorials

Isolating Images & Layered Composites 

Adding a Watermark to Your Images

Adding © Data to Your Images

Optimizing Images for the Web

Easy English Toffee

Homemade treats are a pleasure to both give and receive.  This simple toffee recipe is easy to make and oh so delicious! 

 If making this recipe for the first time I suggest making a single batch to develop an eye for the color the toffee must be for the texture to be right.  When it appears to be the target color spoon some into ice cold water for a quick test.

Rebecca’s English Toffee

1/4c. Crushed pecans

1/4lb. Butter (must be real)

1/2c. Granulated sugar

1T. Water

1c. Chocolate chips 

This recipe can be multiplied, I have made up to eight batches at once using a half sheet pan in place of the 8" square pan.  For large batches use a deep pot rather than a skillet. 

Method

1.  Spread the crushed pecans in the bottom of an 8" square pan.

2.     In a skillet, combine the butter, sugar, & water.  Stir over medium heat until the mixture becomes a dark caramel color  then pour it over the pecans.

3.     Sprinkle the chocolate chips over the hot toffee and let them melt. Then spread the melted chips with the back of a spoon or a spatula.

4.     Refrigerate until set and break into chunks.

Artful Presentation

Artfully Yours Giftwrap Tutorial IV-Food-safe & easy!

Painting Club: A Passion 2 Paint - 2012

Do what you love! 

Lately I've been working on my  club "A Passion 2 Paint! 2012" and it has been so inspiring!  A diverse assortment of innovative designs come together in this bimonthly club.  I am painting this series on roc-lon canvas, which is a wonderfully versatile surface.  Although my focus in this club is wall decor, this surface can also be used for table runners, placemats, floorcloths and so on.


I would love for you to join me in this painting journey.  As a club member you will receive six fun, fresh designs to color your world; you'll enjoy butterflies, posies, pumpkins and more! Not only will you receive the surface and tutorial (print or electronic) but you also get a size-appropriate, uniquely coordinating decorative fixture for each design so they are ready for display as soon as you finish painting.  You can reserve your spot today with no payment due until items are shipped (bi-monthly). The club begins in late January and continues with a new design every other month.  I have a few finished so you can have a sneak preview.


Naturally, membership has privileges.  Club members receive points good toward products for purchase on my website during the club, special pricing on paint and your choice of receiving the tutorials in print or electronic format.  Tip:  If you choose the electronic membership the full-size patterns can be printed directly on vellum using this printing tutorial.

Blessings II Quilt Fabric

The Blessings II fabric collection made its debut at the Fall quilt market in Houston.  Produced by Studio e fabrics under my Whimsies & Wishes™brand, Blessings II features sixteen fabrics in luminous autumn hues.   It coordinates beautifully with the original Blessings collection and also incorporates new icons and colorways.  My personal favorite is the long neck gourd. I love how this group turned out!  The panel includes a table runner, wall hanging and coaster-size squares although each of these items could be used in other ways.  I've included images of a few of my favorites.  You can view the full range of fabrics for Blessings II here and the original Blessings here.   

I am looking forward to working with these fabrics when they arrive!

"Studio e" produces 100% cotton, premium quality fabrics in 43"/44" widths.  Your local quilt store can order them through Checker Distributors.  Checker does not sell directly to the consumer but you can view the fabrics on their site.  Although the fabrics are not scheduled for shipment until April 2012, your local shop can pre-order here. 

Artfully Yours Giftwrap Tutorial IV-Food-safe & easy!

What an artful way to gift a handmade treat!  This food-safe cellophane bag is embellished with a super-easy stenciling technique then finished with a custom handle. Although shown sporting Christmas colors you can change the card stock and pearl-ex colors to fit any occasion.  The link in the materials list offers a range of Pearl-ex options to match your chosen color schemes.  Go formal with black and white accented by gold or silver mini brads or use the brads to add a splash of color.  Dress it up with a print or use shaped brads to convey a theme. The possibilities are endless!

Materials

• Red and Green cardstock of choice 
• 6“ square scraps are sufficient for a bag
• 1 cardboard rigid* rectangle 3 1/2” x 7 1/2”
• Coordinating mini brads
• RB 10 pk. Food-safe cellophane bags 3 1/2” x 7 1/2”
• RB Doublestick Craft Tape 1/4”
• RB Clearly Elegant Stenciling Gel
• RB 3x5 Flexi-spreader
• Pearl Ex Blue Russet 689
• Rebecca Baer Petite & Elegant Stencil: Strokework Classics Stencil ST-802

*The purpose of the cardboard is to stabilize the bag for embossing.  Any firm cardboard scrap is suitable.

Slide the cardboard stabilizer into the bag.  Tape the bag to your work surface taking care to pull it taut so that the surface is smooth and wrinkle-free [Fig. 1].

Fig. 1

Rotate the Strokework Classics stencil 90° counter clockwise and position the allover motif over the bag as shown  [Fig. 2].  Secure with removable tape.

Fig. 2

Place a small mound (visually estimate one Tbsp.) of RB Clearly Elegant Stenciling Gel and mix in 2 large pea-sized lumps of Blue Russet Pearl Ex.

Use the 3x5 Flexi-spreader to gently smooth the gel mixture over the stencil. The result should be a thin layer without ridges that is just slightly thicker than the stencil. Do not use pressure or “scrape” the stencil clean, as this will force gel under the stencil and cause smudges.

Carefully lift the stencil straight up from the bag to avoid smearing the gel. Immediately drop the stencil in water. As long as the stencil is placed in water the stencil may be cleaned at your convenience. Do not allow the gel to dry on the stencil.

Fig. 3

Set the bag aside and allow the gel mixture to air dry [Fig. 3].Use the template to cut the handle from green cardstock.

You will need to enlarge the template to full size so that the long side (when flattened as shown below) measures six inches from tip to tip. Score and fold along the dashed center line [Fig. 4].Cut the accent strips (one red and one narrower green for each end [Fig. 4]. 

Back the green strips with 1/4” RB Double-stick Craft Tape. Remove the liner and adhere one to each of the red strips per figure four.
Next, mark the placement for each brad and pierce the cardstock with a pointed object or use a tiny hole punch if you have one on hand. Insert a brad into each hole [Fig. 4].

Fig. 4 (Template) Enlarge as instructed above. 

Use two rows of RB Double-stick Craft tape on the back of each assembly and mount onto the handle as shown [Fig. 4].

Fill the bag with your homemade treats or other treasure.

Fold over the top of the bag and tape or staple closed. Using removable tape will make the bag resealable. If you have a vacuum sealer appliance you can use it to heat seal the end of the bag so that it is air-tight. This allows you to package your treats in advance without concern over the contents becoming stale.

Use 1/4” RB Double-stick Craft Tape to attach the handle on both the front and back of the bag as seen in the photo showing the completed bag.