Patterned Umbels with EAB Products {by Nikki Acton}

Hi everyone, Nikki (a2a.craft) with you today to share a few ideas using Alison Bomber designed stamps.

This year on the blog, we are being given free reign to do a deep dive into one of the PaperArtsy product ranges. I am very happy to be using a couple of stamp sets from Alison's range - one from her last release of 2024 (the fabulous Winter Umbels from her botanical texture series) combined with one of her older curated quote sets (The Time Edition). 

You can see already, my projects are not very 'Alison like'! - I love working with bright colours and geometric shapes.

I started off just making the wall panel on the left in the photo above - but as I had lots of 'bits' leftover I made a card to go with it.

It all started with gel plate prints and I'll show you how I created the pattern from these.

I love how Alison's recent stamp sets provide a combination of elements; focal points, ephemera, texture and words. Before Christmas I was visiting a friend who had a piece of art (in her cloakroom!) using this colour range. It really appealed to me, so I have used PaperArtsy colours to reflect this today.

As I often do I started with my gel plate and PaperArtsy Smoothy Card. I chose to work with three colours; PaperArtsy Fresco Acrylics in Gold (FF20), Butternut (FF02) and Cerise (FF136).

I used each colour on it's own but also combined them for some prints. I used the main Umbels stamp from PaperArtsy stamp set EAB44 (by Alison Bomber) to stamp off the painted gel plate giving me 2 prints in one go. I also used the stamp and brayered some paint onto it to create more backgrounds. The gold on black card is fabulous!

You can see how the Umbels image is dominant in some of my prints but just hinted at in others.

As usual once the gel plate is out, it is hard to stop but I knew I had more than enough, so it was time to create the pattern.

 

I had an idea of the pattern I wished to create. The pattern is overlapping circles which are built up with different colours.

Firstly I drew a circle using a compass - but you could draw around something or use a die or punch. My circle is 5 cm diameter. I drew a 5cm square around it.

The corner of this square is the centre of the overlapping circle - so I could now draw this one too. You can see above the pattern is created by repeating this.

I then used this idea on different colour backgrounds and fussy cut the pieces.

If you don't have a compass - just draw and measure a circle. Add lines for the horizontal and vertical centres and this will show you where the overlapping circle will sit. You can fussy cut the pieces and use as templates.

I glued the fussy cut pieces onto my drawn pattern sketch to help get them positioned correctly. Fussy cutting means there were going to be slight imperfections - but after the pen work, I don't think they are too visible.

For a matt layer I took some Smoothy Card and used Ranger Archival Ink in Watering Can to randomly stamp some of the texture, word and ephemera stamps.

I cut my border out of the gold paint stamped Umbels on black card. (I had to do it like this as by created background wasn't big enough for the wooden panel!)

The base wooden panel is 6x6 inches. I painted this in PaperArtsy Fresco Acrylic in Butternut before stamping the Umbels on the visible edge.

The detail around the pattern elements is done with Posca Pens - firstly in black and then gold dots were added.

To finish I stamped one of the quotes from PaperArtsy stamp set (EAB17 - The Time Edition) by Alison Bomber.

With all my 'Umbels' backgrounds I had some left over so made the card to go with it.

 Again you can see the Umbels in each of the squares below.

And another wonderful quote....

Blog: Addicted to Art

Instagram: @a2a.craft

Pinterest: nikacton

YouTube: Nikki Acton

2021 Topic 15: Journaling Gratitude with VID {Jennie Atkinson}

  2021 Topic 15: Journaling Gratitude

How do you create a textured background that's full of interest and different textures but that doesn't 'fight' with the sentiments or front forward details? Read on, and Jennie lists a number of techniques to get you started. Wouldn't we all like to see her drawer of unused delicate gel prints too?!

~ Keren.

Hi everyone, it's Jennie (Live the Dream) with you today, and I'm here to share with you a journalling page using Vintage Ink and the Dog stamps - perhaps not everyone's first go to for a journalling page.

I find that many of the VID sets have small stamps which are just perfect for adding to a torn collage background and for this double spread I decided to use some papers previously created on the gel plate using PaperArtsy Fresco paints (and possibly like me you have a drawer full !) I like using torn collage as it allows me to get some different colours onto the journal pages which I find difficult if painting direct.

I have also used a single set of quote stamps by Alison Bomber relating to Time. Time is something that I seem to have had in abundance this last couple of years but it still goes as quickly and both the situation we find ourselves in globally and a couple of personal events have really made me think about the moment, looking neither back or forward, but to be grateful to live in the present.

If you are a fan of gel plate printing you will know how easy (and quickly) you can accumulate many different sheets of prints, parts of which might be beautiful and amazing and the rest of the sheet quite dismal. There's always that chance of pulling another beauty so you just keep going.

I chose some colours which I thought might go together, along with some small pieces of old text paper which had been coloured with Infusions and a bit of stencilling. 

At this stage of a journalling page I never have a plan ! but I do start with a good quality thick watercolour paper so I can throw as much at it as I like. I started tearing some bits of the printed papers, along with some more open text and music. My notes on the back of the papers indicated that I had used a combination of PaperArtsy Frescos and I used two of them to carry through to the pages.

Sage                    Granny Smith

Aquamarine        Captain Peacock

Chalk                    Sorbet

Once I had a bit of an idea about colours and placement I chose my Vintage Ink & The Dog stamp sets. Each of these sets has text and number stamps which work well on the printed papers.

ID08

ID09

ID10

Once everything gets stuck down it starts to look a bit more organised but still very basic.

The success of this type of paper collage is to use different techniques to push those papers into the background. It takes time and sometimes needs experimentation but I have found these techniques to work. 

Firstly I use a light colour of PaperArtsy Fresco paint (Chalk) to blend in around the edges of the torn paper. I use my finger to add the paint and a dry brush to spread it out. You can see the difference already between the two pages.

I then go in with a darker colour (this time PaperArtsy Fresco Finish Sage) which will give me some darker areas for the next stage however the beauty of using paints in this manner is that you can always tone colours down by going back in with a lighter colour later).

Another means of knocking back the papers and tying everything together is to use a stencil and texture paste. I like to keep the stencilling open but with a definite shape which can be seen. Over-stamping with the same stamps using second and third generation stamping also ties the individual layers together and knocks those papers further back!

PS178

I am not a great fan of my own handwriting but I am a great fan of Alison's wonderful quotes. 

 

EAB17

Sometimes I use whole quotes but more often than not look to isolate individual words which sum up what I want to say. 

Tea dyed paper always seems to work well and is strong enough to withstand gluing onto a textured surface.

My final technique for pulling the pages together is to use machine stitching both around the edges of the pages and to highlight vertical and horizontal areas. Sometimes this is very useful for hiding a bit of a ragged edge which escaped the painting stage!

A thoughtful image was needed as a focal point and this is one of my favourites. I managed to find some gel plate papers which had a little white on them which meant her face remained relatively clear. 

ID07

The paper was very thin, so I layered it onto some matt board, but this did give me the opportunity of being able to layer other elements underneath.

I have used more of the Sage on this page but I love how the blue pops around the outside edge.

Journalling is a very personal means of creativity and sometimes difficult to share publicly. However during the creative process you think about the sentiments; what is important to you and it can be quite an uplifting process.

That said, all the techniques I have utilised can be used in many different ways and in many different projects, not just for journalling. I looked through most of my collection of Alison's quotes in order to find the right words and that was a lovely process in itself. 

Paper collage can be fun but I find it works best to start without any great expectation of the end result. Just go with it and enjoy the process. I am pleased to report that it made a slight dent in my drawer of gel plate prints!

Thank you for joining me and happy crafting.

Jennie x

Blog: Live the Dream
Instagram: atkinsonjennie