Saturday, January 21, 2017

Marleen van Meerendonk and OSPREY WINGS


I'm sending bouquets of thank-yous to Marleen van Meerendonk for choosing my 6"x 6" stencil Osprey Wings for use in her artwork!


Above:  a close-up detail in a spread in Marleen's art journal.

Above:  The spread in its entirety.

Marleen is so right -- it does indeed fly!  

Wednesday, January 18, 2017

What NOT To Do!


I'm delighted to be the guest posting today on StencilGirlTalk.com.  

In my guest post, I wanted to limit myself to the technique of my focus, so I omitted going into detail about the types of foil available out there -- which type to use for today's foiling technique, and what not to use.

The right kind of foil to use with today's technique is transfer foil -- a foil that's laminated to a sheet of clear plastic.  After the transfer is made with a bone folder or other tool, the clear plastic is what remains.

Heat-transfer foil is not the right kind; this technique calls for a "cold" transfer foil.

Another "wrong" foil is the kind that's transferred with the use of foiling glue (also called "size.")  Therm O Web Deco Foil, Speedball Metal Leaf and Martha Stewart's Craft Foil Sheets are examples of this kind, which is ultra-thin and fragile.

It was this "wrong" kind of foil that I used in one of my experiments when first experimenting with this technique...



Pictured above:  The wrong kind of foil -- which comes in ultra-thin sheets.  This type of foil leaf comes in tablets, with pages of resist paper separating each piece of foil from the next piece.
    
In the photo above, you can see one of the steps detailed in today's post at StencilGirlTalk.com.  But in that post, you see the right kind of foil being used; this type is now sold by Ranger.  (Altho pictured in my StencilGirlTalk demo, Renaissance brand is no longer available.  I used it because it was what I had on hand.)


In the midst of my experiment-gone-wrong, I quickly discovered that the ultra-thin foil leaf was a mistake.  But since I had, by that point, already pressed it down onto the sticky-side-up tape, I tried my best to go forward.  These were the sad, messy results:





Clicking on the above photo to enlarge it, you can see stray flakes of foil scattered everywhere, as well as a sloppy transfer job on the wide sticky-side-up tape.  The Kaleid stencil's pattern is barely recognizable, since the foil leaf has taken over.  

So for a successful transfer onto wide masking tape (or the clear type of carton-sealing tape) use Ranger.  You'll be glad you did!   

Sunday, January 15, 2017

TWO FANS (and Other Stencils) with Stencil-Resist Marbling!


Here, in this older post, I give step-by-step directions, with photos, for using stencils as resists, when marbling papers.  

One photo in that post features a marbled print made with my 9" x 12" stencil Two Fans.

Today I finally got around to cutting out the smaller of the two fans and collaging it to a blank 6" x 6" metallic green blank greeting card (JAMPaper.com.)





The stencil itself looks like this:





Here's hoping you give this marbling technique a whirl!  

Saturday, January 14, 2017

SEAWEED


I used molding paste and metallic blue paint to create this 6"x 6" image with my stencil Seaweed...





Originally I had planned to let some of the background show thru -- this is done on heavy cardstock that's metallic bronze.  But I decided to saturate the surface with the blue metallic acrylic paint -- after the molding paste had dried, of course.

I made another piece with Seaweed; here is stage one:





And here is stage two:





It's not finished yet.  I think it needs an embellishment.

The tall vertical collage piece was made with another 6" x 6" stencil of mine, Palm Fronds Silhouette Small.

This second stencil in its entirety looks like this:





Thanks for visiting my blog!

Wednesday, January 11, 2017

Get THE SCOOP!


If you don't already subscribe to StencilGirl's The Scoop, click here!  You're invited, too, to share it on Facebook as well as other social media.

Recently on The Scoop, among the gorgeous collection of new Planner stencils by MaryBeth Shaw, another stencil was used, to commemorate the day that MaryBeth and John welcomed a beautiful new feline into their home:  





That additional stencil was my 6" x 6" Cats ... which looks like this:





I was delighted to see that one of the above images was just the right size to fit into onto the right date ... as if the two had been made to go together!  



Sunday, January 8, 2017

Another Double-Page Spread in the Art Journal of Mary Ann Russo


My second visit to Mary Ann Russo's art journal-in-progress highlights the two-page spread below.  Under it is a stack of close-ups:









As stated in my December 28 post, my friend Mary Ann Russo has chosen a vintage theme for her artwork/journal-in-progress, and to my delight, she's been using a number of my stencils along with Liquitex flexible modeling paste and acrylic paints.  Her art -- done on a heavy-grade, cold-press watercolor paper -- will continue to appear here.

Today's double-page spread was made with my 9"x 12" Ivy Frame 9 Stencil. 
Many thanks, Mary Ann, for letting me show these gorgeous artworks-in-progress!

Thursday, January 5, 2017

VINTAGE SCRIPT in Today's SCOOP from StencilGirlProducts.com


I'm honored to be one of the artists included in today's Stencil Girl Scoop -- thanks, Carol Baxter!

Silkscreening with Stencils!


Today's post focuses on a kitchen towel applique project as well as other silkscreened artwork created with stencils; it was made possible with the help of Cindy Powell and Mary Ann Russo.


Above are two of Mary Ann's kitchen towels showing Mary Ann Russo's silkscreen printed fabrics used as appliques on a set of kitchen towels.

Above: a close-up detail of of one towel.  Both silkscreen prints were made with my 9"x 12" stencil Mimosa.

Above is a finished mixed-media collage of mine; the bottom layer of its background was silkscreen-printed onto canvas fabric using my Vases 9"X12" stencil.

This write-up is based on the works of many other artists who have shared their experiences and photos online, in books and in DVDs. These pioneers have broken the trail for fabric artists like Mary Ann Russo, whose lovely kitchen towels are pictured above, and Cindy Powell, whose photos will be used in the first section of this write-up.


One advantage of pairing a stencil with a silkscreen is that the same framed screen combo can be used over and over, to create repeat patterns on the same fabric.  This approach is quicker, less costly and less involved than the alternative of using multiple silkscreens, each created with its own single, permanent design. 


Another reason for using a silkscreen with a stencil is that the screen protects the stencil. The heavy pressure that is sometimes required for ink-application could damage stencils with intricate, delicate designs -- but, with this technique, the ink is never applied directly to the stencil. The framed silkscreen mesh is a porous yet protective barrier between the squeegee that spreads the ink and the cut-outs that form the design. Thus, the stencil remains totally intact, ready for use in any of the other multiple ways available to multi-media artists.


Supply list:


(1) T-pins and sturdy tape such as duct tape

(2)  scissors

(3) a large padded work surface, covered with protective plastic sheeting

(4) a second work surface, covered with newspaper

(5) a wide basin half-full of clean water

(6) a length of fabric --

100% cotton is a popular choice.  This cloth must first be washed in hot water to remove sizing, then machine-dried, using no drier sheets or any other form of fabric softener.  It must then be stretched taut across the padded surface, and secured there with T-pins (corsage pins) or sturdy tape.  
 (7) a stencil

With this technique, a stencil is what gives the artist the design to be printed. For this project, Cindy Powell is using the 9"X 12" Mimosa stencil.

 (8)  painter's tape 

     Painter's tape (a low-tack tape such as blue masking tape) is used to secure the stencil to the silkscreen frame.

(9)  fabric-printing ink and a plastic spoon or any similar tool 

     One popular ink is Speedball fabric screen printing ink; one source of this ink is
(10)  squeegee 

      This tool has a sturdy handle and a soft-plastic edge.  One example:

(11)  silkscreen

     A silkscreen consists of a frame, often aluminum or wood, which encases a tautly-stretched piece of mesh (originally made from silk but currently made from synthetics like polyester/organza.)  It's important to use a silkscreen large enough to accommodate the 9"X 12" stencil with enough leftover space along one edge for placing the streak of printing ink (which will be spread across the stencil.)  Below is a silkscreen viewed from the top (also called "the inside") --  it shows the white central area, which is sunken; this part is called "the well."


The above photo is courtesy of Cynthia Powell 

As you can see, for this technique, the artist uses a screen containing no previously established design -- so this screen can be considered a "blank."

The other side of this silkscreen has no indentation/well; it has a flat surface that will be placed upon the fabric -- after that flat surface has had the stencil attached.

To attach the stencil to the silkscreen:  Lengths of painter's tape are firmly pressed all the way around all four edges of the stencil, creating a snug fit on the side of the silkscreen that will be placed onto the fabric to be printed. The painter's tape must cover the entire area between the outer edges of the stencil and the outer edges of the silkscreen, since the artist wants no ink to print in these outer areas. 
Having taped the stencil to the silkscreen, the artist places the un-inked screen on a flat sturdy surface covered with newspaper.



In the above photo, viewed from the "well" side of the silkscreen, you can see the 9 X 12" Mimosa stencil through the thin mesh fabric.  The center-area stain is not going to print.  It is permanent, the result of a previous silkscreening project.


Now, the artist adds a stream of the thick ink into the sunken area, "the well," on top of the silkscreen -- the side opposite the flat side where the stencil has been added.  When placing this stream of ink onto the silkscreen, the artist is careful to place it along one taped edge, keeping the ink on the tape, to avoid getting ink onto the stencil which can be seen through the mesh.  Excess ink would make the ink pool, flooding the stencil to create a blob-print instead of a print with well-defined design.

The artist then uses the squeegee to make four or five passes across the silkscreen, to saturate the screen.

Next, the artist lifts the screen to see whether a good print has been made on the newspaper.


When the print has passed that test, the framed silkscreen-stencil-combo is then placed onto the fabric -- and it's time to make the final prints.


Mary Ann Russo, an experienced silkscreen user, makes her prints working alone.

Some other silkscreen users recommend that at this point, two people should work together -- one holding the screen securely in place, while the other makes multiple passes with the squeegee across the screen. 


It can take at least four passes with firm pressure from top to bottom, and side to side, to get the ink to penetrate the fabric. 


(Still other silkscreen artists use the Provo Craft Yudo machine, which comes in several versions with corresponding price ranges; this machine makes it easier for one person to do the operation alone.   One source: 


Once the first print is completed, the artist lifts her screen and sets it aside on clean newspaper. 


Above is a close-up of a just-completed silkscreen print, done by Cynthia Powell, using the 9" X 12" Mimosa stencil.  Note the reflected light on the left side, indicating the ink is still wet.
If the artist wants to make more prints on the same piece of fabric, she must first use a hair drier to dry the just-printed section.

As soon as the printing is finished, the stencil is un-taped from the screen and both are placed in a basin of water until time allows gentle cleansing away of the ink. Some artists work outdoors so as to cleanse the screens and stencils with water from a hose.
The printed fabric is allowed to dry overnight.  Then the artist heat-sets the prints with an iron, following directions supplied by the ink manufacturer.

No further washing is needed; the fabric is now ready to be cut into shapes for use in appliqué-making.  

To learn more about appliqué-creating and application, many online tutorials are available. Below are just a few of the possible choices:



To shop for a DVD giving detailed silkscreening instructions, here are just a few of the many choices out there:

Below are examples of my layered-look artwork incorporating stencil-prints on fabric: 



This close-up detail shows canvas having been silkscreen printed with one of my 9" x 12" Ivy Frame 9 stencil.



The above photo shows canvas fabric silkscreen-printed with my 9' x 12" Vases stencil.  This print was made on the original white canvas.  After drying the print, I brushed on a thin layer of translucent acrylic paint.  The finished mixed-media collage is shown at the start of this post.

Tommy McDonell Returns!


Sadly, there are people who are actually afraid of color!  Oh yeah.  I know of one person whose home is completely white indoors -- walls, floors, furniture -- for this very reason.

But artist Tommy McDonell is not one to fear color!  She uses it with wonderful abandon.

Wanna see?

Above:  a close-up detail of an artwork by Tommy in which she used a variety of beautiful StencilGirl stencils, and, making me very happy, included among them my 9"x12" stencil Wrought Iron Gate.  

Above:  another close-up detail of an artwork by Tommy in which she used a variety of gorgeous StencilGirl stencils, and, to my delight, included among them my 9"x12" stencil Wrought Iron Gate.  




Above: In a aclose-up detail from a different artwork of Tommy's, the white imprints in the upper left and lower right were made with one of my two stencils Palm Fronds Silhouette, which comes in 2 sizes -- 6"x 6" and 4"x 4"


Above:  a full-sized artwork by Tommy that again has imprints from my Wrought Iron Gate stencil, among other gorgeous stencils from StencilGirlProducts.com.  

Tommy tells me that Wrought Iron Gate is one of her StencilGirl favorites because it holds up well even when covered with lots of heavy media!  

The stencil itself looks like this:




Other stencils of mine that Tommy used above are --





And Palm Fronds Silhouette Mini (4" x 4"):





Be sure to catch up with Tommy McDonell here--

Facebook:  TommyBuellMcDonellArt 

And here –
Tommy’s website:  tbmcdonellart.com


Monday, January 2, 2017

More TANGLED PODS!


Tangled Pods remains one of my all-time favorite 9" x 12" stencils.  I find myself reaching for it often -- to do experiments.  Below are some of my recent results:









Since I'm experimenting, none of these is a final piece.  I want to keep trying new things to see what happens!  

Saturday, December 31, 2016

Annie Hamman and TANGLED PODS


The busy hands of artist Annie Hammond have come up with a very creative way to use my 9"x 12" stencil Tangled Pods --






The above image is a close-up detail from a larger artwork by Annie, made with other StencilGirl stencils in addition to mine.  

Tangled Pods itself looks like this:





Thanks for visiting my blog!

Wednesday, December 28, 2016

Mary Ann Russo's Art Journal and WROUGHT IRON GATE



My friend Mary Ann Russo has chosen a vintage theme for her artwork/journal-in-progress, and to my delight, she's been using a number of my stencils along with Golden's flexible Molding Paste and acrylic paints.  Her art -- done on a heavy-grade, cold-press watercolor paper -- will start appearing here in today's post; I'll be adding more posts later.

The three photos below show a two-page spread that features a set of cut-out windows (both of which frame prints from vintage postcards.) The first two show close-up detail, while the third photo shows the full two pages.   





 


The 9"x12" stencil that Mary Ann chose to use is Wrought Iron Gate.  The stencil itself looks like this:




Many thanks to you, Mary Ann, for allowing me to post your gorgeous artwork here!  

Lots more to come!   

Monday, December 26, 2016

Frieda Oxenham with CLUSTERED LEAVES and LOOPY LADDERS


United Kingdom artist Frieda Oxenham has created a new art journal that's filled with her stunning stencil-printed papers.  She has used a number of StencilGirlProducts.com stencils, and I'm delighted that among them were two of my 9" x 12" stencils, Clustered Leaves and Loopy Ladders.  


Above:  CLUSTERED LEAVES stencil was used with blue paint to help form an integrated background.



Above:  CLUSTERED LEAVES and LOOPY LADDERS were among the many stencils from StencilGirlProducts.com that artist Frieda Oxenham chose for these pages, which were then sandwiched into Frieda's beautiful new journal.

Clicking on Frieda's name above, you can visit her blog.  My sincere thanks to her for letting me use these images here!

The two stencils featured in this post are:



Above:  CLUSTERED LEAVES (9" x 12")

LOOPY LADDERS (9" x 12")

I appreciate your visit to my blog!

Monday, December 19, 2016

Sneak Preview -- New Christmas Card


Mid-January, I'll have the honor of guest-posting for StencilGirlTalk. Here is a Christmas card made with the technique I'll be showing in that post:




In that guest-post, I'll be showing other-occasion greeting cards, as well, along with step-by-step photos and instructions.  It's a technique I learned online, and was won over by its use of foil -- along with it being quick and easy!  Altho I've employed it to make greeting cards, it can be used in art journaling, both as cover decoration and as embellishment on journal pages.

The stencil used to create the embellishment on the upper left is my 6" x 6" Kaleid.  The stencil in its entirety looks like this:




Merry Christmas to everyone who celebrates this special day!

Friday, December 16, 2016

Christmas Card Cluster


Today I'm trotting out another post from a past Christmas, and inviting you to click on the first two photos below, to better see details on these six greeting cards:






Altho the above cards celebrate Christmas, the same idea can easily adapt to birthday card decorations.

First, I got out some papers and blank greeting cards...




... starting with the above scrap of leftover metallic paper, previously stamped with alcohol inks.

Next, I placed stencils over the papers and masking taped them down:





Then I used a sponge with heavy body acrylic paint to start pouncing on the color:


Clicking on the above image to enlarge it, you can see that I've masked off the right half of this vertical "swish-and-swirl" pattern.  Here I am printing directly onto a greeting card cover.  I moved the stencil progressively to the left, applying paint each time, to end up with 3 candles in a horizontal row across the card face.  The final card is shown at the start of this post.

On the upper right in this above photo, you can see where I used a piece of newspaper to pounce excess paint off the applicator before bringing the applicator to the stencil.  This prevents the paint from running under the stencil, which causes problems if you want crisp details in your final prints.  This off-loading technique is a huge challenge for me, but I do the best I can.

 Next, I carefully peeled off the stencils, to reveal the prints:




Then I cut apart the "candles" -- easy to do, since these stencils provide their own built-in guidelines.




The final products are at the top of this post:  The candles have been either collaged, or printed directly, onto greeting card covers, along with collaged-on flames.

The stencils I used were my 9"X12" Wrought Iron Gate --




-- and my 9"X12" stencil Borders 1 --






and my 9" x 12" Borders 2  --





Note re the Borders 1 stencil:  Notice in two of the above photos that I masked off half of one of its borders, to use only half of that vertical strip of "swish-and-swirl" pattern.  My goal was to create an "airy" look in the 3 finished candles.