Block Printing on Fabric: Ice Cream Cone Tote Bag! | Danielle Broder | Skillshare

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Block Printing on Fabric: Ice Cream Cone Tote Bag!

teacher avatar Danielle Broder, Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (39m)
    • 1. Trailer

    • 2. Part 1: Tools

    • 3. Part 2: Trace

    • 4. Part 3: Transfer

    • 5. Part 4: Carve

    • 6. Part 5: Carve pt. 2

    • 7. Part 6: Cut

    • 8. Part 7: Cut pt. 2

    • 9. Part 8: Test Prints

    • 10. Part 9: Final Prints

    • 11. Part 10: Final Prints pt. 2

    • 12. Outro

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About This Class


Do you like to make stuff but feel like your drawing or painting skills aren’t up to par?  You won’t have a problem with that in this class.  Prepare to be impressed with yourself!  

This class will teach you how to take a fun design, carve it into a functional stamp, and also teach some different ways that you can print it onto your fabric. I specifically chose this design to showcase the different methods of applying color, as well as how to plan your design out beforehand so it comes out the way you want it to in the end!

Block printing has been around for thousands of years, yet it's still a great modern way to create unique handmade designs on anything from your holiday cards to that sweet fanny pack you scored at the thrift store.  In this class you will get down and dirty with learning the various methods of rubber block printing onto fabric.

Meet Your Teacher

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Danielle Broder



Hey! I'm Danielle, and I’m the one woman show behind everything here at The Recoverie.

I’m here to inspire, motivate, and give you a general swift kick in the ass when it comes to pursuing your crafty dreams.

A native California girl, I was brought up creating.

Whether it was beading my own jewelry, building stick forts on the beach in Malibu, or learning how to crochet on a road trip to Santa Cruz, I was lucky to have people around me who always encouraged me to keep making stuff as a kid.

By a swift chance of fate, I ended up earning a double bachelors in illustration and interior design, which led me to my booming interior design career....


Mostly that just taught me that I didn't want to work for someone else &... See full profile

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1. Trailer: Hey, guys, welcome to my block Printing projects less. Today we're gonna make a sweet ice cream, comes back using a digital download of a little stencil that we're gonna learn how to take this big piece of rubber and turn it into an ice cream cone by cutting it into multiple pieces and layering the ink. So we get a multicolored effect, we'll trace the design, carve it out together, and then we'll pick out three colors we want in a final. 2. Part 1: Tools: So you're just gonna need basic block printing tools for this project. We're going to start out. I have a little market bag to print on. You don't have to print on that, but that's just what I have on hands. You could do whatever your little heart desires to print. I have some scratch favor. Little computer fever. This is stenciled. I provided in the digital download section of your class projects situation on skill share . I added a couple different options, so you'll see. There's a nice cream call with one scoop. There's one with two scoops and then three scoops. You can do all of them. You do one of them. You can draw your own whatever you're feeling that for. But there is a template if you just want to be lazy humor from that all the Here we have the regular a block, by the way, before you get all the way into this. If you haven't taken my printmaking party class, that's the super super basic class. I definitely recommend you take that first. If you don't, I want to. That's okay. You can still follow along. But if you're wondering why I'm skipping over certain information. Basic set. It's because it's in the other video. This is just a detail project, All right. Next, I have some just crappy 35 cent brushes and he sees for scooping paint Tennessee crap too late. All right, this is it called a bone folder. You don't need this. You can also use just like a metal spoon. This is gonna be for burnishing the drawing onto the actual block. Later on, just have a pair of scissors, a pen and pencil. Sharper pencils better. And then we have our carving tools. These air just speedball brands, comes with five plays there inside of the carbon case, the carbon kiss the holding handle case on. Then this is your Breyer. This is a four inch Breyer. I usually will match the size of the rare to the size of the book that I'm easy. And then I also have a ruler which I may or may not use when I'm creating my pattern on to my onto my fabric. If I wanna make, like, a repeat or something and then I just have some screen printing ink. This is water based screen printing ink. This is speedball, and it's pretty inexpensive. It's easy to find combined it online or most art stores, not craft stores, part stores and last but not least, a little piece of plexiglass. You get these, a Home Depot or Lowe's. You could also probably maybe finding a craft store, not positive, but more likely to be found in like a home that some kind of hardware store found. This is just a but even so, those individuals that you're gonna need for this project and now let's move on to our actual design. 3. Part 2: Trace: Hey, guys, Welcome back. So by now, you should have gone into your class. Overview section may be in the project section and gone ahead and downloaded that hand out that I left you. We have some ice cream cones here we have some with three scoops, two scoops and one scoop. I've scaled them, so they're all about the same size. You can put them on a two inch by three inch block, basically the all fit on there. You can get it like a four by six block and chop it in half just to get started. This is a smaller, smaller size block. So the first thing we're gonna do is we're going to start tracing all the outlines here. As you can see, I'm working with a mechanical pencil. This is just something that I like to work with because it's sharp. I don't have to worry about, like getting out my sharpener and, um, you know, worrying about all that stuff. A lot of the designs I work with are a lot larger, and it takes me, like, you know, like, a couple of hours to trace them, so I don't want to be bothered with that stuff. So this is just kind of like my method. You can totally feel free to use a regular sites pencil, You know, just make sure it's got, like, a nice, sharp edge so you can get like, a good layer of graphite around the edge. The idea behind creating this, you know, kind of extra line of pencil is so when we move to the next step, we're gonna actually be burnishing this design onto our rubber block. So we want to make sure that we have a nice, strong dark line eso that extra graphite can transfer over and push onto the rubber and create that guideline for us that we're going to be using to carve in the third step. So I know there's like, a lot of little pre planning steps, but if you do every step in the beginning right, it's gonna make your life much easier down the road. So I'm just gonna go ahead and fill in all these lines. There's no need to kind of like color everything in because that just leaves extra graphite and kind of creates a mess on your block later, you just want, like, thes nice, sharp blinds. Also, if you're creating a design from scratch and you're not falling this guideline, that's totally fine. Just once you're done, go back into the lines around the edges and just kind of like dark in them. You don't need to fill in any everything. Like I said, just the main edge lines. Another thing. If you're gonna be doing something like a word, you don't have to worry about reversing it. However you draw it on the paper will be exactly how it comes out as your print in the end , because you're gonna end up transferring it and then carving it backwards without even realizing it, carving it backwards and then it'll get printed forwards. So that's why the transfer meant that is really, really great. 4. Part 3: Transfer: Okay, guys. So now we are all ready to go. We have our little ice cream cone with the pencil lines on it. I have my two inch by three inch rubber block, and I'm gonna go ahead and I'm going to place it directly on top of my ice cream cone. Now here. I want to make sure everything's covered, including the top and bottom areas. I want those all clear the whole thing directly on top of the design. I'm going to next grab the piece of paper and the block and while holding my hand in place so nothing moves. Carefully flip it over. And now I'm just gonna need to burnish it. I'm gonna do a couple little extra checks. I think slightly might have moved that. So I'm gonna slide it back to where it was. Um, but I can kind of grab the edges, and you kind of, like, see your pencil line underneath, So I'm just double checking that everything is on top of the actual block. So now I'm gonna take my, um, what's called a bone folder? It's just a piece of like plastic. Um, you can also you might find this in, like the sewing section in, ah, sewing store, and I'm going to use it and just hold it to the side and just hold it and just give it a really good push and just burnished this line onto the block. I want to make sure that I'm pushing all the areas, getting the entire design and covering the entire block while I'm doing this while not moving my hand, I can also lifted up as I'm going to kind of see how it's how it's transferring. I can look on all the corners while keeping one hand in place, and now I'm gonna lift it off, and I'm gonna see my final design. So this one actually transferred pretty well. I have, like, a medium dark line on there. You can see some areas like, for instance, this part on the very bottom. It's a little bit lighter, and when I go to carve it, it might be a little hard. So I'm gonna just grab my pencil and I'm just going to go ahead and dark in that area. It's okay to draw directly onto the block. As long as you're careful not to dent the rubber. The only thing that will actually like cause a problem is if you didn't it 5. Part 4: Carve: Okay, guys, we're ready to carve. Now. We have our ice cream cone onto our block. And if you notice we have three main sections, we have our cone, We have our scoops, and I have marked a couple little arrows where we're gonna be cutting in with her scissors later. For right now, we're going to grab our number five blade. Like I said, I'm not gonna go over too many details cause I've already done that in my basic printmaking class. But we're just going to kind of start carving out some of the big stuff. So the fire is my largest blade, and I always want to go. Horace, until I was don't want to go vertical like this because if I go like this, um, it's going to start ripping. And we want to avoid that. We want to make sure that these two middle tips state up. We go down like that, it's going to start ripping it so we'll keep going straight or and make sure we're not going to deep. I think the ah good amount of deepness is like a little less than halfway the thickness of the block, and we'll just kind of keep working kind of close towards the edges, but not quite up on the lines yet. Later on, we're going to use the number two to get up on those lines to get that nice, sharp relief. So what I'm going to do right now is kind of going with my number five. I'm going to do kind of like a first run around the little ice cream cone. I'm gonna get all the big stuff without going directly up on the edges because I'm going to go back in later with the Sharper Blade and I'm going to get all that stuff out of the way so you can kind of see how it's going right now. There are some areas, like right in here where these, um, little kind of secondary lines pop up as I'm carving. But I'm not gonna worry too much about those. What I can do later on is going with my blade again for, like, a second run. Like what I'm doing right now and just kind of like, shave those down a bit. Because what happens is when you are putting your roller with your ink on top of that eventually you're going to start hitting those areas, and it's just kind of best practice to kind of cut him off. If you don't want any of these little lines showing, - we'll see where it got caught again. Um, so I went a little bit too deep, so I'm just gonna probably ripped this off, because that's just what I dio. Um, you know, you can be totally aggressive with it, especially gonna chop that part off anyways. And then when we're done, we'll go back in, will switch over to a smaller more, um, defined blade. 6. Part 5: Carve pt. 2: awesome. So now we have all the big stuff done, and we're left with kind of these, like edges hanging off. I didn't quite carve all the way to the edge because I knew I was just going to chop them off with the scissors. So I'm gonna clear off some of this stuff. Watch out. You don't throw your blades away when you're throwing away these old scraps because I do that all the time. And now I'm going to switch blades. I'm gonna go ahead and look for my number two. Like I was saying, I usually go five to the two to the one. This is the nice sharp. Uh, this is the nice sharp blade that will give you a really good relief. So when you're doing layers and layers of ink and printing on fabric, it won't get to gunk up if you've carved it correctly. Okay, so now I have my number two. I'm going to put it into my handle and just tighten it, and I'm ready to roll. We have a couple of sections we're gonna need to dio we have the cone area, and then we also have the area in between the scoops Now, one quick pro tip comin at you. This is the number one on the bottom and the number two on the top. The number one you would think you'd be like, Yes, this is really itty bitty in tiny. And I'm gonna use this in all the little places, but it's actually a pain in the butt. So instead, grab the number two and stick with that where first, we're going to go around all the edges and we're gonna kind of go over them again. Like I said, we weren't going to go quite up to the edges with the number five. So now we're going to use the number two and go directly up on the pencil line. The reason for this is that it's the Onley blade that will give you that straight up and down. Really nice, sharp relief. And it will help keep your block from getting clogged later on, which can easily happen if you're doing any kind of fabric that's like remotely fuzzy. Or if it's, um, you know, if it's a warm day, sometimes that I think will get all sticky and yucky and, um, it gets a little bit of fabric or fuzz in it than, um, it just gets clogged up and you lose basically all the work you just worked on. So I'm just going to continue around with my blade. I'm just gonna follow the edge of the ice cream cone and just get this, like, one last little piece, and now I'm just going to kind of speed it up. All right, so next little tip. If you want to get into these hard to reach areas in the corners, you can actually go down and out with their blade if you use it vertically. So I'm going to show you that right now, down and out, grabbing the rubber. And that just kind of helps you get into these kind of hard to reach areas that otherwise, if you're coming in from the opposite angle, or like horizontally, it's just not gonna work. It's your You're not going to be able to get your blade in there. So I find that using the number two specifically here it is again, down and out. We'll help you kind of clean up that area and make it look nice and sharp and get you these sharp lines that you otherwise wouldn't be able to get. Okay, so now we have all the outside car. Now we need to focus on breaking up the two little scoops. And I'm gonna come in here with my number two, and I'm just going to kind of slowly, carefully. Just follow this line. You might think that you might want to use the number one, cause it's so very small. But once again, I definitely recommend starting with the number two. These lines in here also gonna be just a small So I'm gonna use the same blade. Same thing. Go up and down, follow the line, kind of move my wrist along. It's all in the wrist. Is they say they want to get to the end. I'm going to kind of actually put it down a little bit to cut it off to make sure you get that nice, clean edge. And now you can see that we have a slight separation, the beginnings of the break. Eventually we're going to cut all the way through. But not right now. When these pieces down here, we're going to start on right now. So I'm gonna use the very edge of my blade, but I'm not going to use it with too much pressure. I can get the same effect as the tiny number one. If I don't apply too much pressure with the number two now , we're done with all the horizontal pieces, so we're going to go back in and do all the vertical pieces. I'm just going to continue to use the number two, and I might use a little bit of extra pressure because your blade might catch on some of the marks. You've already made some of the cuts and that's OK. Just kind of keep pushing forward. Just make sure it's not ripping anything, but you might need to use a little bit more pressure here. 7. Part 6: Cut: Okay, so it looks like we're about done with all the carving. Now, what we have left to do is separate thes three pieces with the scissors, and I'm just going to grab a regular old pair here, and I'm just going to cut right up on this edge right here. I'm just going to cut off all this floppy stuff. I'm gonna carve up as close as I can to the raised portion of what I did not carve. And then I'm gonna follow the line around the ice cream comb, and I'm going to cut off all the little edges that are sticking up. If I leave any of those pieces eventually they are going to catch Inc. And then that ink will end up on your fabric. So we definitely want to avoid all that. So I'm just going to finish this up, and it looks like we only have a couple more little spots to get. These edges could definitely catch ink. So I wanna go ahead and turn them off like these little guys up here. This is just kind of preventative printing a damage control. Just kind of get it as best you can It's not the end of the world if you get a little bit of ink on your fabric. Cool. So now we're done trimming, and the last thing we have to do is separate the cone and this groups. 8. Part 7: Cut pt. 2: All right, so now we need to separate thes sisters. Clearly, you're not gonna get in here, so we're gonna have to come up with another method. What I recommend is, let's switch out these blades. Let's grab the number six. The number six is the little one that looks like a razor, and that's gonna be tiny enough to get into this little area. So we're gonna actually have to be using this vertically. We'll use this up and down and kind of like, saw it out almost, and it's gonna be like a little bit jagged E. But once you actually get it separated, you can go back in and clean it up. So I'm not really concerned about, like, little details right now. We're just getting this thing apart. When it started, the ends just kind of go in piece by piece and slowly kind of start pulling it apart. And this is gonna be totally nerve wracking. Also, because you just spent all that time carving this out. You're like, Oh, my God, it's gonna get all messed up. But just like don't sweat it, man. If you bend it a bit like that Yatil, you'll see it starting to come apart and it will be easier to get in there. It's just going to be the first couple pieces that's gonna be really nerve wracking. So now I can kind of pull it apart and start kind of like cutting. And there be very, very careful of your little finger. And now we have it apart so you can see how those two pieces will fit right back together. I'm gonna go in real quick and clean him up. Now we'll go back in and do the same exact thing just on the top scoop. So I kind of started the edge and kind of wedge My little blade in the little areas. All kind of just kind of like, not necessarily drag it. But I'll kind of pull it in and out and use it more like an up and down motion just to get the big stuff until I can get those lines connected. Just kind of pull these pieces a part of it. And now I can get my blade inside. And then I could easily kind of chop off the rest. Well, okay, cool. We got the most separated. So now I have three separate pieces that I can use for three separate colors, and I can easily put them back together and have three colors within one on my design. 9. Part 8: Test Prints: So once we have our block completely carved, the next thing we want to do is put a little bit of ink on it so we can see if we've made any errors. If we need to fix anything up, if there's things that maybe you're like not carved out deep enough, so we're gonna put a little bit of ink on it, I'm gonna make the cone color first. So it's gonna be white with a little bit of brown. Just gonna grab my roller and kind of roll this out Right now I'm looking to make sure A I have enough paint for a little amount of time. B It's consistent and not too streaky. And see that I'm getting the correct color. So that looks pretty good going all the way across nice and smooth. Now I'm gonna grab my block and because this guy so small I'm just gonna actually put it directly into the ink. Another thing you can do If that's not working well, you can do with the regular old way and put it down. And usual, roller. Still, it just kind of depends on the consistency that you want. If you want more texture. Just put it directly into the ink. If you want something more solid, used the roller, so I'm kind of taking a look at my block now it looks pretty clean. I'm gonna carefully place it onto the paper because it can easily slide right now and you won't be able to tell if it's working. But I'm just gonna play a little bit of pressure and then peel it up. It will always print better on the fabric than it will on the paper. So definitely take whatever is on the paper with a grain of salt. Now we're ready to move on to the first group, test that out and see if it's looking okay, I'm going to start out with using, maybe like a darker pink color. So at a little bit of red and white together, I don't need too much paint for this. Just a small scoop, especially because it's just paper. So roll that out and add a little bit more white because I don't think I've ever seen ice cream. That is that red and I can already tell. I just added way too much white paint, so I'm gonna scoot some of it down there and just kind of use the remainder at the top and just kind of work that back in later on, when I can actually use it. If I end up using that much white, it's gonna get super streaky, and then the color will be lighter than I want it to be. So now I have my little block. Make sure I have the right side. We're gonna test it with my roller first. It's looking pretty good. I don't see any issues, mostly because I just basically cut off everything on all the sides. So there's nothing that's actually gonna get messed up here. So I'm going to carefully put it next to the cone. I can tell because of the way I cut it, that there's a little wave shaped area and that's gonna fit directly in the other wave shaped area. So in this case, I didn't have to make any guidelines. Now we're gonna move on to the top scoop, have a light pink that I mixed, so basically the same color. I just mix with extra white, going to use my roller. My pain is also drying out of it. so it should work a little bit better this time. Once again, I'm just gonna fit the little curvy area into the other curvy area. Just like a puzzle. You can overlap it if you want. I like to leave a little bit of space sometimes, but just kind of never know how it's gonna come out until you lift it up early. And there we go. I have a little bit of the line in between Ted, Uh, and I think it looks great. Like I said, take whatever is on the paper with a grain assault. Just because it printed nicely this time doesn't mean it will always print nice sandpaper. Sometimes it will be a lot more blotchy, and it won't actually look that good, but don't stress because it will always look better on the fabric. 10. Part 9: Final Prints: So now I have my fabric and my brown paint queued up. I'm going to start with the cone. And because this block is so small, I'm going to go ahead and just place it directly into the ink. You still need to roll it out to make it thin. Otherwise, it will clog up all the lines. And when I place it, I'm just going to kind of go randomly. I haven't really honestly thought this through very much, which is kind of how I print. Usually I want to make sure and give it a good push and then peel it up. When you're printing on fabric as opposed to paper, you don't have to worry about it slipping and sliding because the ink actually gets soaked up immediately by the fabric, and when you place it on the fabric, it's gonna latch onto it, so it's not gonna slide. You can just push as hard as you want. The harder you push in, the more ink that you use, the more solid of a print you'll get. When you're printing the way I am printing with just putting the block directly onto the ink, you're going to get a little bit more texture. A look. If you're dead set on having a less blotchy look, then I would definitely use the roller and push really hard for me. I kind of like the distress look, So I'm just going to cut it. Go for it. Now we're ready to move on to the first scoop. I'm going to do a darker kind of pink color. I have no idea what flavor that would be, but I just like the color going to do the same thing. Just kind of blot it. Maybe try the roller. Sometimes with these little blocks, you'll get them and they'll be maybe, like, slightly curved and you won't realize it until you're putting ink on it. And then on Lee, the edges of the block will have ink on it, and the whole center will be blank. So you kind of have to. Ben did a bit till it kind of gets flat. So just something to keep in mind. That's why use the roller for a bit on this one. But now I know to kind of push it in the center when I'm blotting it. And as far as lining this up. This was a really simple block, and it's just kind of wavy, so I can kind of match the match where it cut it to the opposite piece of where I cut it. So it's really easy to fit in like a puzzle piece. If you're having a hard time and it ended up being jagged need and you had to go back in with the scissors or something, you can definitely make some little guide marks. So that way you can see what part lines up with what part Usually I'll just grab like like a thin tip, Sharpie marker and like, make a couple like little guidelines on the back to some little marks. And that way I kind of know where things are gonna line up and you can choose whether or not to overlap the ice cream with ice cream cone. That's just a little detail that you can decide on your own. And now we're moving on to the second scoop. I chose a light pink for this one, and I'm just gonna blot it same thing, and then I'm just going to continue to place them directly on top of the first group. Same thing with this one. I wasn't able. I was able to easily kind of figure out where to place it. Why? Just testing it. So I didn't have to make any marks. But if you want to make some guidelines, you can definitely do that. You were just going to finish this guy up. I can see that my pain is getting a little bit dry, but that's okay because this project requires so little pain. I can just kind of push harder and kind of get away with it. If I don't mind that, like, blotchy. Look, if they want something more solid, I would definitely add more ink at this point. But because it's just kind of like a like a silly, fun project where I kind of like or how the distressed look is coming out. I'm just gonna leave it just kind of like just push harder when I go to re ink 11. Part 10: Final Prints pt. 2: Now I'm going to go back in again with my ice cream cone, and I'm gonna set up for the next round of cones. Like I said, I'm kind of doing this randomly. That's the kind of cool thing about these projects, since I am printing on kind of like a square shaped space. The options for printing are pretty much limitless. You can create something that's very uniform that's very repetitive, or you can do something totally bizarre, like what I'm doing, which I never really print like this in a spiral. But I thought because it was kind of a cool had a nice V shape at the bottom. It could lend itself well to creating like a spiral kind of thing, But I mean, I could have easily just done like a little border of ice cream cones on the bottom. I could have scattered them around. I could have taken the ice cream and just had like one cone at the bottom, and then I could have had all kinds of flavors stacked on top of each other over and over. The options are pretty much limitless when it comes to something like this, and that's where you can kind of add your own little creative flair. Next, I'm going to go in and switch up the colors of it so we can get a little variety. So now you can see have kind of switched the color slightly. I basically took some yellow and added a little bit of yellow to each of the colors I was already using. This is what I like to call the easy color mixing. This is something I do all the time. So let's say I already have my flexi glass ready to go and I have ink on it. And it's, you know, I've been using that color for a while and I want something different. But I I also don't want to walk all the way to my kitchen and clean it all off. So, basically, starting from scratch, a lot of times you'll have to re wash your block, and once it gets wet, then it gets like water stuck in. It's hard to get out, and then if you don't wait long enough for it to dry, then you add Inc. And then it just bleeds everywhere all over your fabric, and then that's just bad, bad, bad. So I try and avoid washing things if I can. Another thing that you really have to watch out for when you're using little tiny blocks like this is to make sure the tips of your fingers don't end up with ink on them. You go to dip it on your plexi glass, and when you pull it back up, you may not notice that it's also touch the tips of your fingers and that you put it on your fabric and then you have ink all over. So if you want, like a really clean look, just kind of be very aware of your hands before you go anywhere near the fabric. Now you could see I switched over to a lighter tangerine color for the second flavor or the fourth flavor. I should say my ink right about now is getting kind of dry. Like I said, I just added some yellow to what was already there, which was already gonna dry. But I don't really mind so much. I'm just going to use a little bit more pressure because I kind of like that distress lip. I'm kind of debating at this point where to go after I finish this round, and I thought that maybe I would do some more little cones along the bottom. But I think that actually might be overkill. So I am probably going to end up leaving it after I finish this orange color, I'm leaving a little tiny bit of space in between the scoops just to show a little bit more definition, because if I leave a little bit of space, I'll get a really thin white line, and it'll just look a little bit cleaner. So now I'm just gonna add in the last couple of these groups, and we're basically going to be done, depending on what kind of paint you ended up using. It should definitely be fabric paint, but some paint. If you don't do anything for 72 hours, it will self set. If you have to use something that needs to be heat set, just wait till it's completely dry and then hit it for about one minute on the backside cotton setting, no steam. Then you'll be able to throw it into the washer like any other piece of fabric 12. Outro: so great job, guys. Thanks so much for joining me for my scream till that class, you learn something new your tote bag. I will see you guys here for the next class. Don't forget to tell everybody that you made it yourself next.