Artist and author Jen Wagner designed Happy Hand Lettering to help readers learn the basics of hand lettering and incorporate lettering into different areas of their lives. Her lettering adventure started with a challenge she gave herself to learn a new art skill. After several months of practice and learning, she accomplished her goal. In Happy Hand Lettering she discusses everything from basic lettering terms to kerning to composition, and much more. Wagner provides plenty of information, and lots of fun projects, too. It was definitely something I had to check out.
Whether I’m just doodling or creating something special, there are always letters involved. What I loved about Happy Hand Lettering is that it offers so much information and inspiration—and not just concerning letters. Once you have your lettering skills down, you’ll use the letters in lots of fun ways.
Wagner helps you take your basic hand-lettering to the next level, stressing that “imperfection is a wonderful thing.” Learn to thicken lines, add flourishes, use a paintbrush instead of a pen, and . . .
Add decorative elements. She makes it look so easy! This delicate flower started with dabs of paint. Adding water with a clean brush, she formed loose petals and leaves to complete her design. Easy, but impressive! Wagner’s many samples and step-by-step instructions will have even the most timid painter creating beautiful blossoms in no time, enhancing any lettering project.
If you want to take your new lettering skills even further, there is plenty of instruction for making place cards, menus, gift tags, decorative signs, and more.
One of my favorite projects is a decorative mug. Simply lettered using an oil-based paint pen, it’s sure to please someone on your gift list.
The longer days of summer offer the perfect opportunity to try something new, and Happy Hand Lettering is a great resource to get you started. Think of the possibilities!
Paper cutting has fascinated me for years, but I’ll let you in on a little secret—I’ve been too intimidated to try anything but rudimentary designs. Some of the cut paper art I’ve seen is so intricate that I can’t quite believe a human being made it. I thought it would take countless hours of practice to produce something good. Nope—I just followed expert instructions from Samantha Quinn, and I’m thrilled with the results.
Samantha’s Paperology article in the July/August 2017 issue of Cloth Paper Scissors breaks down paper cutting techniques into doable bites, so that in a short amount of time you’ve got a fantastic finished project. She shows how to make a dimensional, layered paper-cut frame using a rose design, and offers fantastic tips for working with tools and paper. Paper cutting is a growing trend in mixed-media art, and no wonder—the effects you can get with a simple sheet of paper are nothing short of stunning.
Her template is available to download (see our Online Extras), but Samantha gives you enough information that you can easily use your own design. I did just that, using a photo of some lilacs as inspiration.
I starting with a 4″ x 6″ photo of some lilacs I took in the spring. I thought some of the four-petal flowers would work well for paper cutting.
I created a ½”-wide frame on a sheet of copy paper and sized the blossoms in the photo to fit the frame. I chose a few of the blossoms in the photo and traced them around the frame, using a light box. The copy paper was sheer enough so I could see through it, and I made sure the petals connected to each other and the frame, so it was one piece.
When I was happy with the design I scanned it, flopped it 180 degrees, and printed it onto a piece of 8 ½” x 11″ pale pink cardstock. Using this as a template, I cut out the flowers.
Among Samantha’s tips: Cut the small areas first; in this case, the centers of the flowers, the cuts in the petals, and the spaces between the flowers. If you cut the large areas first, it weakens the paper, making more detailed cuts difficult, and upping the risk of tearing the paper.
She also recommends changing your blade frequently, something I had to remind myself to do. This tip (one of many) is a life saver. And if you feel guilty going through blades, don’t. Blades can be recycled, and it’s an important habit that will help ensure great paper cutting results. Also, don’t rush the cutting. You can take breaks and do it in stages, but this should be mindful work. I found it extremely meditative. One more thing—there’s a very quick learning curve. Following Samantha’s instructions, I was able to see my technique improve enormously in just this one project. That’s how good she is.
When I finished cutting the frame I printed the same design onto a piece of green cardstock, and cut around just the outer border. To add a little more layering to the piece, I cut tiny pieces of lavender and yellow cardstock and adhered them to a few of the flowers on the pink cardstock so the colors would show through the cuts. In her article, Samantha shows an even better way to add more dimension to your piece, so don’t miss that.
The photo was adhered to the back of the frame, and a piece of foam core was adhered to that. Then the green paper cut was adhered to the other side of the foam core. That little bit of spacing adds a wonderful 3-D effect.
Paper cutting is fantastic for cards, art journal pages, handmade books, and collage, and paper cut art makes an incredible gift. Since doing this project I’m a little obsessed with it, and it’s now a permanent part of my mixed-media repertoire. Why not make it part of yours?
The complete instructions for beautiful cut paper art can be found in the July/August 2017 issue of Cloth Paper Scissors, and these other resources will feed your love of paper, too!
Hand lettering is more popular than ever, and lettering enthusiasts are always looking for ways to add to their repertoire. In the July Lettering Lesson, Alexandra Snowdon uses masking fluid to create crisp white letters within watercolor shapes. I loved the look, and decided to give it a try.
I chose two simple shapes for my lettering project: a sun and a star. After drawing the shapes, I added the lettering in a chunky font as Alexandra suggested. This gave me room within the letters, making erasing easier and also offering space for embellishing if I chose to do so. I also added some decorations within the shape.
After shaking the masking fluid, I poured a small amount onto a plate and, using a silicone brush, I painted inside the letters with masking fluid, working right up to the pencil lines. Once the letters were done, I added a ¼” line of masking fluid around the outside of the shapes. This would help contain the watercolor in the next step. The masking fluid had to dry before I could continue, so I set them aside for about an hour.
I applied a wash of water to the star first and then painted it with a slightly dilute yellow watercolor. Working wet-on-wet helped guarantee a nice even coverage. I did the same for the sun. I let them dry for a few minutes, and decide they needed a little something more. I added a little orange here and there on the sun, dabbing the paint with a paper towel, and did the same to the star, adding some blue. I think that was a nice addition.
After allowing the paint to dry for a while, I rubbed the masking fluid with my finger, peeling up an edge, and removed it from the outlines and the lettering. It peeled off easily and the letters and other drawn elements really stood out.
Time for some more color! I chose to outline the small stars on the large star shape, and colored in the tiny dots with a dark blue colored pencil. I also traced over the lines within the letters. On the sun shape, I colored in one heart with red colored pencil, and traced the other heart and decorations with the same pencil.
I really like the look I was able to achieve with the masking fluid. I did have a little trouble erasing some of the lines because I went over them with paint, but next time I’ll be more careful. I look forward to doing more lettering with this technique.
I love vintage photos and the questions they spark. Who are these people, and what are these things in the picture? Where was the photo taken? What was happening in the minutes leading up to or following the shutter click? I also love painting imaginary landscapes that border on abstraction, and I recently began to wonder how I might marry the two. The immediate answer was collage, yet cutting and pasting didn’t excite me. I wanted a flat plane, like a piece of paper, in which the photo and the painting existed together, with no seams or glue. It made me wonder: What would happen if I scanned a photo and then laser printed it onto watercolor paper? Would it work from a technical standpoint, and if so, could I paint new backgrounds to change the narrative of the photos? Those questions led me to these techniques, which I’m happy to share with you.
Note: I have been experimenting with Adobe Photoshop® quite a bit, and wanted to use this exercise as an opportunity to merge both digital and traditional techniques. However, you can also explore these techniques by copying a photo and cutting and pasting it onto a sheet of paper.
Images scanned into a computer
Photo-editing software that allows you to separate the images from their backgrounds (I used Adobe Photoshop®.)
Epson watercolor paper, 8 ½” x 11″
Assorted watercolor and gouache paints (I used Turner Acryl Gouache.)
Round paintbrushes, various sizes
Prepare the Images
Using the Quick Selection tool in Photoshop, I extracted the images from the original vintage photos. I then created a new file for each image and sized the images to fit the finished paintings (one painting is 5 ½” x 8 ½”, and the other is 8 ½” x 11”). I placed the images on the digital page in an interesting composition. Unless your composition is symmetrical, I find it’s best to place an image off center to create a more engaging composition. I wanted to experiment with both gouache and watercolor, so I shrunk two of the images to allow for plenty of white space around them. I sized another image to fit the sheet so I could tint the image with watercolor. I saved the images as 300dpi jpgs and printed them onto Epson watercolor paper, using my office laser printer.
Note: The first print had excess toner on it, but I was able to remove most of it with an eraser.
Create New Backgrounds
The more artwork I create, the more I delight in the juxtaposition of contrasting elements. In the two smaller paintings I explored using abstract shapes and symbols in combination with the photographic images to tell a story.
The photo of my late grandmother is the perfect image of her. I wanted to paint a big heart behind her that expressed my love—she was always a lovely lady and happy to serve. I also miss her very much, and often feel a bit of sadness, so I painted a cloud with rows of dots symbolizing rain.
After painting the first two shapes with gouache, I brightened the work up by painting a yellow circle fragment representing sunshine. I always work from large to small, finishing the bigger shapes first, then adding smaller patterns.
The second image of my grandparents outside a house (I think it’s in Bisbee, Arizona) was created in a similar manner. I wanted to maintain the narrative of them standing outside of a structure in a warm climate, so I painted shapes with gouache that were evocative of a house and foliage, and added a sun.
Note: Using gouache on both of these pieces allowed me to achieve a flat field with a matte finish.
Tint Images with Gouache
As I worked on these pieces I became curious about adding water to the gouache to tint some flowers on my grandmother’s dress. I could have used watercolor to achieve the transparency I wanted, but watering down the gouache worked well.
Looking at the photo above, I was reminded that at one time my grandmother had the entire upstairs of her home wallpapered and decided she didn’t care for the color of one of the blooms in the pattern, so she repainted all of them!
After painting the backgrounds on the first two pieces I wanted to see how watercolor would work for tinting an image. I discovered that the paint worked well. The toner-based images are waterproof, allowing me to create wet washes over the desert painting without affecting the crispness of the printed images.
I allowed each colored wash to dry completely before working in the area next to it.
Note: Although the laser-printed images are waterproof, the toner can rub off if you use too many brushstrokes or brush too vigorously.
Creating New Narratives
I find myself incredibly excited by this process, and believe you will be too. The technique allows you to engage with vintage photos on a different level than just a viewer. You can explore symbolism and your relationship with the people in the pictures, as I did with the painting of my grandmother as a Red Cross volunteer. You can tell more vivid and colorful versions of existing stories, as with the painting of my grandparents standing outside a house, or you can simply juice up photos you love by tinting them with transparent watercolor. Regardless of the approach, playing with vintage photos this way allows artists to create new, exciting narratives.
Cassia Cogger is an artist, teacher, and author who is inspired to create artworks, creative courses, and experiences that allow individuals to enter into greater relationships with their surroundings, becoming present to that which is essential. As much as she is excited by color, shape, pattern, and beauty, she is more excited by what the creative process reveals. Her work has been featured at the National Academy Museum in New York City, she has appeared in Watercolor Artist magazine as a rising star, and has had her work featured in a host of galleries and private collections. Check out her new book from North Light Books, Creating Personal Mandalas: Story Circle Techniques in Watercolor and Mixed Media, and discover more about Cassia at cassiacogger.com.
If you haven’t discovered the unbridled joy of monoprinting with a gel plate, you have not lived, my friends. That’s why I’m so happy to bring you this fantastic guest blog from Joan Bess, the author of Gelli Plate Printing: Mixed-Media Monoprinting Without a Press, and the inventor of the Gelli Arts® Gel Printing Plate. Monoprinting with the Gelli plate is nothing short of revolutionary, and Joan’s book is packed with incredible techniques and tips for creating amazing artwork. Even if you’ve done some monoprinting, these methods will take your creativity to new levels. Here’s Joan with a fun tutorial that you’ve got to try! ~ Jeannine
While exploring printmaking techniques, it’s amazing how simply using a new or different material or tool can lead to exciting creative results.
I’m currently obsessed with the masking fluid technique featured in my book Gelli Plate Printing on pages 94-95. Lately I’ve discovered the advantages of using a Fineline Masking Fluid Pen, and I’ll show you my new discoveries in this tutorial.
Applying masking fluid with the needle-tip applicator gives you more control, making it a great tool for drawing, doodling, and writing words on your paper before you print. To create a monoprint using masking fluid, follow these easy steps:
8”x10” Gelli Arts® Gel Printing Plate
Fineline® Masking Fluid Pen
Golden Artist Colors® Open Slow-Drying Acrylic Paints
Speedball® 4” Soft Rubber Brayer with Pop-In Roller
Strathmore® Bristol Smooth Surface 9″ x 12″ paper, 100-lb.
Optional: Rubber cement pick-up eraser
1. Draw a design on the paper with the masking fluid, using the needle-tip applicator to draw a design. Allow the masking fluid to dry completely.
2. Brayer a layer of acrylic paint onto the Gelli plate, then press the masked paper onto the plate. Rub to transfer the paint, and pull your print.
3. When the print is fully dry, gently rub the mask off the paper with a clean finger or the rubber cement pick-up eraser, revealing the masked design.
4. Here is the final print; you can print multiple layers on paper with dry masking fluid on it. The dried fluid is easy to remove, even with layers of paint on it. In the finished artwork below, I created a layered effect by placing cut paper circles on top of the inked Gelli plate.
5. This detail of the finished artwork shows how you can get a dramatic mix of patterns and colors using the masking fluid.
Here are a few more tips and ideas:
• Thin areas of masking fluid dry quickly, but thick areas or blobs take more time to dry. I like to prepare several masked papers and let them dry overnight.
• Dry masking fluid is dimensional, which can cause a halo effect around the masked areas in the print. To avoid that, apply extra pressure when printing. Brayering the back of the paper before pulling the print helps push the paper into the gel plate and transfer the paint. Experiment with the amount of paint on the plate.
• It’s best to peel off the masking fluid soon after a print is completely dry.
• Masking fluid applied to black paper reveals rich black lines when the mask is removed. Printing with metallic, interference, and iridescent acrylic paints on masked black paper creates dramatic images.
• You can further embellish masked areas on prints with various pens, pencils, watercolors, and more.
• This masking fluid technique broadens your image-making possibilities, just as each technique in the book provides inspiration for explorations in monoprinting.
Joan Bess is Co-Founder of Gelli Arts® and originator of the gel printing plate concept. Since 2010, she has been developing numerous and varied techniques for monoprinting on the Gelli plate. Joan is the author of the North Light Book Gelli Plate Printing, which features many of those techniques. See more of Joan’s work and get more techniques for the Gelli plate at gelliarts.com.
Traveling may be one of the most fun ways to get creatively inspired. But you don’t have to go far to find travel art inspiration—I went to my local art museum and saw an Henri Matisse exhibit that filled my head with tons of ideas. A few days later I created a collage, and I can’t wait to show you how I made it, and what inspired me.
I love traveling and visiting different cities and countries, but it’s not always feasible to drop everything and go. When I get the itch for some cultural inspiration, I usually head for a museum. A couple of weeks ago I went to the Museum of Fine Arts, Boston, where I saw “Matisse in the Studio,” an exhibit that included some of the artist’s favorite objects that he often featured in his work, along with those works. Seeing the objects and the artwork was a revelation in so many ways, but I particularly fell in love with the artist’s intricate North African textiles designed with cutouts and appliques. I also developed a deeper appreciation for Matisse’s use of color and pattern, and how he fearlessly combined bright hues and wild designs to create coherent, beautiful masterpieces.
Here is one of the screens on display; I can’t even imagine the time it would take to sew this piece by hand:
And here is a detail of another textile:
The idea of creating a paper panel with cutouts started to gel in my mind; I started with a rough sketch to work out the main design, knowing it would likely change at some point.
I found some poster board that already had a polka dot design on it, and decided to use that as a substrate. I cut an 11″ x 14″ domed panel shape and stenciled a Moroccan design in areas with turquoise acrylic paint.
Following the sketch I created my own stencil, a six-petal flower that I sized to fit twice on the panel. The flowers were transferred on the back so they’d be easier to see.
The petals were cut out with a craft knife, and I also cut out two rows of small circles on the side borders of the panel. By the way, you’ll find great paper cutting tips and techniques in the Paperology column by Samantha Quinn in the July/August 2017 issue of Cloth Paper Scissors—I found them really helpful when cutting out the shapes. For example, as soon as your blade starts to drag, change it. Using fresh blades makes the job so much easier.
To emphasize the flower design, mimic the applique technique on the textile, and reference Matisse’s cut paper collages, I ringed the petals, the flowers, and the circles with more cutouts. I used a vibrant palette that reminded me of Matisse’s work, painting book pages with watered-down acrylic paint. I traced the petal shapes, then cut them using a craft knife and scissors. The book page cutouts were adhered with glue stick. I wasn’t going for perfection with the paper cutting; Matisse’s paper cuts are anything but exact, and I love the irregular, uneven look.
The petal shapes were used to further decorate the panel, and I machine stitched around them and the large circles with straight and zig-zag stitches to add texture, and as a nod to the stitching on the original panels.
As I worked on this piece I thought about a chapter in Nathalie Kalbach’s new book, Artful Adventures in Mixed Media, titled Visiting Art Museums and Galleries for Inspiration. Nathalie has fantastic tips for using artwork as inspiration, such as seeking a connection between you and the artwork, and actively observing the art in different ways. This passage really hit home with me: “Being inspired and influenced by the artwork of others is not the same as copying what you see. It’s about understanding why an artist’s work has been deemed worthy of space in a museum, figuring out what you find compelling, and then implementing those things in your own style, in your own work.”
What great advice for interpreting travel art inspiration, even in your own backyard! In addition to Nathalie’s book, check out the July/August 2017 issue of Cloth Paper Scissors, which is filled with terrific tips and techniques for sketching people at cafés, creating a pop-up studio, and creating mixed-media travel journals.
The most important thing I learned from this museum trip is to keep an open mind, because you never know what form travel art inspiration will take. Happy adventuring!
We’ve been talking a lot lately about artful adventures and creating art-on-the-go. In fact, it’s the theme of our July/August issue of Cloth Paper Scissors, on newsstands now. But what if you want to take the idea of art-on-the-go a step further. Say, with a traveling art studio? Artist Leoma Lovegrove did just that. Leoma’s main art studio is located on Matlacha Island in Florida, but she also has a fantastic mobile studio that she uses to stay inspired and create her vivid, colorful paintings on the road.
Composition, Commitment, & Color by Leoma Lovegrove
MATLACHA ISLAND, FLORIDA
I began my painting career in my early twenties, and I’m still creating 48 years later. This much I know for certain: I need to paint, much in the same way birds need air space to fly.
My mother was a prolific artist. She painted, wrote poetry, played four musical instruments, studied pottery, and designed clothing. I grew up in a very creative environment and began to experiment with my own creativity at a very early age.
When I was in grade school, my art teacher recognized my aptitude for art. He invited me to spend time after class and experiment on my own. The next day, I was called into the principal’s office. My teacher was upset because I had used his entire supply of clay and filled the classroom with quite an assortment of my own creations. I just couldn’t help myself.
To this day, I am constantly creating something new using anything and everything within reach. People who know me joke that if you stand still for too long near me, you will become my next canvas. Creating gives me daily satisfaction. There is nothing more exciting than the opportunity to make a living by doing something each day that I am passionate about.
My main focus is on acrylic paintings that are both impressionistic and expressionistic. A lover of nature and wildlife, I live in an island paradise in Florida, and many of my paintings depict my natural surroundings. In particular, I enjoy painting the things that represent Florida itself, such as fish, birds, and outdoor landscapes.
I also paint patriotic pieces, such as American flags, September 11th memoranda, and pro-American scenes. Much of my inspiration comes from the experiences my parents had during WWII and from the profound impact September 11th had both on the nation and on me personally.
I enjoy taking simple materials and creating pieces that inspire others. I start with an idea, and then I commit to it while also being open to where the process itself will take me. It’s all about composition, commitment, and color. Just as with life, there is a beginning goal in mind and a certain amount of planning takes place, but what happens outside of the plan is often where the magic is. The same is true with my art.
My main studio is located on Matlacha Island in Florida, and my beautiful surroundings allow me to find inspiration daily. However, I also have a mobile studio that allows me to carry that inspiration with me when I am on the road.
My mobile studio is a 14-foot vintage camper from the 1960s. My husband and I originally bought it so that we could travel with our parrot, Solomon. Over the years, however, I found myself spending more and more time using it as an art retreat so that I could keep creating while I was on vacation. Eventually, it became a fullfledged traveling studio.
In my mobile studio, I like to surround myself with things that inspire me, such as photos, letters, inspirational quotes, and—of course—good music. I have filled the walls with both completed and in-progress artwork, and wearable art hangs in the closet.
My mobile studio packs a lot into a small space. The refrigerator stores paint and paintbrushes, the sink holds additional supplies, and the counters house vintage toys, fun souvenirs, and memorabilia. Palettes can be found all around the studio, along with canvases at various stages of “Leomitization.”
My mobile studio allows me to take my art to exhibits, shows, and personal encounters with art lovers. It also makes it possible for me to paint along the way and to participate in “Painting Out Loud” performances across the country. I love to travel, so my mobile studio could pop up anywhere. And if you see it around, chances are good that I’m painting somewhere nearby.
I partnered with Bealls Department Stores to launch an exclusive collection of resort wear, home goods, and other products. As a result, I’ve spent a lot of time on the road meeting Bealls staff and customers.
I love sharing my art in intimate settings as well as with large crowds, and having a mobile studio allows me to do both. As you can imagine, the colorful trailer can attract quite a crowd! Sometimes it even stops traffic—literally. People come up out of curiosity and stay for the fun.
If you’ve been following our magazine this year, you’ve likely seen the inspiring new Expressive Painting column from mixed-media artist and professional painter Annie O’Brien Gonzales. So far this year, she’s shared innovative ideas for creating expressive photo-inspired collages, acrylic paintings, and more. In this tutorial from our May/June 2017 issue, Annie walks you step-by-step through creating an oil and cold wax painting. Follow Annie’s instructions below to try out this technique!
Oil and Cold Wax Painting by Annie O’Brien Gonzales
If you have never tried oil painting or have felt unsuccessful with previous attempts, I suggest you give cold wax painting a try. Cold wax is comprised of beeswax, resin, and solvent and, unlike encaustic, it requires no special setup. For cold wax painting, cold wax is mixed with oil paint at room temperature. In addition, cold wax and oil paint remain workable for quite some time and can be layered with other media. Working with the wax mixture is a unique tactile experience unlike any other.
Paper palette or parchment paper
Cold wax medium (I use Gamblin or Dorland’s.)
Oil paint, professional grade (I used Gamblin Artist’s Oil Colors in Alizarin Crimson, Cadmium Yellow Medium, Transparent Orange, Cadmium Red Deep, Quinacridone Magenta, and Titanium White.)
Brayer, key card, or bowl scraper
Painting surface, rigid (I used an 11″ x 14″ Ampersand™ Gessobord™.)
TIP: Because the wax mixture can crack if applied to a flexible surface, such as canvas, always work on a rigid surface.
Stencils and stamps, a variety
Texture items: fabric, thin collage papers, plastic fruit bags, etc. (I also used Mexican papel picado flags and tissue paper cutouts.)
Mark-making/scraping tools: Catalyst™ tools, old paintbrushes, chopsticks, etc.
Powdered pigments (I used Jacquard. Pearl Ex in Aztec Gold, Sunset Gold, and Flamingo Pink.)
Oil pastels (I used Sennelier brand.)
Gamsol™ odorless solvent
1. Tape a paper palette to your work surface, and scoop a couple of tablespoons of cold wax onto the palette.
2. Beginning with a dark color, squeeze a small amount of oil paint onto the palette. I used Alizarin Crimson. Add an equal amount of cold wax to the paint, and mix them together with the palette knife. The mixture will look and feel like frosting. Mixtures with greater ratios of cold wax to paint will create more texture and translucency.
NOTE: Experiment with colors and transparencies, varying the ratio of wax to paint.
3. Using a brayer, bowl scraper, or key card, spread the paint/cold wax mixture thinly onto the panel. (FIGURE 1)
4. Continue to mix different colors of paint with wax, and, using a brayer, add the mixtures to the panel in thin layers. (FIGURE 2) Work directly over damp paint, or allow the layers to dry a bit before adding another. Experiment. Drying time varies, depending on the climate you’re working in. I added analogous colors.
TIP: Alternate layers of transparent color with opaque mixtures. Scratching into the layers will yield color surprises.
NOTE: Adding Titanium White to any oil color will make it more opaque.
5. Add texture and pattern, using stencils and stamps. (FIGURE 3)
6. Add more texture between the layers as desired with a variety of materials, such as fabric, plastic fruit bags, etc. Lay the items on the surface, and use a brayer to impress the items into the wax, or apply a thin paint/wax mixture over them. I used some commercial stencils, a piece of a placemat, and plastic netting. (FIGURE 4)
7. Add marks with sticks, pencils, and more to create even more texture. (FIGURE 5)
TIP: Once several layers have been added, experiment with scraping through the paint or even dripping odorless solvent and removing some paint to reveal underlying colors.
8. Sprinkle some powdered pigments onto several areas of the painting. Spread the powder around for a pop of shine. I used gold and pink. (FIGURE 6) A little goes a long way, so start with a small amount.
9. Add a thin layer of clear wax over the powdered pigments to help them adhere to the painting and add translucency.
10. Add some thin papers. (FIGURE 7) Anything goes, and anything can be covered with more paint/wax mixture.
11. Keep layering elements: thin oil/wax mixtures, transparent and opaque paint colors, collage, powdered pigments, and mark making, until you have 10–12 layers, or more.
TIP: Use oil pastels for additional mark making.
12. Allow the piece to dry for several days, and then buff it with a soft cloth. There is no need to add varnish; the wax acts as a sealant.
Annie O’Brien Gonzales is a professional painter, teacher, and author from Santa Fe, New Mexico. Her work is represented by galleries across the U.S., appears in juried exhibitions, and is collected internationally. She is the author of Bold Expressive Painting: Painting Techniques For Still Lifes, Florals, and Landscapes from North Light Books, and has three videos on expressive painting. Her next book on expressive painting for beginners is due out in Fall 2017 from North Light Books.
I’m thrilled to introduce our guest blogger, the incomparable Dina Wakley! Dina shares a terrific tutorial for making artful tags using supplies included in the Courageous Art Journaling kit: stamps, a stencil, paint, brushes, and more. The kit also features four of Dina’s videos featuring amazing color techniques, plus ideas for mark making, patterning and layering, and using stencils and masks. I’ve been fortunate enough to see Dina teach, and she’s a fantastic and inspiring instructor, making it easy for you to follow along and achieve great results. Enjoy, and have fun creating! ~ Jeannine
One of my favorite methods to get colors to pop is to use complementary colors. Complementary colors are opposite on the color wheel. If you mix complementary colors in the same wet layer, they may turn muddy and icky. I avoid this by layering my complementary colors. Here’s a fun, easy tag using my favorite color techniques. The colors I’m using—Magenta and Lime—are opposite on the color wheel, so by using both colors in my project, I get maximum pop and impact.
Several manila tags (or one manila tag and a sheet of cardstock)
Ranger Archival Ink Pad in Jet Black
Ranger Dina Wakley Media Heavy Body Acrylic Paint in Lime, Magenta, and Turquoise
Ranger Dina Wakley Media stencil: Affirmations
Ranger Dina Wakley Media Stamps: Scribbly Birds
Ranger Dina Wakley Media Brushes
Ranger Dina Wakley Media Fine Tip Applicator (to use on the Magenta paint)
Ranger Mini Ink Blending Tool and Foam
Acrylic stamping block
1. With a wet paintbrush, paint a small amount of Lime paint on a manila tag.
2. Using the Mini Ink Blending Tool and Turquoise paint, add stenciling to the tag with the Affirmations stencil. I used parts of the stencil words.
3. Add water to some Turquoise paint, load a paintbrush with the paint, and splatter it over the tag. Let dry.
4. Stamp several birds from the Scribbly Birds set onto the extra tags or cardstock with the Jet Blank ink. Stamp one of the sentiments as well.
5. Add water to some Magenta paint and color the birds with a loose, watercolor style. I left some white space in the birds.
6. Mix a bit of Turquoise and Magenta paint to create a lavender color. Add some of this color to the birds. Then, splatter them with the watered-down Turquoise paint.
7. Fussy-cut the birds and the sentiment and layer them on your tag as desired. I separated one sentiment into two parts. Edge the sentiments and the tag with Jet Black Ink.
8. Place the Fine Tip Applicator on the Magenta paint tube and add small dots and designs to the background.
Isn’t this tag fantastic? You’ll discover additional color techniques and other ideas for art journaling, tags, cards, and collage in Dina’s Courageous Art Journaling kit to use in your art journal pages, cards, tags, collage, and more. With the supplies included in the kit, you’ll be able to start creating right away. Don’t miss this incredible collection that’s sure to inspire you.
Dina Wakley is a mixed-media artist and teacher who loves everything about art: creating it, thinking about it, looking at it, and teaching it. She teaches both in-person and online workshops. Dina believes in writing yourself down, expressing yourself, and making your mark on the world. She is a Ranger signature designer, the author of Art Journal Freedom and Art Journal Courage from North Light Books, and the host of several videos with ArtistsNetworkTV. Discover more about Dina at dinawakley.com.
Before you embark on your summer travel plans, I have one request: Don’t send commercial postcards. I have a much better idea—send mail art on a postcard. This type of mail art doesn’t require a lot of time, the techniques are crazy fun, and the results are awesome.
It’s called etegami, and Diana Trout explains it well in her article “Mixed-Media Etegami” in the July/August 2017 issue of Cloth Paper Scissors: “Literally translated as ‘picture letters,’ etegami are cardstock-weight rice paper cards painted with Japanese-style watercolor. Words are always added to etegami, and you can’t call it etegami until you mail it.”
This may be the best part: The focal image is usually something from nature and seasonal, and Diana says etegami is supposed to look clumsily executed, with the black outlines meant to be shaky. You had me at ‘clumsily.’ No pencil sketch, no practicing—this is meant to be of the moment, which gives this style of mail art its charm.
Let’s start with the paper. Diana recommends using etegami paper, which comes in five degrees of blurs, or absorbency—five is the highest. I found some at JetPens.com, and tried blurs of three and four. I also tried 300-lb. cold press watercolor paper, which can be substituted.
Below, top to bottom, are the results using three and four-blur paper, and watercolor paper, all with watercolor paint. On the watercolor sheet, the circle on the left was done with paint on dry paper; on the right, I wet the paper first with water, then added paint.
I liked the look of the number three blur, and went with that and watercolor paper for my mail art. I decided to paint my favorite seasonal fruits, cherries and peaches. I first created circles of paint on the etegami paper with a very wet bamboo brush and watercolor. I love how it wicked into the paper—so beautiful. While the paint was wet I added drops of other color: for the cherries, a little yellow and purple.
For the peaches on watercolor paper, I added spots of pink and yellow.
I then painted in details, also using watercolor and the bamboo brush. I added stems and leaves to the cherries:
And the same to the peaches. What got me really excited about making etegami was using new materials in addition to new techniques. I’ve never used a bamboo brush, etegami paper, or sumi ink. So while I didn’t sketch in my design beforehand, I did try out the supplies before I started on a postcard. That goes a long way in helping you be successful, and Diana has some great tips for this in her article.
I liked the look of the paintings so far, and I was a little reluctant to use the sumi ink. That hesitation completely disappeared once I tried it. Adding the sumi ink details completely changed everything—in a good way. Not only did the ink add depth, but it made the images stand out in such an amazing way. I also added some watercolor in complementary colors to help the fruit pop. I can’t wait to try these techniques for more mail art, and in my art journal. Here are the cherries with sumi ink:
And the peaches:
Diana’s take on traditional etegami includes mixed media, of course, and she takes it to another level by adding ephemera like postage stamps, ephemera, and washi tape. She also adds a chop stamp. I didn’t have one, and decided to carve my own version. The simple leaf design took me all of 10 minutes, and it adds such a nice touch. Here is the finished cherries postcard:
And here are the peaches. Hand-written words are also an integral part of etegami; they can be done with a brush, or a brush pen (I used a Faber-Castell PITT artist pen with a brush tip.)
I can’t call this etegami until I pop it in the mail, so I’m off to do that. I hope the person who receives this bit of mail art loves it as much as I loved making it. I encourage you to give this a try—etegami is perfect for taking on the road, or anywhere. I’m taking my supplies with me the next time I sketch outdoors, and I can’t wait to be inspired by what I see.