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.