Artistcellar Blog

Imagine. Create. Enjoy.

I love combining more than one stencil on a card, and with Artistcellar you can get such fantastic designs using only part of a stencil.

Let’s look at how to make this mixed media, collage card.

First cut a piece of Neenah Classic Crest card stock to measure 4 ½” square and tape it onto a piece of scrap paper. Then take the Paris stencil from Artistcellar's Cathedral Series and tape it in place over the card stock. You just don’t want the stencil to shift around while adding ink.

Next, you’ll need some Distress Oxide inks in Candy Apple to add to only the right side of the stencil. You want your inking to be fairly uneven as opposed to one half being stenciled and the other not. Remove the stencil and wipe clean. Dry the ink and then stamp over the card with a script stamp.

Place the stencil back over the card stock making sure to align it with your stenciled image. Then add some gel medium in gloss, scraping the gel using an old loyalty or gift card over the part of the stencil with the red ink. Remove the stencil again and wash with warm soapy water to get rid of the gel.

Dry the gel medium with a heat gun, making sure to move it around quickly to avoid making bubbles form.

Take another ink pad of Distress Oxide in Black Soot and using a foam applicator apply the foam over the stenciled area so that you fill in the blank spots with the ink. You can see that I added black ink outside of the red area to make it look more organic. Take a paper towel and wipe away any excess black ink that is on the red, gelled areas.

Next take some watercolor paint and add some light blue along the edge of the Black Soot and some green splatter of watercolor paint onto the left side of the card. You’re looking for an uneven application here.

You can add another stencil with dots or any small pattern onto the left side of the card stock with some metallic paste. Nuvo Mousse in gold was scraped through this stencil to make the gold circles.

Lastly, stitch on some beads along the line of black. You can achieve this by making punctures with a piercing tool or ball head pin in a few places. Thread a beading needle with thread and tape the thread on the back of the card stock piece. Come up from the back in the first puncture you made, and slip a black bead onto the thread. Then go right back into the hole you just came out of and pull taut. Since the bead is larger than the puncture you made, it gets anchored onto the card front.

Cut out some accent layers of cardstock for the final card. The black piece measures 5” square, and the blue metallic card measures 5 ¼” square. Glue all layers onto a card base that measures 5 ½” square when folded in half.

If you’re interested in learning more about how to use stencils with cards, sign up on the waitlist for the Stencil Master Class at startcardmaking.com. While there you can also sign up to receive free, weekly projects sent each Tuesday to your inbox.

Hope to see you there!

Today I want to introduce you to our guest blogger Susan Purney Mark. Susan is a quilter, stitcher and artist who also owns Fabric Imagery in beautiful Victoria, BC, Canada. She loves playing with color, pattern, and texture on fabrics and does this with various surface design techniques such as screen printing, stenciling, stamping, painting and dyeing. I was honored when she agreed to be a guest blogger, I couldn't wait to see what she did with Artistcellar stencils! 

When Lisa asked me to write a guest blog for her and sent me a package of Artist Cellar stencils, it couldn’t have come at a better time. Last fall my husband and I traveled to Ephesus in Turkey and spent a wonderful day exploring all the ruins and soaking in the culture and history. It has become a magical place for me, full of mystery and wonder. The sort of place where you want the walls to talk and tell you of the 2,000 years of history that they have seen.

I took dozens and dozens of photos, knowing that there would be inspiration for years to come to create art quilts inspired by the sights that day. I’ve been working with improvisational piecing in my work with random strips of fabric, sewn and cut, then sewn and cut again, letting the design evolve and change as I work with layout and composition. I love this way of working, I find it both exciting and challenging as I try to let the work tell me what it should become within a loose framework of my ideas. My fabrics are hand dyed, screen printed and sometimes coloured during the sewing and piecing phase.

I made a small sample to test some ideas of what might evolve, this piece was whole cloth, screen printed and free motion stitched. In a small corner of the work, I used Shiva sticks and part of the Paris stencil (Cathedral series) and gently worked in colour to give the illusion of what the ruin might have contained. Though perhaps it’s a flying leap from an Ephesian ruin to a Paris Cathedral image… but that’s art!

I think it turned out very well. I’m going to add some more colour in the stone work and then mount this piece on canvas board.

When I teach, some of my workshops require students to have a print table to pin the fabric on and make it stationary. I’ve produced a short video that may like to see about an easy way to make your own print table: https://vimeo.com/118942877 I think you’ll find a print table to be an indispensable item in your studio.

Next, I decided to roller print with textile paint through the surf stencil and Paris stencil and have prepared a sheet of Plexiglas and covered it with a piece of Glad Press and Seal, that way when I’m finished I can remove the Press and Seal and throw it away without having to wash the Plexiglas. There are two colours of paint and I’ve rolled through it a couple of times to get it soaked into the sponge roller.

Generally when I work, I will attempt to give suggestions of images rather than the full stencil, so the pieces I created for this post will be cut up and inserted in some part of the larger quilt. I like to think there’s a bit of mystery for the viewer to spend a little time looking at the surface of the quilt and finding parts that engage their interest. So when the quilt is done, you may not recognize the Paris Window in an ancient ruin!

Here’s the fabric I’ve assembled in preparation to work on this quilt next month.

 

If you’d like to see more of my work then come by and visit at www.susanpm.com