The Holly and the Ivy -- Well, at Least the Ivy -- with Stencils

 
A minority of my Christmas cards are made without reflective surfaces, in the traditional colors of red and green.

For today's post I used my 9"X12" stencil Ivy Frame...

 

Above:  I used masking tape to secure this 9X12 stencil to cardstock with a parchment-like print.  Next, I used a Distress Ink applicator brush (top right) to fill in the stencil openings with cranberry ink from a regular (not Distress) stamp pad containing dye ink.  While the ink was still damp, I used a swab to add green Pan Pastel to the edges and tips of the ivy leaves.  Below:  another shot that better shows the details--

Above:  The sheet of parchment paper after the stencil was lifted. 

After removing the stencil from the parchment paper, I sprayed the paper with Blair Fixative to keep the Pan Pastel from smearing.

This last image, below, is not a Christmas card, but while I had my card-making supplies out, I made its background using my other ivy stencil, Ivy 6: 

 
 My substrate was an old blueprint ... because I think "oddment" papers make for interesting backdrops.  Over the blueprint, I scraped textured pink acrylic paint thru this 6"x6" ivy stencil.  After that paint dried, I topped it with a spray-painted print made with a portion of my 6"x6" Gingko stencil.  Then I added swirls of glitter glue above and below the white print, as well as outlining the gingko leaves with the same glitter.  The glitter shows better when you click on the image to enlarge it.

Christmas Tree Greeting Card

I think it's fun to create Christmas trees using materials that aren't normally associated with Christmas...and less fun, trying to fully capture the festive beauty of reflective foil!  Below are two shots of the same Christmas card, under different lighting conditions:

 I started with a sheet of Inkssentials self-adhesive foil from Ranger Industries.  I love working with this surface because embossing it is so easy and quick.  

My next step was to measure the foil needed to cover the front of a blank greeting card measuring 6"x6" (JamPaper.com). 

Then, I placed my  stencil on top of the foil, using masking tape to block off the areas on the stencil that I didn't want to use.  Holding the stencil in place, I traced the openings with a stylus.

I lifted the stencil to reveal an embossed tree shape.
 
Wanting to try something new, I got out a mini paint applicator sold in the model airplane/car section of Michaels.  Alongside that I used a disposable foam plate to pour out a little Golden High Flow acrylic (Permanent Green Light.) 

The embossed outlines were very helpful as I carefully used the mini paint applicator to fill in the shapes that had started life as a fern but that now had a different starring role.

After the green paint had dried, I got out the glitter glue -- 2 colors from Ranger Industries:  Sparkles Diamond and Sparkles Ruby.  I used them to place ornaments on my tree.

Once the glitter dried, I trimmed off excess foil along the edges.  Finally, I peeled off the white backing paper and applied the foil to the front of the Christmas card -- as shown at the top of this post.

Because the dark bronze metallic cardstock is just that -- very dark -- I line the insides of the cards with lightweight papers, cut to fit.  

Above is what the inside of my cards looks like, after the light paper is added.

Other artists would probably skip that step and, instead, use white markers or pens to fill out the inside of these greeting cards.  

Check with the Postal Service before mailing 6"x6" greeting cards -- there is a non-machinable surcharge for sending mail of these dimensions.

Abstract Collage Greeting Card

Above is an abstract collage on an extra-large (5.5"X8.5") greeting card.  The foundation piece of paper, taking up the right two-thirds, was made with my 9"X12" stencil Mimosa, shown below.

 
 To achieve the subtle print on this foundation paper, I used what I call the "stencil-and-scrape" technique.  I've described this technique in detail here.  And here.  And here.   It's a technique that remains a special favorite of mine -- it's quick, easy and somewhat unpredictable:  I like not knowing exactly what the results will look like; I like surprises of this kind.  

Nosegay Stencil and Tangled Pods

I've started an online workshop with Jane Davies, this time a workshop focusing on Gelli Plate printing.  I've used a few stencils in making my prints, starting with my 9"x12" Nosegay Stencil. The stencil itself looks like this --

-- and my print looks like this: 

Another fruit of today's labor was made with my 9"x12" stencil Tangled Pods.

   

That print is a lot easier to recognize --

As I print my way thru Jane's workshop, more results will be appearing here ...  thanks for visiting!

Autumn Birthday Card Made with Pressed Leaves stencil

Project:  birthday cards!

Making this November birthday card became a 2-part lesson learned!

I started with a greeting card blank, light modeling paste and an art spatula.  I applied the modeling paste thru my 6"x6" stencil Pressed Leaves, creating a thick, uneven application of paste.

My intention was to LIGHTLY go over the paste, once it had dried, with Pan Pastels.

I had done this before, with success.  Really.  In the first example below, I had used this method to make the leaves green.  (I used paint to make the buds pink.)

The above greeting card was created with my 6"x6" stencil Budding Branches.

The above greeting card was created with my 6"x6" stencil "Swatton Flowers Version 1"

But in making the autumn-themed card at the top of this post, I made Mistake Number 1, using a greeting card blank cut from a beautiful dark bronze cardstock; mind you, this usually results in stunning backgrounds, because the deep bronze is studded with tiny sparkles that glint happily! 

I have now learned, however, that this particular cardstock does not easily shed Pan Pastel once it's applied.  Especially not when the Pan Pastel is applied too thickly!   

Mistake Number 2 was to add way too much Pan Pastel, with the result that background and foreground both became one shade of orange!  In the second "oldies" example above, I didn't mind the foreground and background being similar in color.  But the orange-on-orange was a different story!  Ugh!

A tiny brush and green acrylic paint came to the rescue.  With them, I created a green background, so that the pressed leaves imprint became visible once again.  

My final touch was to add highlights with glitter glue.  You can see the glitter better by clicking on the top photo to enlarge it. 

Gwen Lafleur's Stenciled Jewelry and Fan-Folding Stenciled Prints

 
Looking for new ways to use your beautiful stencil-printed papers? 

See Gwen Lafleur's post here:

 http://www.stencilgirltalk.com/2015/10/gwens-gems-october-2015.html!

Or consider going in a completely different direction, with the quick and easy technique of fan-folding.  Photos below show, step by step, a fan-folding project that used a print made with my stencil Nosegay.

Above: a narrow strip of self-adhesive metallic tape is used to bind the bottom of the fan-fold.

Above:  The taping is finished and the fan is ready to be glued to its green cardstock background.

Above:  heavy gel is applied with a cotton swab (far right) to the back of the fan.

Above is the finished project -- glued to a cardstock background, the fan is added to the top of a wooden box, spray-painted black in advance.

BOXED VINES in a New Artwork

 
Boxed Vines is a 9"X12" stencil that holds a special place in my heart, simply because I like to make vine-and-leaf cut-outs.  It was a few sets of these cut-outs that I used in creating this stencil, by scanning them and using Photoshop to arrange them into the boxed design:

  


 It was this stencil, and these cut-outs, that I used in developing the mixed-media collage below. 

To create this artwork, I used the stencil twice, once in the central left area and again in the lower left corner.  The central left image was done with the reductive / subtractive technique.

The subtractive/reductive technique has been shown here.  And here.  And here.  As these earlier posts show, the basic technique is the same, but there are many ways to introduce variety.  Besides Jenn Mason, another artist who has taught me this technique is my friend Cindy Powell.

After establishing these two areas as well as the other background areas, I painted in a large vine with leaves hanging down the center of the artwork.  After that paint dried, I subdued the image by adding layers of transparent paint.  

Then, in the right area, I used matte gel to add three of my cut-outs.

Below are close-ups of this artwork:

Thanks for visiting!

Floral Designer Marina Kerber Floralia, who chose my artwork to illustrate with a floral design ...

 

Thanks to wonderful Vicky Culver, I can now supply the name of the floral designer mentioned in my earlier post .  More than that, I can supply her photo!  Here we are together with our two artworks:

 

Floral Designer Marina Kerber Floralia standing behind me, Oct. 18, at the opening reception of the annual open juried show at the Guild of Creative Art, Shrewsbury, NJ

It was a delight to meet Marina, a bubbly live-wire who grabbed me by the blouse and said she wanted "this skinny woman" to stand in front of her for the photo.  (What skinny woman?  Where?)

This artwork was created with my 9"X12" stencil Mimosa.  

Floral Arrangement at the Opening Reception for the Annual Juried Open Show at the Guild of Creative Art, Shrewsbury, NJ

Sunday (October 18), the local artists' guild held the opening reception for the juried annual open month-long show.  At this annual art show, floral designers are invited to visit the guild, pre-opening, to choose artworks which they will use as inspiration in creating arrangements with live flowers.  Then, at the opening reception, their arrangements are on display alongside these chosen artworks.  

I was blessed to have two artworks included in this juried show; one of these was sold, and the other was chosen by one of the floral designers as her inspiration for her 3D artwork.

Clicking on the photo above to enlarge it, you can better see the floral arrangement, created with a palm leaf preserved in a basecoat of bronze paint.  To this, the designer added fresh flowers and a couple of wonderfully organic vines (dried and painted orange.)

On the right is my artwork Mimosa, created with the larger of my two Mimosa stencils:

 

Queen Anne's Lace Stencil Used by Nancy Sanderson Curry

Artist Nancy Sanderson Curry has created this artwork --

--using my 9"X12" stencil Queen Anne's Lace.  Thanks, Nancy! 

Autumn Colors and Gingko Stencil

Step-by-step, my post of September 5 showed the easy, quick way to create black-and-white watercolor effects with a water-soluble marker pen and a mister bottle.   Below are the results when I used my 6"X6" stencil Gingko.
 

Now I've added color to one of these images using Pan Pastels.  Again, it was a quick easy way to create art.  Here are the results--

Click on the above image to enlarge it.

My 6"X6" Gingko stencil is available here:http://www.stencilgirlproducts.com/product-p/s076.htm

 

How to Order Earlier Months' StencilClub stencils Exclusive for SC Members

The June Crop Circle StencilGirl StencilClub stencils --

--had been used over and over in painted layers that went into the below artwork on stretched canvas.  When the 12"x12" piece was in process, in various stages, it was posted here and on Facebook.  In its last version, the strip of paper (light gold with continuously repeated circles) had been added as collage. 

Since then, I added one large new element, using matte red opaque acrylic paint.  And now I'm calling it finished --

 
 To join the StencilClub, check out the right sidebar in StencilGirlTalk.  After joining, you can request past months' stencils by specifying which month's stencils you want in an email to John Shaw.  The transaction will then be completed via Pay Pal.   

Progress ...

 
...has been made on an artwork-in-process --

Above is an earlier stage of an artwork on 12"x12" stretched canvas.  Its base was a layer of metallic gold gesso.  Next came layer-after-layer pours of Golden High Flow acrylics, allowed to settle at will under stencils:

4"x4" Palm Fronds Silhouette Mini 

6"x6" Palm Fronds Silhouette Small

9"x12" Prayer Flags

copyright 2015 Cecilia Swatton -- ALL RIGHTS RESERVED

After turning the piece several times, I settled on this as my favorite final look.  I blocked out chosen areas with matte red opaque acrylic paint.

I'm Happy to Report...

Jurors for the 2015 Open Art Show at the Guild of Creative Art, Shrewsbury, NJ, have selected two of my stenciled artworks for the  exhibit from October 3 to 28 --

Chapel

Mimosa

 I posted these images back when I first finished them; can you guess which stencils I used?  It may help to click on each of the above images to enlarge them.

This annual event is an open show, meaning anyone -- not just Guild members -- can enter artwork; this expands the number of artists whose artworks compete for the jurors' approval.  Color me happy!      

StencilGirl Stencils Star in This Vimeo Tutorial by Patti Brady

Here is a great video all on its own, but I especially like it because Patti Brady has used two stencils by StencilGirlProducts.com

The first stencil used is designed by Mary Beth Shaw and the second one is my stencil Tangled Pods. 

Again, this is the link to the video:   https://vimeo.com/138208754