Best Ever!, a mixed media scrapbook page by Sue Plumb

Hello stencil lover!

It's Sue Plumb here to share my latest project created for the StencilGirl® Creative Team. During May and June the Creative Team members have been working with the theme of "Typography". Typography in artistic terms means using type as an intrinsic part of the artwork, or in some cases (particularly modern art), it may even be the artwork itself. For my piece, I decided to demonstrate how I often like to incorporate type on a scrapbook layout - as the basis of my background.

For my page, I chose to document a special photo of my daughter that was taken at her primary school graduation last year when she was awarded Dux (or Valedictorian for my American friends) of her school. This was the perfect subject to pair with a background featuring type. 

I began my project by adding some color diagonally across my cardstock. I used Mermaid Lagoon Distress Oxide with what I call the "smooshing" technique. (This is where the ink is mixed with water on a piece of plastic and then applied by smooshing it down onto the page to give a watercolor style effect - you can see it in action in my process video below.)

Next, I selected my stencils. I wanted to use two different types of fonts that I could layer on the page as part of my background. The first one I chose was the Wall of Words 9x12" stencil designed by Carolyn Dube. This stencil is full of words of wisdom, motivation, and laughter; and due to the uniformity of the text style, I thought it would be ideal as part of my background. The second stencil I chose was one of my favorites - Rembrandt's Words Small stencil. This stencil was also designed by Carolyn Dube and I thought the flowing script would provide a good contrast against the structured text of the Wall of Words stencil.

I used a small sponge to dab ink randomly through the Wall of Words stencil along the diagonal line of color I had created on the page. In some places, I overlapped lines of text to give a random, jumbled appearance. I then used some colored texture paste with the Rembrandt's Words stencil to add contrast and subtle dimension before leaving it to dry naturally for a short while.

I then returned to work on the textural layers that were going to go behind my photo in the focal area of my page. I used crumpled tissue paper, a paper doily, patterned paper, cotton thread, and frayed gauze to create a stack, then placed my photo on top. I then fussy cut some pieces from a Cocoa Vanilla Studio floral patterned paper which I tucked in under the diagonally opposing corners of the photo, further enhancing the flow of the page.

To give the diagonal design both a start and endpoint, I created two small clusters along the top and bottom edges of the page (which also helped to balance out the heavy focal area in the middle). I used a mix of patterned papers and embellishments from the same Cocoa Vanilla Studio 'Wild at Heart' collection that the floral pieces had come from. I also added some extra embellishments around my photo.

At this point, I decided my layout needed a little bit of something extra and I really wanted to tie in the gold color from the photo as well. I reached for my Military Style Stars stencil by June Pfaff Daley and some gold texture paste and stenciled some little gold stars across the page. I also added some splatters of gold mist and pink ink; and three fussy cut butterflies. 

And then I did something I don't usually do. I decided the background text on my page wasn't defined quite enough, so I went back in with the Wall of Words stencil and added some extra stenciled type. As soon as I had done it, I then felt it looked much better and my page was complete.

If you would like to watch exactly how it all came together, you can watch my process video here:

Thanks for stopping by so I could share this with you. Until next time, happy creating!

You can also find me on my channels here:

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Typography with StencilGirl® and Art Joy of Sharing Collaboration

Hello and welcome. Thanks for the visit. Today we are talking about Typography.

For this month Shel worked on using kraft colored handled gift bags to create wall art. Of course, they can be used as gift bags as well...but they hang up on the wall so easily with just a thumbtack! 

She used a gel plate to make some monoprints onto thin papers with 'coffee and tea color' paint like Sienna and Umber. She used the stencils Alpha Jumble Large and Letter Mania for the prints. 

Next, she collaged and layered different gel prints into a square on the front of the bag for an interesting and graphic background. 

To create the focal image, Shel used the ordered alphabet half of the Alpha Jumble Large stencil to make words that related to coffee like Latte, Americano, Expresso. She cut out the paper into a coffee shape and glued it over the background. After some shading and highlights with some pens, the piece was done and ready to hang!

Today Peg is working on a journal made from the backside of napkins or serviettes. In this blog post, she is also sharing a stepped-out video tutorial that shows how the cover is created.

Peg says, "I peel off the plain paper and use the pretty prints for collage but do not wish to discard all of that tissue, so I needed a plan to use it up. A bit of topstitching and embellishment and my cover is complete. Then I simply stitch in a signature from stenciled watercolor papers."

Typography: Breathe Deep and Say OM by Linda Edkins Wyatt

Hi!

Linda Edkins Wyatt with you today.

In my art journaling, and in my paintings, I love to add a word or two to express how I am feeling at that moment in time. Sometimes it is just one word, sometimes a phrase. Sometimes I don't realize how much emotion I have been holding in until I stop and see that there are words all over the page. One of my favorite things to do is combine a portrait with words.

This 12" x 12" painting started with a face stencil done in lavender acrylic on a plain white canvas.

I added skin tone and bold strokes of color for the hair. It didn't feel quite right, so I set it aside...for almost a year!

A couple of months ago I decided to kick it up a notch. I wanted to have a face that was multicultural, so I had the idea of dividing it up into sections and using a different skin tone for each part. It looked really awkward, so I put it away until last weekend.

As I added words from Gwen Lafleur's Not Afraid to Try stencil to the canvas, the painting took on a new life. I carefully penciled in lines so that the words would be in a straight line, and wrapped them around the canvas.

I decided to play with the words, so I did some flipping and mirroring with both archival ink and embossing powder. I also added some handwritten words (you are enough) and a few bits of paper torn from my old thesaurus. I added a leaf stencil below the right ear to suggest an earring. Using only the middle of the Crown Chakra stencil, I added OM in different colors around the canvas. The OM is a meditative sound that calms and empowers a person and helps take away fear. I also used the small Rembrandt's words in the hair and on the neck to suggest a tattoo.

Along the way, I took about 100 process shots of the painting, and made them into a video...hope you enjoy watching it!

Stencils Used:

Mystique, Andrea Matus DeMeng

Not Afraid to Try, Gwen Lafluer

Journal Sense Hear, Pam Carriker

Mary Beth Shaw, Club Set, medium, March 2013

Crown Chakra, Kathryn Costa

Rembrandt's Words Small, Carolyn Dube

What could you paint if you were not afraid to try?

Typography Art Journal Cover by Wendy Baysa

So glad you stopped by! We are excited to introduce you to one of our newest team members, Wendy Baysa, and her first wonderful piece of art as a Creative Team member.

Hello, Wendy here. 

Today I will be working on the cover of this Jane Davenport canvas journal that I picked up for a hot buy at Micheal's for a whopping $6.97! The journal measures 6" wide x 9" tall.
Start by generously applying collage medium onto one side of the journal cover. I used a palette knife but a brush or credit card can be used also. 

Be sure that the collage medium is thick enough to stay wet while applying, this is the trick to get the paper to become translucent. If the glue dries, it will remain frosty white.

The Typography collage paper is also 6" wide so I lined up the edge of the paper with the edge of the cover. 

Apply more collage medium, being careful not to rip or slide the collage paper but you want to be using enough pressure to press out any air bubbles or gaps between the paper and the canvas of the cover. Don't be skimpy with the medium, the wetness will help the collage paper adhere and transform it into a translucent state. 

Optional: If you prefer no brush marks, you can use your finger at this point and smooth the collage medium with your finger. You have a small window of time to do this step if like a smooth surface better. 

I used a sanding block to remove the excess but you can also rip, use water brush or scissors to remove the little extra.

Front and back ~ looks great as is or take it a little further like I did .....

When almost completely dry I started to rub the paper with quite a bit of force and what happened is where the collage medium was a bit thicker and not completely dry yet, the paper ripped up exposing some random solid areas of the canvas cover. Then I let dry overnight. 

I then added scraps of vintage piano paper rolls. This can be any vintage paper you may have on hand but try to stay with solid pieces vs busy (like music). Using this as a neutralizer and taming down the business of all the typography. You could also use gesso or acrylic paint. 

Using the Vintage Typewriter Numbers Stencil by Carolyn Dube L591 I pounced with Burnt Umber only on the vintage paper areas. If you accidentally get some on the white type. paper clean up with rubbing alcohol. I also added random words onto the vintage paper with Now is the Time Stencil by Carolyn Dube L317 both front and back.

I have a brown Stabilo All pencil and added some lines to the stenciling to add another dimension. 

Adding another layer by using a Versimark Brush side marker and Walnut Stain Distress Glaze in random letters. 

Edge the sides using Golden Black Gesso and a blender tool. 

To seal and get the glaze to a matte finish I applied Luiqutex Matte Medium to front and back with a brush.

For the final step a closer~ I poked a hole through with a craft pick and screwed in Idea-ology hitch fastener. Then stapled elastic on the back with the tiny attacher. That's it :) 
Here are a few final shots ..... 

I left the spine blank so I can write on it what I end up using this journal for. 
Thank you for joining me and have a blessed day! Wendy xo 

Wendy's bio:

Wendy says “she is thrilled, honored, and ecstatic to be invited to participate with the talented and inspirational SGCT and is so looking forward to the year”.
Wendy lives in Michigan with her husband of 24 years, 3 young adult children, and a miniature Aussiedoodle named Luna.

Her creative journey started long ago with exposure to many different mediums. Over the years she is self-taught in sewing, canvas expressionism along with a little realism painting, paper crafting, recycling furniture, and home décor just to name a few. Although she does admit to not being able to roller paint walls or knit. Sssshhh, lol. Wendy also enjoys outdoor time which includes grilling, gardening, campfires, and skiing. 

Discover Wendy: www.dabbledoday.com 

Typography: Accordion Book with StencilGirl® and Geri Beam

Hey there! So glad you stopped by for this first fabulous post from Creative Team Member Geri Beam! Her full bio is at the end of this post.

Hi! It's Geri.

I was excited to learn the creative team was working around a theme about typography. Making this 6”x6” square accordion book was fun and educational.

Many years ago in Atlanta, I worked for BellSouth. Our team built systems that data-entry people used to create and publish tariffs. Through that job I learned a lot about fonts and spacing.

I decided to make an accordion book to honor typography and bookmaking. The intent of this book is to teach readers about typography using a fun visual approach. Each page has a typography theme which is repeated pictorially on the back.

The Helvetica font plays an important part of the accordion book.

Note: If you want to learn more about typography and graphic design, I recommend watching an interesting documentary titled Helvetica. This film, directed by Gary Hustwit, was released in 2007 to coincide with the 50th anniversary of the typeface's (Helvetica) introduction in 1957. This influential font was developed by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann.

Because I had never made an accordion book before, I decided use Photoshop to help determine the number of pages, their themes and what would be on the front and back of each page.

I alternated pages between black and white. I self-imposed a limit the number of colors to black, white, red, and gold.

I enjoyed choosing the perfect stencils and determining where they would be used. 

I used my hand-dyed fabric on the front and back covers. I wanted the covers to be flat and not have wrinkles or bubbles. My research led me to use YES Paste Stik Flat Glue and rice paper.

I spread the paste onto rice paper with a Color Shaper tool. I attached the fabric to the glue side of the rice paper. I used a brayer to push out all bubbles and wrinkles.

After the paste completely dried, I squared up the fabric/rice paper sandwich to 7 inches square. This measurement allowed the fabric to wrap around the edge of the 6” square chipboard.

On my sewing machine, I zigzagged a piece of red cording to one of the fabric sandwiches. This became the front cover of the book.

I snipped the four corners of fabric to eliminate bulk on the corners.

I chose the 4”x4” stencil from January 2020 StencilClub by MaryBeth Shaw to be on the front of the book. I used Purple tape to position the stencil.

I chose the 4”x4” stencil from the March 2014 StencilClub by MaryBeth Shaw to be on the back of the book.

I used white gesso on a cosmetic sponge to stencil onto the fabric.

I decided to outline the symbols in black to help them stand out on the fabric. I used a black Uni-Posca Marker.

I attached the fabric to the chipboard with PVA glue. I used a bone folder to crease and smooth the fabric around the edges of the chipboard. To flatten and smooth the covers I used the brayer.

I wanted the front and back covers to be different than the rest of the pages in the book. I started with a tribute to the early printed pages as documented in “The Art & Practice of Typography” by Edmund G. Gress.

To finish the book, I used a font that represented modern times – Dingbats.

I used a glue stick to place the printed pages onto black card stock. In the background, I used the 4”x4” stencil Lost Languages from StencilClub September 2015 by Julie Snidle to place gold Morse code around the edges using a gold Uni-Posca marker. To give the page a vintage look I used Seth Apter’s new product Adaline Izink Ice using colors Whiskey Frost and Iced Coffee. I added more detail with black and gold Uni-Posca markers to tie the page together.

I used a different technique on the back cover. Using a laser printer, I printed the Dingbat font on the center of black cardstock. I ran this page through a laminator with bronze foil which stuck to the carbon from the laser print. I highlighted the page with a gold Uni-Posca marker. I sealed the page with gel matt medium.

I used PVA glue to put these pages onto the backside of the covers.

I placed wax paper around the covers and placed them under a heavyweight until they completely dried. This helped keep the covers from warping.

To make the inside pages I used black and white gesso and stencils to create backgrounds.

Going back to my original plan I determined what pages needed what pieces of paper I had printed with typography images.

Using the same stencils and gesso, I created my own designs on blank white washi tape. These were used to put the book pages and cover together. I made four darker strips that would be used on the covers. I added some hints of red to make them more interesting.

This is a before-after example of a page that shows the names of parts of a letter. The part is in red and the name of the part is above the letter. I had this on a printed page which I tore up and then glued to the black cardstock. I highlighted with Uni-Posca black and white markers and put the word “parts” in white so that at a glance you would know what the page was about.

Before - layout with paper glued to the background

After - Uni-Posca Black and White pens to create unity

I created a single pop-out element using squares of text on black card stock, white gesso covered by clear embossing powder. I used the 6”x6” stencil Hip to Be Square Small Alphabet by Carolyn Dube.

The last process was putting the book together.

Armed with matt medium, PVA glue, bone folder, washi tape, covers, and pages, I attached each page according to the original plan.

Last, but not least, I made a tie to keep the book closed using some polka dot sari ribbon (thanks to Ephemera Paducah), beads, and the remaining red cord.

Here's a video so you can see my accordion book in a different way.

Enjoy!

Geri

Supplies Used:

• 6x6 inches card stock (colors: black - five pieces and white - four pieces)
• 6x6 inches chipboard – two pieces
• 8x8 inches of hand dyed cotton – two pieces
• 8x8 inches of rice paper – two pieces
• Red cording 24 inches long
• Gesso (colors: black and white)
• Uni-Posca Markers (colors: black, white, red and gold)
• Washi tape
• Copy paper with printed typography images
• Adaline Izink Ice (colors: Whiskey Frost and Iced Coffee)
• Gel medium matte finish
• YES Paste Stik Flat Glue
• PVA glue
• Therm-O-Web Purple Tape or painters tape
• Brushes and sponges
• Bone Folder
• Colour Shaper or credit card

Stencils from StencilClub and Beyond:

• March 2014 - Mary Beth's Private Collection 14.1 by MaryBeth Shaw
• September 2015 - Lost Languages by Julie Snidle
• January 2020 - Mary Beth Shaw's Private Collection 20.1 by MaryBeth Shaw
• Hip to Be Square Small Alphabet by Carolyn Dube 6”x6” S521

Geri Beam's bio:

Geri Beam's love of art was first expressed through participation in high school performing arts programs. Active in Community Theater for twenty years, her commitment led to membership in the Actors’ Equity Association in 2002. Concurrently, Beam explored oil paints, ceramics and fused glass, but found her focus in 2009, after taking textile classes with Laura Wasilowski and Jane Dunnewold. Accepted into Jane Dunnewold’s Art Cloth Mastery Program in 2012, she chose to retire from her ‘day-job’ after twenty-six years of working in the Information Technology field. She is currently a member of several sewing and quilt guilds in California, and devotes her time to teaching and creating art.

Artist's statement:

I am compelled to create. If a day goes by without creative release, dark, mental clouds gather. Making art clears the air, brings light, and relieves the stress of everyday life. My goal is to express my deepest feelings and to help others to do the same. There is nothing so sweet as to see someone experience an ah-ha moment. An inner voice guides me. I work quickly and intuitively - letting myself get lost in the moment of creation. My preferred materials are luxurious natural fibers that feel good to touch. Tactile textures and rich color add the complexity I seek, yet simple lines, capable of expressing movement or feeling, are what I value most. I use sparkle and shine to generate realism; but sparingly! I am currently honing my craft and clarifying my artist's voice. Expanding the tools in my creative tackle box helps avoid boredom. Incorporating computer technology and software programs balances any weakness in manual processes. I continue to create classes and lectures to teach others how to tap into their creative voice. I hope to inspire and influence the lives of others through my art, and through sharing the gifts I have been given.