Friday, April 17, 2015

Make Large Stamps for Polymer (and nice coloring page designs!)

This is the process I use to create the designs that eventually get turned into stamps. I have access to the full Adobe Creative Suite and I use Photoshop, Illustrator, and Acrobat (PDF) in this process. You may not have access to these programs. Don't worry, you can still make stamp art if you have good paper and a good black fineline marker for clean edges.

After on Facebook was nice enough to feature my stamps, I said I'd write up my method so here it is...
. . . . . . . . . . . . . . . . . . . . . . 

1. Lightly pencil a 7” x9” rectangle on no-texture paper. I make a very large continuous design stamp so I have lots of mixed-pattern surface area to impress on my beads. All of these were done with the same stamp.

Click on the photos to enlarge.  I purchase two stamps at a time so I can cup the clay between two sheets and impress both sides at one time. The stamps are unmounted and very flexible.

2. Fill the whole page with designs/doodles using a fine line or pointed permanent ink black marker. Add some repeating elements but don't make it all the same. You want to end up with lots of different pattern areas to use.

3. Don’t make either the black or white areas more prominent; keep the areas balanced. And keep in mind the scale of your finished items... I make beads so I want my pattern to be fairly small and multiple patterns will fit on one bead.  
4. Make lines in the drawing as neat as you can... smooth paper and a good point on the pen will help you make crisp lines. Make sure the black areas are pretty solid. (If you don't have access to Illustrator or Photoshop, you can skip way down to the bottom...)

5. Scan the drawing at 300 resolution using grayscale or color setting.

6. Open it in Photoshop and reverse it so black becomes white. Image > Adjustments > Invert

This was my first stamp. It was not a successful for beads because the my lines were too fat and far apart. I learned my lesson and made smaller patterns the next time. The items at the top of the page were made with my second stamp.

7. Print the reversed drawing and use your marker to clean up the edges. Because the black ink is now white, you can color black back into any area where the white areas of your original drawing ended up too thin. (Easier than using white paint to cover black areas or edges you're not happy with.)

8. Scan the drawing again and reverse it back to the original black design.

9. Open the jpg file in Adobe Illustrator.

10. Select the drawing using the black arrow tool. On the menu choose Object > Image Trace > Make and Expand(If message box pops up asking you to rasterize, you can say no.)

11. After Make and Expand is finished, you’ll see a bunch of highlighted points all over your art. They serve a purpose but you don't need to do anything with them for this project. Click on the page and they will disappear.

12. Use the white selection arrow to click in a white area of your traced drawing.

13. From the menu, Select > Same > Fill Color to select all the white areas on the page at once. Click delete.

The black area that remains is now a vector art of your drawing, all beautifully smooth and sharp. 

The original scan of a marker drawing.
Try to make the blacks more opaque than shown above before you scan it.

The traced drawing. Click to see it larger.
I love the energy the variation in line weight gives to a drawing.
Uniform line widths are bor-ing!

You can use your art to make clean edged stamps or silk screens. The cleaned-up line drawing also makes a nice coloring book page. Because it is vector art, it can be enlarged to the size of a wall and it will stay sharp. If you were very ambitious you could project it on a wall and paint it or have vinyl cutouts made ( will do it for you) to apply to the wall.

I save my vector art as a PDF in Illustrator and send it off!
14. Now, finally, here's who can turn your lovely art into a stamp:
Read the instructions here before you start: 

You can make some original stamps and help a worthy cause. What's not to love about that!?

Saturday, February 14, 2015

Art Deco Decor

I now know, I am an art deco fan. I stayed for several nights at the Four Seasons Orlando, part of the Walt Disney World resort for the luxury traveler. (Before you think I’ve won the lottery, please know I was only there as a hired hand for a work event.)

Talk about beautiful! I have a phone full of photos for future inspiration, some of which are below. It's not so much that I love each individual piece but I really like the look of it all combined.

Read through this list of hallmarks of art deco design and then mentally check them off as you peruse my photos below.

Characteristics of Art Deco Interior Design: geometric and angular forms, exotic materials, linear decoration, bold
Materials: stainless steel, mirrors, chrome, glass, lacquer, inlaid wood, ebony, marble, rare woods
Design Themes: leaves, branches, feathers, nudes, stylized animals, trapezoids, chevrons, zigzags, sunbursts
Colors: striking, bold, contrast; silver and black, neutral creams and beiges
Furniture: streamlined shapes, no frills, large in scale, chrome, mirrored
Floors: abstract designs, black and white tile, lacquered, polished parquet, large geometric pattern rugs
Lighting: glass (etched, enameled, white or colored), chrome

I condensed the information above from:

Nature and geometric pattern

Opalescent tile mosaic

Hallway geometric print carpet and wallpaper

Reflective print wallpaper

Reflective print fabric wallpaper

Geometric tile mosaic

Decorative grate on the outdoor path lighting

Geometric wallpaper, stylized animal metallic print picture, silver lights, streamlined shiny table, square pattern tile

Metallic translucent hardware on lighting
Geometric ceiling moulding, wall panels, glass bubble chandeliere

Curved couch and metallic table

Geometric wood chairs, geometric wood table, bold print fabric and rug, stylized animal (peacock) art

Linear, spiky floor lamps, curved art on bold square base

Geometric black iron railings, glass sunburst chandelier, square wall paneling

the dramatic chandelier at night

the top piece of the sink "bowl" slants downward and the bottom piece slants under that to the unseen drain below

Thursday, December 4, 2014

My Trip to Italy

You can't see the faces of the two gentlemen below but I am sure you recognize both. I knew I would see the first one, but the second was a pleasant surprise!

The huge archway below is between the Vatican museum and the entry to St. Peter’s.

St. Peter’s Basilica is enormous and beautiful!  St. Peter's is especially huge but all of the churches were very grand with soaring ceilings and huge open areas. They all looked gigantic to me and I've seen skyscrapers -- what did these buildings look like to the "Average Joe" of the the day?

If it looks like gold, it’s gold! All the decoration, pattern, and sculpture could be overwhelming but when the place is so big, somehow it all fits.

We didn't get to spend enough time in the Vatican Museum. So many things to see there. One looooong hallway is painted in trompe l’oeil fashion to appear that sculptures and moldings cover the entire ceiling. The whole thing looks like the picture below but is completely flat.

Anywhere else these floors would be the showpiece... here they're barely noticed!

Traffic in Rome appears to be ruled by suggestion rather than laws. If you ever go there, don’t even think about trying to drive. You will die. Parking is done wherever you can find a spot. But at least they're respecting the crosswalk!

Scooters are everywhere, especially in the one-foot-wide space between your tour bus and the smart car next to you.

A man driving to work with his toddler in the back seat in what is officially the smallest car I have ever seen. But with gas at the equivalent of 8+ bucks a gallon, you do what you gotta do!

A guy was singing opera for tips in the square out front of the Pantheon. He had the whole crowd’s attention. I was slightly distracted by a big cone of dark chocolate gelato at the time but I tossed a Euro in his hat.

Some of the cathedrals had simple striped exteriors of two colors of stone block with a highly ornamented façade (the two photos below are of the side and the front of the same cathedral in Orvieto).

The stripes were inside churches too. Below is the cathedral in Pisa. It is beautiful but all anyone ever talks about is the leaning tower! If you go to Pisa, definitely go in the church!

Busts of the greatest artists of the day sit in alcoves above the top rose window at the Florence Duomo. Artists above all else…as it should be!!

Burano is a charming little island near Venice with colorful houses, a single canal, and lots of artists.

Leaving Venice at sunrise.

Positano has a single one-way road and buildings stacked one on top of another, with a bunch of big rocks above and a beach of gray pebbles below.

The landscape is so dramatic!

This picture of the Spanish Steps is one of my favorites from the whole trip. I like the foreground to far distance contrast and the strong shadows.  

There were people from all over the world everywhere we went. I'm so glad I was one of them! I toured with Uniglobe (Wheeling, WV). Our Uniglobe tour leader was
Georgette Stock and in Italy our Globus tour leader was Allessandro.  

A tour is the way to go when you're in a place that has many sights you want to see.
While regular travelers waited in long lines, we tour people breezed right in. I went "alone" but not really because there were 38 other nice people on the trip. 
We stayed in very nice hotels and everything was done for us...
it would be very difficult to plan on your own all that we did in 10 days.
The tour was called The Best of Italy. I highly recommend, especially if it might be a once-in-a-lifetime trip for you.

 And, just to prove I was actually there, here is the only picture of me:

Saturday, October 11, 2014

Faceted Faux Gems, or Wilma Flintstone's Fancy Jewelry

I received a request for instructions on how to make these fun faux gem beads. Sorry, I don't have photos of the steps but will take some the next time I make these giant gems. I know picture tutorials are helpful for my non-English-speaking friends but Google translate can help until I take more photos.

The process is pretty easy. See below and see this older post for another variation on this idea.

1. Roll Sculpey Ultralight ito beads of assorted shapes and sizes. Oblong, square, round, whatever you like. Feel free to make 'em big...all of the beads in the photo are at least one inch long.

2. Poke the hole through them and bake according to instructions on the package. Don't let the beads cool after curing because the clay slices easier when it's a little warm. Cut a few beads at a time and keep the others in the still-warm oven until you're ready to cut.

3. Using an X-acto blade, slice small slivers off the bead. Be sure that none of the original baked surface remains. The baked surface doesn't take the alcohol ink as well and will leave light spots on the beads. However, that's not a bad thing because it makes it easy to find where you forgot to cut!

4. Now, get your alcohol inks. Cover the entire bead with the lightest color you plan to use. When it is dry, put the next darkest color on a portion of the bead, leaving some of your first color showing. Go ahead and add a third color if you want to make them more colorful. The colors will blend and get a bit muddy -- don't over work it. Use a smooth paper towel (Viva is my favorite!) to dab it on for more control. Wear gloves if you don't want to end up with ink-stained hands.

5. Optional step... See the bright blue spot on the bead at front left above? After you have finished putting all the ink colors on the bead, you can shave away the surface in a few spots to reveal the white underneath. Put a swipe of light ink on the white spots. The relative brightness of the lighter spot makes it look like there is a glowing light inside the bead.

6. After the beads are completely dry, rub gold Gilder's Paste along the peaks of the sliced edges. (Inka Gold water-based pastes may work also, so give it a try.)

7. When the Gilder's Paste is dry (I usually wait a day but that may be longer than necessary), spray the beads with PYM II to protect the surface. PYM II is great stuff... it doesn't change the color at all.

That's it!

I will post a follow up photo of the finished necklace. I made flat-ish disks out of gold and strung them between the gems to add new texture to the mix. I wore it to work one day and as a group of women passed me in the hallway, I heard one say, "See, *she* wears big jewelry!" Fortunately it was in an approving tone!

Sunday, September 28, 2014

Resistance is good!

I've been having fun with a new toy...liquid masking fluid in a fine tipped applicator. I got it at Jerry's Artarama. Here is the link:
I used it to make Batik-style beads (see pictures below). Instructions for batik process are below. Super easy and fun.
1. Start with plain white beads. I use Ultralight because i like the surface and I make big beads.
2. Put a few dots or other simple pattern on the bead and let the masking fluid dry (20 min or so). It turns slightly greenish when it's dry.
3. Cover the bead with the lightest color of alcohol ink. I just use my fingers and a paper towel to dab it. As soon as the alcohol is dry put a new design on the bead with the masking fluid.
4. When the masking fluid is dry cover the bead with the next darkest color.
5. Repeat the masking / alcohol steps until you're happy with your design. Don't go nuts... it's easy to overdo it and end up with a mess. 3-4 colors gives a good variety without muddying it up.
6. After you're happy with your design and the ink is dry, rub off the masking fluid and marvel at the pretty colors! 
I embellished with a silver metallic Uni ball gel pen on some of the items. It's a really nice pen. 
I also sprayed the beads with PYM II when I was finished with them.


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