Some smart instruction from Phelyx of Stencil Revolution, an experienced stencil artist who specializes in bleaching art. His thoroughly researched methods for the best way to 'tattoo' (bleach) art into clothing is a little-known process that's surprisingly straightforward. I'm looking forward to trying this myself!
My name is Phelyx and I have been asked by several Stencil Revolution
members to produce a tutorial for my bleaching process. Sometimes, I am
called the bleach guy. I am honored by both. Here is my Bleaching
Tutorial, exclusively for Stencil Revolution members.
In 2002, I was hired by a small clothing company to invent a process by
which we could produce images on garments that would be more “tattooed”
into the fabric than screened on. I immediately thought about bleach
and began two years of research and testing. I worked with chemists,
fabric manufacturers, and artists. I wrecked my studio, my clothes, and
my lungs. I wasn’t paid nearly enough for this.
Chemically, to achieve different values, I worked with retardants to
slow the process of the chemical’s effects, I watered down mixtures, I
used “stop-baths”, dehydrated bleach crystals… you name it. I also
worked with all kinds of different fabrics, 50/50 blends, natural
cottons, many textures and naps. I experimented with different
application processes including brush-on, sprays, mists, atomizers,
airbrushes, and even a gel-bleach, I created, that was screened on. The
most frustrating part of this entire experience was to arrive,
full-circle, at the beginning. Sometimes the simplest method is the
best.
So, here is the big secret, just for S.R. members.
Finesse. That’s it.
I have finally completed this simple tutorial and am pleased with the
results. This is created for the experienced beginner but should almost
equally serve the beginner and the advanced stencil artists.
This Japanese Koi design was created specifically for this tutorial.
(my original drawing in fig. 1.) I wanted to create and instruct with a
relatively simple design that translated well into a two stencil work.
It is based on traditional Japanese Koi artwork (but I really just made
it up, so I hope it’s more recognizable than it is offensive) due to
the popularity of the symbol and design in historic and modern tattoos.
Of course my bleaching work began when I was asked to “tattoo” fabric.
The Koi also symbolizes luck, and I can use all of that I can get.
There are a few basic need-to-know items and suggestions that I can offer.
First: bleach will not work on most synthetic fabrics. You will need
natural fabrics. The good news is that even the cheap tee-shirts are
generally 50/50 Cotton and Polyester, and they will work just fine.
100% cotton will also work well, HOWEVER, bleach really weakens the
material. If you get big, wet drips of bleach on 100% cotton, they will
quickly develop into holes in the material. I do know that, for at
least one clothing company, this is actually the desired effect but I
prefer the stronger 50/50 blends for bleach designed clothing.
Second: I use Duralar material (.005) to create my stencils. Cardboard
will only soak up your bleach and become a mess. Duralar is available
at your art supply dealer or online and is only about $2.50 USD for a
32 X 40” sheet. It is thin, plastic, and clear and you will get a lot
of mileage out of each of the stencils you cut out of it.
Third: Cheap bleach is fine. It is still a toxic chemical. Wear a
respirator or work in well ventilated areas, or both. Don’t wear
anything you love. You’re spraying bleach.
Fourth: Empty your spray bottle after you’re done. If you store bleach
in it, it will expand due to softening of the plastic and gasses from
the reaction between the chemical and the plastic bottle. This can be
messy and dangerous.
In the photographs, I have tried to show you the spray bottle I use. It
is a very common spray bottle and inexpensive (about $1.50 USD).
With stenciling bleach onto dark fabrics, you have to think in the
negative. This is opposite the general process of stencil work with
spray paint or roll-on paints and inks. The light colors are going
through the stencil and the dark areas are being blocked by it.
Otherwise, this process is darned close to the spray paint stencils
more commonly created.
For this stencil, I created the stencil for the half-tone layer to be
applied first. On the back side of the stencil, I used a repositionable
spray adhesive. This is a 3-M product and makes the stencil sticky but
easily removable. It leaves no residue on the substrate (fabric). This
is used to prevent under-spray for those clean, crisp lines and edges.
It is important to also select a spray angle with your wrist position
and stick to it. The angle of your spray should remain consistent
throughout the even application. If you roll your wrist at all, you’ll
risk under-spray and inconsistent application.
In the second photo, you can see the shape of this stencil and compare
it to the original drawing to see the areas I selected for the
half-tone/lighter value layer. I also designed it to have a half-tone
halo that fades into the background to enhance the outline. Spray this
layer with the same, full-strength bleach but use a light mist for
application. This mist will not be very wet. It is not to soak into the
material. It is a fine mist that will lay atop the fabric and cause the
effect. You will have to wait a few moments for the reaction. It will
develop like a Polaroid. You can leave the stencil on for this effect
in case you want to add a little more to make it lighter.
In the third photo, you see me using some paper towel to pat the
stencil. This is to prevent droplets and drips from the chemical that
is beaded up on the stencil from dripping onto the fabric when the
stencil is slowly peeled off.
The fourth photo shows this layer completed and fully developed.
In the fifth photo, the second stencil is applied. You will see a black
marker line that is drawn on the reverse side of the stencil for
alignment and registration. It is drawn on the back because the bleach
will erase it from the front. I add the island stencil for the eye and
it has also been sprayed with repositionable spray-adhesive. You can
see in the first layer, I included a little line, that is actually
sprayed as part of the design, for registration of this separate eye
stencil. This whole layer gets the same, full-strength bleach. A
heavier application is employed to achieve a lighter value. IMPORTANT:
this is still not soaked. If you soak it, it will saturate the material
and seep under your stencil. You will lose all your detail if you spray
too heavily. Keep it consistent. You can leave the stencil in place
until it develops to see if you want to apply more bleach to lighten
it.
As with most stencil work, you will almost never get the stencil to
properly re-register/re-align for a second attempt. This means you
really can’t expect good results from trying to reapply the stencil for
another attempt. Try your best to get each layer in one shot.
In the sixth photo, I am again blotting the stencil with dry paper
towel to prevent drips and beaded chemical from running onto the
material.
I cheat sometimes. In the seventh photograph, I am using a Sharpie
fabric marker (this has dye instead of ink) to add three details; the
nostril and two “V’ shaped lines in the tail.
The last photo shows the completed design. I used a black cotton napkin
for this, instead of a tee shirt, so the photos in the tutorial would
be clear.
You should know that when the bleach dries, it may crystallize. These
tiny crystals are still dormant bleach. If these are re-hydrated, they
can continue to bleach the fabric. I highly recommend running the
finished piece in a dryer to beat these crystals out of the fabric
before getting it wet by washing or whatever else. Be careful washing
this with other clothing until it has been beaten and rinsed once.
Now, I know you may feel cheated that I did not disclose some amazing
and secret technique but remember that I spent years experimenting with
every other imaginable process and that this is the best, most
effective, and easiest technique. I did give away my best tips. Don’t
tell people, however. Let them believe that it is more complex and
laborious. Let’s keep it between us.
Finally, huge respect for Stencil Revolution, the people who work hard
to maintain it, and all the amazing artists in here. There are few
places, even on the Internet, that you can find such amazing talent.
Your pal,
Phelyx
_________________
someone needs to invent a some kind of splint for stencil cutting fatigue of the index finger.
