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September 2008 Issue 51


Greetings Friends,

This finds us at the end of another Decoupage Year, and at a very busy time with the 2008 Ekka just behind us and looking forward to the Exhibition in the Chermside Library on Sept. 27th and 28th. (see details within).

Congratulations to winners and participants in the Ekka whose combined efforts resulted in such a fine display, which once again was received, transported, set up and dismantled by Sally and Marilyn – this is a marathon effort for which we congratulate and sincerely thank them. Thanks also to Allan and Sue who stepped in at late notice to judge the competition. It was pleasing to see entries in the 5 categories,- which this year had been modified to include works on canvas, under glass and precut images. Nancy’s exquisite work on her egg was rewarded with the Medallion.

What a great display of works on tiles Shirley brought along to the July meeting. She inspired and guided us to add another dimention to our endeavours – some gluing images directly on to the glazed tile and some onto tiles she had prepared for painting. Members had brought along a variety of images and papers to use including Japanese and serviettes, and all went home happy with articles to be finished with a chosen lacquer – most probably a 2 pack.

Now is an appropriate time to be considering seriously the future of the Guild as we come together at the Annual General Meeting on the 14th September. It cannot have escaped notice that numbers at meetings as well as membership have dropped dramatically making it very difficult (nigh on impossible) to share the responsibilities of committee positions; and to remain incorporated it is necessary that an Executive be elected. At this point I must emphasise that due to personal reasons, I will not be available for re-election in 2008/09.

In the event that members of DGQ are not available to form a committee, may I be so bold as to put forward this radical suggestion – that DGQ and the Caloundra Guild come together and form one group. This would have many details to be fine tuned, but has many advantages. There is no reason why present arrangements for meetings cannot remain similar; all members would belong to an incorporated body; individuals would have one group to join rather than 2 as it stands at present; and there would be no need for 2 lots of PLR insurance. I throw it in simply as a suggestion to be considered!

As members we gain inspiration from one another, motivation from participating in the workshops, benefit from the endeavours and advice of others and firm friendships with like minded folk – may this continue well into the future – and hopefully we all remain part of it.

Barbara Chapple.


The success of this venture at the Chermside Library depends on full participation of members – to be exhibitors and/or make themselves available to welcome and answer queries from the public as well as demonstrating basic techniques. These demonstrations need only be on a simple piece such as a coaster, soap, pearl shell or some other small article.

The Library requires a list of display pieces and their approximate value for insurance purposes a week prior to the Exhibition. Pieces valued at more than $500 need formal verification, and prices should not exceed market value. Would those exhibitors who have not already supplied these details please do so by no later than the meeting on the 14th September.

The display is to be set up on the afternoon of 26th September. If you are unable to bring pieces and help at that time, they may be brought to the meeting or other arrangements may be made by ringing Barbara on 3359 8937. Dismantling the display on Sunday aftenoon will also be a big task, as will returning pieces to owners.

If at all POSSIBLE, please MAKE TIME to spend a morning or afternoon to PROMOTE our chosen art of DECOUPAGE.

AGM – 14TH SEPTEMBER - 9.30am

Please note that the room at the Library is available only until 12 noon, after which we will move to the the nearby RSL Club for lunch. For this reason the meeting will commence at 9.30 sharp - cuppa in hand if necessary.

A reminder that YOUR DUES ARE DUE ($40). Due to necessary time restrictions it would be helpful if correct money and completed Membership Renewal Form are enclosed in an envelope for collection.


A preliminary booking has been made at the CROWS NEST CARAVAN PARK for this weekend on similar terms as previously. 6 ensuite cabins have been set aside for the Friday and Saturday nights and will be held until 31st December. Those members wishing to participate are requested to ring the Park on 4698 1269 (advising that they are part of the Decoupage Guild) and confirm a booking before 31.12.08.

Postcard from Caloundra

At our next meeting of DGQ, I would like to congratulate Barbara Chapple on her years as President. I feel she has done a remarkable job of organising things for the Queensland group, considering her illhealth for some time.

Also I think Val has done a great job doing Snippets. She has also started doing a bi-monthly paper for us, which we have named “Cutting Edge”

Our group has now moved from the Kawana Library as it was getting too small for us. We then went to the Guide Hut, nearby, but we now meet at the Kawana Waters Christian Church, on the 4th Monday of each month.

Our membership is growing all the time. It is great to see that Decoupage is still popular in our area – but it is always good to have a fun day. This month Shirley showed us how to put pictures onto tiles, as she did at the Chermside meeting last month.. Everyone enjoyed the day.

By the way, we also have a male member now, Jack Spencer,who is very keen, very fast and is doing great work.

My congratulations to all those who entered their work at the Ekka.

I hope the weekend Exhibition and demonstrations, brings some new members to the Queensland group

Bev Starkey


I found this article on Jo Sonja's Web site.
It is handy for Decoupers doing extentions.

Glazing Techniques

By Jo Sonja Jansen MDA, VGM

Glazing or antiquing with acrylics is very controllable. Forget all the negatives you've heard and read on. Controllable, fast, easy application, odorless, soap and water cleanup, environmentally kind and user friendly. What more can I say to convince you. I love it - it's great!

Basic Technique

Give area to be glazed one barrier coat of Clear Glaze Medium. Dry well with hair dryer or overnight. This step will protect the painting and can be omitted when you are experienced with the technique.

Brush on a thin, even coat of Retarder Medium. Your 1" brush is good for small pieces.

Using an old flat or filbert (about #10 - 12 or ½") pick up some glaze colors from wet palette, bring down to dry palette, add just a tiny touch of Retarder Medium to color, brush mix. This step assures that color mix will be workable and helps avoid "dry" spots. Keep the glaze rich and deep in pigmentation, not too much Retarder. If you use too thin a glaze, you may just get a "dirty" look.

Apply glaze along a seam, a crevasse, a special detail or edge first. Work only a small area, feathering off edge. Use scumbling or small slip-slap motion of the brush.

Soften effect by stroking with a soft dry mop brush. Keep this brush dry - wipe frequently on clean paper towel. Too much glaze? Blot or pat off excess with a paper towel.

When the area is pleasing, move on to another part. If you will be overlapping your first area, dry with a hair dryer and then repeat steps as before. Repeat glazes until depth of desired contrast is obtained.

Dry well. Piece will go dull, but colors will be revived with your varnish.


While I'm painting a piece I like to begin glazes. Then when the painting is finished just a few final touches of glaze, here and there, are needed.

Glazes may be used to shade objects as well as enhance details of the piece.

Glazing and shading with the same color can help you harmonize and tone your colors.

Glazing between layers of your painting can give you some beautiful translucent effect.

Too much glaze - you may sand back. Sand with #150 - #200 so it will cut through color, then finish with #320 - #400 to smooth. Use only a small piece of sandpaper and be careful. A little bit of Comet cleanser on a water-damp bit of rag works well too - carefully now. As always, work these techniques out on a small sample first. Please don't begin on your dining room table

Glazing a large piece. Same techniques, use bigger brushes. Apply Retarder with 3" brush. Work in glaze with a 1" - 1 ½ " brush. Soften with a 3" - 4" very soft flat brush. Maybe work just one corner of the side of the cupboard at a time being sure to feather off edges.

Make sure that you are using a paint that is heavily pigmented for your glaze. Craft colors are just too weak in pigment strength to give rich deep glazes. You usually end up with dirty, coffee-stained looking pieces. Wiping back some highlights or sanding back to some highlights also helps control the muddy look.

If you've obtained a good contrast, but you still feel you've muddied the piece, you need to use different colors for your glaze mix. Did you dirty your blues and turn then greenish with a Burnt Umber glaze? Perhaps you'd prefer a Prussian Blue + Carbon Black glaze or a Paynes Grey Glaze. You winter-types, how about a deep purple glaze?

Do try working a small area at a time. Before you know it, the piece will be done and excitingly beautiful!

Finish the piece with your favorite varnish. Here we can safely use the water-based varnishes. Another plus for glazing with acrylics.


This article has been taken from the December 2000 Snippets, but is just as relevant now as it was then.

The following guidelines may help in preparing a piece for competition or just for your own pleasure.

VICTORIAN Any piece of decoupagethat is completely covered in images with no background paintin evident.

TRADITIONAL Any piece of decoupage that has a painted background.

CUTTING Clear, well defined outlines with no jagged, chopped or white edges.

BACKGROUND PAINTING The background should compliment and enhance the design and should not be used to disguise poor cutting.

COMPOSITION & DESIGN The design should compliment the item so that a total harmony is achieved. Additional points will be given for originality of design.

FINISH No air bubbles, loose edges, creases or glue spots should be visible. There should be no weeping on cutouts. The finished surface should be smooth to the senses and look hand painted. No sanding scratches, drips, brush hairs or dirt should be evident. No rough edges or unfinished edges.

BASES of all articles must be finished. Interior of boxes should be completed by either decoupage, paint or linings. Linings should fit perfectly with no gaps, wrinkles, loose parts or glue spots. If patterned, thte design must conform to sides and lid. Hinges should be neatly recessed into lid and box. Decorative fittings, if used on the exterior, should be worked in as part of the design and not placed oved decoupage.

OVERALL CONCEPT Points to be considered should be the total harmony of the piece, the individuality of the concept and the effective use of recources.


Another oldie, this time from Snippets, September 2002

If you want a multiple repeat of an image, use a small amount of glue and stick the image onto the top right hand corner of an A4 sheet of paper, leaving a .05cm white margin around the picture.

Always leave a white margin around any image to be copied

Work out the % of an enlargement or reduction to save time. For an enlargement, divide the size of the image by the size of the enlargement required. For a reduction, divide the size required by the size of the image.

Request a variation in colour density if you want stronger colours.

A single colour tint can be requested and gives some interesting effects.

It is often wise to have mirror images done at the same time, to assist with the design.

Always ensure that you havve sufficient copies to allow for mistakes or adjustments in design. If you run out, thte next copy will often be different in colour.

Do NOT spray or seal an image which is to be copied.


Readers will, no doubt be surprised at the Snippets going back to the old format of a full A4 page. This month I found it virtually impossible to put all the photos of the Ekka winners, on the smaller format. With a lot of help from our daughter Mim, we now have a full page of pictures. My sincere thanks to Sally for taking all the photos. She has done a terrific job.

My apologies for the very late arrival of Snippets this time. Everything was almost ready when the computer decided to crash. Luckily Mim was able to revive it, but the Snippets pages were unretrievable. Never mind – better late than never.

A side benefit for people who receive Snippets by email is that they will find this format much easier to print out.

Val English

Pine Ceramics
Active Abrasives

Prize Winning Entries -- EKKA 2008

Open Section


1st Prize
& Championship
Nancy Rowley

2nd Prize
Di Loxton

3rd Prize
Val English

Barbara Chapple

1st Prize
Nancy Rowley

2nd Prize
Glenda Lloyd

3rd Prize
Barbara Chapple

1st Prize
Val English

2nd Prize
Barbara Chapple

3rd Prize
Val English

Open Section


1st Prize
Jan Payne

2nd Prize
Lois Collins

3rd Prize
Shirley Waterton

1st Prize
Jan Payne

2nd Prize
Shirley Waterton

3rd Prize
Jan Payne