In Touch

Irresistable Techniques using "Invisibles by Heidi Swapp"

Invisibles - what are they? This is the line of paper products that Heidi Swapp introduced at Winter 2009 CHA. It was one of the most innovative products at the show and I could hardly wait to have the opportunity to play with it. The fabulous design on these products is hard to see when unaltered, so why is it that I am so excited about these products? As an individual who likes to explore and create I find this product so much fun to work with. It allows me to fully customize the texture and color of my final piece without having to go to the work of creating the intricate resist background!

Today I am going to share a handful of different ways that you can alter or color this collection of paper, chipboard, chipboard shapes and alphabet letters. To do so I took one 12"x12" page and cut it in to 12-3"x3" squares. I then used different products to create each set of colored squares.

So what does one do with all the little test squares? I opted to turn them in to a paper quilt and then use that paper to cover an inexpensive mirror from IKEA. A girl's gotta love all the inexpensive alterables IKEA offers! (insert big grin) This would also make an amazing Scrapbook page background, or if you cut smaller squares to begin with and then piece them together, they would make an awesome card front. So many options, so little time!

 

Below I will explain how each square was colored. You will notice that each square above has a deeper color sponged around the outside edges. I did this to unite the individual feel of the squares, making them meld together more evenly. I also added additional color to some of the lighter test samples to bring balance as well.

So let's begin - what can you use to alter Invisibiles by Heidi Swapp collection?

Be certain to double click on any picture below to see it in the full size view. The details will show up so much better, but due to the large number of pictures I have used in this post I tried to keep them small and save on room.

STUDIO PAINT (or other Acrylic Paints will work as well)

 

The buttery consistency of the Studio line of products makes this a go to for many of my projects. As you can see from my containers they are well loved. I am sharing this series of photos so that you can see how it is that I mix the colors and create custom colors to coordinate with a particular product line. I really didn't have a vision for what I was going to do with my squares and so I decided to match the entire collection of squares to the Basic Grey Urban Collection. In doing so I knew that I would have so many paper options, buttons, brads, and more to use on my final piece - whatever it was going to be.

I use toothpicks, a little watercolor tray, and a small scoop-like spoon for adding water to my paints to create more of a wash (sorry I just can't remember where I found the scoop). By dipping the toothpick in to my individual paint pots and scooping a small amount in to my tray, as shown in the first picture it saves me a ton of cleanup time - no more cleaning my paint brush with each addition of a new color. The color charts that Claudine provides are SO very helpful in helping me know which colors to begin with.

Download Claudine Hellmuth Studio Line Color Mixing Guide

As you can see I added a fourth color, the traditional tan, after realizing that my color was just too intense and needed to be slightly dulled down.

The first square I painted I allowed to dry without touching it. The second yellow square was painted and then wiped with a paper towel. I loved the different effects that were created with this option. When completing my project I wanted them to be a little more even and so I dampened a paper towel and then lightly wiped the surface of the first dry square. Voila - more white appeared where the resist is applied, without impacting the remaining yellow background!

COPIC MARKERS

 

Being that I love Copic markers I had to see what results could be achieved with the markers. The first square on the left was airbrushed. As expected it covered the resist surface, as well as the paper background. BUT when I applied colorless blender solution to my paper towel and wiped the project again the alcohol ink immediately lifted from the resist area. It left a bit of a streaky background based on the way that I wiped the surface, but I know that with further testing and a little finessing some very interested effects will result.

I then wondered what it would look like when coloredwith a Copic marker and so I quickly colored one square with my R83 or perhaps it was R85. I should have taken a picture with the marker visible so that it would make it easier to remember these little details, but... alas I just have to guess now. Again I needed to wipe this square with a Colorless Blender Solution dampened paper towel.

Now that I had proven to myself that indeed the "resist section" would take on the alcohol ink color I came back and did a little removal with my colorless blender marker and added some deeper tones with the coordinating darker tones of this Copic color family. The idea of coloring these papers in multiple color tones appeals to me and so I hope that I have the opportunity to try that some day.

I also wanted to see how the Inkssentials White Opaque Pen would work with the Invisibles. WAY cool - love the addition of the white dots and with more time I can easily see myself doodling on these resist products to add additional pop and depth.

DISTRESS CRACKLE PAINT

 

In addition to the Studio Line of paints I wanted to try another type of paint and so I reached for my Distress Crackle paints. I did use water to thin down the consistency of this paint. As you can see the resist immediately started to repel the watered down paint. The view on the right shows what these squares look like after completion. The one on the left was left to almost fully dry before wiping it with a paper towel and the one on the right was wiped immediately after painting. 

I wish that I would have had more time. I would like to still test this product and cover it with a much thicker layer of the Distress Crackle Paint. I wonder if it will move from the resist areas and if it will dry and crack in the typical manner that Tim and Ranger intended. Time was ticking and so I will leave that for another day.

CHALK

 

To begin I used my trusty old set of Stampin' Up chalks. Simply using a sponge dauber I applied the chalk evenly to the entire surface. I then selected a darker color tone from my Pebbles Pearlescent chalks and added some dimension to the piece using the small pom poms provided in their kit. The effect was soft an subtle.

DYE INK

 

The easiest method to apply color to the Invisibles products is to use the ink blending tool and dye ink. I tested both the Distress Ink (the peachy pink squares above were inked using Tattered Rose)and the Adirondack Dye Inks that we carry in the store. Absolutely delicious looking! and SO very easy.

The difference between the two squares above is almost imperceptible. The square on the left was inked and left alone, the square on the right was inked and then wiped with a paper towel. A little of the Pool ink did come off on the paper towel leaving the resist covered areas a brighter white then those left completely alone. It is almost as though wiping with the paper towel is like polishing a mirror - it just brightens the resist surface.

PERFECT PEARLS GLIMMER GLITZ

 

Tattered Angels Glimmer Mist is all the rage right now, but I do not own any. How odd is that?!? I just haven't found a need to purchase the many different colors, because I do own the entire Perfect Pearls collection and many dye reinkers. It has been several years since CHA when I had the opportunity to meet Tim and talk to him about these products. I was hooked! So I guess you could say that I have been making my own "glimmer mist" since that time, well before Glimmer Mist existed.

Today I will share how simple it is to make your own little custom colored bottle of Glimmer Mist. As you can see I opened an Urban Prairie tablet to a new page - a green/blue combination. Using a green base (Shabby Shutters Distress Reinker) with a blue sparkle (Turquoise Perfect Pearls) I mixed my ingredients in a Mini Mister.

I follow Tim's "recipe" of using one dropper full (NOT one drop, but the entire dropper full) of ink, add one of my little "tea" spoons of Perfect Pearls (My girls no longer use the little "Dora" tea set these came with, so I have confiscated all the spoons - LOL!) and then fill the remaining portion of the mister to within 1/2" of the top. Do not fill it completely because you do need to leave room to shake the mixture. You will need to put on some good music and shake girls! Shake, shake, shake! When you are ready to spritz your project then shake again.

Spritz your project. The sample on the left was left to dry completely. The sample on the right I let sit for about half a minute and then I wiped it with a paper towel. I then needed to add additional color using my ink blending tool and Shabby Shutters ink pad. I love how even and subtle the shimmer is when created in this manner. It was hard to capture in a photo, but is so subtle and elegant in person.

COMPLETING THE PROJECT

 

It was when I saw all my beautiful little finished squares sitting on the table in front of me that it occured to me to make a "quilt" with them. I thought that I would share a brief series of photos to help anyone else who might want to make something similar.

Due to the fact that I wanted to have my square return to it's original 12x12 size I cut strips of typing paper to use as my base. By applying a strip of adhesive on the outside edge of this paper using my Glue Glider I was able to avoid putting glue on the area that would need to be stitched. I tell you this so that you do not inadvertantly put glue directly beneath the area that you will stitch. Adhesive will "GUM" up your sewing machine. I have learned through experience that putting adhesive in an area that will be sewed is NOT a good idea - LOL! Putting adhesive BESIDE the stitching area is a "good thing".

Attach four squares and then stitch. Repeat three more times. Then attach these four long strips together and voila - a perfect quilt. You could alter the positioning and create all sorts of intricate quilt-like patterns! Let the creating begin!

 

Following are a few additional tips for covering this mirror:

• Measure the mirror precisely and score your "quilt" along the lines that will be folded around the mirror. This will provide clean, crisp edges.
• Cut out the center mirror section using an X cut. Be certain that the paper fits the mirror well BEFORE applying any adhesive!
• Paint the unfinished wood with Gesso before applying the Matte Medium. This will keep your adhesive from soaking in to the wood.
• Apply Matte Medium to both the top wood surface, as well as to the surface of the paper that will adhere to it.
• Apply Matte Medium to the edges and back of the frame, as well as the coordinating paper surfaces.
• Lastly, apply Matte Medium to the interior edge of the mirror and to the coordinating paper surface.
• Use a teflon bone folder to press your project in to place firmly. Remove any air bubbles while still wet.

 

I then embellished the frame using coordinating chipboard accents, flowers, pearls, butterfly and corner accent pieces. The corner pieces were shiny and just did not fit the look, yet I knew that they would be the pièce de résistance. Gesso to the rescue! Gesso adheres to metal and is white - it is the perfect tool to "shabify" any metal piece!

If you are looking for something new to perk up your creativity then I would like to recommend that you get some of these products to play and experiment with! If you are in need to alphabet stickers in a myriad of colors then I would like to suggest that you purchase a set and alter them using your ink pads - you will have any coordinating color letter, or multi-colored letters for all of your projects!

Get out your masks and add distinct patterns to this paper - the opportunities for exploration are huge!!! So stimulate your creativity today with the Invisibles line of products.

SUPPLIES USED:

Invisibles (located in the Alterables and Specialty Papers section of our store) - Classic Vintage, Ornate Frames, Shapes

Studio Line by Claudine Hellmuth- Dab of Yellow, Painterly Pink, Blank Canvas, Traditional Tan, Gesso, Multi Medium, Brushes

Copic Markers and Airbrush System - R83, R85, RV34, Colorless Blender Marker, Colorless Blender Solution, Airbrush System

Adirondack Ink Pads: Pool, Stream, Butterscotch, Caramel, Shell Pink, Watermelon, Mountain Rose

Distress Ink Pads: Shabby Shutters, Tattered Rose

Embellishments: Webster's Pages Classic Trim Collection, 12" White Strip Pearls, Snow Pearls, Prima Butterfly C,

Other Supplies:Inkssentials White Opaque Pen, Broken China Distress Crackle Paint, Stampin' Up and Pebbles Pearlescent Chalks, Ink Blending Tool, Turquoise Perfect Pearls, Shabby Shutters Distress Reinker,  1" Metal Corners

Ink Pad Comparisons - Let's Get Inky and Explore! by Ellen Hutson

Please be advised that the information to follow is my own personal perspective and is not to be taken as the official information on ink and ink pads. It is going to get long and boring for some of you, but I hope that you will find it interesting and of value. This information comes with a HUGE disclaimer! You must not take this as final word on any of these products, it is only my opinion and my experience. Ink characteristics can change dependent upon the paper that you select, as well as the environment in which you live. This information has been garnered over time through my own experience, as well as through conversations with manufacturers representatives and much reading. It is my interpretation of what it is that I have learned.

My hope is that through this post you can begin to understand some of the differences between the many inks pads that are available to you, but I am absolutely certain (without a doubt!) that I have missed something that may be of importance. As all good students I will continue to explore, and hopefully as a good teacher, I will not tell you that I know everything about this subject. I do NOT know everything. I am not a chemist, I am not an ink manufacturer - I am only a person who loves to stamp and share what I have learned. So let's get started.

There are MANY different ink manufacturers in today's world. The four primary rubber stamping ink pad manufacturers, whose products I have worked with are:

• Ranger Ink Industries
• Stewart Superior
• Tsukineko LLC
• Clearsnap/Color Box

I have had wonderful success with ink pads and inks from all of these manufacturers.

In addition to these four main manufacturers there are many more private labeled stamp pads, and most likely other manufacturers that I have missed. Some, but not all, include: Stampin' Up!, PaperTrey Ink, Impress, A Muse, and Hero Arts . These stamp pads are typically manufactured by one of the "big name" companies (please note that I said typically - I do not know where all stamp pads are manufactured and so this has a huge disclaimer on it). These companies most often are producing colors of ink pads to coordinate with a specific line of products they carry or manufacture. I believe that most of these companies will have resources available to teach you about their individual line of products. Since it is my goal with this article to primarily teach you about the inks that I have selected to carry in our store I will not be referencing these companies in this article. That is not to say that these are not good products. I am certain that many of these products are of similar quality.

As a beginner stamper the first stamp pads I fell in love with were the Adirondack Dye Ink Pads. One of the very first techniques I learned from a friend and fellow stamper/teacher, was to use dye ink on glossy cardstock. The vibrancy of the colors was addictive!

It has taken quite a lot of time, and expense (you should see all the different ink pads I own - LOL!), to explore the many varieties of stamp pads on the market. At first I found it quite confusing. It is this confusion that I hope I can help many beginner stampers, and perhaps even some of the more advanced stampers, dispel with today.

Again, please be advised that the information to follow is my own personal perspective.

RUBBER STAMPING INK TYPES

Let's start with the different varieties of ink types.

Most common variety of ink pads:

• Dye
• Pigment

Other varieties include:

• Hybrid
• Solvent
• Resist, Watermarking and Embossing
• Glue
• Tattoo
• Bleaching

Dye Inks:

• dye ink is thinner in consistency than pigment ink and will typically dry more quickly
• it can be permanent, non-permanent, or permanent only after heat activation - be certain to read individual labels for this information
• ink is more "transparent" in nature
• typically this pad consists of a cloth covered felt pad with a surface raised above the edge of the ink pad container - this characteristic makes it more user friendly when applying the ink pad directly to the paper (DTP)
• some dye inks, specifically chalk inks, are made of a foam pad with a high density "skin" on top of it - foam pad varieties need to be inked more frequently and are easier to over-ink (see below for more information regarding chalk ink)
• some recommend storing dye ink pads upside down - this is to keep the ink at the top of the pad. I prefer to store mine right side up and purchase a reinker when I purchase a new pad. A properly inked pad is one of the most useful tools you own.
• dye ink pads come in a large variety of colors
• products that fit within this category:
  • Adirondack Dye Ink Pads, Ranger
  • Ancient Page, Clearsnap/Color Box
  • Archival Ink Pads, Ranger
  • Distress Ink Pads, Ranger
  • Kaleidacolor Dye Ink Pads, Tsukineko
  • Memento Ink Pads, Tsukineko
  • Memories Acid Free Dye Ink Pads, Stewart Superior
  • Vivid, Clearsnap/Color Box
• chalk inks:
  •  a variety of dye ink pad, but due to the extensive differences I felt that they deserved their own heading
  • provide opaque ink coverage
  • muted chalky look with whitish residue or "chalky look" visible in reinkers
  • my personal preference for use with polymer stamps (because we do not carry a large variety of polymer stamps in our store, we do not currently carry this type of ink pad)
  • dye ink typically in a skin-foam ink pad
  • products that fit within this category:
    • Antiquities, Ranger
    • Fluid Chalk Ink Pads, Clearsnap/Color Box
    • Fresco, Stampa Rosa
    • Memories Chalk Inks, Stewart Superior
    • VersaMagic, Tsukineko

Pigment Inks:

• thick and slow drying on paper
• more opaque then dye inks
• most suitable for embossing techniques (embossing powders)
• may not dry on non-porous surfaces such as plastic or metal
• may contain glycerin - this ingredient provides increased dry time
• typically acid-free
• more fade resistant than dye inks and therefore perhaps more useful in scrapbooks
• best for stamping on absorbent papers where sharp detail is needed
• some pigment inks can be heat set for permanence on plastic, vellum or fabric
• Brilliance inks dry naturally on smooth surfaces such as vellum and/or coated papers, but it can take time
• pigment pads are typically foam style pads - ink soaks in to the pad, yet ink is available when ready to stamp
• pigment pads need to be reinked much more regularly than standard dye ink pads
• due to their "squishy" nature be certain to use a light hand, do not push your stamp in to this variety of ink pad but lightly press ink it on the surface of the foam pad. If you overink your stamp you will end up with a "messy" stamped image. You will need to completely clean your rubber stamp before inking it again.
• products that fit within this category:
  • Adirondack Pigment Ink Pads, Ranger
  • Brilliance Fast Drying Pigment Ink Pads, Tsukineko
  • Color Box Crafters, Clearsnap/Color Box
  • Encore Metallic Pigment Ink Pads, Tsukineko
  • VersaColor Pigment Ink Pads, Tsukineko
  • VersaCraft Ink Pads, Tsukineko (previously known as Fabrico - designed for stamping on fabric, wood, leather, shrink plastic, polymer clay, porcelain)
  • VersaFine Ink Pads, Tsukineko - this natural oil-based pigment ink dries instantly on matte cardstock, providing incredibly fine detail. Advised that no reinkers is needed for this stamp pad because it lasts 3-4 times longer than regular inks, but coming out with reinkers for most used colors shortly, if not already. I believe I will start carrying these shortly after this study Ü
  • Pigment Petal Points, Clearsnap/Color Box

Hybrid Inks - Palette by Stewart Superior:

• combination of dye and pigment ink (does not contain solvents)
• works on most surfaces including glass, plastic, acetate, metal, fabric and more
• does not smell bad and is nonflammable
• dries instantly on paper and porous surfaces; can require heat setting on glossy surfaces and fabrics
• dries too quickly to be a good embossing ink in most regions of the U.S.
• raised pad surface
• fast drying
• waterproof

Solvent Inks:

• Solvent based inks need a special cleaner and typically have an "odor" to them (example - Staz-On)
• Opaque and dries on smooth surfaces such as glass, dominos, metal and acetate
• most common variety available - Staz-On

Resist, Watermark, and Embossing Inks:

• resist ink is designed to resist dye based ink when stamped on glossy or coated papers - will not provide resist effect on standard card stock
• watermark ink is designed to leave a "watermark" or tone-on-tone effect on standard card stock
• the sticky nature of watermark inks allows them to be used as embossing powders or to attract pigment powders
• products that fit within this category:
  • Clear Resist, Ranger
  • Embossing Ink, Ranger
  • Perfect Medium, Ranger
  • VersaMark and VersaMark Dazzle, Tsukineko

Specialty Ink Pads:

• Glue Pads:
  •  Most common varieties available:
    • Essential Glue Pad, Tsukineko
    • Palette Stamp and Stick Glue Pad, Stewart Superior
• Tattoo Ink Stamp Pads:
  •  Most common varieties available:
    •  Stampin' Up!
• Castaway Pad by Jacquard - lightens paper similar to bleach, but supposed to be more effective than stamping with bleach. I did not have good results with this pad.

THE INKS WE CARRY AND WHY

 

For your convenience this is a quick link to our store and the entire line of ink pads we carry.

RANGER INK INDUSTRIES

• Distress Ink Pads and Reinkers:
  • The amazing versatility when it comes to using this ink pad for distress and watercolor techniques is the primary reason we carry these ink pads.
    • slow drying inks (stay wet longer) allowing you to blend, shade and emboss on photos and paper
    • works well for direct to paper (DTP) - apply the ink pad directly to paper to create an aged look
    • perfect for distressing papers and coloring photos
    • distress ink works well on all types of photos - inkjet, laser, toner copies, regular photos (both matte and glossy) and even can be used to "color" photos. Start by applying a light color using a brayer, DTP or ink blending tool. Blend colors with tool or finger, softening edges. These inks stay wet long enough for you to blend out any lines or marks that other ink pads leave on photos.
    • the fluidity of this ink allows the color to wick and spread out, traveling across the surface of your paper when spritzed with water. Other dye inks do not "travel" in the same manner. This capacity allows for creating beautiful tone on tone colors.
    • color stability - the integrity of these colors remain true after being watered down or heated, allowing for greater color control. Unlike other comparative products that may change color when water is introduced. For example brown colored dyes will typically break down when water is added, leaving behind pink or green hues on your paper. Distress inks will not do this.
    • these inks work beautifully for watercolor techniques - apply ink directly to stamp, spritz with water and stamp or apply by using a droplet of ink and a watercolor brush.
    • to distress papers apply ink directly to paper, spritz with water, crumple and tear. Heat to dry for greater color/tone control and contrast.
    • to create a charcoal sketch effect stamp image inked with Black Soot, then lightly spritz with water.
    • put a few drops of distress ink or apply an ink pad direct to a Teflon sheet. Spritz with water and then pull cardstock through mixture; swirling, pulling, drying and then applying a new layer will provide many unique looks.
• Adirondack Dye Ink Pads and Reinkers
  • The primary reason we carry this ink pad is for its clean lines when used with Copic Markers, coupled together with a fast drying time. This was the first ink that I discovered that I was pleased with the results when used together with Copic Markers. We began with only two colors - Pitch Black and Espresso, but have since added more colors to our store to complete the line for those who love this ink variety as much as I do. I have yet to test these colors with the Copic Markers and so you will need to stay tuned for that experiment.
    • non-toxic, fast drying ink
    • large color variety:
      • lights - great for shadow stamping or tone-on-tone stamping
      • brights - vibrant colors
      • earthtones - luscious colors, some of my first favorites!
    • Pitch Black and Espresso do not bleed when stamped on Neenah cardstock and allowed approximately a minute to dry before coloring with Copic Markers
• Adirondack Pigment Ink Pads
  • In looking for a white pigment ink that had full opaque coverage when stamping on colored cardstock I was very impressed with the look established with the use of the Adirondack Pigment Snow Cap Ink Pad. We have since added the full line of pigment pads to give our customers more pigment options.
    • acid free, non-toxic, archival
    • rich, opaque ink
    • air dries on matte papers
    • embossable
    • heat set on gloss paper, vellum, mica, shrink plastic, metal and glass
    • be certain to replace the liner before replacing lid for added protection against drying out
• Archival Ink Pad and Reinker
  • This ink pad is a definite "go to" when it comes to black ink due to its versatility in use on many surfaces. As well, it is useful for numerous specialty techniques.
    • acid-free, permanent, dye ink
    • oil-based making it a perfect ink for stamping over alcohol-ink applications (please note that I said stamping OVER - this ink is not recommended for stamping images and then coloring these images in with alcohol based markers)
    • great for using with watercolors and/or water based markers, due to being waterproof
    • great for resist methods on coated paper
    • does not deteriorate paper or precious photos
    • does not bleed when painted or brayered over with watercolors, colored pencils, water-based inks and markers, or pearl pigments
    • acts as a "resist" when stamped on surfaces that are not porous such as glass. Archival Ink seems to literally "eat" the alcohol ink when alcohol ink is applies to glass, allowed to dry and then stamped with an image inked in Archival Ink - watch for more to come on this technique.
• Perfect Medium Ink Pads, Markers and Reinkers
  • This ink pad was specially developed to work with Perfect Pearls Pigments and when used in conjunction with these powders gives superior results to other pad varieties. Who can resist the beautiful "glimmery mist" you can create using these powders? I can never just have one use for a product though and wanted to be able to maximize the use of the Perfect Pearls by having an ink pad that would work in conjunction with these beauties.
    • great for resist, embossing or watermark effects
    • wonderful for shadow stamping and subtle background work when combined with Perfect Pearls

STEWART SUPERIOR INK PRODUCTS

• Palette Hybrid Ink Pads
  • This is my go-to ink for stamping on "unusual" surfaces. I also use it frequently when I watercolor.
    • waterproof
    • use on any surface - glass, metal, fabric, wood and more
    • acid free, archival and non-fading

TSUKINEKO INK PRODUCTS

• Memento Ink Pads
  • the primary reason we carry this ink pad is for its clean lines when used with Copic Markers, coupled together with its fast drying time.
    • fast drying dye based ink
    • fade resistant
    • delivers fine impressions and even coverage 
• Essential Glue Pad
  •  this glue pad has provided superior adhesion to any other brands I have tried
    • adhesive in an ink pad
    • allows you to stamp an image and cover it in glitter, chalk, pigment powders, foil or flocking
• Brilliance Pigment Ink Pads
  • the primary reason we carry this ink pad is because we wanted to offer a pigment ink that would work with Copic Markers for customers who want to work with Copic Markers on a more porous paper.
    • non-toxic, archival and acid free
    • fast drying pigment ink
    • pigment ink that dries naturally on vellum and glossy paper (no heat setting required - just time)
    • vibrant, rich color
    • great for stamping on vellum, shrink plastic, gloss paper, polymer clay, acetate, leather and mica
    • not great on metal
• VersaMark Ink Pads, VersaMarkers and VersaMark Dazzle Ink Pads and Reinkers
  • my first love in watermark effects, coupled together with the sparkle that is now available makes it irresistable.
    • watermark - beautiful tone-on-tone effect on cardstock that is colored all the way through
    • emboss - long dry time allows for ease in use with embossing powders
    • resists ink on glossy or coated papers
    • heat set for stronger resist effect and quicker dry times
    • Dazzle - use as a shimmery watermark or heat set on glossy paper and brayer over with dye ink for a beautiful shimmer resist. I have found that it is necessary to reink this pad frequently for best results.

CLEANING RUBBER STAMPS

Now that you are all inky what is the best way to get your rubber stamps clean? For me the exploration for cleaning tools ended when I discovered Stewart Superior Inks Ultra Clean. It is like magic in a bottle! I can't even begin to remember when I first posted about this product and I am happy to say that my opinion has NOT changed. This was one of my children's favorite stamps before UltraClean and then after. Pictures truly are worth a thousand words.

So simply said there are two products I use to clean my stamps in addition to water and they are:

• UltraClean by Stewart Superior
• Rubit-Scrubit Pad

AS A BEGINNING STAMPER WHAT DO I NEED?

• start with a multi-purpose black ink pad:
  • if using alcohol ink markers begin with either a Memento Tuxedo Black Ink Pad or an Adirondack Dye Pitch Black Ink Pad  
• • if wanting to watercolor begin with either a Palette Noir Ink Pad or an Archival Jet Black Ink Pad
• next I would purchase a watermark, resist, embossing pad such as VersaMark or Perfect Medium
• then I would begin to add colors, and add more colors, and then even more colors - LOL! Yes, I need to take pictures of my ink pads and how I store them, but that is a complete topic in and of itself Ü

INK IN A NUTSHELL - THE CHARTS

Download INK COMPARISON CHART_DYE, PIGMENT, HYBRID

Download INK COMPARISON CHART_WATERMARK, EMBOSSING, RESIST, OTHER

The ink pad market is constantly advancing as new products are being discovered and so what might be "the word" one day, can instantly change when a new product arrives on the market. Manufacturers are continually striving to produce products that are new and improved. Sometimes it is an old product that gets manufactured with a new look or new packaging; other times it is new technology that has been discovered. This doesn't necessarily make one product better than the next - it only makes it different or perhaps improved.

Much time goes in to learning and teaching, and I am so very grateful to you for your support of our little store, it is your support that brings you the projects created by our designers and myself - for that I THANK YOU! I hope that this information will be useful to you as you work with the products that you have purchased from us. Now go and get inky ladies!!! Give one of the techniques a try - it is WAAAAY FUN!

Pink Tulip: Watercoloring with Ink by Debbie Olson

I have to admit that when it comes to coloring, I habitually reach for my Copic markers! Occasionally we all need to shake it up a bit and use something different. Since this month's focus is ink, I chose to watercolor a stamped Tulip image with Adirondack ink refills.

The inks that I generally use when I am stamping an image that I plan to watercolor are Palette inks or Brilliance. If I use Brilliance, I heat-set it before painting, especially if I am using it on a really absorbent paper such as Arturo paper.

For this piece, I stamped my image on an Arturo Soft White Single with Palette Noir ink. I then put just a drop of reinker from the Meadow, Watermelon, and Lemonade inks on a scrap piece of acetate and use a medium and a small waterbrush to paint my image. Water-based reinkers are very simple to watercolor with. Keep in mind that they are concentrated, so a little goes a long way.

Helpful hints:(1) If I'm coloring an image that has a deep color (such as a dark pink or deep red) on the perimeter, I normally float my background color in first. That way I don't have to be so careful around the edges to avoid making my deep color bloom out into my pale background. (2) Before you color an image, decide upon your light source. It doesn't really matter where that theoretical light is coming from, as long as you are consistent with it. (3) Shadow areas tend to be not only darker in value, but also a bit cooler in temperature than well-lit areas. (4) Always THINK before you paint. For example, in the tulip, one petal overlaps another. The top petal will be lighter in value than the one that wraps underneath it. Also, look for lines that indicated crevices or humps and render then accordingly. A couple of minutes of thinking time will save you time trying to correct your mistakes afterward!

The background of this card is stamped in Adirondack Watermelon ink using a Tulle Damask Scrapblock. I then used some Long Rectangle Nestabilities to cut and emboss both my image and top mat layer.

Thank you for visiting the In Touch blog today!

Distress Inks and Archival Inks by Cindy Lyles

Tim Holtz created the Distress line of ink pads and re-inkers with Ranger Industries.  Ranger's home and manufacturing offices are located in Tinton Falls, New Jersey.  Distress Inks consist of twenty-four colors, are acid-free, fade resistant, water-based dye inks, and are made in the USA.

Distress inks are the ideal perfection of a product made specifically for creating vintage effects, a natural weathered look, and/or aged effects with paper, fibers, photos and other media. 

Distress inks were formulated to maintain their color and tonal value when they come in contact with water.  They are a dye ink, but do not dry immediately, and blend beautifully as a result of their longer dry time.  Dry time is about 15-20 seconds give or take; longer in moist climates and shorter in dry ones.

Archival Inks are also made by Ranger.  Ranger's Archival line are oil-based, dye ink pads, acid-free, waterproof, fade resistant and non-bleeding.  Safe for paper and photos, and an ideal ink when paired with Distress inks, as this ink refuses to bleed and dries almost immediately. 

Today I'd like to cover three very basic techniques (techniques developed by and courtesy of Tim Holtz) that demonstrate the incredible effects you can easily achieve with Distress ink pads:  Wrinkle Free, Nostalgic Batik and Wrinkled.

Wrinkle Free

Wrinkle Free is an easy technique for creating a quick custom background.  For this technique, begin by smearing a few Distress pads onto a non-stick craft sheet.  Ranger's craft sheets are glass-infused mats - a thin, wonderful work surface, non-absorbent, and I have yet to find an adhesive or product that sticks to them.  The inks sit obediently on the surface of the mat, tempting you with ideas...

Mist the swipes of ink well with water from a Mini Mister, then drop a piece of white cardstock into the wet ink (size of cardstock used:  3" x 5" - this size is used throughout all three techniques covered in this post).  Lift cardstock and heat set with a heat tool.  Repeat dipping and heat setting, until desired look is achieved.

You can begin by stamping on the altered cardstock, or, alter it a bit further with a mask (Ellen carries an enormous selection of fabulous masks in the store).  For this sample, I applied the mask, then sponged Peeled Paint Distress ink using an Ink Blending Tool.  Wipe mask clean then remove.

Stamp Mona Lisa Motivational Centers with Jet Black Archival ink, and add Memory Box Brandywine Flourish randomly using Peeled Paint Distress ink.

Altered, masked and stamped cardstock was simply matted and added to a Lagoon card base.  Matching Lagoon envelope was stamped using Jet Black Archival ink.

Nostalgic Batik
 

For Nostalgic Batik, start with clear embossing powder, a few Distress inks, white cardstock and a stamp (Memory Box Bird Branch used).

Stamp image using any Distress ink.  Since Distress ink has a slower dry time than traditional dye-based inks, you can emboss with any Distress ink.  Sprinkle clear embossing powder over image and heat set.

Begin blending cardstock using a variety of Distress inks and an Ink Blending Tool.  The Ink Blending Tool contains a piece of Cut 'n Dry Foam, also manufactured by Ranger.  A Cut 'n Dry Foam piece looks similar to a makeup applicator sponge; however, it is a closed cell foam, and will not fully absorb the stamp pad ink.  This will conserve your stamp pad ink and allow you to blend colors beautifully.

 

Scattered Straw Distress ink provides an overall warmth to the piece.  Scattered Straw could easily be described as my 'secret weapon' when an aura of warmth is needed.  Once all colors have been blended and you've achieved the desired look, wipe the embossed, stamped image with a clean, dry cloth or dry paper towel.

 

Next, remove the clear embossing powder by placing a clean piece of newsprint over the stamped/embossed image, and ironing with a craft iron.  This process simply re-melts the clear embossing powder and the newsprint absorbs it, removing it neatly from your project.

 

Memory Box 'Just a Note' sentiment and Paprika envelope were stamped using Jet Black Archival ink; Bird Branch image was quickly matted with Licorice cardstock and a Paprika cardbase partially covered using Graphic 45's Shutter Speed.

Wrinkled

The incredible popularity of distressing everything from paper to clothing to furniture has continued to thrive.  It is incredibly satisfying and enjoyable to take a perfectly pristine piece of cardstock and alter it beyond recognition into a gorgeous aged art piece.

To begin, break the tension in the cardstock by pushing on the center of the cardstock scrap with your thumbs, then continue to crumple the cardstock gently into a ball.  If you simply ball the cardstock up without first breaking the tension at the center of the paper you run the risk of tearing the cardstock.

Flatten the crumpled cardstock with your fingers, then swipe a Distress pad over the entire paper surface.  Hold the open ink pad in your hand and repeatedly sweep over the crumpled cardstock surface.  Vintage Photo Distress used here.  This is called DTP, or Direct to Paper technique.

 

Using a Mini Mister, spritz inked cardstock generously with water and watch the ink flow and bleed across the paper surface.

Use a hot craft iron (working over a non-stick craft sheet or towel) or a heat tool, and heat set the water and ink, and iron the cardstock dry and flat.

 

Repeat the process using other inks if desired.  To warm up the tones in the wrinkled cardstock I opted to use Scattered Straw and Antique Linen.

To create a unique card embellishment, use Graphic 45 Postage paper and punch a mini Library Pocket, score the punch, then form a nifty little pocket.  Next, let's make something to attach this miniature pocket to:

 

The small tags above display the progression of Distress ink application, and how beautifully the Distress inks blend and create to an aged, vintage look.

 

Finished card with Wrinkled cardstock and miniature pocket above.  Memory Box Tiny Packages interior sentiment is from Memory Box; found vintage dictionary sheet snippet and pieces of Graphic 45 Shutter Speed cardstock.  Card base with matching envelope is Cranberry.

 

Cranberry envelope and message insert above:  the gorgeous Cappa Flourish stamp is from Memory Box.

Best Inks To Use With Copic Markers by Sharon Harnist

Since Copic markers are an alcohol-based dye ink, they require a certain type of ink to be compatible when coloring rubber stamped images.  For instance, Tsukineko's Staz-On ink is usually permanent on just about any surface but the alcohol in Copics react to the solvent in Staz-On and basically reactivate the dried Staz-On and will smear an image stamped with it: 

The scribble of pink under the marker tip is the color the marker is supposed to be.  See how the marker reacts with the Staz-On stamped sleeves and smears them?

Following are a few different ink options that work well with Copics.

Note: For these tests, I used Neenah Classic Solar White 80 lb. cardstock and Lockhart Stamp Company's Vintage Apron stamp.

My all-time favorite ink to use with Copics is Tsukineko's dye-based Memento Tuxedo Black ink pad.  It stamps crisp, clean and clear, dries very quickly and a stamped image can be colored immediately after stamping, with no smearing:

 

Above are examples of coloring a Memento stamped image (upper left) immediately after stamping, (upper right) 30 seconds after stamping, and (bottom) one minute after stamping. 

Below are the results of using Copic's Colorless Blender, repeatedly rubbing over the stamped lines of the apron's neckstrings (right where the marker tip is pointing):

The Blender was rubbed repeated over the black stamped lines and never smeared. This ink performed excellent on all the tests.

Next is Ranger's Adirondack Pitch Black dye-based ink pad.  It also stamps crisp, clean and clear but generally needs just a little bit longer to dry well on its own.

The same coloring tests were performed -- immediately after stamping, 30 seconds after stamping, and one minute after stamping:

 

My apologies for the blurriness at the top of the photo, but hopefully if you click on the photo for a closer look, you'll see a little smearing on the top left sleeve (immediately after stamping).  But as the ink dried on its own, you'll see it performed well under normal coloring circumstances.

But the Blender marker test left a little smearing of the stamped neckstrings (click for a closer view):

 

Keep in mind, the Blender marker was rubbed repeatedly over the stamped lines, so under normal coloring circumstances, you probably wouldn't experience this problem.

I also tried heat setting the Adirondack ink for 30 seconds and then waited for 10-15 minutes before coloring the stamped image, with improved coloring results:

 

Bleeding with the Blender test was also improved:

Lastly, I tested Tsukineko's Brilliance Graphite Black pigment ink pad.  This is the ink I used to use all the time with my Copics, before Tsukineko came out with their Memento line of ink.  Because it is pigment-based, you will need to let this ink dry thoroughly before coloring it, or quickly heat set it.  In my test, I let the stamped image air dry for about an hour, with these results:

 

Same crisp, clear and clean stamped image and no bleeding of the stamped lines when Copic marker was applied over the ink.  Remember, I colored outside of the lines on the left sleeve for testing purposes below (wink)!

This ink also performed excellently, even after repeated rubbing with the Blender marker to remove the pink marker on the neckstring.

I hope that gives you some ink options to keep in mind when coloring with your Copics!  Below is a little eye candy I made with one of these stamped Lockhart Vintage Aprons, combining it with the more masculine/less frilly Apron:

 

Invitation Supplies:

• Lockhart Apron & Vintage Apron
• Memento Tuxedo Black ink
• Copic markers RV34, RV17, YG03, YG17, E47
• Basic Grey Sultry papers
• Memory Box Currant notecard
• Martha Stewart Zig Zag Edger Punch

• Computer generated wording

Graphic 45 Soldered Basket Charm by Debbie Olson

The tag sheets from the Graphic 45 paper line make fabulous fuss-free artwork for soldered charms. Today I have a triple-layer soldered basket charm to share with you.

I began with three pieces of 1-1/2" square Memory Glass and the Botanicabella Tag Sheet, and from there narrowed down which images I wanted to use in my charm. I took the three tags below, and cut out two butterflies as well.

 

Next, I placed my glass on top of the paper and penciled in a cutting line. Be sure to cut slightly inside your pencil line, because you do not want paper to be sticking out from between the layers of glass.

Here are my layers. First the back of my charm: I put just a tiny dot of adhesive to hold the butterfly in place. I don't want him slipping around under glass while I am attempting to tape my glass sandwich. Next, the front, except for the butterfly, which will have it's own layer to add a bit of dimension. (A simpler way would be to use only two layers of glass, but use a gray Copic marker to add a shadow for your butterfly, creating the illusion of depth without the extra layer of glass.)

This is my stacked glass sandwich, ready to be taped with copper foil tape. It is imperative at this stage that you clean your glass well. You do not want to discover fingerprints inside your charm after you finish soldering--trust me on this one!

 

Shown above is my taped glass piece. I normally start and end my tape on the bottom of the piece, overlapping by 1/4" or a bit less. If you have too little overlap, your tape can pull apart and show a raw edge; too much, and your tape may pull off of itself when hot solder is applied. After you have your edges taped neatly, burnish all surfaces to make sure that the tape is in good contact with the glass. Too little burnishing, and you may end up with liquid flux in between your glass and paper layers. (Don't ask me how I know this!) Stained glass artists have a special tool called a fid for burnishing tape to glass, but a Teflon or bone folder works also.

 

Before you heat up your soldering iron, make sure that you are working on an uncluttered and protected surface. Ellen carries a nice heat-resistant mat which I'm planning to order. Right now I'm using my oldest cutting mat topped with a terra cotta tile fragment. As you can see from the surface of my tile, it is entirely possible to make a mess while soldering; that's why you need to protect your work surface! Make sure that your sponge in your soldering iron holder is wet. You will want to clean the tip of the iron frequently as you work. I normally use a jeweler's extra hands to hold my piece as I work on it. For under $12, it really simplifies the process. (I will show a picture a little later on of the alternative set-up.)

 

In the picture above, I am tinning my piece; as you can see, the solder does not necessarily look nice at this stage. My goal here is simply to cover the foil tape with a thin layer of solder. If your solder is not sticking well or if it will not spread nicely, you probably need to add more flux.

 

For me, the trickiest part of soldering is attaching the jump ring at the top when I am finished. I told you that I would show you an alternative setup if you do not use the jeweler's extra hands. Here you see it: two clamps on either side. The rounded brad part needs to face up on both clamps so that your piece does not rock while you work. Also, be sure that the clamps stay on the edge of the piece and NOT in toward the center of the glass. Pressure on thin glass is a sure way to get a crack and have to begin again. (Another one of those things that I've learned by experience. . . Are you seeing a pattern here?) Honestly, despite the little mistakes that we all make and learn from, I love working with glass. There's something about the relative permanency of a glass piece that is very satisfying! Please note: that copper-looking highlight on the top left of my piece is just a reflection of my hand in the solder; it is not a piece of bare copper tape.

My ring is now secured with solder. The easiest way to do this, in my opinion, is to try to add just a touch of extra solder where you intend to place your jump ring. Then when your jump ring is placed where you want it, touch the tip of your soldering iron to that dollop or to the base of the ring, and push down slightly. Remember that it is simple to re-heat and remove if you get it in the wrong place on your first try.

Here I have attached a jump ring to the bottom of my piece so that I can add some little findings--beads and a metal leaf.

 

Here is my finished piece after being cleaned up and having its solder polished. I added a decorative scroll piece to the top, but the jump ring is still there to provide a hanger.  The findings at the bottom are pieces that I have picked up over the years to add to cards. While they are not necessary, they add a fun, dressy element.

If you've ever desired to try your hand at soldering, go for it!  At this size, you can't have much go wrong that can't fairly easily be corrected. Remember the piece that I clamped too far in from the edge? I simply peeled the tinned copper tape off, re-cleaned the unbroken glass and replaced the cracked piece, re-taped, and soldered it again. A jump ring that's soldered off-center? Melt it off and try again. A little nub in your solder? Use a file to file it away, and then polish it. Have fun!

Flower Soft by Susan Roberts

This month's In Touch featured product is Flower Soft.  I love this wonderfully fun and easy to use medium which instantly adds dimension and interest to your work.  I have created 3 cards with it, and I'm so excited to share them with you!

On my first card this darling Lockhart Itty Bitty Umbrella, which is Ellen's stamp of the month for March, was colored with Copic markers.

It was then cut out and adhered to an Inchie.

The Inchie was first covered with a piece of Graphic 45 Botanicabella "Secret Garden" designer paper.  The edges of the Inchie were colored with a Copic marker (YG03).  A small dot of "Sunshine Yellow" Flower Soft was added on the point of the umbrella.  (Well what better color of Flower Soft could make that "rain rain go away"!?!)  The Flower Soft was colored with a Copic marker (Y17) to match the umbrella.

The Flower Soft frame was made using double sided tape.

 

A small amount of Flower Soft goes a LONG way!!  It comes tightly compacted in its jar.  To use it, empty a small amount into a bowl or container and lightly fluff to loosen and separate it.  To apply simply press the tape side of the card stock onto the Flower Soft.  The Flower Soft on this frame is a mixture of  "Baby Blue" and "Spring".  The jar of Spring Flower Soft shown here is from the Flower Soft Box Set "Pretty Pots Starter Kit".

After the tape was covered, I trimmed the excess card stock from around the outside of the frame.

The sentiment was placed on a panel of Graphic 45 Fashionista "Perfumeries" designer paper which was adhered to the Flower Soft frame.

Art Flowers and a button were added to finish the card.

I was so happy to be able to take Ellen's idea for a feathery FLOWERy SOFT rooster and create this next card using the Lockhart Rooster.  Just look at the fancy Flower Soft tail he is strutting! 

To make the tail feathers, I took a couple of the Flower Soft Wires and cut them into four sections.  (These wires can be purchased in a separate package but are also included in the Flower Soft Box Set "Pretty Pots Starter Kit".)  I colored the wires with Copic markers to match the colors of Flower Soft I was planning on using.

Next the Flower Soft Glue (included in the "Pretty Pots Starter Kit" and also available for separate purchase) was applied liberally to the wires, and the Flower Soft was sprinkled on until the desired amount was achieved.  Flower Soft colors used were "Poppy Red", "Baby Pink" and "Sunshine Yellow".  The wires were then placed in a sponge (also included in the "Pretty Pots Starter Kit") to dry.  The glue dries clear and takes about 30 minutes.

 

Just as I had done with the dot of Flower Soft on the umbrella card above, I used a Copic marker (Y19) to color the yellow Flower Soft on the wire so it would more closely match the color on the rooster.

The wires were attached by poking them through the card stock at the base of the rooster tail and then bending them flat and securing them with tape on the back.

I dotted small amounts of glue at the base of the rooster tail and other areas.  Next I applied "Poppy Red" Flower Soft to hide the ends of the wires and gaps where the rooster image was showing behind the tail feathers.

Other products used on this card include Graphic 45 Botanicabella "Secret Garden" and Fashionista "Perfumeries" designer papers.  Art Flowers and an Accent Pearl were also used.  The sentiment "Springtime Greetings" is by Memory Box.  Copic markers were used to color the rooster and Flower Soft.

 

On my third card only a very small amount of Flower Soft is used, but I think it is so fun on these ladies as they model their vintage spring fashion.  Aren't they swell!?!

No stamps were used on this card.  Instead the Flower Soft Glue was applied directly to the Graphic 45 Fashionista "En Vogue" designer paper cut outs.

The ribbon is a 5/8" Twill.  The red striped paper is Graphic 45 Fashionista "Buttons A La Mode".  Even the sentiment is taken from the Fashionista Collection designer paper.  All 3 cards use Memory Box card stock.  Neenah Solar White card stock is also used on cards 1 and 2.  

Hope you decide to give Flower Soft a try!  Happy crafting!!

Craft-a-Board Uses and Techniques by Sharon Harnist

 

Today I'll be showing you a few different uses for Ellen Hutson's Craft-a-Board (CAB).  It's a wonderfully diverse soft white material (similar to chipboard) that is sturdy enough to use as a base for a photo album, making your own delicate paper flowers, or creating a piece of artwork.

For this project, I chose different sizes and shapes of Nestabilities dies to create the graduated pages for a mini album about all the beautiful flowers we saw on our trip to Disney last year.  I began by die cutting Craft-a-Board, coordinating Basic Grey Infuse papers, and my photos.

 

Yes, your low-profile chemically-etched dies (such as Spellbinders) in larger, less-intricate, simpler shapes, will usually cut through most layers of the CAB just fine.  You may have to make more than one pass through your die cutting machine and/or shim a little bit, in order to get a good clean cut.  You also may have to finish cutting a few areas by snipping them with your scissors, but for this album, I only had to do that in just a few spots.

 

For the back cover of the album, I stamped Picotage Print backgrounder with Memento Rich Cocoa ink directly onto the CAB and colored it with these Copic markers:

 

The CAB takes the ink and markers beautifully, without any bleeding!  You also get great results with shading and using the Copic Colorless Blender to remove color.

Next, I started assembling the album using a liquid glue to adhere the papers and photos to the CAB.  Everything I've tried adheres beautifully to the CAB -- no problems with anything peeling away from it.

 

Quite by accident, I discovered CAB will split into layers when you want it to.  Simply bend back a corner and it will usually split into even layers:

 

If you don't get even layers (about 2 layers on each half), simply fan the corner a little with your fingernail and you should be able to see more layers and be able to divide it evenly:

 

It usually peels apart very evenly and has a wonderful texture on the inside, similar to hand-made paper!  The fewer layers of CAB cut very easily with the lower profile dies -- no problems whatsoever, and it embosses beautifully:

For the flower on the front cover of my album, I used Spellbinders Flower Creations die to cut the flower pieces and then just enhanced the natural color with a little Ranger Antique Linen Distress ink and a sponge dauber:

 

The flower center was colored directly with Copic G40.  The green flower petals were airbrushed with Copic's Airbrush System and Copic YG63 Sketch marker (using the broad tip gives a more even coverage) and then speckled (by using the brush tip) with YG95:

 

As you can see, the CAB also takes airbrushing beautifully.  Imagine all the custom colors of flowers you can now create, to match your projects perfectly! 

Here are the inside pages of the album . . . pages 2 and 3:

 

(Above photo) - The largest die of the Large set of Scalloped Rectangle Nestabilities was used to create the front cover and also used to cut the page 2 photo (left).  The largest die of the Small set of Scalloped Circle Nestabilities was used to cut page 3 (right) and a smaller die in the small set was used to cut the photo.

 

In the close-up view of page 3 above, you can see the shapes of the pages a little better.  On the interior Circle and Labels One pages, I trimmed the bound side straight so the album pages would open better.  My Crop-O-Dile easily punched holes through two pages at once so I could tie ribbon through them, to bind the album.

 

The amethyst flower on page 4 (left, next to the word "Poppies") is also CAB cut with the Flower Creations die and airbrushed with Copic V17, V06 and custom lighter Y21.  Page 5 (right) has a rose flower airbrushed with Copic R85, with Island Blossom Dew Drops used for the center and as accents on the "Pansies" title.  Spellbinders Labels One die was used to cut this page and the photo.  Here's a single view of this page, so you can see the nice shape of it:

 

You can also see how I trimmed this page straight on the left side.  Notice the edges of the previous pages on the left side of the photo -- you can see what a nice base the CAB makes for an album!  You can also see the lovely dimension the CAB flowers have, too.

 

Page 6 (left) is just my silly girls posing in a floral photo board with cut-outs for their heads!  Page 7 (right) has a strip of patterned paper on the right edge, just so the album would maintain a consistent look when it's viewed closed.  The largest of the Large set of Scalloped Square Nestabilities was used for this back page. 

And here's how that back cover, stamped and colored, turned out.  The soft white color of the CAB maintains Copic's vibrant, rich colors:

 

This holiday framed artwork that was featured in the December newsletter, also used CAB:

 

I embossed the original thickness of CAB with the Holly Cuttlebug embossing folder and then used Copic markers to color directly and airbrush the yellow background.  The Festive Stocking is a Spellbinders die that also cut and embossed CAB very well:

 

I hope this gives you just a few ideas on uses for this fabulous product . . . we can't wait to see what you create with it!

Claudine Hellmuth Studio Paints, by Cindy Lyles

 

Claudine Hellmuth and Ranger Industries introduced a collection of 15 highly pigmented, ultra creamy, artist quality acrylic paints this past summer at CHA called Studio Paints. 

For these projects, I have simply used water to blend the paints, using them as an exciting color embellishment to what were otherwise very plain backgrounds.

Studio Paints can also be combined easily together to create multitudes of new colors without becoming muddy - please use this link for a pdf file showing how to use the 15 colors to create 51 new colors!

The first project is an embossed birthday card - using a piece of Claudine Hellmuth's Sticky Back Canvas.

Sky Blue paint was brushed directly on the canvas, then watered down and 'faded' toward the middle using water - blending directly on the canvas.  Claudine also has a line of inexpensive yet quality assorted brushes that will endure quite a bit of abuse.

This was repeated with Landscape Green paint.  Water was used to blend the two colors together at the middle. The Sticky Back Canvas remains very sticky, even with a large volume of water applied to the surface.

Once the canvas was dry (I used a heat gun to speed the process) I ran the canvas through a Cuttlebug machine using an embossing folder.

For the finished card, an Antique Linen Distress pad was applied to the embossed canvas using the direct to paper technique (hold pad in hand and swipe the surface).  'Celebrate' sentiment is from Mona Lisa Birthday Centers set (flower:  Prima).

The second project is a sympathy card using a recycled dictionary sheet.

To give the dictionary sheet strength, I adhered it to a sheet of solar white cardstock using Matte Accents and worked out the air bubbles. 

A branch with florals from Kim Hughes Silhouette Blooms I was stamped twice onto the dictionary sheet using Jet Black Archival Ink. 

Next, Yellow Pastel and Traditional Tan were mixed, and water was added to thin out the paint - I needed the dictionary definitions to be visible through the paint, like a wash, so water is very necessary. 

Positively Pink and Dab of Yellow were mixed with water, and applied in vertical streaks on the dictionary sheet.

 

Last mix was Sky Blue and Dab of Yellow - this was mixed with water, and also applied in vertical streaks to the dictionary sheet.

I allowed the streaks to dry minimally...

 

...then blotted gently with a paper towel.

The branches image stamped onto the dictionary page created an elegant, desirable look; however, the striking black was too visually predominant for a sympathy card, which I needed.  To tone down the black I applied small dots of Dab of Yellow paint directly from the container using a dull pencil point (one could use any dull point, even a toothpick with the tip snapped off, to create the dots, would work very well).

'With Sympathy' is from the same set as the branches, and the altered dictionary sheet was trimmed, then matted with Licorice cardstock.  A Memory Box Parsley card base was used, and a silk ribbon bow completes the card front.

The card interior:  the branches image, stamped in a soft celery ink, with a snippet of the altered dictionary sheet as a mantle for the verse (Verses Stamp Company).

One can also use the paint directly from the containers and blend onto cardstock: 

 

Using these paints (see photo above, left) and swiping solar white cardstock in a horizontal fashion with a brush, I blended using a small amount of water directly on the cardstock, to create the effect of the ocean.

The result:  a 5x7 scrapbook page to coordinate with a photo.

Aside from these easy and quick uses of Studio Paints, they are easy to use and control to color in images, either with a deep concentration of color or watered down and applied as a wash.  This post merely touches ever so lightly on the multitude of techniques and wonderful effects these paints can create!

COPIC Various Ink Techniques and Comparisons to Ranger Alcohol Ink, by Ellen Hutson

What is COPIC Various Ink? Various Inks are the economic and environmentally friendly "filling station" for COPIC markers. There are numerous tutorials and information shared showing how easy it is to refill a COPIC marker. Copic Marker has a fantastic demonstration on their site here - How to Refill Markers.

The Various Inks can also be custom mixed to create an infinite color range. Intermix the colors or mix them together with Colorless Blender Solution for a diluted tone value. I shared a tutorial on my blog Simple Dreams showing how to create a custom color Copic Sketch Marker some time ago. Since that time I have learned to be more precise - first measuring the amount of Colorless Blending Solution that I am using and then counting the number of drops. Document it on the bottle or on a special chart so that I can recreate that same color again.

I am completely surprised by the fact that I have not seen much of any information showcasing the amazing range of artistic possibilities that the Various Ink holds and so I want to begin to explore these and share my findings with you.

Today I want to share some not so scientific studies I have done to compare the Copic Various Ink to the Ranger Alcohol Ink. Ranger and Tim Holtz have lead the industry sharing some absolutely wonderful techniques using alcohol inks. After having used the Ranger products for a number of years it was so incredibly exciting to now have this incredible medium in a marker format (which is SO much easier to control!) and then having so many different colors of coordinating inks to refill the markers as well as available to use to create fabulous "artsy" projects!

I am so excited to share my learning curve with you today because I think that we are just going to hit on the tip of the iceburg and the discoveries that are yet to be made are just awaiting our exploration. I hope that this once again gets you thinking outside the box. How else is it that I can use my Copic products? How can I combine them with other products I might already have? What is it that I can do with my Various Ink other than just fill my markers?

COMPARING COPIC PRODUCTS TO RANGER PRODUCTS

To begin I selected Ranger's Cranberry Alcohol Ink and Copic R59 Various Ink. The colors are quite similar and I thought that they would allow you to see how these products can be used together and how they compare. I also poured some of my Copic Colorless Blender Solution into an empty Various Ink bottle. I would like to recommend that you each purchase one of these smaller containers to help you control the amount of liquid that is poured. The nozzle on the larger solution bottle does not allow you to control the number of "drops that you drip," whereas the empty Various Ink bottle is much easier to control.

 

In the upper part of the chart below I used applicators and felt as shown above. It was not until the end of my "study" that I started becoming more precise and controlled in how I compared the products. I thought it might be interesting for you to see my learning curve and what it is that I did.

 

Included in the chart above is a little legend:

• AB - Adirondack Blending Solution
• AI - Adirondack Alcohol Ink
• CB - Copic Colorless Blending Solution
• CI - Copic Various Ink

I am including this legend here just in case it is too difficult to read when on the screen. I have indicated beside the different "puddles" what products I used to create each puddle.

Using a clear plastic sheet (this is the same product that I use when creating my clear cards - I am sorry that we are currently out of stock, but I plan on remedying that shortly.) I began at the bottom of this sheet and applied the different products directly to my test sheet. With each "experiment" I worked my way up the chart.

 

This photo shows the remaining "ring" that the Adirondack Blending Solution left on my project sheet. I apologize for the horrible photo, but it was the only way that I could capture that ring to share with you. Each one of the combinations that included this solution had that small ring remaining around the edge. This leads me to believe that perhaps there is another product in their blending solution, but being this is a not so scientific comparison I don't know what it is. The solution did feel a little "heavier" than the Copic solution and yet the Copic solution seemed to dissapate into the air more slowly than than the Adirondack product. So in other words it took a slightly longer time frame for the dots using the Copic blender solution to dry.

In the second line from the bottom I dripped blending solution on the plastic and then a drop of color was added to that solution. The Adirondack Blending Solution is on the left with the Copic Blending Solution on the right. This is one of the only photos that I saw a difference in the way that the products "flowed" on the plastic.

The third row from the bottom has an AB (stands for Adirondack Blender Solution) at the front of it. This is when I began using the applicator and the felt. I wanted to see what happened when movement was more controlled. I first dripped Adirondack Blender Solution on my felt and then added Adirondack Alcohol Ink. I repeated this then using Adirondack Blender Solution and Copic Various Ink (also alcohol based ink.) As you can see my first "experiment" was not well defined.

The fourth row from the bottom has a CB (standing for Copic Colorless Blending Solution) at the front of it. I now became much more controlled in my test. I dripped about a dime size amount of Colorless Blending Solution on to the felt and then followed with a drop of alcohol ink.

The fifth row just shows the comparison of the products side by side when using Adirondack products together and Copic products together.

In these top three rows I did not see much of any difference in the movement of the products. The only difference that remained was a slight "halo" around the samples that I had used the Adirondack Blending Solution. As well the samples with this solution seemed to dry a little more quickly.

After all that - I guess you could say that I did not find much of any difference between these two product lines and so I decided to now try putting the products to use. This study would not be complete without a cost comparison though. It's a good thing I was good at math - LOL! OH VEY - turning a product that is measured in CC's (which is equivalent to teaspooons) and then translating it back into ounces almost gave me a headache :) Following are the cost comparisons using today's prices (Copic Colorless Blending Solution - $10.85/bottle and Copic Various Inks ($5.79/bottle).

Cost Comparison:

• COPIC Colorless Blending Solution - $1.54/oz vs. Adirondack Blending Solution - $2.49/oz

• COPIC Various Ink - 6.47/oz vs. Adirondack Alcohol Ink - $6.66/oz

COMPARING SKETCH MARKERS TO VARIOUS INKS

 

The next question you might ask is "Why try and use the Various Inks when you have such wonderful control when using the markers?" The answer became clear to me as I played with the two products side by side - depth of color! When working on plastic or glass it is completely different then working on paper. When trying to layer the colors they would almost become "gummy" and would end up with wierd streaking. Whereas when I utilizied my cheap little paintbrush I achieved a beautiful, rich deep color on the first application. I have shared my results in the little picture above so that you could see for yourself the intensity change.

VARIOUS INK TECHNIQUE #1 - Painting on Glass

 

So how does one apply this. Being I am not the best at sketching and drawing I began with a stamped image. I decided to try and "pool" the color and after playing with it on a sample of glass I decided to stamp the cardinal and then emboss it to create little edges on my glass. The glass sample on the left was created by stamping the image using Brilliance ink and clear embossing powder. The sample on the right used Brilliance ink and fine detail black embossing powder. It is difficult to get all the little black specks off the glass, but using my wipeout tool (which we are also out of - I am SO sorry) I was able to get a nice dark image.

 

I once again wanted to share the difference between a marker color image to an image painted with the Various Ink. As you can see it truly does make a difference!

 

To clean my brush I put a little colorless blending solution into my palette and swirl my brush first in this before once again cleaning it in water. This lead me to test what would happen to the image if I applied colorless blender solution to it. Interesting effects can be achieved, but I wanted a full, rich color for my final project and so reverted to my deep colored cardinal. The wonderful thing about this application is that if you mess up you can simply use a little colorless blending solution on a paper towel, wipe your project clean and start painting all over again Ü For people like me - that's a good thing!

I added YR24 to the beak and feet and my painting process was now complete and dry! The dry time is almost instantaneous.

 

I then wanted to complete my ornament and so using my glue pad and Bold Curls stamp began the gold leafing process. For complete directions please see these posts - Gold Leafed Three Wisemen and Soldered 3-Layer Ornament.

 

As you can see in this photo - alcohol ink looks spectacular backed with gold leaf! I remember when I was a child attending Vacation Bible School making a piece of glass art which we backed with aluminum foil and it has me now guessing as to the product that we used to color the glass. I'm wondering if it was Sharpie markers??? Boy do I wish I could remember. I wonder if my Mom would know? I guess I'll just have to call her and ask, but not tonight - I must get this post completed and the newsletter put together!

 

I painted the beak with Lumiere to add glitz in that area only.

 

I then inked Kissable Trees with Adirondack Willow and "kissed it" with  Paisley inked with Adirondack Meadow and stamped it on the Green Tea paper in the MochaChica Paper Pack. After positioning my glass slide over the background I used my Fiskars knife to cut around the edges.

 

Simply slip your completed project into one of the Ranger Memory Frames and it is ready to hang on your tree or jazz up one of your Christmas packages!

VARIOUS INK TECHNIQUE #2 - Painting on Plastic or Acetate

 

Sorry for the poor quality of the picture. Why is it that cards using plastic are so beautiful and yet so difficult to photograph? Trying to get just the right angle when photographing is almost impossible. If anyone has any tips I would LOVE to hear them!

 

To begin I stamped the holly on to plastic using Palette Noir. This is by far my favorite ink to use on glass, plastic and metal. It dries quickly and seems to stay put! It is important to remember though that you can't color on the same side as you have stamped. Alohol ink will just smear these inks all over the place. I used three different color to complete this project - R29, YG63 and YG95. As I played with the painting process I was able to achieve different looks depending on how I applied the ink. Just take a piece of scrap plastic and start experimenting. Created dappled, whispy, and pooled looks. Experimenting is the key to success!

 

TIP: I think I need to write Cuttlebug and tell them that it might make more sense to place their images upside down in their embossing folders. So start spreading the word! I wonder which manufacturers will come out with their folders more useable now Ü? Who will heed our thoughtful ponderings? 

You can get around this though, but don't get mad at me if you loose one half of your folder! Be certain to keep them taped together at one end. I simply cut my folder apart along the top edge and inserted my card front in to the folder and embossed it with the image correct on the face of my card front. This also works well for a continuous series of embossing. If you are using the Swiss Dots and want a piece longer than the folder typically provides just continue to emboss, move it, and emboss it again.

VARIOUS INK TECHNIQUE #3 - Altering Cardstock, Craft-a-Board or Chipboard Colors

 

I cut a small tag from Craft-a-Board and then using my Alcohol Ink Applicator applied R59 Various Ink directly to the tag on both sides. I was amazed at how quickly and easily I was able to alter the color of this tag. In hindsight I should have probably used R29, but time was of the essence and so I carried on as quickly as possible.

 

I then applied a dime size amount of colorless blending solution to a clean felt pad and tapped gently all over the surface. What a cool effect! I can totally see using all sorts of different textured products together with the blending solution to create unique effects on our projects!

Once dry I inked the edges with Versamark Dazzle and dipped it in Egyptian Gold embossing powder. I then stamped "Noel" in Dazzle and embossed it as well.

 

TIP: To attach my tag to the project I use my tweezers to hold my main ribbon together and tie on my tag. I then finish my knot in my main ribbon. These tweezers are a wonderful tool for those who are all thumbs when tying knots.

VARIOUS INK TECHNIQUE #4 - Altering Metallic Painted Surfaces

 

I am guessing that many of you are following Tim's 12 Days of Tags series. I was completely taken with how Tim altered his new Distress Metallic Crackle Paint and so following his directions to the letter I decided to see if it would work to turn Craft-a-Board into ornaments. I began by cutting the Nested Birds out of Craft-a-Board. I then sent them back through my Big Shot with my Cuttlebug folder to emboss an image into them. Next I applied the Pewter Distress Metallic Crack Paint as shown above.

 

Once dry it is important to note that you need to cut the excess paint from around the image. To complete a two sided image with your embossed birds just make a second bird facing the opposite direction. You can then adhere these together to complete a two sided and thicker ornament. For this project I just simply painted the back side of the bird so that I would be able to see the comparison of the two sides.

 

Next I used another clean felt and place a small amount of R29 Various Ink on my applicator and stamped the entire dried metallic surface with the alcohol ink. At this point you could actually use a couple of different colors, but I really wanted to test what a single color looked like first.

 

Exquisite!

 

Absolutely EXQUISITE!!! Tim you are a genious! I absolutely love these simple little bird ornaments. What incredible possibilities!!!

Fabric is next on my list to try - Various Ink and Silk, Sticky Back Canvas - you name it let's try it!!! I highly recommend that you purchase your various inks sooner rather than later being prices are increasing in the new year. Thank you for sharing in our in-depth tutorial this month - I hope that it challenges you to try using your Various Inks in "Various" ways :D