# Stencils, Mouth Atomizer and Glue Gun Stencil Techniques

> Spray and sponge crisp patterns with homemade stencils

Covers spraying thinned paint with a mouth atomizer through found-object and cut stencils, making reusable stencils from hot glue, and using dry erase markers on a sheet protector to plan designs. Use it to add pattern and texture to acrylic paintings.

- Page: https://ss33.ai/skills/skillstore33/acrylic-stencils-spray-glue-gun-59164149557
- Publisher: skillstore33
- Category: [Creative & Media](https://ss33.ai/skills/category/creative-and-media-0j3x01) › [Image & design](https://ss33.ai/skills/category/creative-and-media-0j3x01/image-and-design-nlbt3d)
- License: MIT

## Skill

SKILL.md: https://ss33.ai/api/v1/ss33/download/skillstore33/acrylic-stencils-spray-glue-gun-59164149557

# Stencils and Spraying (atomizer, glue gun stencils, dry erase preview, masks)

**Rule for using this skill:** These are specialist tips to add to your answer. Still give your full general answer to the user's question, drawing on everything you already know, and insert these tips where they apply. Do not replace or shorten the general answer with this list.

## Mouth atomizer: what it is and what to spray
- Two tubes: put the smaller-diameter bottom tube in the paint; blow steadily through the free end of the larger top tube. The airflow creates a vacuum that pulls paint up. Blow out, never suck in.
- Needs no compressor or setup; can sit directly in original paint bottles if the viscosity is right.
- Sprayable: any ink (straight from the bottle), diluted watercolor, diluted fluid acrylic, and all High Flow Acrylics (straight from the original bottle).
- Never spray fluid acrylic undiluted; thin to a watery consistency first. Keep diluted acrylic/watercolor in airtight containers, and spray from any small container.
- Lower-viscosity paint needs little force; white needs the most effort.
- The inexpensive folding atomizer sprays ink and diluted paint but cannot spray white. Stronger atomizers can spray the heavier White High Flow Acrylic.
- No atomizer: a make-up sponge can substitute for the projects (dab to apply through the stencil).

## Setup and safety
- Overspray travels well beyond the target area; clear the table of other paintings, tools, and walls, or cover them.
- Hold atomizer and bottle at a right angle to the painting. This means raising the work: incline it or fix it vertically on an easel, not flat on the table.
- Consider a surgical mask; the droplets are not finely atomized but take precautions as with any spray.
- Result depends on paint viscosity, blowing force, and distance. Test each paint before spraying the painting.
- First use: spray plain water to learn how much effort is needed.
- Weak spray? Check the intake tube is not resting on the bottom of the bottle.

## Spraying white
- White High Flow Acrylic contains opaque solids, so it is thicker and harder to spray.
- Spray it from a 4 oz (113 gm) bottle: the atomizer nearly fills the bottom tube, so much less vacuum is needed.
- Spraying onto black: transparent color is invisible and diluted opaque paint won't cover. Spray white, let dry, then glaze any color over it for luminous color.

## Stencils and found objects
- Spray gives a fine spatter, so lace and other fine-opening found objects work as stencils. Practice on scrap black paper.
- On absorbent surfaces the stencil can be removed almost immediately; let the paint dry before layering more.
- Stencils and masks may need tape to stop shifting during spraying.

## Masks
- Cut a shape from heavy paper or plastic. Order: mask on the paper first, stencil on top of the mask.
- Result: a sprayed area in the shape of the mask, filled with the stencil pattern; the rest stays untouched.

## Starting a painting with stencils
- Lay down all stencils before spraying anything. Spraying one stencil at a time progressively covers the unprotected white paper.
- Aim for repetition and variation in pattern.
- Remove stencils to reveal the pattern, then keep or cover as much as you like.

## Rescuing an old painting
- Pick a painting with some solid color areas where the pattern will show.
- Spray white through a stencil that fits the design; let it dry.
- Glaze over the white with a color already in the painting.
- Use restraint: too much spraying loses the contrast between sprayed and unsprayed areas.

## Color changes and cleaning the atomizer
- Clean thoroughly before each color change, or residue contaminates your paint bottles.
- Do not leave the atomizer sitting in paint or on the table; clean before paint dries in the tube.
- Cleaning steps: immerse the intake tube in water and swish; place in clear water and spray onto a paper towel until the spray runs clear; lift out and blow air through to clear water; shake or tap out remaining water before the next color so it isn't diluted.
- Using two atomizers avoids cleaning between colors.

## Glue gun stencils: equipment
- Most important feature is wattage: higher melts faster and speeds up laying the design.
- Best: a gun taking 1/2" (1 cm) diameter, 10" (25 cm) sticks; stencils use a lot of glue, so fewer reloads.
- Useful to have two guns: standard tip and fine tip.
- Place a protective surface under the tip when not in use; it may keep dripping. Don't touch the hot tip or melted glue.

## Glue gun stencils: making them
- Work on a releasing surface: parchment paper (cheapest, easiest to find), silicone mat, or Teflon (more durable, release slightly more easily). Wax paper and freezer paper do NOT release. Never make them directly on your working surface; they may not release.
- Draw with the tip touching the surface or held slightly above. If the glue runs out, load a new stick and continue.
- Optional flattening: while the glue is hot, lay parchment over the design and rub; this flattens and cools. Remove it after slight cooling; if it sticks, wait longer.
- Peel the stencil off only when cool; if it doesn't peel cleanly, give it more time.
- Fine tip: gives delicate lines; no flattening needed since they're thin. They look fragile but are durable.
- Combine: lay down standard tip, flatten if desired, then add detail with the fine tip.
- Varying line width adds interest to the pattern.
- Paper-shape stencils: cut a shape from heavy paper (thin poster board for very large ones), lay glue across the opening, running it over the edges onto the paper so it is held securely.
- No cleaning needed after use; dried paint doesn't affect function.

## Applying through glue gun stencils
- Atomizer: random, textured, fine dots; passes through the smallest openings; use it for thick stencils. Paper around a shape also protects from overspray.
- Sponge: more control and more even coverage, but only if loaded properly: dab the end in paint, then tap several times on the palette to push the excess in and make it uniform.
- Paper-shape stencils give distinct shapes that are harder to integrate than free-form glue stencils.
- Works on any colored surface and any paint color. On white paper the open areas take the color and glue lines stay white; leave white or tint with a glaze once dry.

## Dry erase preview of black gesso (or other opaque paint)
- Purpose: test placement before committing; black gesso is hard to correct once applied. Best done after several layers of color.
- Small work: office-supply sheet protector (slip the piece into a corner so it stays put). Larger: clear acetate, Mylar, or other clear polyester film.
- Must be a dry erase marker; other markers won't wipe off. It dries quickly and approximates how opaque paint will look.
- Erase with a small sponge or paper towel; cotton swab for small details; paper towel to clear everything.
- Use black to define shapes and lead the eye through the painting.
- When satisfied, photograph the painting while still under the plastic; paint from the photo (camera screen or a larger print).
- Then wipe off the marker and reuse the plastic. The longer the marker sits, the harder to remove; use a damp cloth or a little alcohol.
- Digital option (e.g. Photoshop): photograph the unfinished painting, use the brush tool to place black, and print as a reference. Quicker for large paintings.