1° Step : Pickguard & Fabric.
A Strat-pickguard and an adequate beautiful 100% cotton fabric. To custom and decorate my pickguard with the decoupage technique I need first scissors to cut out my fabric and a soft pencil to design the pickguard’s template on the fabric’s rear side and vinyl glue (or special fabric-glue). Then a flat brush to spread a fair glue measure on the pickguard to paste the chosen fabric and some plastic or wooden clips, or pegs, to apply around the edges to hold the fabric down while the glue dries. Finally, I need a satin water-based varnish gel to create a protective and anti-scratch film with a good resistance to mechanical agents. I apply a thick and uniform coat with a specific flat smooth brush. Let it dry for at least four hours and then I repeat twice, or more times, as to get a hard, solid and strong last finishing.
3° Step : Photo & Tutorial.
The vinyl glue is one of the most used adhesives, often known by its trade name Vinavil, but there are several brands and manufacturers on the market. The most commonly used vinyl synthetic resin is polyvinyl acetate (PVAc) in an aqueous emulsion, which has a variety of use in industries, in art and hobby, in handcrafted works, in book-binding and book arts, due to its flexible strong bond and non-acidic nature, usually without need for primers. However, there are also the related polymer polyvinyl alcohol (PVA) adhesives diluted in solvent solutions. Polyvinyl acetate belongs to the polyvinyl esters family and is a type of thermoplastic; these glue types are also referred to as wood glue, white and school glue, or carpenters glue and so on. The vinyl glue looks like a white liquid, milky, with a characteristic slightly acidulous smell, and remains consistent in its quality to conform specific standards. The advantages are low price and toxicity, simple use, and good sticking efficiency. The main disadvantage is the average long drying up time.
I use the vinyl glue to bond the fabric (linen, cotton or silk, gobelin and batiste) to the polystyrene lampshade panel, as well as to the wooden or metal bases, diluted in water in the required amount according to the material resistance and porosity (well-finished or unrefined, smooth and waterproof, thick or thin). The usually needed percentage glue-water is in the ratio of 1 to 2. But it is necessary to test the materials’ characteristics, to adjust the water measure. Thanks to the decoupage technique, I also paste art-paper, decorative cardboard, silk or soft-paper, tissue and vellum paper, Japanese washi-paper to lampshades and bases. When the glue is dry, it gets an elastic consistency and is transparent, smooth to the touch: so it can easily stick and protect all decorative elements.
If the material is porous, or fine and delicate, I apply a thin glue coat with a flat brush; on the contrary, I apply on the surface a good glue coat if the support is particularly porous. To hold the fabric, or paper, I use one or more plastic binder clips.
Once the gluing process is over, the finished shade has to rest for up 12 hours, to allow the adhesive the ability to completely bond. The best tips for gluing vinyl include adequately cleaning the project area, working in small sections at a time, and following proper safety precautions; such as, wearing gloves while working with vinyl adhesives to stick silk-fabric and delicate art-paper. A clean area provides an easier surface for the glue to attach to, as well as a longer hold between two different materials. I avoid not properly aligned edges and air balls beneath the surface of fabric, or paper, by working in small sections; as well, I clean immediately dripping glue with a damp cloth.
Beautiful japanese 100% cotton fabric and Kokeshi soft-paper dolls and small tree. What an idea for a unique birthday gift: to decorate a 30×40 cm. canvas with the decoupage technique. First of all I need a soft pencil to design the template on the canvas front side, the scissors to cut out my fabric symmetrically and vinyl glue (or special fabric-glue). Also a flat brush to spread an adequate glue measure on to paste the ten fabric pieces, my fingers to hold and press the fabric down while it dries. Then I use a satin water-based varnish gel to create a protective finishing. I apply a thin uniform coat with a specific smooth flat brush and let dry for at least six hours. I repeat twice, or three times. Finally, I paste the japanese Kokeshi soft-paper dolls and small tree to the copper lamina and cut them out carefully. I glue them with hot-melt adhesive by a hot-glue gun directly to my fabric. To embellish I choose a white wooden frame.
A pickguard is usually a piece of plastic, or other laminated material, fixed with some screws on the guitar’s body under the strings, or raised on adjustable metal support brackets close to them. Its main practical purpose is to protect the guitar’s surface, but it may also have a merely decorative use, as well as be a piece of memorabilia.
Fender-style pickguards are mainly fitted on solid-bodied electric Stratocaster and Telecaster guitars and often cover a large area of the front top surface. Most of their electronic components, such as pickups, potentiometers, switches and wiring, are mounted on, or behind, the pickguards. As a matter of fact, this design simplifies repairs and spare parts change.
1° Step : Pickguard & Fabric.
2° Step : Material & Tools.
Of course, a Strat-pickguard and an adequate beautiful 100% cotton fabric. To custom and decorate my pickguard with the decoupage technique, first of all I need scissors to cut out my fabric, soft pencil to design the pickguard’s template on the fabric’s rear side and vinyl glue (or special fabric-glue). Also a flat brush to spread a fair glue measure on the pickguard to paste the chosen fabric, a few plastic or wooden binder clips to apply around the edges to hold the fabric down while the glue dries. Finally, I need a satin water-based varnish gel to create a protective, anti-scratch film with a good resistance to mechanical agents. I apply a thick and uniform coat with a specific flat smooth brush. Let it dry for at least four hours, and then I repeat twice or more times as to get a hard, solid and strong last finishing.