Working with spray adhesive can be tricky and as we all know, very messy.  Here are some helpful tips and techniques from the 3M Corporation that will make using spray adhesive easier, cleaner and enable you to get the most out of the product.

3M Super 77 Multi-Purpose Spray Adhesive is one of the most useful and versatile tools for home decorating, crafting, construction and quick household fixes. It is easy to use, dries quickly and yields professional results for practically any project you can think up.

Basic Directions:

1.         Use only in a well-ventilated area.

2.         Make sure surfaces are free of dirt, grease and moisture.

3.         Shake can well before use.

4.         Align nozzle arrow with dot on top of can.

5.         Hold can upright about 6" to 8" away from surface.

6.         Test spray pattern in a protected area away from project surfaces.

7.         Spray with a light, uniform coat.

8.         Wait 30 seconds before securing the bond.

9.         To help prevent clogged nozzles after use, tip can upside down and spray until adhesive does not emit.

General Techniques

Use at room temperature:

3M™ Super 77™ Multipurpose Spray Adhesive works best at room temperature (60°-80°).

Keep it steady.

A light but thorough coating of spray adhesive works best and two coats are much better than one heavy coat.

Keep your distance

Hold the can upright about 6" to 8" from the surface to spray your 3M spray adhesive. Spraying too closely can wet the surface and cause puddling, which can extend drying times, weaken the bond, and affect the look of the finished project.

Protect from overspray of the spray adhesive

Remember to protect surfaces from overspray. Just use an empty cardboard box, mask off surfaces with tape or paper, or cover the work surface with newspaper or other disposable material.

Right is right

Try to hold the can as upright (vertical) as possible. This will ensure that the spray adhesive covers evenly on the surface. Holding the can horizontally, particularly when the can is nearing empty, may cause uneven coverage.

Start off. Finish off

For the most uniform coverage, always start using your spray adhesive from 2" to 3" off of the project's surface on one side and finish spraying 2" to 3" off of the project's surface on the other side. Be sure to protect surfaces from overspray.

Wait 30 seconds

Wait approximately 30 seconds after spraying adhesive before attaching the surfaces together. This allows the solvents to evaporate and improves the bond strength.

Save the nozzles

Nozzles on spray adhesives can get clogged. To combat this, try soaking clogged nozzles in turpentine or mineral spirits to loosen the adhesive. Also, save good nozzles from empty cans to use as replacements.

Avoid bubbles.

A good way to help eliminate trapped bubbles when using spray adhesive to glue surfaces is to apply pressure starting from the center of the material and then carefully working outward.

Purge the can

To extend the life of the can of spray adhesive, turn it upside down when the project is complete. Spray into a safe location (like an empty box) until the glue stops coming out.

Removing overspray

Adhesive overspray is always better prevented than removed. But several common solvents can help clean it off, including mineral spirits, turpentine, citrus-based cleaners or 3M™ Adhesive Remover. Be sure to follow proper precautionary measures when using solvents! On hands, apply baby oil, cooking or vegetable oil, followed by soap and water.  On furniture, use a furniture polish.  On fabrics and carpet, first remove as much glue as possible with masking tape. Then dab the surface with a cloth dampened with one of the solvents listed above. Or spray the surface directly with 3M™

Adhesive Remover or a citrus-based cleaner. Always test solvents and cleaners on inconspicuous areas of fabric or carpet first.

When using solvents, extinguish all ignition sources, including pilot lights, and follow the manufacturer's precautions and directions for use.

When you are shopping for paper for your latest art project did you ever wonder what a Deckle Edge was? Or what 100% Rag actually means? Or whether you should choose  Hot Pressed over Cold Pressed?  We have compiled this handy list of artist paper terminology for your reference. Enjoy!

100% Rag: Made entirely of cotton and/or linen rag pulp

Bond Paper: A term for smooth-surfaced text weight paper, coined by a customer of Crane’s Stationers, a banker who asked that his personal stationery be printed on “bond paper”, the stock used for printing bank bonds.

Deckle Edge: The natural terminal edge of a sheet of paper, where the screen on which the sheet is formed is attached to the deckle, or frame. Artificial deckle-edges are produced by a jet of water slicing through still-wet pulp.

High Alpha: Wood-based paper pulp of the highest quality, with strong fibers and no acidity.

Hot-pressed, Cold-pressed, Plate and Rough: All manufactured artist’s papers are pressed in some fashion, between rollers that squeeze out water and impart a specific texture. Hot-pressed paper is smooth and relatively free from surface detail; cold-pressed paper has more pronounced tooth. Plate finish papers and boards are smooth like hot-pressed, deriving their name from the metal plates each sheet was originally sandwiched between before passing through a press. Rough paper has the most aggressive surface, like earlier papers whose bumpy textures resulted from shrinkage during air-drying.

Inclusion: Any material added to paper pulp for visual or textural effect that remains distinct from the paper fibers. Leaves, flowers, cloth scraps and coffee husks are only a few examples from among thousands of possibilities.

Internally and Externally Sized: Internally sized paper is completely impregnated with sizing during the manufacturing process; paper that is externally sized has had starch or glue applied after the sheet has been created.

Kozo: A Japanese term for mulberry-derived fiber

Laid:  A surface revealing the texture of the screen on which the sheet was formed, or a simulation of the traditional texture produced by a die on the dandy roll

Lignin: A protein in wood, undesirable in finished paper

pH Neutral vs. Acid Free: The pH scale measures acidity and alkalinity in degrees from 0 to 14, with a value of 7 being “pH neutral”. A paper designated “acid free” will have a pH of 7 or greater; a paper sold as “pH neutral” should have a value between 6.5 and 7.5.

Pulp: Cellulose fibers prepared for papermaking by pounding and bleaching

Ream: 500 sheets,  formerly 480 (based on 20 “quires” of 24 sheets)

Sulphite: Wood pulp produced by breaking down fibers in sulphuric acid; there are different grades of Sulphite pulp

Watermark: A design on a sheet of paper revealed by illumination from the back. Originally accomplished by molding or welding a design element or insignia onto the wire screen used to make paper, now more commonly produced by placing dies on the dandy roll

Weight (gsm): A useful measure of weight in paper, based upon grams per square meter. Accurate regardless of original sheet size.

Weight (pounds): A measure of the weight of a full ream of paper; the implied weight of a single sheet from a ream, dependent upon one’s knowledge of the full, unconverted sheet size.

Wove: A smooth, featureless surface with subtle tooth; from the “woven” type mold, as opposed to the “ribbed” type.

Peter Schifrin has been a faculty at the Academy of Art University since 1993.  He received his M.F.A. from Boston University and his B.A. from San Jose State University. Peter has created several large-scale public commissions: two 24 foot high bronze monuments, ‘Confluence’ & ‘Skyward’ one block from union square in downtown San Francisco, for the Academy’s Morgan Auditorium; two bronze ‘Coyote Monuments’ for city of San Jose’s Park Street Bridge; the bronze ‘Firefighter’ in San Ramon; and the nine-foot bronze ‘Wounded Man’ for the city of San Mateo’s Performing Arts Center.

Peter has also instructed sculpture and drawing at the University of California at Santa Barbara, the Montserrat College of Art, and at Boston University’s College for the Arts.

Peter’s Background is in figurative and portrait sculpture and he now creates abstract, heroic-scale, ceramic totems and bronze and steel masked-sculptures, based on life affirmations.  He has been awarded first place in the California Clay Competition among other awards. He published the book, ‘all that i know’ and his newest book, ‘Love & Fear: The Sculpture of Peter Schifrin’ will be available fall 2006.

He is currently Director, School of Fine Art Sculpture at the Academy of Art University.

Some examples of Peter’s work: (click to enlarge)

 "skyward" - 22' tall

 "confluence" - 22' tall

To view more of Peter's work please visit his website: www.mudpoet.com.