I got together with some friends a while back for a crafting afternoon, seems like an age ago now! While there I stamped the two panels you see here. For a while they were forgotten as I was working on other projects then I fiddled around to create two quite different cards. The basic technique is the same for both panels and involves stamping and restamping without reinking in between impressions. The card above began as a vintage looking panel stamped in antique linen ink. I smooshed some antique linen distress ink on my glass mat, spritzed with water then swiped my panel through it to pick up inky stains. I dabbed some areas with paper towel which makes them dry a more yellowy colour. I partially inked the Penny Black script background stamp in antique linen and stamped on one side.
Once the background was dry I used the PB stamp, ‘exhilaration’ to stamp some coloured flowers. I inked the flowers with a Papertrey Americana ink cube and chipped sapphire distress ink then the stems with a gathered twigs distress marker. I wiped ink off the stamp in some areas so the image would be patchy on purpose, spritzed then stamped on the panel. I did both the left hand side and right top corner then, without cleaning the stamp spritzed it again and stamped paler images which immediately appear to be in the background. I stamped a sentiment on an ‘antiqued’ scrap in versafine vintage sepia ink, added a twine bow and popped it up on some foam tape.
Now that I have described my process for the first card you can probably see that I used the same technique for the blue card but only used one colour, Papertrey ink ‘blueberry sky’. I didn’t start by making a vintage style background, I just jumped right on in with the first stamping. I spritzed the stamp and did another print, then another and one more very pale one and that was it! I added some splatters but nothing more to this pretty blue panel. It was very quick and probably took longer to find a matching cardstock. Once I found a co-ordinating blue I stamped part of a sentiment from the PB ‘sentiment’ set and embossed in alabaster powder. I finished the sentiment by stacking three die cut ‘amazings’ from the PB OMG die set.
I love this technique for adding depth and dimension to flat stamped panels. I have a video coming next week demonstrating a similar process so stay tuned!
Thanks for visiting here today, I hope you are safe and well where you are and thanks again if you are on the front lines taking care of health, food and safety needs. You are nothing short of amazing!
I am sharing these tulip cards over on the Foiled Fox blog today. You know I like it over there, I enjoy the inspiration on their blog, the range of products in their store and the interaction with the Foiled Fox staff and their readers. Make sure you pop over there.
To create a vintage background I smooshed antique linen distress ink on a glass mat then spritzed water over the ink before swiping a hot pressed watercolour panel through the it. I dried the panel before repeating the step. Next I inked the ‘script’ background stamp in antique linen ink, spritzed it then stamped it on one side of the panel. I let everything dry before moving onto the tulips. The stamp is a new one from Penny Black called ‘dazzle’; it is large and features two tulips and two buds. Neither of today’s cards show you the whole stamp; I was after the look of patterned paper rather than a complete image. You will see the whole stamp on another card in the future.
I inked the stamp with scattered straw, wild honey and forest moss distress ink, spritzed it lightly then stamped over the edges of the panels. I also wiped ink off the stamp before pressing it down so the tulips would appear to be floating not anchored to the base of the panel. On the second card I blended over the stamped tulips with water to create a transparent look but on the card above I left them looking ‘lacey’. After the ink dried I splattered both panels with wild honey and forest moss inks.
To finish the card above I stamped part of the new ‘vintage postcard’ stamp in vintage photo archival ink. On the card below I added some hemp twine and a popped up sentiment panel also stamped on ‘aged-looking’ paper.
You have already seen this sentiment once this week; it does seem appropriate for the uncertain circumstances we are experiencing right now. I made both cards before the virus situation escalated in North America but I hope having these cards and those words end up on the blog this week is an encouragement to you.
In the close up above you can see clearly the variation of colour achieved by picking up diluted antique linen ink on my watercolour panel; there seems to be a purply tone in there! I love this kind of background and it is so easy to do. Thank you for dropping by today. I appreciate you all and am encouraged to hear that these posts are providing you with some inspiration during a difficult time.
I think you can guess where this sweet floral came from. Penny Black has a new release, ‘Full Bloom’ and this is just one of the beauties I have to show you. As I often do with brushstroke stamps I pulled out distress inks for my first play with this stamp. I used three purple inks, milled lavender, seedless preserves and dusty concord to create variegated petals on this large flower. For the leaves I used a mix of peeled paint, forest moss and bundled sage. I would understand if you wondered whether I ever use any of the other greens, those three are definitely the first ones I reach for!
I used a stamp positioner and hot pressed watercolour paper and started by stamping the whole flower (but not the leaves) in milled lavender distress ink. On a stamp like this one it is sometimes hard to differentiate between petals and leaves when looking at the red rubber side of the stamp. I find it helpful to stamp it on scrap paper in a medium to dark ink as a reference. When doing partial inking as I did for this card, I ink all the petals then wipe off any ink that ended up on the leaves with a cloth or wet wipe. After stamping in milled lavender I inked the petals again, this time in seedless preserves ink and I did not cover all the petals. I gave the stamp a light spritz of water so the ink would blend when it layered over the previous stamping. Finally I inked it again in dusty concord keeping the ink concentrated around the centre of the flower not the edges. I then used a paintbrush and some water to blend the colours on each petal one at a time. To further define the petals I pressed the ink pads onto my glass mat so I could pick up ink with my paintbrush and add it to the edges or any areas where I wanted a strong shadow. I dried the panel before carefully inking the anthers with a black marker, unlike the rest of the image I wanted them sharp and defined rather than soft and blended. I also added distress stain drops and water drops while the panel was dry.
With the petals all finished I switched to the leaves and inked them with peeled paint and forest moss ink then blended them with water after stamping. I added a few more leaves of the same style using a stamp from the ‘Xmas sprig’ stamp set. To add them in I cut a rough post it note mask and positioned it over the petal edge before stamping the sprig in bundled sage and peeled paint inks.
To finish the card I die-cut the panel using the square from the PB ‘stitched square & circles’ die set and clear embossed a sentiment from PB ‘special sentiments’ in black ink. I framed the floral panel with a script stamped panel which I embossed with Ranger weathered white embossing powder. I have not had success with this embossing powder until now, totally user error by the way, there is nothing wrong with the product! The embossing powder is called ‘weathered white’ for a reason, when you emboss with it the effect is not glossy and it is not even. It is, as the name suggests, weathered! For a large background area like this script panel it adds texture and subtle colour. The card is quite large and fits into a 6″ square envelope. I inked the stamp in milled lavender and bundled sage ink to stamp a pale image inside the card and used the same inks to stamp the ‘sprig’ on the envelope.
I’m looking forward to inking this stamp again with different colours schemes and maybe a looser watercolour look.
Thank you for all your lovely comments about my recent art journal page. I’m glad you enjoyed it. I have a couple more pages in process in my journals which I look forward to showing you in the future. I would love to hear from other art journallers. What are some of your favourite mediums and techniques?
Today’s cards are made with my latest fave: the gelli plate! I am very much a beginner but learning as I go and watching the myriad of techniques shared on the Gelli Arts youtube channel. The panels in today’s cards were made by printing layer after layer while rearranging die cut paper butterflies and blossoms on top of each new layer of paint. The dies are Penny Black ‘monarch’ and cherry blossom’.
I wont’ try to describe my process because I don’t remember exactly what my order was or what paint colours I used. I know there was green, white, burgandy, gold and pink liquitex basic acrylics but there could have been more. Like many artistic techniques success with a layered gelli print can be knowing when to stop. Once I was happy with the one above I still had paint and pattern showing on the gelli plate so I added one more layer of paint then pulled a ghost print (I’m learning the lingo!) on patterned paper. The paper I chose was a woodgrain print from Alexandra Renke.
You can see the woodgrain print through the paint and pattern. I ended up matting both panels in burgandy cardstock then attaching them to a base panel of the same AR woodgrain paper.
It’s always hard to capture shimmer on camera but all three panels have gold shimmer on them so I added some gold accents to each one. On the top panel I stamped the PB script stamp, embossed in gold powder and matted the panel with gold cardstock. On the card above I added a gold embossed sentiment from the PB set happy snippets and stamped the same script stamp in chianti versafine clair. On the card below I stamped the script stamp in shady lane versafine clair ink and added a gold vellum die cut butterfly, the same butterfly used as a mask in the gel printing process.
I love all the texture from the gelli printing process, the paint which builds up after several layers of printing adds so much interest
I’m been working in one of my Fabriano Venezia art journals again experimenting with vintage style. I started by painting absorbant ground over the double page spread then stamped the PB ‘script’ stamp in tea dye and antique linen distress inks. I spritzed the inked stamp before pressing it onto the page so I would get blurred prints.
Once that dried I spread modeling paste through the PB hypnotic stencil and had to go and do something else so I wouldn’t mess it up before it was dry. Even so I still stuck my finger on it while it was wet and smudged some.
Once the paste dried I spritzed the ‘see ya latte’ shimmerz spray over the pages then wiped it off the stencilled area so it would darken the background. I am not an experienced art journaller but I am using one to try things out. On this page I was trying to create a vintage look. I stamped the ‘timeless’ rose stamp from Penny Black three times in brown distress inks then blended the ink into the petals. My journal is not watercolour paper so ink and paint don’t move on the page as easily. I didn’t like the roses enough to keep them all, instead I covered some with flowers cut from leftover Italian papers. I glued them on with matte medium and painted diluted gesso over them to decrease the contrast then added a bit of distress vintage medium for the aged tea stain look.
I did a smaller collage of flowers on the opposite corner then stamped PB winter branches over the pages with vintage photo and ground espresso distress inks. I added some pretty scroll stamping with the PB set ‘flourish borders’ in white ink and some more of the ‘script’ stamp in brown ink. Tattered rose distress stain matched the paper flowers so I splattered a decent amount of that over everything too! I mentioned on my previous journal page post how I struggle with adding words to a page. I chose a quote from Ruth Chou Simon’s book ‘Gracelaced‘ which encourages and challenges me every time I open it. I wanted to write the words with my nib pen but when I tried, the ink spread into the page and looked like a blob so I wrote on calligraphy paper, tore the words into strips and glued them over the blob. Some of the letters are blurred because I didn’t let it dry long enough. I need a bit more patience when working in my art journals…
Not exactly what I set out to create but as I said, the art journal is for playing with mediums and ideas. Have a great day
I stamped and embossed four panels of this Penny Black mosaic background recently for a project you’ll see in a few days but then I got another idea and painted over one. When I started painting it I totally forgot that I had not stamped it on watercolour paper but neenah solar white cardstock. I dabbed it dry fairly quickly and although it curled the surface of the paper, it did not end up looking pilled or damaged.
Even though the ‘sky’ is very patterned I still think it gives the impression of northern lights for this little family of bears to wander under. The polar bears die from Penny Black cuts only at the top so the bears appear to be walking across the snow.
Even though I initially did not plan to do watercolour with this panel I did and it meets the challenge at CAS watercolor this month. As always there is tons of beauty to be found if you check out the team samples and challenge entries.