Secret Message

Prompt #4 in The Documented Life Project is:  "write a secret message and then paint over all but one word."  Sometimes it feels like the universe is reading my mind.  This was one of those times.  I've been discussing secrets with several family members.  One secret in particular.  Part of which we knew something about, but a lot that has been revealed to my brother and I after our mom's recent death.  Intellectually it is interesting; emotionally, it is heartbreaking.  And although I have mostly negative feelings about family secrets, I have to admit, being a very private person myself, there are few details I'm prepared to make public.  But, it was a good experience for me to take the opportunity afforded me by this week's prompt, to turn it into a journal page.

The larger photo is of my mom and dad, taken around the time they married.  The smaller photo.....well, that pretty much illustrates the secret.

To the right of this page is a tip in that I used to journal on; a page only I will ever see.  Well, you'll see a snippet, just enough to show how I did it.

My mom experienced many challenges and a lot of sadness, but this is what I'm taking from all this:  instead of giving in to grief, she chose life, and went on to live a long and good one.  And had she not made that choice, I wouldn't be here.

BTW, the background (much of which is covered) is a wonderful new technique I learned from Wendy Vecchi.  Click here to see Wendy's video.

What's Black and Sepia and......

.....gorgeous all over?  Sox's World of Color journal (from the Kindred Souls group), that's what.  It arrived from Stephen's talented hands just two days ago, and I've already finished my page.  I was inspired by the journal itself (lace and fabric and paper and bling), as well as the pages already done.  I think that black and sepia is one of the most elegant color palettes, and I just dove right in.

First I filled my work table with everything (well, that's an exaggeration, so let's just say a lot) in my stash that supported Sox's colors, and gradually came up with a plan.  It began by covering both the front and back with different 7Gypsies tissue paper, because the patterns are printed in black on sepia paper.  Or so I thought.  It became clear that the sepia was really more like a gold, and that annoyed me.  I solved that problem by concocting a mixture of glaze medium and tan paint which toned down the gold and brought the background to a more sepia-ish look.  After that it was just a matter of layering papers, sewing them down, and adding some stenciling, stamping, and a tag as the focal point.

 

 

The tag itself is made of kraft cardstock.  The background was done by first layering on some tan, cream, and beige paints, letting that dry, then stamping (a Hero Arts background stamp) with black archival ink.  When that was good and dry a very thin layer of rock candy clear stickles was applied with a fingertip, which is what gives it a subtle sparkle.

 

The dress form was cut with Tim Holtz's Sewing Room die.  The phrase is a Wendy Vecchi stamp, and the dress form is covered with Claudine Hellmuth's sticky back canvas.

 

 

 

The buttons were sewn onto fabric that had been stamped with a tape measure stamp.  As for the thimble and scissors charms.....they dangle from Tim's memo pin.  They began life as a very cheap and garish looking gold, which was toned down by tapping them with a black archival ink pad.

 

The back of the page is much simpler, but there was just too much good stuff left on my table, so it was decorated a bit more than I had to.

 

 

 

Again, the tissue paper was treated with that glaze/paint mixture.  On top of that, archival ink (black and coffee) through two different Prima stencils.  Then I sewed on the fabric and paper that would hold a little tag.

 

 

 

The tag was created from some Graphic 45 embellishments, and on it, my information.

 

While searching for items to use, I came upon some Heidi Swapp designs printed on acrylic.  They must have been in my stash for years; she called them "clear extras".  I used a few of them.  I love it when something I bought and never used finally gets its chance.

 

 

 

I look forward to the next journal arriving at my door.















Beautiful Faces and Dream Houses

About a month ago, I spent a wonderful weekend creating art on large (for me) canvases with a great teacher, Cindy Wunsch.  My friend Pat had taken a class with Cindy at last year's CREATE retreat, and I was happy to sign up for these two classes after seeing Pat's work.  And how's this for an endorsement.....Pat took these two classes as well. 

Some of Cindy's work:



Cindy's style is colorful, whimsical, and exhuberant.  Me, not so much, but I embraced her techniques and forged ahead.

Cindy, explaining something.  She was very thorough and prepared.



On Saturday we tackled faces.  I am no big fan of stylized faces.  At least not when I do them.  I actually like many I've seen, but they're just not me, so I am never too pleased with any I've attempted.  I received a lot of positive feedback on my redhead, but I do not love her.  Sorry, Red!  I did love the process, however, and even found a place for Red in my home.

 

 

What the photos probably do not show, is the finishing.  When the class was over, we didn't take our canvases with us.  They stayed behind, and Cindy gave each a nice thick coat of resin.  Not only will that protect the highly layered and textured work, but it just made the colors pop.  And as these workshops were a joint effort between Michele's Little Bird Studio and The Ink Pad, participants were given the option to pick up their pieces (once dry and cured) from either location.

 

Here is Cindy applying the resin, with Michele watching carefully.

 

 



 

Most people either did a second face or some stylized birds for the next canvas, but I just went in my own direction and did this collage:

 

 

On top of the many layers of collage elements went the circles.  Inside the largest is a stamped image from LaBlanche.  The other three fish are Wendy Vecchi stamps.  I stamped them on white tissue paper with embossing ink and applied white powder.  Once on the canvas I colored them.

 

On day two, the theme was Dream Houses.  Much more up my alley, and I created more of a dream shack than house, but it suits me.  It is near the ocean, and sits on stilts upon a foundation of books.  But let's not get too analytical.

 

 

 

My next piece was a cityscape, done on a long narrow canvas (12x24), which I love!  Lots of paper piecing and stenciling went into this one.

 









Party Like It's Mardi Gras

Stephen's World of Colors book (from the Kindred Souls group) landed in my mailbox last week, and seeing his color choices (purple and gold) just made me think of the jewel tones of mardi gras.  I began by painting my page black, knowing that would make his colors pop.  Then came the search for images.  I'm sure many of you get Somerset Studios magazine.  You know those free art papers that they put inside for our use?  Well, I usually pull them out and save them in a folder, and that's where I found the two partiers.  Don't know which issue they were in, but the page is called Bohemian Souls.  I printed it in black and white and colored the characters with pastel crayons, inks, markers, stains, paint, etc. And altered the costumes a bit more with stencils and sparkly bits.   Here they are, dancing the night away with great abandon.

 

 

Before glueing them down, I decorated the black page with stencils and doodling, in various shades of gold and purple.  Then I found some sari ribbon for the "curtain" above.  The ribbons photographed kind of blue and brown, but they are purple and gold. 

 

The quote is a rubber stamp I've had for about six years or so....I purchased it at the first stamp expo I ever attended (along with a few MANY others), and sadly have no idea who manufactured it.  It was one of those unmounted inexpensive stamps you often find at those shows, piled together in a shoebox.  I've used it before, and have always appreciated the sentiment.

 

A closer look at the dancing duo:

 



 

The backs of the pages in this round robin are kept fairly simple, just containing our information.

 

 

 

Gold paper, and the rays are a Julie Fei-Fan Balzer stencil, with Wendy Vecchi's gold embossing paste applied over it.  More doodling with glaze pens, souffle pens and gel pens, a little bling in the center, and that's it.





Time For Love (And Ignoring A Mistake)

Rhea's theme in the Kindred Souls first journal round robin (now approaching the finish line), is Time For Love.  I was one of the last to receive her book, and it is full to the bursting point of gorgeous detailed pages.  Lots of clocks, hearts, steampunk embellishments, and other bits of beauty.  The bar had been set very, very high, and I put a lot of work into my contribution.  Oh, and I need to mention that by the time I received the book, there were no more blank pages, so I had to cut one myself.  (Rhea knew this would happen and said she'd rebind the book when it returned home).  And there was the origin of the mistake I would later choose to ignore.  I measured the page, even punched the holes, since Rhea had used her Cinch and I have one too.  And proceded to create.  And after all was done I noticed.....my page size was correct, but the way I oriented it was not.  So, this is how the page will look when inserted in the book:

 

 

Yep, it is sideways.  And I just didn't have the heart to start all over again.  Don't bother craning your neck; this is how it should be viewed.  I sure hope Rhea doesn't mind:

 

 

 

And from this point on, we ignore the mistake and procede as if it never happened.  :)

 

The background was done (pretty much in this order) like this:  paint and glaze, Wendy's gold embossing paste through a stencil, and Dyan's stamps with black archival ink.

 

Instead of a clock (Time for Love, remember?), I used Tim's Picture Wheel die; it conveniently has 12 slots, so I turned it into a clock.

 

Lastly, some metal and wood embellishments, colored uniformly with more paint and glaze (thank you, Finnabair!), and a Wendy stamp and sentiment.

 

And the back (which IS oriented correctly):

 

 

 

And since the current challenge over at EWV (Everything Wendy Vecchi) is to use a die cut along with at least one Wendy stamp, my page, mistake and all (oops, I said we'd no longer mention the M word), works for that too.  So there.

 

 





My Newest Toy

I preordered this little gadget back in February, and the company had delays in getting it out to vendors, but it finally arrived a couple of weeks ago, and I love it!  I've made plenty of envelopes with my score board, but this is so much easier, and the end result is perfect and professional looking.
I got mine at Marcos Paper, and I believe they still have it in stock.  (And no, I have no affiliation with We R Memory Keepers or Marcos Paper; I just love a good gadget).

One of my online groups is having a mail art swap, and judging from the sign up page, it looks like I'll have at least 20 pieces of mail art to get out.  This is where the envelope punch board comes in.  Like most of you, I suspect, I have piles of unused backgrounds I've made.....experiments, extras, even some journal pages I don't mind giving up.  I've been busy turning them into envelopes, and with very few additions (some stenciling or stamping or bits of washi tape) they are ready to go postal as mail art.

Here are just a few.  What do you think?

I used some of my favorite Wendy Vecchi stencils on these next few.  I dabbed Ranger's Embossing Dabber right through the stencil, lifted it off, then sprinkled embossing powder over the image.

 

 

 

 

 

 

 

These were made from gelli plate prints on deli wrap or old music paper (reinforced by pasting the prints on cardstock), and more Wendy stencils:

 

 

 This one, done on an old piece of sheet music needed reinforcing on the folds, so I used tape for that:

 



 

 

Wendy's Mail Art stamp set is perfect for this project, and I'll be using elements from it on all my envelopes.   Here's an example.  (I also used the dandelion from her Botanical Art set.)



 

 

This one features a great stencil designed by Ronda Palazzari for The Crafters Workshop:

 

 

 

I love the stencil of people holding hands; I've had it for ages and use it a lot.  It's from Retro Cafe Art.

 

 

 

If you happen to use paper that has art on both sides, you wind up with an envelope that is decorated inside and out:

 

 

 

 

I have a few more to go, and will probably add to some of these, but I've made a good start.

Oh, and by the way, the Envelope Punch Board makes MANY sizes, from the smallest gift card size to one that will hold a 6x8 1/2" card.













Spray (and paint and stamp and draw) AND Paste

The Mad Scientist, Part II

I just couldn't stop....wondering how Wendy's metallic embossing pastes would look over some more of my favorite coloring media.  And of course the wondering led to the experimenting, which led to a whole lot of colorful sample pages.

Row 1:  Portfolio Water Soluble Oil Pastels, applied dry.
Row 2:  Portfolio Water Soluble Oil Pastels, applied wet.
Row 3:  Ranger Distress Markers.
Row 4:  Ranger Distress Ink (applied with ink pad direct to the paper).
Row 5:  Ranger Distress Stains.

Stencil:  Michelle Ward for Stencil Girl.

 

 

Then I decided to use Ranger's Color Wash sprays again, but this time stick to some deeper, darker colors.  I didn't expect to be wowed by the results, but I was.

 

 

Stencil:  Circle Explosion, The Crafter's Workshop

 

 

I had a few misters full of homemade sprays.  These were made with Distress Reinkers and Perfect Pearls.  Don't ask me which colors, because I didn't label them and made them ages ago.

 

 

Stencil:  Stencil Girl (one of the the March stencils from the Stencil Girl monthly club)

 

Before hanging up my lab coat I decided to see how the pastes would react when applied over paint.  And I do have an awful lot of paint.  I narrowed my sampling down to the ones I tend to use the most.

 

 

 

Rows 1 and 2:  Ranger Distress Paints

Row 3:  Ranger Claudine Hellmuth Acrylics

Rows 4 and 5:  Golden Fluid Acrylics

Row 6:  Your garden variety store brand acrylic, the kind you find under the Dick Blick, Utrecht, or Cheap Joe's brand, to name a few.

 

 

Stencils:  I have no clue.  They are very pretty border stencils, but the manufacturer is not printed on them and the original packaging is long gone.

I thought I was finished, but went back and filled a page with Derwent's Inktense Color Blocks.  These are highly pigmented inks in stick form, and when water is added they produce intense yet translucent colors.  And when they dry, the color is permanent.

 

Stencil:  Daisy Cluster, The Crafter's Workshop

 

I just had to try the pastes over alcohol inks.  First I coated the page in my journal with Ranger's glossy glue n seal to create the nonporous surface the inks work best on.  Then I applied a variety of inks the usual way, pouncing them on with the felt covered tool.

 

 

 

Stencil:  Diamonds by Julie Fei-Fan Balzer for The Crafter's Workshop







Have I come to any conclusions?  Well, in my opinion, these metallic pastes look great over everything I've applied them to.  My personal preference is the gold....most of the time.  I just think the underlying color comes through a little better with it than the silver.  Also, a lighter coat of paste (usually) reveals more color than a thicker coat.  I've noticed exceptions to all these observations, so bottom line:  just go for it, have fun playing, and honestly, I doubt you'll be disappointed in any of your results.