Michelle G Brown | Mixed Media Art

Making Gift Card Wrappers

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This article is written by Katja Blum 

It took me a while to like gift cards. In my family, gift cards, certificates and all kinds of “pick your own” gift promises were seen as an afterthought, proof that the giver didn’t remember until the last minute or put much thought into your gift. I don’t think that’s true. In my mind, a gift cards says “I think you deserve a treat, please pick exactly what would make you smile right now”. Whereas very sensible and frugal people might use a check or cash to do sensible and frugal things, a gift card is fun. It doesn’t look like “real” money, and it’s perfectly okay to spend it on something entirely frivolous.

Hurray for gift cards – but let’s be honest: Sometimes we do buy them at the last moment. So here are a few ideas for some mixed media flavored presentation ideas for holiday gift cards.

General tip: You shouldn’t glue, staple or otherwise directly attach a gift card to anything, because you might damage the strip on the back. Many cards come with a small envelope anyway.

If you have a day

If you still have a day, anything is possible! How about making a collage or mixed media painting and using the envelope as part of the background? Just affix it to whatever paper or canvas you are using and paint, stencil and decorate right over it. Just make sure you have the flap facing out, so the card can be inserted and removed without ripping the envelope off the painting. And don’t glue the flap shut with gel medium. Or make your own simple card pocket by gluing a piece of paper, card or fabric to the piece on three sides, leaving the top open. While painting, you can slip a piece of freezer paper into the pocket to avoid pasting it shut.

If you have a few hours

I like felt ornaments. They are easy to make – and felt can be decorated with anything. The coffee shop card I’m giving this Christmas is going in a little mug ornament, which I plan to slip on the recipient’s tree, so she can find it later.

Gift Card Wrappers

  1. Cut out the mug shape and oval “coffee”. Use the shape as a template to cut out the mug again, but without the top. This will be the pocket for the gift card. You can do this with any shape. If you want to make a snowman, for instance, just cut out the bottom snow balls. Or you could cut out your ornament and put a rectangular pocket on the back – but I like the card peeking out in the front.
  2. If your ornament is a bit on the big or your felt is on the thin side, you can make it less floppy by gluing a piece of cardstock to the base ornament.
  3. Sew the coffee to the bigger mug shape, also attaching a ribbon loop for hanging, and decorate the front pocket – beads, embroidery, paint, glitter glue … The back of the pocket won’t be visible later, so it doesn’t have to be super neat.
  4. Sew the front pocket to the mug base. If, like me, you are not very good at sewing, thin thread in a similar color and a regular sewing needle works best, as your stitches will not be very visible.
  5. Place the card in the pocket. Give away.

If you have an hour or less

The second item on my art to-do list for 2015 is “Learn origami”. I’m fascinated by the possibilities, especially in combination with fabric. If you are really pressed for time, a simple origami envelope can be folded in minutes. Almost any kind of rectangular paper works for the envelope here – and you can, of course, decorate it as much as time allows. Using a piece of fabric gives an unexpected twist – lightweight to medium fabrics work best, my favorite is quilting cotton.

The fabric needs to be stiffened to hold the creases better. You can spray it with a thin coat of varnish or laundry starch. The one thing I always have in the house is white glue, so I dunked the fabric rectangle in a solution of two parts water and one part white glue. Smooth the fabric out on a sheet of freezer paper or plastic. It will peel off when dry. The fabric is going to be stiff, but can still be decorated with needle and thread, if desired.

I used paper to demonstrate the folding steps – a rectangle of about 8″ x 11.5″ makes an envelope big enough for most cards.

Gift Card Wrappers

Folding instructions:

  1. Fold the paper in half, make a sharp crease and unfold.
  2. Fold the top right and bottom left corners down to the center crease.
  3. Fold the top left and bottom right sides inward so that they meet the vertical triangle edges.
  4. Turn the paper 90° and fold the right side down to meet the bottom edge. Tuck the edge into the flap at the bottom.
  5. Fold the left side to the top edge and tuck it into the flap as well.

Slide the gift card into the slit in the center. The envelope has two layers of folds. Slip the card into the bottom layer, because the short sides are open in the layer above.

Gift Card Wrappers

Enjoy giving a gift card to someone special this holiday season!

(Oh, and just in case this article is giving my family some festive ideas – remember the mantra, guys: books, crafts, coffee!)

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Katja Blum is a writer and translator from Tulsa, OK. As an artist, she started with yarn, fabric and papier mache (rarely together), branching out into collage and other paper arts about ten years ago. Her latest obsession is making soft stuffies and art dolls – to the delight of her toddler. She also likes to find creative solutions for ugly or broken things around the house – to the delight of her husband.

You can see more of her work with fiber, paper and words at www.thewaywardsheep.com

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How to use Pan Pastels to make Aged Background

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This article is written by Tamara Dinius

Here we’ve taken canvas panels or water-colour paper to create this cute wall hanging.

Pan Pastels for aged background

This video will demonstrate the use of Pan Pastels and rubber stamps to create an aged background for use in your mixed media artwork.

 

Here is a snap shot of the background with the first few layers

Pan Pastels for aged background

And here we’ve added the stamping:

Pan Pastels for aged background

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Tamara Dinius lives in the Pacific Northwest with her husband and chocolate lab. She has two grown daughters who make her life meaningful. They support her, ground her, embrace her, and are amazing people in their own right. Her love for mixed media has taken over most aspects of her creative journey. She believes mixed media allows for a broad range of styles and anyone can find success in this form of artistic expression.

You can find more of Tamara’s work, and on her website countrycraftersusa.comEtsy shop,  or via her Facebook

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Using Irresistible Pico Embellisher for your Mixed Media Art Projects

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This article was written by Melanie Statnick

Irresistible Pico Embellisher

I really enjoy working with a new product. When I saw the Imagine Craft irresistible Pico embellisher I wasn’t sure what to expect with its precise tip applicator and the needle that inserts into it. It was foreign and I wanted to try it.

Irresistible Pico Embellisher

As a visual artist I could see numerous ways to add this texture into art pieces. I love to add details into my art and the Pico embellisher tip is perfect for this. On a piece of Bristol paper I drew up a doodle and gave it a go.

Irresistible Pico Embellisher

Irresistible Pico Embellisher

There is allowance for control with the tip the embellisher has, making lines and dots thick or thin depending on the pressure of how you squeeze. I did notice that the embellisher will suck some air creating bubbles on the next release.

Irresistible Pico Embellisher

Irresistible Pico Embellisher

I dabbed the bubble with a napkin and it broke leaving a ring. Another time I wiped it away and it left a mess. Please take care cleaning up any bubbles that may happen. This could have been something that happens with a first time user. I also wanted to try the embellisher freehand. I think it gives the drawing a needle point look.

Irresistible Pico Embellisher

Irresistible Pico Embellisher

Overall I think the irresistible Pico embellisher by imagine craft is an excellent tool for texture and more. With the verity of colors who know what your imagination will create.

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Author bio: Melanie Statnick is a published artist/writer out of North Carolina. Melanie creates art daily from her private studio. Her style is happy and whimsy. Statnick’s artwork can be found in art galleries and shops extensively in NC with international private collections. Learn more about Melanie view her website at: www.melaniestatnickart.com

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Disclosure: These products have been provided by Imagine Crafts  for the purpose of review. All opinions are that of the MixedMediaArt team.

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The Right Paper for a Substrate

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This article was written by Marilyn Harris Mills 

Recently, the market has been flooded with all types of surfaces for all types of media.  Whether you’re using watercolour pencil, acrylics, oils or simply gluing and pasting, there’s a substrate for everything.  How does one go about making sense of it all? Remember, even though the various companies market substrates for specific purposes, you are not confined to their suggestions.  Explore and have fun.

I’ll outline here various choices and you can decide what is best for both yourself and the choice of media you will be using.

Let’s first start with watercolour paper with so many choices.

Hot-pressed Watercolour paper (HP)

– the smoothest of all w/c  papers

– requires a great deal of control especially when using more water. It isn’t   porous, which causes pigment to puddle on the surface.

– excellent for detailed paintings with crisp sharp edges

Choose this type of paper if you like working with wash techniques or you want to concentrate on work that requires small amounts of paint applied in a controlled manner.

Substrate Paper

Cold-pressed Watercolour paper (CP or NOT)

-medium tooth

-absorbs more water (more porous) than hot-pressed paper

-produces paintings with a looser style and look

-liquefied pigment can be removed from these papers by “scrubbing” with water and a brush

– will stand up to a fair amount of re-wetting and re-working

Choose this paper if you want a reliable general all-purpose paper that will suit most techniques and subject matter.  This paper is good whether you want to work with lots of control and detail or in a much more spontaneous manner.

Rough Watercolour Paper

-has even more tooth than cold-pressed paper and will hold up to repeated applications of water and pigment removal. This makes correcting mistakes easier than with any other watercolour paper.

Choose this paper for broad expressive work in which texture is important as well as other techniques such as dry brush, broken washes, lifting out and scratching back.

Substrate Paper

Weights of Watercolour Paper

The weight of a watercolour paper describes its thickness. A paper’s weight is determined by how much a ream (500 sheets) of the particular paper weighs. Thickness will vary slightly from paper to paper, because some have different densities and moisture content. The most popular weights for watercolour papers are 140 lb. (300gsm) and 300 lb. (640gsm) it’s safe to use 140 lb. for paintings that require less water. Just be aware that it may buckle under even moderate applications of water. Although more costly, 300 lb. paper is a better choice for more serious watercolour painting projects. As a beginner, 140 lb. paper is a good choice.  Look for paper that is acid free because this means the paper does not contain chemicals that will degrade the sheet and cause yellowing later on.

Paper can be purchased in sheets, blocks or pads.  The choice is yours. Spiral pads are super for travelling.  Sheets of paper need to be cut/torn into the size you want but they are much cheaper to purchase than any other form. I might as well tell you now how to tear a piece of w/c paper.  Yes you can simply cut it…but if you want a torn edge, which is so becoming, then take a good fat round brush filled with water and stroke it along the paper.  Do this several times for the water to absorb.  Then either pulling the paper toward yourself or away from yourself you’ll get a beautiful torn edge.  Try both methods…..tearing toward yourself and tearing away from yourself.  A different effect both times.  Watercolour paper also comes in a block format.  The paper’s edges are glued on three sides, thus forming a block of paper.  One side is usually left unglued for easy removal from the block.  I love working with blocks, more expensive yes but I don’t need to use tape to secure to the placemat (dependent on the size of the block). Should you decide to purchase sheets of paper, cut to the size you wish to use, or a pad of paper in a specific size, then you will always need to use painter’s tape to adhere the paper to your placemat, otherwise the paper will buckle from water absorption.

With most watercolour papers, there is very little difference with the surface texture of one side and the other side. Traditionally, with embossed and watermarked papers, the correct side is the one on which the watermark appears the right way round.  Other papers will have a “mold” side.  If you hold it up to the light, you will notice that it has a more regular surface texture than the other side.  It is a matter of preference as to which side you choose.

Watercolour paper is a good choice for acrylics, charcoal, markers, pen, and especially for mixed media because of its weight.  Great for journals since it’s easy to fold.

Boards

There’s art boards, illustration boards, bristol boards, multi-media boards and speciality boards.  Basically they are boards with different types of surfaces, they are chosen according to the media chosen. Bristol Board provides two working surfaces, front and back. The better quality bristol boards are archival. Illustration Board is only finished on one surface. An illustration board is intended as a surface for creating artwork that will be scanned or reproduced onto other mediums. Art boards are a fine art paper mounted on an acid-free museum board, ready for framing or mounting.

Marker paper

If using markers, pens, ink, paper, then marker paper is a good choice. It’s smooth, non-bleeding and translucent. It responds well with colour with both permanent and watercolour markers.

Mixed Media Paper

This is my favourite when working with lots of different media in one painting. It has the characteristics of watercolour paper but the nice smooth finish of a drawing paper. I also like the weight of the paper thus holding up to many mediums. It is heavily sized for both wet and dry applications. It also erases well and blends easily if that is what you need.  Acrylics, charcoal, watercolours, inks, pastels, markers can all be used on this mixed media paper. Canson has just brought out a spiral bound book of this paper type – look for it – it has a blue cover and has fast become my favourite substrate if I want to work small. I like this paper for journals too since it folds well.

Vellum Paper

This paper is extra smooth and very translucent. It’s resistant to scratching and erasing so it might not be viable for mixed media is those are the techniques you use. It’s a beautiful paper though for tracing, design, penned calligraphy and even drafting.

Paper Terminology

The texture of the surface substrate is a determining factor when working with different media.  Texture is also a personal choice.  When I’m using my watercolour pencils I may use cold  pressed watercolour paper, but when using lots of mediums for my mixed media journals, then I’ll use a heavy hot pressed watercolour paper or the mixed media paper specially made for this. Choice depends on whether you want the substrate to be smooth or rough.

Substrate Paper

Archival

This is a durable acid-free paper that is also PH balanced. Simply put, non-archival means that it will discolour as well as changing the composition of the substrate.  If you want your colours to maintain their richness, choose archival papers.

Sizing

Sizing is the process of adding water-soluble gelatin or starch to the paper when the paper is being made. The amount of sizing used determines how absorbent the paper is. It’s similar to when you purchase a new brush, each brush has sizing in it to protect the brush hairs when travelling.  One must wash out the sizing in the brush before using. Sizing in the paper controls how water, and other media penetrate the surface.

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Marilyn Harris Mills, aka Maer, lives in Ottawa, Ontario, Canada and is passionate, creative and eccentric..at least that’s what her girlfriends tell her!. Marilyn a professional and published artist, designer and teacher. She journey through life with her dogs Lucy and Mozart. Practicing yoga, journalling, meditating & walks in the forest nourish and excite her. Some days she tries to knit but that’s not quite working out! One of her favourite quotes is this one because it so her!”I work in whatever medium likes me at the moment!” (Marc Chagall)

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