Exploring Mixed Media Techniques - Class 6: 100 Days of Collage (Day 36 - Day 42)

1. Introduction: In this mixed media art class, we'll embark on a creative journey that combines the versatility of collage with a wide range of materials and techniques. Welcome to the studio. It's Foyle here, and I am so glad you've joined me. I'm a mixed media artist, and I've been painting and exhibiting Oh, for well over three decades. I've traveled through mediums and art styles, and I can honestly say that mixed media collage is my absolute favorite medium. What I love about collage is the absolute creative expression of freedom. You can't get it wrong. Possibilities are endless, and art supplies are everywhere. You're going to have so much fun experimenting with these techniques and finding incredibly creative ways to make your beautiful artworks. In this class, we're on an adventure of discovery, exploring new techniques and expanding our creative boundaries. Welcome to class six exploring mixed Media Class. And this series is the most comprehensive mixed media art course that I've ever created. We're heading into the vast blue galaxy with celestial skies, experimenting with watercolor fusion, and expanding our knowledge, creating jelly print image transfers. We'll be incorporating bird imagery in flights of fantasy, opening a few doors of opportunities and building layers of texture with dynamic stamped backgrounds. You'll be inspired by the new techniques and encouraged to make art that you may have not even created before. Every project you undertake will reflect your own individual style and interpretation. The art class is about how you personally respond to the prompts, and I can't wait to see what you're going to do. You can't get it wrong, and you can be as creative and as inventive as you allow yourself to be. This class is for anyone wanting to develop that creativity using mixed media collage. Perfect for beginners because I will lead you step by step through every lesson, showing you the exact materials I use and how you can create similar results. I'm right here with you in the studio, and we're creating the beautiful artworks together. Or if you're a more advanced art maker, then I know you're going to be inspired by the incentive to push yourself on, to stretch your boundaries, and create artworks Hmm that you might not have thought about doing before. Class is about gaining knowledge, expanding your creativity, but in a fun and relaxed format. There's so many beautiful techniques, and there's so many ways to create the artworks. I'm pretty excited. I can't wait to get going, so let's gather our materials, and let's make art. 2. Material List: Right. Now, this is class six, so you should have a lot of the materials on the list. And remember, you don't have to use everything that I'm using. You don't have to use all the paints and mediums or even the same colors. Don't get stressed out about the long and extensive list that I've given you in your class notes because it's just there if you want to know exactly what I'm using and where I got it from. Because sometimes you really do just want to reproduce the same results. So the information's in your class notes for a full and extensive list. But of course you've already got a heap of things, and we just need the basics. We need the art journal to start with. That's absolutely imperative. Of course, you're going to need a heap of your favorite acrylic paints and something to glue on the beautiful clarge into your art journal. I like to use Mat gel medium. You don't have to. You might want to use a different medium or even the glue stick. You definitely want to have a heap of your favorite colors. F. And in this class, we're going to be using a few of the different watercolor mediums. I've got some watercolor paints here. And I've busted out my brand new Oh Glatos. I'm so excited. This is the first time I've used them, and they've been in the cupboard for years. The beautiful part about this particular mixed media class is you get to pull out all of your resources from in the backs of your cupboard. Where, you know, you might have bought something on a whim, or haven't used it. Now this is the time to pull those supplies out and get them going. Also have some of the fabulous med and paint. I went a bit crazy recently when I found them and bought 100 pack, I absolutely love them. They're a little bit small in the tubes, but the range is incredible, and you just open them up and squeeze them out, and you have incredible colors. So I'm also using some of my metallic, beautiful metallic watercolor paints. Now, remember, you don't have to use what I'm using. Pull out what you have. We are, of course, using our gel plate. Yes, there's quite a few lessons with jelly printing and Oh Deco foil. I found it recently, and I've been a little bit obsessed with the beautiful, shiny results of the deco foil. So if you've got some or you want some, pull them out. Of course, you're going to need a variety of papers. I've got the sketch pad Japanese rice paper. I'm also using wet strength tissue and some watercolor paper as well. We're going to be using some stencils and some stamps. These are my brand new stamps. I can't wait to show you because I've got a little secret associated with my brand new stamps. That's a whole lot of fun. We have a whole lesson on stamping, and we're using a lot of found objects as well. We're going to be using some magazines in one of the lessons, and don't forget to pull out some of the bits and pieces from the previous class. I definitely have a rummage through my trinkets because I ended up with quite a few after the steam punk lesson. I did go a little crazy buying them, but they're really cute, and I really liked them. Okay, so I've also got some fabulous stencil butter. Oh, some spray inks, all of the favorite materials that I have used before, and don't forget the basics. We need some brushes and a palette knife and m tissues. Wet wipes. Maybe a damp cloth or a water spray bottle. You know all the things we've been using so far. Pull them out, get them ready. This is going to be so much fun. I've also got my scrap bag because, yes, I love having my scrap bag, so many possibilities with the beautiful coso paper, and the leftover bits and pieces from other collaging adventures. Right, so, gather all your materials. Let's get going because I'm so excited for the first lesson. 3. Day 36: Celestial Skies: Y, for us, welcome to class six, exploring mixed media techniques with Clase. This is so exciting because we're going to get a little experimental. We're going to play with some fabulous techniques and mixed media applications in our art journals, I'm just loving it. Now, I just finished the first art journal for this class series. I know. It's so exciting. Class one to five Here it is, doesn't it look fantastic. What I love about putting all of these lessons in our art journal is that it becomes an incredible treasure trove of techniques, of ideas, of colors, different mediums that we use, different things that we try. And I can look back next year through the art journal and think, Oh, I like that. Didn't like that, but look how amazing this one looks. So I finished off the end of the art journal with a few of my favorite prints that I was doing at the time, creating them with the fabulous masks and stencils. I absolutely love them. The colors are beautiful, so I put in all the ones that I'm thinking about. I'd really like to do again another day. Y, that one's finished. So now I'm onto a brand new art journal that's so very exciting. Day 36 celestial skies. Doesn't that sound fabulous. Now, what I personally find when I'm starting a new class, new lesson, new art journal, new anything is you just want to get off the starting block and get going. Jump into the water. So I'm starting with some beautiful blue colored backgrounds, full color prints on the gel plate with the papers because I'm not sure where I'm headed. I'm not sure what I really want to do, but I do want some celestial skies type paper. So I'm starting with some beautiful blue. Once you get going and get moving along and start printing, then the creativity kicks in and you start getting some more ideas. Now, I'm using this meten pack of paints. It's a pack of 100 colors. I bought them recently. I absolutely love them. The tubes are a little bit too tiny, but they are on the cheaper end of the art supply spectrum. So for the amount of money I spent, I really think they're worth it. They're very buttery, they're soft, and the huge range of colors is what led me to actually buy them. Don't forget, you will find all of the art supplies lists in your class notes. If you want to know exactly what I'm using. And what I'm doing is putting the paint on, pulling the print, straight away, straight off the gel plate. And as you can see, it does leave a fair amount of ghost print, which really doesn't matter when you're using the same colors with different shades. It's not going to get muddy. It's not going to get mixed up because they're beautiful shades of blue. You can't go wrong. And then the third print that I'm taking, I'm leaving that paper on the plate a little longer. Maybe 5 minutes just so it can dry completely. And then when I pull this print up, ta ta, the jelly plate is all perfectly clean. Pulls all of those ghost prints up, and it really does make fabulous prints. They are a lot more laid, they are a lot more textured and abstract, and I really like them. Then, of course, when you're thinking about celestial guys, how can you go past beautiful Vincent? My favorite Vincent Van Gogh and his starry night. It's so famous. So I pulled out Elizabeth Sint Hal Stencil called Van Go Starry spirals. I really love this mask. It's absolutely beautiful. This is Elizabeth Nod or O to Vincent. It works really well. I'm putting it on the base prints that I've already taken. And the shapes are fabulous. Of course, I had to pull out the metallic paint. We needed a little bit of sparkle. Then I just had to pull out the rich gold and the fabulous metallic copper to really make these prints sing. I went to visit Vincent last year on my Viking voyage. It was very much a bucket list moment, standing in front of one of his beautiful paintings with all of that glorious, chunky, lavish expression of paint. Oh, man, I just loved it. Now, I didn't see the starry night because that painting is actually in New York. But I saw this one cafe terrace at night, absolutely beautiful. I had my moment in front of the painting, and I just loved every minute of it. So, this particular print, I'm putting on thick dabs of paint like Vincent did. H. With the fabulous sencil covering it up in the glorious colors. And then when it's nice and rich and chunky, I pulled the sencil off and tra, ta. The shape is in there on the plate, pulled it straight away on some black card stock, and doesn't look absolutely fabulous. Now, the sencil is totally covered in paint. So if you flip that over and put it on a piece of paper, covering it with another piece of paper, giving it a good rub, it leaves all that paint imprinted on the paper, and then you have another print. In fact, you have another two print. Because the paper that you rubbed it with, it takes a print as well. And so we have a three for one deal. I absolutely love this kind of jelly printing. I know it's not common, but it's very expressive, and it's very Vincent. Nobody understood the way he was painting at the time when he was painting it. In fact, they gave him such a hard time for the little sparkly stars, right? Even in this cafe painting, the little dabs of paint on this painting where the stars are. He really had a hard time with that. People thought it was absolutely absurd. They didn't like it at all. They thought it was rubbish. Now, of course, it's worth gazillions of dollars. It's just crazy. So if you're creating something that nobody else is doing, or somebody else said you shouldn't do that. You never know. You just might be a genius. Don't listen to them. Just create the art that you want to create. I'm loving this print. I know it's **** and Chunky, and I absolutely love it. It's what I call my jelly print painting style. So I've got a beautiful range of glorious prints now with the fabulous starry night mask. And, of course, I have to put a little bit of gold foil on them because it would be wrong not to. They have to have a little bit of glitz and glamour, a little bit of sparkle. Fact, our directive even tells us so. Using metallic foils or glitter to simulate the brilliance of the night sky. So bust out the gold foil, if you rushed out and bought some from the last class, because the last lesson of the previous class, I pulled it out, and you know that the material list from the last class continues into this class. We keep building and compounding and adding to our techniques. So we're adding some beautiful, beautiful gold foil sparkle. Now, I put some of the adhesive onto this print. And yes, it does take hours, literally 2 hours to dry. So I've got to wait for that to go perfectly clear. Now it looks white. When it's wet, it dries perfectly clear and once it's clear, then we can add the foil. But I'm pretty excited for my collage. I'm going to go grab at my fabulous new art journal. Gather all the prints together, and let's put the first collage together for our class. Hey, brand new art journal. It's pretty darn exciting. Now, I've got the delusions creative journal. I just find that this particular journal does cope with all of my loving. The last one held up pretty well five classes. So I've calculated to get through all 100, I'm going to need three of these fabulous journals. Now, this is 20 centimeters or 8 ". And yes, you can find the link in the material list if you want to know exactly what journal I'm using. Look at that. H. It's beautiful and clean and fresh and flat because when they get full up right to the back, there is such a serious mound on them. It gets a little harder. But not to worry, it's all part of the fun. Now, I'm loving my beautiful prints. Yes, I'm very captivated with this particular one, loving that. But then also, these ones are rather beautiful as well. So I'm going to have to decide Which print I'm going to put in my art journal because clearly they're not all going to fit. This print's really nice, too. It did catch a little on the plate. It tore a bit, but you can't let those kinds of things. Worry you. It was perhaps a little damp in a couple of places 'cause it was quite thick. This was the ghost print that was left on the plate after I pulled my favorite print. So Not to worry. It's got a little dings and bangs, but I could put a piece on there in the collage on the page. That would be really nice. Now, this one that's going to have my fabulous gold foil is still drying, as you can see. While it's got wet, paste on there, you don't want to be putting the gold foil. O. I did that last time and it got a little stuck. So This time, I'm waiting. Now, I used this one, the PiBo mixed in relief, and I'm going to use the PiBo gold leaf sheets as well. But yes, we are going to wait for that one to dry. So while we're waiting, we can decide which of these other ones I'm going to use. I think I might use pieces of a few of them. And stick them on like this because I can't cover the whole page in one because I won't get enough on there. So I'm going to pick out my favorite ones, probably some of that. Maybe some of that, maybe some of that. Oh, these are quite fascinating, aren't they? That's the print of pushing the paper down. Onto the stencil. That was really cool, too. That was just a paint that was left over on the stencil. Put it on the paper, pushed it down with this piece, and there you are two extra prints. I know, it's pretty fun. Right. This is a blue one that I left because I absolutely love it. I love the abstract quality of it, and I thought I might want to, if not today, then another day, use a beautiful piece of blue in one of my collages. So there's going to be some of that one. Oh, man, they're all too nice. It's so hard to decide. Some of that one, definitely some of that. And some of the ghost print as well, I think I'll start by chopping these ones up, putting them down, and then I'll add a little of that beautiful gold foil. So I chopped up the prints that I wanted. Yes, I had to have all of them. 'Cause that just beautiful, and I'm loving it. Pasted them onto my art journal page, pretty happy with how they look. The colors are glorious. The designs are beautiful. And then I pulled out my scrap bag. There's always extra fabulous bits to find in the scrap bags. Pulled out some of the coso handmade paper. Absolutely beautiful. Put that on. Yes, feeling pretty happy with it all. But then you know I had to add some sparkles. So I've put on some of the PbO mixed in relief paste, added some little sparkly bits to the page. And then, yes, you know it has to dry. So then looking at it, I'm thinking, Hmm. The handmade roses of the Coso paper are going to dry pretty transparent, so I decided to cut out some circle shapes with this fabulous hole punch from one of the other prints. It's a two inch hole punch. I love the size of the circles. I use it all time. It's so easy. Glue them on. They're looking good. So now all we've got to do is add the beautiful gold, how, very exciting. Which one should we put on first? I've got some on this page, which, of course, you can't see because it's totally transparent now that it's dry. I also have this sheet. Yes, that's pretty exciting. That was the first one that I put the paste on. So, let's go with this one. I've got the fabulous pBoror, mirror affects leaves, so I'm going to put some of these on. But I also have some of this deco foil, which looks pretty nice in a copper color. I have some also in this color, and I'm thinking that maybe I just want to experiment. And I may some multiple colors on the print that could look really good. So let's start with the gold. Gold is always a good place to start. I'll pull out one of the beautiful brand new gold leaf sheets, put it on the page like this. And then it's just a matter of giving it a little rum and away we go. Let's see what beautiful, sparkly shapes we M. Are you ready? Are you ready? Sa, Sa. Oh, they are just beautiful. I absolutely love the gold. Oh. I was gonna maybe put some other colors on it, but I'm just loving the gold too much. So we're gonna go with the gold. Oh. Look at that. Look at that and look at my sheet. So fun. And it's so easy, and it's so quick. That's what I love about it. And it's so glorious gold. Just to rub off my finger on the gold leaf sheet, and away we go. Tara, Tara. It's just absolutely fabulous. I've just got to find all the spots where I put the sparkly stars. They actually look like little sunshines, but they make me happy. They're Sparkly stars after, Vincent. Have a look at that. Look how good the beautiful sparkles of the gold is. Yes, I love it. That looks fabulous. Little bit more on that one. That's the thing. You can go over them a few times if the first one doesn't quite get into all the little bits that you put on with the paste, you can just keep putting the gold on Until it's all covered, looking beautiful, loving it, making me happy. I really love the gold here against the purple. That looks beautiful. Right. Let's do the other piece. This one, I'm going to definitely bust out some of this deco foil. Haven't tried it before. But, can't be too hard. You get quite a few sheets in the pack, which is really fun. It's really not very expensive. So let's pull out one of these sheets. And are we going to add the blue to it, or are we going to go with the gold? No, ma'am. I don't know. Let's start with the copper on this section. We'll have a look and see how this looks. And then if we get a little bit more adventurous, I might add some of this one with the beautiful blue and silver looking color. Now, these shapes are a bit bigger, so I might use my catalyst tool to rub it. Give it some good contact. You don't have to? You can just use your fingers, which really does work perfectly well. Are you ready? Are you ready? It's so incredibly exciting. And like I said, if you missed a bit, you can just go back over it. Alright. Hurrah Hurrah. Oh, I'm loving the copper. I don't think I want to add the blue because I love the copper so much. It really looks beautiful against that blue background. And it still fascinates me how beautiful the transfer foil looks even after you've pulled the shapes onto your print. I think they look really cool. Yeah. Okay. No, I'm gonna try it. I'm gonna be bright. I'm gonna be bright. I'm gonna try this one. It's a variegated color of blue, and looks almost like sorry. So, I'm gonna be bright and try it. Look at that. See. It's very beautiful. Right, Eric. Let's do it. Let's do it. Let's go on this side here. Give that a good rub. We just can't fail with these beautiful colors. Okay, you ready? Ready. Are we ready. Tata. Te Oh, man. That looks beautiful, too. Look at the fabulous silvery color. Look how glorious it looks when the light catches it. Yeah, that was a good idea. I'm glad I was feeling brave. Okay, I've got another little spot up here, I can see, so I'm going to add some of the copper up to here, and then I'm going to have to put a piece of this onto my art journal page. And then will be done for the first lesson of our new class. Oh, ear, baby. Having both those colors on it's pretty nice. I'll just double check that I got it all covered on this side. Just in case I missed a bit. That is just beautiful. Right. So I'm going to put a shape onto my art journal page. I think I might just cut a circle. I've got this template. Is this going to be too big? No, it's not gonna be too big. Am I gonna cut the whole out? Maybe. It's more interesting if you do. But If I do, I'll cut out one of those. Oh, that's work. That work. Right, right. Let's do that. So the question is, do we leave it as a circle, or do we cut the doughnut shape? I think I'm gonna have to leave it as a circle because if I cut the doughnut shape out of it, then I'm going to be cutting out this whole piece here, and that's just too nice. That's just way too nice. So there you go. I'm going to stick it on there. The pages are looking fabulous. I'm so excited. I'm pretty happy with my sparkling galaxy. I really hope you have fun with this. 4. Day 37: Watercolour Fusion: Day 37 watercolor fusion. Now it's going to get a little bit experimental today. We're going to experiment with watercolors and collage by incorporating translucent washes and vibrant pigments into our artwork. Explore how watercolor compliments and enhances your collage elements. We're going to add salt to our wet watercolor areas to achieve intriguing organic textures, and combining these watercolor effects with our collage elements to create harmonious and visually dynamic artworks. Doesn't that just sound absolutely fantastic. I'm loving the experimental approach. I'm also pulling out of the cupboard some things that I actually bought a while ago and haven't used. So I'm going to encourage you to do the same water based materials. Have you got any gelatos, or watercolor crowns or watercolor? Mm. Anything, really. Let's jump in. Let's have some fun, and let's see what beautiful collages we can make today. Right. So I've got some watercolor paper, some very textured and rough watercolor paper. Actually, I'm thinking that one's the acrylic paper. This is definitely watercolor paper, and I'm not sure what this is. I think this is printmaking paper. So I basically pulled a heap of papers out of my cupboard. We're going to have a little play with some watercolors, a little experiment. I also have some dollar store tissue. Which I put a little don, so I know which one it is, and some wet strength tissue to see how different. That responds to using the water media. Now, I've got these tissues on clear plastic file folders so I can move them off the desk when I want to get them out of the way. Because once they're soaking with water, you don't want to move the tissue, it will tear to pieces. So clear plastic file folders. I absolutely love them. I split them into two, like this. Really cheap, really easy, and they work really well for putting your tissue on or your paper that deteriorates once you get it wet. I also have a watercolor pad. Not sure if I'm going to use it. I just pulled out a heap of things from my coming, and I can't wait to get started. Let's try the watercolor paper first. I've got some water. We've got some brushes. Away we go, Yippie Now, I've got these watercolors that I bought from China. This is the brand. Not sure where to get it 'cause I got it in China. When I was visiting my son, it really doesn't matter what brand you're using in the watercolors. Pull out whatever you got. I really want to encourage you to dig through your drawers and your craft cupboards and pull out what you've already got there. Now, I bought these latos years ago. I don't even know what they are. I never actually used them. The packet is beautiful and brand new and untouched. Look at that. Absolutely glorious. I know that they're water based mediums. I'm figuring they're pretty much like watercolor crayons, so I'm going to use them today, and I'm pretty excited that I've got something absolutely brand new that I haven't used before. And look at the colors. They're really pretty. 33 colors in the pack. That's pretty nice, comes with a watercolor brush and a blender. Apparently, you can blend them. So that's pretty good. Creamy color sticks glide vibrant color into projects and blender beautifully with or without water. So there you go. That's what a gelato is in case you wanted to know. Pretty excited. Now, we're going to do a little experiment with the humble Salt Shaker. I'm so busting to try this. I also have a little spray bottle of water, a little dish of water to splash around with. Hmm. Maybe a damp cloth would be a good idea. Probably some tissues, definitely my wet wipes. So, let's just jump on in. What will we start with? Are we going cool or warm? Well, I think we're going to start with warm colors. I know that's a really big surprise. And I do also have my metallic watercolors, which we will have to have a little splash around with those as well. Look at that. Beautiful color straight on the watercolor paper. Ah. And everything's going to be okay. I just love it. Love love, love. That's a beautiful color. What else have we got? It's got numbers on them and Chinese writing, so that helps me, doesn't it? Yeah. Na. We'll just give it a bit of a splash around. Oh, that was a bit brownie than I thought it would be. It doesn't really matter because we're just having a little experiment. Maybe, what about that color? Let's see if this one's a little bit brighter. You know we're going to have to bust out the metallic colors. No. That's not brighter. But I do think that's kind of work well with the salt idea. Okay. Let's splash that on there. Let's add a little bit more of this color. What could possibly go wrong? What about some of this one? Pretty sure. This one's. Oh, yes, that's like a cadmium red. That's a lot brighter. Right, right? That's pretty nice on there. Well, that's a lot stronger in pigment, too. The different colors definitely have different strength in their pigments. Alright, let's see what that does. Now that we have our trusty fabulous humble salt. Let's put some of that on there. Shall we spray it first and get it like a little wetter? Okay. Let's do that. That's quite nice chunks of rock. Salt that I have here. Oh. Is it go to do anything? I don't know, man. Should we spray on some more water? Actually, I think it might be working better on that one there. We'll give it a little spray. Gonna set it aside, see if it actually does anything. I'm liking the chunkiness of the rock salt. That's pretty fun. Let's put that on. Now, when it dries, you then just dust the salt off, and it should create beautiful organic textured marks. Well, that's the plan. At this stage, I can't see it actually doing anything, but you never know. It just might work out. Okay, so I think don't spray out with water. It's too wet now. The salt is supposed to push away the pigment of the watercolor and create texture marks. But I got excited, sprayed it with water, and now it's just all too wet, and that's going to take forever to dry out, so that's kind of defeated the purpose. But this watercolor paper is really nice. I think I might splash some more paint on it. Once this is dried, of course. Now, the thing is about experimenting, they're not all going to work. Just accept that before you start, and all will be well. But we can add a second layer. We can create shapes. We can do mark making. We can always pull out the gel plate. There's so many ways to create beautiful beautiful textured papers for your collages, and don't let it worry you or stress you out if something goes belly up and doesn't work. Just move on to the next brilliant idea. So putting that aside. That's why I've got so many fabulous plastic file folders. Let's pull out another piece of paper. What about this one? Well, this one. Oh, man, too many options. And how about the metallic watercolors? Yes, I bought these ones online. No, I don't know what they're called because they've got no name on the motes. I saw an ad. I admitted, and I just bought it probably on Instagram. They're beautiful. Look at the metallic watercolors. But if you go to Amazon and you type in metallic watercolors, you're going to have a huge amount of options. So let's put those on, and maybe less pigment might work better for our salt idea. So the metallic watercolors I find are a little thinner and less pigmented than the other watercolors, so that actually might work in our favor. Instead of being so heavy handed, which I know, I always am, but this light touch is probably not going to last. I'm going to pull out some sprayings. I'm going to hold back for a little while. And then I'm going to pull out some sprays and really attack these papers. Yes, I'm still stuck on the warm colors. Well, we used the cool colors yesterday. We did those beautiful blues. So today, we're back to the glorious warm colors. See how nice they are on this watercolor paper. They're very light, a lot thinner, less pigmented. So the Salt idea might just work a little better. Just going to splash some of these beautiful metallic watercolors onto the paper. Then we're going to throw some of the salt on. Put it aside, see how it dry, see how the experiment works, and move on to the next briant idea, which Oh, man, I've got to pull out those glados. I have to see what they do. Seeing as I bought them so long ago. Okay, I've covered my peg nicely. I'm going to add a few splashes of the gold because we do love texture. Right. Now, I've got a lovely layer of watercolor paint on there. Shall we put some of the salt? I'm thinking. So some of the glorious salt onto the watercolor and see what it does or doesn't do. I'm not good for subtle techniques. I know. You might know that about me now that you've been with me five glasses. I'm not good for subtle techniques. But I want to show you possibilities. Basically give you courage to try some ideas, throw some things around, and see what works. Look at that. Right, salt on Yeah, I'm going to put that aside, see if it does anything when it's dried, but I am busting to pull out the gelatos. Right, so I've pulled out the fabulous gelatos. Let's see what these do. Now, it's said on the box that you can use them with and without water. So let's try that. Just feels like a crayon. It looks like it could be lipstick, but I won't put it on Even though it does say it's nontoxic, yes, it feels like a crayon. Just letting, you know. Oh, it feels really nice. It's actually incredibly soft. Okay, so that's without water. Now I am on a very rough watercolor pad. And when I buy my next one, I'm definitely going to get smooth because I'm thinking that it works better for this kind of medium to have more of a smooth watercolor paper rather than the rough one. Anyway, oh, look how good it becomes water color when you add the water. So, you know, that's really pigmented. Look at the color. Look at the color. J. B beautiful. I don't know if my rock salts going to cope on this beautiful pigmented color, but we can try. Man, I'm loving it. You know how this is gonna go. I'm absolutely loving these daltos. The colors are beautiful. The pigments are strong. They're lovely and soft, and there you put water on them, the more dispersed they become, and the less you see the lines. But if you don't put too much water on, then you still see the lines that I scribbled all over my page. It's really fun. And the colors in this pack are just glorious. I will find you the link on Amazon if you want to see what it is exactly and where to find it because I'm loving it. I can't believe it's been sitting in my cupboard for two years. I bought them. I saw somebody else using them. I had to have them. And now I'm loving them. Yes, they do feel like you're putting on lipstick. Y. But look at that. Look how well the color goes on the page. And you can go directly over other colors which mixes them together. That's working really well. I'm loving it. Look at that because this piece is already saturated. It's releasing that pigment even easier. Yeah, they're very successful. We're loving this. Absolutely. So it'll be really interesting now to see how they dry to see whether the colors are as strong and as pigmented as they look when they're wet. Because sometimes I find with water colors and watercolor crowns, they can dry really insipid compared to the colors that they are when they're wet. So it'll be a really good experience just to see about what they're going to look like when they're dry. But at the moment, I'm loving it. They blend really easily. They blend with each other. They create new colors really easy. And if you keep going over them with water, you basically are just creating a painting because the water dissolves more and more of the pigment, and you see less and less of the scribbles. But I'm really liking my scribbles. Right. Well, that's beautiful. I'm loving it. I'm going to put a few more of the scribbles and the colors on. Let it dry. Do we want to add salt? I think so. But, I am going to put some water colors on the tissue and put some salt on those. Okay. There's a good plan. This one is the ordinary dollar store tissue, so we do have to be a little more gentle. With this one, we can put the latos onto the wet strength tissue. I think that would handle it quite well, but not the dollar store tissue I'm thinking. So we'll just splash a few of the beautiful metallic watercolors. Oh, man, I do love them. They're just beautiful. Now, you don't want to be moving it once you put the water color down because it will tear if you're using the dolosto tissue. It soaks up the beautiful colors really nicely. We could use some of the ordinary water colors as well. Perhaps just a little in a few areas. Do have to be a little gentle because it's ordinary dolls tissue and see like that it will tear if you push on it too much. Yeah. Or soaking it with water is also going to cause it to tear. But we can't let that worry us when we're all about experimenting. We're creating collage paper for our art journal page, so don't get stressed out. If it does tear. You can always make some more. I use a lot of tissue from paper packaging. I tend to get quite a few things in the mail. So I like using the paper packaging tissue. It's getting a little bit more plasticy these days, so it does kind of handle things a little better. But it's free. You can't get more affordable than free. It's a great resource to use. **** I'm loving the metallic water colors on my beautiful Tissue, they're a little softer, a little pretty. That's gonna work. So we'll drop a few granules of the salt onto this tissue and see if it does anything, it might not. I don't know. Haven't actually tried as before. But that's the fun of creating Experiments. You have to do things you haven't tried before. Right? So I'm putting this on my metallic watercolors on my dollar store tissue. We'll let it dry, see how it looks, see if it actually does anything because I think it would make just beautiful paper for my collars. Right. So this piece is my wet string tissue. And I think we can get a little bit more robust with this one. Maybe not too crazy, but definitely better than the Dollar store tissue. I'm using my fabulous lipsticks. What happens if we dip it in the water first? M. That could be good. So we Oh yes. I flows. Really easy. Really easy. Oh, man, loving it. We're doing swelly, swelly marks on this one because we did scribbly straight marks on the first paper. Oh, I'm loving it. It's beautiful. Saying. I don't know why it took me so long to get him out of the cupboard, but man. Oops. Yes, don't go too crazy. It's still tissue at the end of the day. It's Even if it is wet strength tissue, it's still tissue. It will tear if you go too crazy. But a little bit of soft swirling motion should be okay. That's a great way to start our experiment. Look at those colors. They're beautiful. I think I would like to add some of the meta watercolor as well onto this one. We are going to go a little bit gentle, not too crazy, but it shouldn't be too bad. Oh yeah, baby. Look at that. That is just beautiful. I'm going to cover this full sheet in glorious watercolor in my beautiful metallic tones on top of the fabulous gelato. Then we'll throw in a little bit more of the salt. See if it does anything because I think we should know if it is going to move either of these products. And create that kind of really textured mark at the salt leaves. Well, that's just fun. What happens if we put on some springs? Do you think it would work with springs? I don't know. I think we should try it. I mean, why should we stop now? We're on a roll. The wet strength tissue definitely holds up more robust en Doltore tissue, but you knew that, and that's what we're paying for when we pay the money for it. So, you know, you do get what you pay for sometimes. Yes, that works beautiful loving that. Alright. What about if we spray have I got. I've got some distressed oxide, fossilized amber. What color is that? All, that's yellow. I don't mind it, but I think it's a good test to see if the salt reacts with it. And we've got some, of course, the I zinc in bronze shimmer, which is one of my favorite colors. Sorry, let's put a bit of bronze shimmer over the top of that. Let's add some more of the metallic colors, and then we'll throw some of the Fabulous. Salt on it. We can add a little bit more of the beautiful gelato color onto it because it is the wet strength tissue. You do have to go rather gentle because it is soaking wet now, so even though it is stronger, it's still going to tear if you get too crazy. Little bit more of this color. I'm liking this color. Today, it's working for me. That's beautiful and pretty. Maybe some more of this color. Let's wet it first, soften it up. Gonna be interesting to see how it dries, a little bit of brown shimmer. And that fixes everything. Let's throw the salt on see if it does anything. I don't know if it's going to work with the bronze shimmer because the metallic ink might be too strong, and it might not react with salt, but you don't know, right? You don't know til you try. No harm. Just the salt shake it out of the kitchen, little experiment. Away we go. We'll see how it dries. Right. So most of the papers are dry and I'm pretty excited to see how they're looking. This was the first one. Have a look at that. It did create rather some pretty cool texture. I'm using this bowl to tip this salt in through. And it's really easy to get it off when it's dry. Well, mostly dry. It's not entirely dry, you know. It's mostly dry. We can have a little look and see what the texture did with the salt, and that's pretty fun. Oops, there's a little bit of wet paint still there. Oh, well. Now you can see the marks that the salt has made in the watercolor. It's pretty fun. It's created actually a lot more texture than I thought it was going to. Pretty nice. Some of them are really specific in the marks. Some of them have that kind of halo effect. Depending on where the salt was sitting. Yeah. That's pretty cool. That's what's that all right. Let's have a look at this one. Of course, this one is a lot drier because it wasn't so thick with the watercolor, and there wasn't so much water on the paper. But that's really quite beautiful. This one is the metallic watercolors They're a lot thinner. There was a lot less pigment on the page. But the textures turned out actually better than I thought it was going to. It's really nice. It's quite pretty. It's very subtle in the metallic watercolors because it's a lot lighter, but it's pretty nice. I think it worked out actually rather good. So what about our tissue? This is the dollar store tissue because I've got the little d on it, so I could see it was the dollar store tissue. And it will come up off The plastic very easy when it's dry. Don't try and move it when it's wet. It will absolutely tear to pieces, but it is nice and dry. So it should come off the plastic really easily. Once you knock all the salt off, t comes off quick as. Now, the thing is it's really beautiful with the lovely water color and the metallic water color. But if you look at it, you can't actually see any of those textured halo marks. Like we can see on this one. And that's because the tissue is too thin. The paper doesn't absorb. The water color with the salt doesn't have that kind of reaction because the papers just got no depth to it to absorb. So, that's okay. That was a good experiment. In fact, I really love the soft tissue. I love the color of it. It's really good to look at and see the difference that it makes just because of the thickness of the paper. Now, how did our wet strength tissue go? Well, it's going to be the same. It's nice and dry. It's going to have the same kind of effect because it doesn't have any thickness or absorbency in the actual paper. So even though it's really very beautiful, I love the colors, and those latos, man, I am loving those altos. They worked really, really well, but it doesn't have any halo effect. Or maybe a couple of spots. I can't say it doesn't have any. It has a few little spots. It doesn't have the same effect like the watercolor paper. Does, however, have a beautiful texture of the glorious latos in my scribbles. This one had the spray ink on it, and it didn't make any textured marks in the spray ink with the salt. But there are a few little spots that you can see round and a. I think that worked better than the ordinary tissue, but really, of course, the watercolor paper is going to work the best for this kind of technique to create the texture because it's thicker, absorbed, sucks up the paint and the water, and then it creates that reaction against the salt. Pretty fun, really. Got these two as well. This was a lot thicker. I added the acrylic ink onto this one. It's not actually dry. But what I can see from the salt is that it leaves little dns in the acrylic ink. Doesn't create that halo effect. It does have a little bit of textured marks, which is pretty. It's nice. It's okay. Like I said, it's not actually dry. And the blue one here that I threw. Lots of salt on. It's looking pretty good, too. So it depends on how much salt you add, the thickness of your watercolor. I don't think it works for the acrylic ink and probably not the spray ink. I think it's just the water color that it's reacting with the best to create that effect and that texture. This one's pretty nice, too. You can see all the little spots here from the salt. Lots of fun, lots of texture. Now, what are we going to do next? Well, we've got to put the collage page together. I'll just show you one more thing. Here is my beautiful Gelato scribble. I really love the color and textures on this. It's dried up really well. This is completely dry. And you can still see some of the scribble marks, and you can see where I've blended it. This worked really well. Loving the latos. Now. I'm probably going to keep this for another day and use it for a background. Maybe I'll put some jelly print over it. Oh, some bronze. Wo look rather stunning. So I'm gonna pull out the art journal. Put some of these papers into it. And I think I'll add some from my scrap bag. That's gonna be good. The wet strength tissue definitely has more texture on it than the ordinary tissue. Maybe that was because I put more paint, more watercolor paint, and gtose on the wet strength tissue because I knew it would handle it. Whereas the ordinary tissue tears so easily. So that could have caused more of the texture forman of salt. Definitely. I'm going to use these two pieces 'cause I love them. They're just beautiful. I'm going to put these two tissue pieces down first. Then I'm going to use some scraps out of my scrap bag. I've got some in the warm tones and some in more of the natural tones. I'm going to definitely pull some scraps out of these two packets of fabulous textures and put this collage together using that as a base. The scrap bags as textured elements, and it's going to look fabulous. There's so many beautiful scraps in this scrap bag. It's a treasure drove of textures and papers and shapes, of all sorts. But I don't want to add too many on because I'm loving my background papers. I love the beautiful tissue that I colored with the water colors, and the gelatos, I can still see the fabulous scribble marks under there. So I don't want to put on too much. I put on this glorious coso paper here. It's looking fabulous. The colors are beautiful and this paper over here. But other than that, I'm thinking maybe a few little shapes from out of the box. These could work really well. And I don't want to add too much because I'm just loving the textures that are already on the page. What do we think about that? Yeah, it's an option. It's an option. There's quite a few options. That's the problem. And I don't want to add too many more. I could maybe take a shape from this one. I do like this one as well. Which color section do we like? Let's go with this one where there's all those fabulous texture marks there. If we cut a section out of there, what does that look like? Oh, what looks like the moon? It's got fabulous created marks. We could add this. But I don't know, man. I'm liking it like it is without adding too much more. Maybe a little something, but definitely not too much. I don't think this circle's really working for me anywhere. I'm liking these ones, but these ones are looking good. I think they're okay there. What are we going to add a little something, but not too much more? I know I said I wasn't going to add too much more, but Then I just kept picking up pieces that looked beautiful, that would match. And I was having such a good time sticking them on. It's just absolutely fabulous. The pages are all dry now. It's looking good. I'm loving it. I had so much fun creating these pages. I can't wait to see what you're going to do with our watercolor fusion, so don't forget to show me. I really want to see. Y. Now, we're on to the next lesson. I 5. Day 38: Gelli Print Image Transfers : Day 38 creating jelly print image transfers. How very exciting. Now, don't get scared. I'm going to take you step by step through the process. And the first time we tackled image transfers, I was using a laser print copy turned out beautiful, but I did give you an option to be able to just the page. Today, you're not getting any options. We're using magazine image transfers. Oh, my gosh. So exciting, a little hit and miss, but it's going to be a lot of fun. Discover the magic of incorporating image transfers into your collage as we create with magazine pages on the Gel plate. This process will add depth and interest to your collage pieces, allowing you to blend printed imagery seamlessly with other elements. We'll be using text and pattern textures to create beautiful multi layered collages. Doesn't that sound like fun? Yes, it will be. Let's jump in going. Right. So I have on my table here a few magazines. I also am still completely obsessed with my Medan hundred pack of paints. So I've got them as well, and a few of the liquitex muted range because I'm loving them. I'm going to be using both the Japanese sketchpad paper and the wet strength tissue as well. What we need to use is good quality high toned magazines because that's what's going to create the best transfer. The color glossy pages holds the most toner and the toner is what resists the paint and causes it to stick to the gel plate. Yes, we are going to need the expensive ones to. I've got a few of the vogue magazines. And the other thing you really want to think of is the contrast of light and dark. Some of the photos might look good, but they might not have enough contrast areas, and that's what you really need. This one could work. The dark areas are going to repel the paint and stick to the plate, and the light areas will absorb all of the color. So they might be a little hit and miss with these ones. That one should work really well, maybe. Baby. We're going to have a try of a few different ideas. I've got Italian Vote, Australian Marie Claire. And this one I picked up when I was waiting in the airport going to Singapore. So, you know, different magazines. Let's try a few pages. I also have one of these very fancy art magazines, and it would be really fun to try this and see what image we could perhaps pull from these pages. Will they work? I don't know, man. I've never actually tried that magazine. I've also never tried national geographic, and I would like to have a go with these as well. Some of them will work better than others. Don't get stressed out if it doesn't work. It's going to be very experimental, and we want to have a bit of fun. So I'm going to rip out a few of these pages, see what works, and see what prints we can take. We also want to be having a look for some good text on the pages. I love using the portrait images. They really can transfer very well, but I also like using the text pages because they create more texture and more patterns on your page. Now, these are beautiful photos, but they're going to be too close in value. To create a decent transfer. This one, I'm going for the fabulous big font of the text there. That would work well. That's probably not going to transfer well, but sometimes you don't know till you try. These colors here are too close in value. The dark red is going to be too close to those other colors for it to transfer well. That probably wouldn't work. So when you're having a flick through your magazines, just have a think about the dark and light areas, what you think would work, what's going to stand out on the paper, to really repel that ink and make it stick to the page. She might work, maybe. Baby, let's give her a go. Let's have a look and see. She might work actually. Let's try that. I'm going to just pull out a Heba pages, and we'll have a look and see what actually is going to work. And what doesn't? Well, soon, no, very fast. These feel nice these pages, so something in here might work. It's just a matter of choosing the right particular images. That's really fun. Yeah, I'm gonna pull that out. I know. I'm desecrating an art magazine. But I haven't read it. So, away we go. Nothing is sacred when it comes to art making. I'm not sure actually really how these pages are going to transfer. Hm. Let's have a look at something else. Maybe the Marie Claire. She might have some nice pictures in here or some images or some texts, or some texture elements that we could use. We could put a whole page like that on the plate and see what picks are. I think that's a cool idea. Because you will get something, and then we could create some different layers with maybe some stamps and some stencils, or something else. Yeah. She might be right, too. She could work. She's got some good, strong, defined areas of li and d, so we'd give her a try. Julia Maybe Julia might work. She might come across all right, too. Right. National Geographic. I want to have just to try of one of these pages because I've never actually tried Nat Geo. Oh, Wan Look at that to do an image transfer. I love national geographic. I use them for all sorts of art making techniques. These pages might work, but I'm not sure. They might be too dark. I want to try one just to see how the page prints. Okay. I'll pull out a few more. We've got a nice pile to start. Let's get the gel plate. Right. Let's start with Julia and see if she's kind to us. I'm can it go with Mute gray. I'm loving these colors from liquid text. Now, the thing is, you want a very thin layer, thin thin layer of paint. That has always been my challenge right from the very start, especially with image transfers, is getting a thin enough layer of paint. The variables are going to be the magazine page that you use and the paint that you use. The type of paint and the quantity of the paint. All of these things will make a big difference to whether or not the transfer actually works. So if yours is not working, you need to change one of those variables, either try different paint, try a different magazine, vary the quantity of the paint, also the time that you allocate to leaving it on the plate. Now, this is in real time. I'm not fast forwarding this bit because I want you to see how long I've left it on the plate, which is about what. 8 seconds, I'm thinking. I could have counted for you, but I didn't. So 8 seconds on the plate, puller up. See how she goes. Oh, look, Julie is kind to us. She's left a great transfer. So what I'm going to do now is just wipe off her freckles. They're not actually her freckles. They're little spots of paint that are left there from the different sections of the magazine page, or they could be a little scratchy bit sets on my plate from the last poll because it wasn't actually completely clean. I know. I was just being lazy. There's little bits on the plate. But baby wipes are my best friend when it comes to jelly printing. I love them. Look at that, wiped it up really easily. Now, what else do we not want? Well, we probably don't want this harsh line on the side here because I'm thinking, let's let this layer dry, and then we're going to add something to it cause it's all just a bit boring like that. I mean, I know, she's a pretty woman and stuff. But, we need to add another layer to her. Make it a bit more interesting. We'll wipe off some of this section. Do we want her watch? Yeah, I don't think so. Let's just get rid of all this section here, too, because looks like she's doing a watched. She might have been doing a watched. We are in a magazine, it could be an ad. But I'm going to take all of this section off here. This has worked out pretty nice. We'll leave that section there. And then we'll let it dry and add a little bit of texture. I'm thinking. Something around her in maybe one of my favorite mark making tools. So I pulled out one of the meting colors. Now, I ain't left this 5 minutes so that it would dry properly. Otherwise, when you go to roll on some more color over the top, it's going to catch your wet paint and basically pull it back off again. So you want to make sure the first layer is completely dry before you start putting on some more layers. So I'm going to put on portrait tone? We'll see. Won't we? It's one of the hundred of the meat and color packs. That right now, I'm just obsessing over. Put that on, and then my favorite mark making tool, which is this fabulous draw line kitchen drawer liner. I put it on. I love the texture that it makes. The little square. Do I want it over a face, okay? I I wasn't going to. But then I just did. There it is. It's all over the place now. We do have to wait for that textured layer to dry. And then I'm going to pull the print with I'm thinking maybe copper. Something rich rich and luxurious looking. So I'll give this a few minutes to dry, and then we'll pull it with copper. I gave that about 3 minutes to dry. And yes, she's touched dry. You've got to be able to touch it. It's not sticky, doesn't have any wet paint on it before you go and put the next layer. That is really absolutely vital. You can add more layers. I could have added some more stencils or stamps. I could have even added some more transfers onto the page. You don't have to use just one. It's absolutely endless the possibilities of what you can do, and it really is a lot of fun. Don't let it scare you. Give it a good chance. If something's not working, then just change one of the variables. It's either going to be the magazine. Or your paint or the amount of paint or the time. So if you just change one of those four variables, then it might actually really be the key that sets you off like a rocket. We get image transfers. Now, these are magazine image transfers, so they are a little hit and miss. Don't stress out if it's not working exactly the way you want, especially if it's your first time of trying. You do have to try different magazines and different images in those magazines. That's really important as well. I'll give this paper just like a few minutes, maybe three to sit on the plate before I pull it up. And then I'm going to just basically create transfers in a frenzy. Because it's a lot of fun, and there's so many possibilities. I want to try some of these different magazines. You definitely want to try some text and some texture areas because they are really quite random, what actually does print. It's a whole lot of fun. And like I said, don't get stressed out if it's not working, just change one of the variables. And then let's see after our printing frenzy, what we're going to have for our fabulous collage. Do you think it's dry enough? How I think again. After I was yapping a bit. No, it's not. It's sticking to the plate. Okay, we have to wait. Oh, man. It's the hardest part. Okay. I gave her another few minutes to dry. Let's see how we're going. Now, I et's coming up much easier. It really does make a difference. Just a few more minutes like two or three even. To make sure that the paint is entirely dry on the plate. See, look, look how clean the plate is, how much paint it's pulling up. That's because of the extra few minutes that I gave the print. It really does make a difference. I don't know why I've got to be so impatient because I know how important it is. But there you go. Human nature. Straight off the plate. She's looking beautiful. She pulled up well, those extra few minutes really does make a difference. Thank you, Julia. Looking glamorous, what can I say? Image transfer straight out of the magazine, just like that. Way you go. Go, crazy. Let's create some prints. Yes, I did have a bit of a printing frenzy. Now, this one was a little doubtful because there was so much of the same color tone in the print. I didn't know how it would work, but I wanted to try it. You just have to try things. Although I do think it looked better on the plate before I pulled the print than when I pulled the print. But it's a? It's all right? It's not bad. I poured it with an iridescent bronze. That looks pretty nice. There's a few little crinkles from the wet strength tissue, but you can't let those kind of things worry you. Now, the next print I tried was from the art magazine, and it was really disappointing. It didn't print at all. But you can't let that worry you because you're going to have that with different magazines and going to produce different results. So I put my favorite mark making tool right over the top, looks fabulous. Then I put one of my stencils, plastered some more paint on it. You can't fail. And now I think the print looks absolutely fabulous. I'm really happy with it. It turned out rather beautiful. So if one of your image transfers doesn't work for whatever reason, it was the paint, or it was the magazine, just march on, put some more paint on it, try something, else, add some mark making, and pull the print anyway, 'cause you'll never know what you're gonna create until you have a go. I must be feeling rather dramatic today. I'm loving this print. It printed really, really, well, I put, yes, my favorite mark making kitchen liner on it. I just love the texture and the shape that it makes, and it's so easy, it's 2 seconds. Then I wiped out the bottom section, and I put another little strip of magazine of the text because with this particular print, I'm really wanting to see how I can get that graphic text look. Think it's fabulous. I poured it with rich bronze, and I'm loving it. Right now, it's my favorite. Was on a roll. I wanted to keep creating with the different text fonts. I put this page on the gel plate. It printed quite nice, but I wanted more. I always want more. So I put one of my other mark making textures. It's a textured piece of mesh, creates a fabulous shape. Put that on rolled over it with the brayer, creating those shapes, pull the print, It looks beautiful. With this one, I put a couple of different colors on it to see how that would look and it's pretty good. This next one was really disappointing, and it definitely wasn't the magazine. It was the paint. I'm using a thin metallic graphite color and it didn't leave any impression at all. It was just smog paint. Sometimes it just doesn't work. This particular paint was too thin. Maybe the metallic just didn't have the pigment to create the transfer process. Make sure you look at that. Look at the magazine you're using and the paint you're using because it really does matter to the final outcome and the results of your prints. This one was a total failure. I put my favorite ma king kitchen texture over the top of it, and then I put some more paint and some of the text magazine pages. This time I'm using the muted pink in the liquid text. That paint has worked every time today. I'm telling you paint really matters. Covered the whole failure print and put another code on and put the magazine text pieces on it. I put a couple of different text pieces on it because I wanted to see how they look. What I love about doing this, you really should try it is the torn edge that the print makes. It looks fabulous. You don't have to use one big page on your gel plate. You can tear up little sections of the magazine, and when you do that, you create all sorts of shapes. It's almost like making collage on your gel plate because you're putting pieces together and you get the line and the mark of the torn edge and looks really good. I'm loving this print. I think it's my second favorite. So I was getting a little fancy with this one, put the print on, wiped out the middle section, and put another torn piece of a magazine page on that. Just sort of have a try, a little bit of experiment, see how that idea went, and it's not too bad. I think there's so many possibilities of what we can do, taking different sections of the magazines and putting them on the plate. Now, I have to tell you the National Geographic page failed entirely. It didn't bring at all. It left nothing on the plate. So don't bother trying NGOs. They don't seem to work. Well, that one did. Maybe it was the particular photograph I chose. Maybe it didn't have enough contrast. Remember, the photos have to have a lot of strong dark and light areas to create that transfer process, so I don't know, man. Maybe it was the photo anyway. It bombed entirely. But not to be perturbed. I rolled straight over it with the beautiful, muted gray color loving that one today and put on one of the portrait pages. Oh, man. This time it turned out absolutely fabulous. I thought I'd get adventurous, put some paint in the other section, stamp it with one of my rose stamps. I was putting the stamp on, which took the paint off and putting it in other sections of the print. It didn't turn out exactly how I'd hoped, but the image of her face looks very captivating and moody, and I'm thinking I might use this one in my collage. I probably have enough prints. To put that little collage together in the art journal page. So I think I'll start printing now and pull out the art journal, and then I'm going to decide which one of these fabulous prints I want to use. I'm pretty happy with all my prints, especially considering the magazine transfers 'cause they can be a little hit and miss. This one was my failure, but it turned out to be a fabulous background print. I'm pretty happy with that one. This one I'm loving the moody look on her face. I think I might use that today. What about our pretty woman? Yeah. Probably another day. Actually, she'd be really good to use like just her eyes in a mysterious collage. So I'm going to put that aside for another day. Don't forget to keep all of your prints because you're going to use them in another lesson or even in another class. Cause the classes do compound, and we do come back and use different techniques along the way. This is pretty nice, and I'm liking them. That's a maybe baby. This one's got a great section there. So we'll put that for another day. Not so fussed on that one. Let's put it in that pile. Loving this. And what's really interesting is this piece that I tore out and used to take the transfer on the plate. I reused the same section of the magazine. On here, I just wanted to see if it would print. And it did. This one printed over the metallic graphite that didn't work at all. So, sometimes the prints just compound on each other, even if they're pses. Don't give up on them. Put another layer of paint and some more mark making, or even take another print. That's what I did with this one. I love the line here of the torn edge of the magazine page. I think that looks pretty cool. So I'm loving that one more than that one. And yes, I love this one the best. It's still my favorite. It's not actually going to fit. On my two small art journals, I'll have to decide which section I like the best, but it's definitely going on this side. I don't even know if I need any other collage for it. Look at her. She's so moody. And we're going to have a bit of the red in the bottom. I'll keep the leftover bit. Yes, for another day. And I think I'll trim it up like that. Do I want to add more collage? I don't think so, 'cause I love the texture of it from my favorite draw line there and the tornage of the page. And I'm going to use a section of this one, and I'm going to put her face on there somehow like that. All right. That's the blame. The pages are looking great. And of course, I had to add just a little bit from my scrap bag. Not too much because I'm really happy with the prints. The collages look fabulous. Pretty good for an image transfer magazine, page collage. So how are you getting on with your prints? Let me know if you're having any major issues, but remember, the quality of the magazine, the paint that you're using, the amount of paint that you're using, the time you're leaving it on the page, And try again, if it doesn't work the first time. Cover it completely roll over it with paint and have another go. Try different magazines, try different paints that you're using. It all makes a difference, but it's a whole lot of fun, and I really hope you enjoy the lesson. 6. Day 39: Flights of Fantasy: Day 39 flights of fantasy incorporate bird imagery into your collage to create an expression of freedom, hope, and creativity. Now, I've been using birds to express freedom for a really long time. For a while there, I was a little obsessed because I'm very passionate about freedom, not the freedom of riotous living and running a Muck, but the freedom of owning your own sense of self, your identity, and appreciation for who you are. When you really know who you are and you're strong and content in your sense of self, then you really have an incredible freedom. You're not swayed by other people's opinions. You don't get run over by the world's judgments. And it's a really empowering space to live in. But it does come over time, and it has taking me all my life to get to this place. I'm very passionate about this particular expression of identity and self appreciation. I find that through creative expression, you can really come to a true knowing of who you are and what you're about. That's why I love creating these classes so much, and I'm so glad you're on this journey with me. Now, birds often represent the ability to rise above challenges and view life from a broader perspective. So your theme today is to craft a collage using these powerful themes. Are you going to use birds in flight or sitting in trees or outside of cages? Yes, I did do that for quite some time. I was stuck on the bird outside the cage. There's so many ways you can take this theme, and it's such an incredibly empowering concept to really allow yourself to express your creativity without the fear of other people's expectations or opinions. So I really hope you enjoy this theme. I hope you spread your wings and really saw above your circumstances because I know it's going to be really empowering for you. You can use a mix of bird images and other materials like feathers, paper, fabric, and paint to deepen the symbolism and enhance the visual impact of your piece. It's really up to you where you want to head and what you want to incorporate into your artwork. Now, for me, I started by creating some jelly prints. Of course, I did. I love jelly printing. I find it gets me warmed up. It gets me moving along and thinking about what I want to create. I started with some beautiful blue black or indigo on the plate. I wanted to pull a one color print first on some wet strength tissue because I put the beautiful, ridecent bronze fine on the plate with my fabulous bird mask. I knew the bird would come out in the glorious indigo color surrounded by the lavish bronze tones. Now, these bird masks I'm using today come from PM Artist Studio, and you will find that information in your notes if you want to have a look for them. Don't forget the discount code if you do, because it's always nice to save some money. I absolutely love to using these beautiful birds masks. They're really easy to use, and when you put them down on the wet paint, you get the fabulous ghost print. That's the paint that's trapped under the mask. So this beautiful ghost print, of course, is in the iridescent bronze fine, and then I put some of the beautiful blues and turquoise from my Medan hundred color pack. Right over the top to pull the print. Not stopping there. I pulled out some of the fabulous stamps from PMA studio. This is a funky leaf stamp, and I plastered it all over my print because I wanted to feel like the bird was landing in the trees. Except that my background's green and my leaves are blue. But does that matter? I don't think so. We're creating art here people. It doesn't have to be realistic. I was having so much run splashing the paint around. I really didn't think too much about it. Now, the next one I put on the blue black loving this color today, the glorious depth of the indigo, and I stamp some of the funky leaf marks in the print before I pulled it. Looks rather good, don't you think? It's got the beautiful bird in the white from the plain paper of the wet strength tissue. Now, I could spray that or paint that, or color that in if I want to Really, I'm loving the actual look of the deep indigo with the white. And if I put that over a different colored background, those colors would come through my mask design of the outline of the bird. It's pretty fun, and it really creates an endless amount of opportunities to develop into other artworks. Now, with the indigo mark that's left on the plate, yes, I did get a little excited, and I pulled out the beautiful colors of the meat and packs because I've got them surrounding me. And I painted them on the plate. Now, this was a little experimental. I wasn't sure if it was going to pull up well because I literally painted with a brush. Onto the plate. Mm. Sometimes when it gets a little thick, it's a little harder to pull up. But you have to try these things. Don't let the fear of failure stop you from experimenting. What's the worst thing can happen? It can only tear and really doesn't matter. But if it works, it's going to be amazing. Now, with a different uneven surface of the paint layer, I had a little trouble rolling on the iridescent bronze fine. But I got there in the end, covered it on the gel plate, put the wet strength, tissue on, and I left it overnight. I knew it would need a serious amount of drying time. And when I pulled it up the next morning, yes, it was a little stuck. Now, I had left it overnight, so it wasn't the drying time that made it stick. It was probably the thickness of the paint and areas that were uneven on the plan. But you can't worry about things I picked at it and pulled it off and it eventually come up. And ta ta. Doesn't the print look amazing? I absolutely love it. Look at all the beautiful colors. And using the Madan 100 color pack is really so easy. It's a little cheating, 'cause you're just opening these tiny little chaps, putting them on, and there's such an array of beautiful colors. I love this print because it's got that expressive quality with the wings coming right out and all of the colors surrounding it. I think it's a winner. It does have a few dings and bangs in it. But I'm sure I could fix that when I put a collage together. I pulled out the second beautiful bird mask that I've got and had a play with that on the Indigo, using the leaf shapes again, and I pulled this print onto a copper background that I already had. Now, what I love about this class is we keep creating and we keep printing and we keep making papers and prints. So make sure you keep them in a pile somewhere because you can use them for another lesson. I love being able to go to the pile, pull out a piece of paper that have already printed and use it for today's brilliant idea. It's so much fun, and it's so easy because you don't need to then reprint those backgrounds. I love it. Now, this time, with the mask in the beautiful blue black indigo color of the bird, I wanted to put it onto some music paper, but sometimes with a textured background like a sheet of music, it can be too much of a fight for the attention of the print. Now, because this print is a beautiful outline of a bird. I wanted to stand out. I didn't want the music paper to overtake my print. So I used a paint called liquitex transparent, mixing white. Now this paint will knock back your background, pull up your print, and then your print is going to stand up much brighter and much stronger on the page because your backgrounds been a little bit dulled out with some light smoky white color, but it doesn't block out the background completely, and that's what I love about it. It just knocks it back in like a hazy white without actually completely covering it like a titanium white would do. I think it worked out really good for the beautiful music paper. I love this print because the bird looks fabulous, the background looks great. You can still see the fabulous music notes coming through, but they're not overpowering my subject matter with the bird, and it's got a slight blue tint to it because it was a little damp when I rolled it on. I'm humming it. It turned out fabulous. Now the next print, I'm back to the beautiful iridescent bronze, fine. Yes, it's my favorite color. And this time I'm pulling the print onto a card stock, black card stock piece of paper. Now it works absolutely fabulous. It's stunning because you're using a mask. You're blocking out that paint color. So the birds going to be beautiful and black against the ridescent bronze. The only thing with using card stock is sometimes you can't get in and around the mask because it's a little stiffer. When it prints, sometimes it creates a little halo around the print. Because you couldn't get into that area of the mask. It really doesn't matter to me. I don't mind it too much. The print looks rather beautiful and having it on a piece of card stock, you can create a collage with this, and it's a bit of a thicker substrate. It can work really well if you want to build up layers in your collage. Just remember, sometimes it's hard to actually get the paint in around the mask. You do have to work it a little more with your fingers when you're using a thicker piece of paper. Now, I pulled the goat sprint on a beautiful piece of blue paper that I had already made in one of the first lessons, I think when I was creating all those beautiful blue colors. I love it. It turned out beautiful, and I'm creating quite a nice pile now of these fabulous birds. So I pulled out the fabulous journal and away we go for making the coll. I've used this particular print here, and I absolutely love it. This bird, I print it onto a piece of craft paper, and I use the transparent mixing white to do it because the craft paper's got a fabulous textured background, but it's going to be too strong for the beautiful shape and design of the bird, so I use the transparent mixing white, hold it from the plate onto the cardstock, and I love it. I love it the best. I think it's absolutely beautiful. So I'm giving it a trim, sticking it in my art journal, and I'm starting with this one. On the other side, I'm starting with a beautiful blue jelly print. Now, this one I created a couple of lessons ago in my blue face. When I pulled this one from the plate, got up all the paint and the ghost prints underneath. Fabulous. I just loved it. Instantly. It's got fantastic abstract marks. So it's going on the page first. What am I going to do next? I'm just not sure. I'm thinking. I feel like creating something really textured. So I pulled out my scrap bag. Some days you feel like painting. Some days you feel like textures. Some days you just want to stick a whole heap of paper on it. And some days you want to do all of the above. Today, I was feeling like creating something really textured and thick, a real painterly effect. I'm putting papers on from my scrap bag, and that's where I started. Then I pulled out the beautiful pack of gelatos that I've used in a previous lesson. I'm loving these. Yes, I know I did say they look a bit like lipstick. They're beautiful and soft and creamy. They dissolve really well with the water. They become water colors very fast and very easy. So I added them onto my beautiful bird print just to enhance the shapes of the background. And this worked really well. I think I'm going to have to do this again because I really enjoyed it. I enjoyed enhancing the craft paper background with the shapes that are already on there, adding some painterly effects to the page and just creating a few more textures and patterns. I did the same with the blue side, scribbling on that textured paper, and then painting it with some water to create that watercolor feel. I really had a lot of fun, and I was kind of lost in the zone. I really enjoyed creating this painting with the textured papers, and I was quite reminiscent of the beautiful artworks that I've previously created in my sense of freedom, So I thought to myself, let's pull out those fabulous little seagulls. So I'm heading in that direction. Decided that I had to have a little spritzer, a little spray of some white linen dilutions, just to create that energy and that splash feeling like we're at a beautiful day at the beach somewhere with some textured greenery in front of the glorious ocean. I know. Can you feel it to get I was feeling it. Added some more beautiful textures to the bird, a little strip of my fabulous dance moves. That page is looking glorious. I'm loving them both. And then I added the fabulous sea golf. Now, I'm not sure where I got this densel from because I've had it a really long time. I masked off some of the birds because I just wanted a few in the top area of my page, and I just find it easier to mask off the areas where you don't want to get the paint rather than try to wipe it all up afterwards. I'm using the beautiful platinum in stencil butter, it's thick, it's ls, it's glorious, and it's metallic, just beautiful color. So I've got my three beautiful sea gulls circling in the air, and I'm loving it. It feels really good. I love the painterly effect of the latos. They work really well and really quick. It's a great way to get some paint on the page, and they come over the textured paper really beautifully. The pages are looking great. I'm really happy with my flights of fancy. And I just enjoyed remembering how passionate I am about that expression of freedom, self appreciation, and the pursuit of creativity. Now, before I finished for the night, I did add a little bit of the mixed in relief paste onto my bird's wing because I just had two. It's going to look absolutely amazing. And I'm going to use this beautiful one with the blue and the silver in the deco Fo brand, this brand here. I love it. All the information will be in your notes. If you want to find it, it's glorious. Yes, I know it's my new favorite thing. So I've put a little bit of the paste last night on the wing here because I knew it would take all night to dry. Let's put some of this glorious color on the bird's wing and see how beautiful that's going to look. What I love about this color is it's got this incredible variegated tone to it, so it's got blue and silver, and a little bit of the gold as well. So I think it's a perfect coloring for my bird's wing. It's so darn easy to use this material. Are you ready? Are you ready? I'm so excited. Here we go. Ta Tara Oh yes. That is just beautiful. Have a look at that. Look at the way that's shining. I absolutely love it. That's finished off my page. Really, well, I love the mix of the gold and the blue and the silver. It matches. It's going well with this page. Oh Yes, might be one of my favorites at the moment. Oh, I forgot to show you my feathers. I did. I printed these feathers, and I had so much fun doing this. And look how beautiful the print is. So I put the paint on the feather and then printed the feather onto the page, and it looks absolutely stunning. I've used a beautiful printmaking piece of paper. It turned out way better than I expected. And then I did a few little touch ups on the prints just to fill in some areas that missed. And I am amazed at how stunning these prints look. H. I'm going to definitely have to use them somewhere. I might even just cut the top and the bottom and put them into my art journal because I think they're absolutely fabulous. And I could probably get away with just putting them on the page like that. Aren't they glorious? I love it. All my beautiful bird inspired prints and collages have turned out so well. And I found it such a joy creating them. I really hope you enjoy this lesson. I can't wait to see what you're creating with this theme, and I hope you really enjoy the sense of freedom and creative expression. Yeah. It's been a great day. 7. Day 40: Doors of Opportunities: Day 40 doors of opportunity. I absolutely love using doors in my collages and my mixed media projects because it's so symbolic of so many fabulous possibilities. Possibilities are endless with doors opening into new realms. Who knows where we're headed, Big adventures. I love it. Today we're going to dive into the rich symbolism of doors and explore how they represent new opportunities and transitions. Create a collage that uses door imagery to convey themes of new beginnings, choices, and pathways. Experiment with different materials and techniques to craft a visually compelling piece that opens up a world of creative possibilities. Now, these fabulous collages are from my passageway series, absolutely beautiful collection, using the glorious doors from Italy. I know. I had such a fabulous time in Venice. Oh, Vanice, my love. And I was photographing windows and doors everywhere I went. So today, this is going to be my starting place. This is my absolute most favorite image. I love the colors. I love the shapes. I'm very tempted to use this one in the collage today. But also I have these other ones. And what I love about Is this fabulous paint peeling section and the bricks besides the glorious doorway. It's absolutely fabulous. These are all from my doors of Italy, which you can find in my digital collage papers pack if you want to join me. I'm definitely going to start with one of these fabulous inspirations. Look at this one with the glorious walls. Now, we can use them just like this stick them into our collage and add some papers and textures with them. Or we can get a little bit more adventurous. Yes, I have to do an image transfer. I love doing image transfer with these images because they turn out so incredibly different. They create a beautiful painting effect, and they work really well. Now, some of these images do work better than others, and sometimes you don't quite know until you're actually creating the transfer. So this image here I've used to create the transfer And it turned out absolutely glorious. I put the image onto the plate, took the transfer, and it created a beautiful strong door image. But as you can see, the surrounding walls really didn't transfer very much texture at all. That's because the area around the door is far too light for it to work in the transfer. But You can't let those kinds of things bother you. I put on some beautiful, gold, rich gold paint with a glorious stamp, stamped it around the door image. And then I was using the technique of putting the paint on, spraying it with water, letting it dry, putting the paint on again, spraying it again, and pulling the print. This one I pulled with the transparent. Red iron oxide. I absolutely love it. I think it turned out really, really well. And what I'm enjoying about using these particular doors is the colors. I'm pulling this color as inspiration from my venous. H. Trip. And I'm really enjoying how it's looking on my transfer. Now, the second transfer I did, I was using this image here. I liked the strong lines of the image, so I wanted to see how well that would transfer and it transferred pretty well. It's far more abstract in its application. The transfer on the plate imprinted more of the background, more of the walls around the door, which was really a lot of fun. And I created the layers again with putting the paint on, spraying it with water and adding additional paint. This one's got a lot more graphic line to it, but you can see in the print far more detail of the bricks and the broken mortar and plaster of the walls. It looks fabulous. I pulled this one with the rides of bronze fine, and I'm loving it just as much. Fact, you can see the little numbers up the top. It's actually transferred, beautiful, and I love the painterly effect. The colors are glorious. I'm using the hundred metan paint pack because the little tubes are such beautiful colors, and they work so well with my venice theme. Now, I want to create some papers that have that real venice feel about them with Plaster of paint falling off and the glorious rich colors. So I created these prints using the fabulous baby powder technique. Now, what I love about the fact that we're class six is that I've showed you how to do all of these techniques, so you can jump in any time and have another go at using them. We did this technique in class five day 33 in the space dyssy and we were using blues. But this time I'm pulling out the glorious colors that remind me of Venice and putting them on the plate, putting down the baby powder, pulling the print. They have turned down absolutely fabulous. I've got three to choose from. Here. I just love them. What I have found has worked best with this technique is to keep printing on the pages, pull the print off, and then use that same print again to create another layer because that's how you get the beautiful build up of texture and tone and color. And doesn't this look like a Venetian wall? It It totally does. It works exceptionally well. So if you remember this technique from the last class, have another go at trying it with some different colors, and you'll find that it creates an absolutely fantastic and beautiful texture paper. Now, putting these beautiful papers with Venetian door, doesn't it go amazing of matches just perfectly? Which ones am I going to use because, of course, now? I have more than I possibly need for my art You can, of course, douse some royalty free images. I know in previous times, I've used unsplash.com to get fabulous door images, and you can just print them and stick them straight into your collars. You don't have to do the transfers or create the texture papers. But it really is a whole lot of fun. I do want to encourage you to use these techniques and keep trying them because you really do get better. It's mileage under the brush, baby. You have to keep trying the techniques. That's how you hone your skills. That's how you learn and grow and develop your artwork. So, which ones am I going to use? I don't know, man. Maybe I want the actual image or I'm going to go with one of my Image transfers. I'm definitely using one of these glorious textured papers. I just have to decide. Now, this one's going to barely fit on my page. Oh, man. That's the only bad thing about having such a cute little squared art journal, is that? It doesn't fit the full gel print on it, but not to worry, I will be able to get that much on it and then cut it there at the top. And we'll start with those. Print turned out just beautiful. I love the way the stamp has created that background. That's going to work. Let's put that there. We'll chop it a little on this side. Hippity chop. Make sure you keep all the extra pieces, 'cause they work really well in the scrap bag. And then I'm sure I'll pull it out again another day. Now, I'm going to tear this edge because I don't want to have that sharp cut edge. That's going to be my fabulous textured wall side. So let's give that a tay like that. And then I have to decide on which of these fabulous papers, I love these textures. I love the technique. You just have to really experiment and play with it to be able to create such beautiful patterns you can't give up to early. Print them down, print them again. And if they don't work, try another layer on top. So that color is going to work absolutely perfect. Although this one does as well, and this one's got more of the gold in it. Oh, man. That works better with that color. But this rustic one works better with this print. I think I'm going to put some of this one in cause this one was my initial inspiration for my page. So I'm going to have to use some of it. Do I want the door side, or do I want the top side? Probably the door side? And I think I'll put some of this fabulous textured background over it. We might put some of this one on here. So many decisions. This color works absolutely perfect with that print. So we have to have some of it that's all there is to it. I'm going to tear it so it's not straight. I want it to come in and out and be more jagged because that's going to be far more interesting. Something like that. That's going to work on that side. I don't want to cover too much of my print because it's absolutely beautiful. And then on this side, do we want that to go there or do I want that to go there? Hmm. Something like that's going to work on there. I want to cover This section as well with some of this print. And then I may have to pull out my scrap bag just to add a few little final pieces. Something like that. Put that on there, and let's see how that looks. Right? So those papers are all down. Now I have to decide, on the other side, It's not easy when you got so many beautiful papers. Look how fabulous this looks like. Definitely the side of the building where the paintings chipped away. Love that technique. Yes, it's one of my favorites right now. Now, if I put this here, we need to chop more of the bottom off. We're just going to have to make drastic decisions. Because I want to get some of that glorious, beautiful texture onto the paper. So if I put that on there that comes to about there. That's okay. I can live with that. We'll just chop it off the top there. And then how much of this paper do we want to put on? I'm loving this texture. So we could put some across like that. Maybe maybe, do I want some on there? Oh, man, that's really tough. I might even put some more on this side. Maybe I'll fiddle with another piece of the paper on here. Make it a bit more mysterious, cover the door a little, so it's not so obvious. And perhaps. We could get a key. So do I want a real key or a stencil key? That's the question, but I think we should definitely get a key. I'm going to put something there or there. Still thinking about that, but definitely going to add a little more of my beautiful texture wall color on there. This side, it's tough man because I just love all of these papers. I could put a piece of this on this side, or I could put it on the other side, or I could put it on both. Maybe if I move that over and then put it like this, like that. Do we like that idea? I don't know if I like that idea. I think I might push it back where it was and put it on that side and maybe cover some of that like that. All right, I'll try that. I'll give these papers a bit of a chippey chop, and then we'll see if that's going to make me happy, or if I'm going to need something else. Of course, I could have printed out my image smaller on my paper. I didn't really think about it. So if you are using one of my download images from my beautiful doors of Italy, you can make it smaller than the whole page. And that would make all of these decisions a lot less agonizing because you would have more space on your page to add other textures. I know. It could have been a lot easier. But why would we want to do things easy? Okay, The door is on, and now I just have to decide how much of the beautiful, textured, glorious paper I want to add onto the side. Think I'll just put this piece right there. And then I'm going to think about Hm. What I might want to add here or on here or even over here to add a few more layers to create more interest in the colch. Well, I just had to add some more layers. So I pulled out this piece from the other image transfer. I just love the look of the texture and the shapes that the pattern on the wall has created. I had to have it. So I pulled it out. It was a little bit of a challenge getting the right shape that I exactly wanted. But I managed in the end, put it on my page and decided to get out my scrap bag. Now, you know what happens once I get that scrap bag out. I find all sorts of absolutely fabulous pieces. I added some of this beautiful gold paper, which is a new textured paper that I actually found on Timo. Really cheap. And I added some of my favorite coso paper in the glorious textured lace paper, put on a few of the crosses, because, yes, the colors worked really well, and I just wanted to add some more layers on it. So I'm pretty happy with where it's headed, but you know I'm going to want more. I'm thinking of putting a key on this spot here. And I'm thinking of putting an actual little key because I do have quite a few trinkets left from class two when we were doing found shapes. And class five with our steam punk them. I'm building up quite a good box of supplies now. So I'm thinking, I'm going to put this little key there, I'm loving that. Now, you're going to have to use PVA glue, which is a lot stronger than the Matt gel medium, if you're going to use bigger pieces or thicker elements like this beautiful metal key. That's the fun part of being this much further along in our series is we have all of the glorious little bits and pieces left from the other lessons. Love this, and seeing as it's my brand new art journal. It's not too fat yet to cope with the thickness of the texture. So I'm putting that right there. That's going to dry perfectly clear. You don't have to worry about that if you're putting a whole big blob or glue on, if it dry is clear, you'll be fine. Now, what about this side? I absolutely love this texture. I know I've said it a few times, but I really do. I'm thinking, however, that I would like to add a key. So perhaps this fabulous sencil that I have of the key. That would look really good. I like this one, and I'm going to put it right there, probably in Stencil butter. That's what I'm thinking. Maybe the copper penny. That would look rather beautiful. Although, first of all, I'm thinking that I need to tape up the other one. This just stops the paint from oozing over into the other sencil shape because the sencil butter is quite thick. And it does tend to share itself around when you're putting it on. So a little bit of low tech tape on the stacil just masks off the areas that you don't want your paint. Works, really. Well, I'm thinking Something like that with the beautiful copper penny. What a glorious color. It's so nice and thick. It's ready. Straight out of the pot. You don't have to mix it with any mediums. I know. That's why I like it. You can, of course, make your own, and we did that in class four in our textures class. But I do love using the sencil butter. Ready, Ray, ready, ready. Ta T. Yes. It's beautiful. So that's going to look amazing. Once it dries. And it is going to take a little while to dry 'cause it's pretty thick. Now, what else do I want to add to it? Do I want to add anything else? I don't know, man. It's pretty nice. Maybe I might want to add something there, but I'm really not sure. So I'm going to let all this page dry completely, give it a trim up and think about if I want to add anything else. I'll give you a close up once it's dry, and you can see whether or not, I add it any more to the bag. I absolutely love the door themes. I love the sense of possibility, new adventures, new, and I loved using my own photos. So maybe you've got some photos of your own that you want to use for your door theme, or you might have some other images from somewhere. Pull them out, pull out your beautiful papers, re use some of your prints and your bits and pieces from the other classes, and I can't wait to see what you're going to create. 8. Day 41: Dynamic Stamped Backgrounds: Day 41 dynamic stamped backgrounds. Explore the art of creating textured and visually captivating backgrounds, using stamping techniques. Learn how to layer stamps to build intricate and harmonious backgrounds for your collages. Consider using handmade or found stamps to add unique personal touches to your art. In this lesson, we're going to create fabulous, beautiful collage papers using stamping techniques and what I love about using stamps is they're so easy. They're so quick. They create multiple layers, and there's so many ways to use them, and there's so many kinds of stamps to use. First of all, let's start with some found objects for stamps. And these ones that I'm starting with are my absolute favorites. They're basically just tubes, cardboard tubes. The first one is my favorite one and it's been cut off the end of a roll of paper towels, I think, I can't really remember. I've had it a long time. It's really thick with paint. But it makes a great mark. The second one is a little thinner. It came from a roll of stamps, but it works really well. And the third one that I'm using is tiny. It's the end roll from the paper of the F poss machine receipts. You can find found stamps everywhere. Anywhere, it's absolutely endless, the possibility. Now, I'm putting them onto ordinary white tissue using my plastic file folder because what I love about stamping onto the white tissue is you can tear off the individual shapes and put them into your collage. It's so easy. It's so quick, and the ordinary white tissue dissolves into the background of your collage, and you're just left with the beautiful shape. You can add a whole cluster of the shaves or individual pieces, and it's great just to have them stored in your collage paper stash for when you need them in your next artwork. I like to make them in huge batches all at once and then store them up for when I want to use them. Now, of course, if you use different mediums with your found stamps, they're going to create different marks. So these next ones I've used with the iridescent bronze ink. It's an acrylic ink from liquitex. I love them. They're glorious, and I'm just stamping with the lid of the spray inks. I know. Found stamps are everywhere. And if you use one side, the mark looks completely different if you turn it over and use the flat side, because it is going to put more ink on the paper. It does get a little splashy. Sometimes it gets messy, especially when I get into a bit of a frenzy, but I love the marks that they make. And hello. Dollar store tissue and free little found objects for stamp. You can't get much more affordable than that. And it's so much fun. Of course, it's not just the lids of the fabulous bottles that are great for stamping. Turn them upside down and use the bottom. Yes, it's another beautiful circle shape. It's just as well. I'm so obsessed with circles because I buy them everywhere. And this wall print differently depends on how much paint you put on more or less or if you're using the inks. So have a little play, have a little experiment, see what you can find. Even just on your craft table, you're going to be able to find some amazing found stamp shapes. Okay, so maybe you're not as obsessed with circles as I am. Well, have a look at the bottoms of your bottles because this china ese ink that I have the beautiful gold ink. The bottom is actually a rectangle, and it prints really well. It's a little bit of fun. It creates a great shape. So easy to put on with some paint. I'm using my jelly plate as a big stamp. And it works really well. Then I pulled out this little treasure. Now, this is actually from the plumbing supply of the shop. It's a something. It's got a screw bit on it and an end bit, and it goes into something, but I've got no idea what it is. Found it in the plumbing section. It's plastic. It makes a circle mark, and it makes a different mark from one side to the other side, one side thicker, one side thinner. See, can find circle found stamps everywhere. So don't forget to check out the plumbing supplies when you're wandering around the supermarket or one of those variety stores. There's so many incredible finds, especially in dollar stores or cheap stores, you'll find incredible little bits and pieces that you can use on your gel plan or even just straight with paint or inks or anything to create fabulous mark making, found stamps glo. I mean, look at this one. This is a little foot off my plastic drawers. I wasn't using the feet, so I threw them in my drawer that I kick for mark making objects, and it's creating a little rectangle shape. I know. It's a little bit of plastic in a particular shape. Basically, that's all it is. But we're standing with found objects. It really is endless. So make sure you have a good rummage around and see what interesting shapes you can find. This circular shape is a trinket from the dollar store. It came as like a pendant with a piece of string to hang around your neck. But I looked at it and just went, Hello, jelly plate. It's fabulous and flat at the bottom, so it takes a great print. It looks really good in the beautiful copper color. Slapped it on the paper. Very happy with that. And then I found this little shape in a feather. Yes, wooden shapes make fabulous stamps. Put on a bit of pat. Whack them on the paper. Away you go. Yes, it's endless. What about puzzle pieces? Oh, that's another idea, too. Back to the dollar shop, you go. Or even a recycled shop. They have fabulous bits and pieces that you can use to create wonderful stamping. Now, I've pulled out the beautiful piece of water color that I did in watercolor fusions. It's a glorious color from the beautiful latos that I was scribbling with. I knew I'd pull it out and use it again. And this piece of corrugated card is cut into a circle shape. Now I've stuck a little bit of low tech tape on the back just so I can hold it easier. I know. It's very technical. But it doesn't have to be a circle shape. Of course, it could be any shape you can possibly think of. But doesn't this look really good in the white on top of those beautiful warm colors? Yes, I think so. So I'm going to plaster a heap of different ideas on this water color piece and see what I can create. Now, my next brilliant idea is to pull out my tiny little circle gel plate. I've had this for, yes, quite some time, sitting in my cupboard, never used it, busted it out, opened it out of its fresh, brand new packaging. And decided it would make a really good stamp. I absolutely loved it. I put on a stancil, rolled on the beautiful, iridescent bronze fi, stamped it onto the paper, and I was immediately in love. It felt so good in my hand. It really felt like a fabulous stamp, and it was easy to put on and to squish down and to peel off again. I think I'm going to have to return to this idea because I really enjoyed it. So I stamped a few of these shapes onto the paper. I think they're looking beautiful. And because I'm putting a square sencil on the round little jelly plate, it just takes part of the marks, and I'm really loving this pattern. I think it worked really well. Now we're starting to get into actual commercially made stamps. I know there's hundreds of more found objects you can use with your stamping, and I can't wait to see some of the things that you do. But I've pulled out my one and only wooden block stamp. It's a really nice shape. I know it just so happens to be circular. I'm putting it on the paper with some of the beautiful, muted violet. It looks great. I'm adding it onto the layers, splattering it around, and just putting some more color on the page. So now that I've into the commercially made stamps, I've pulled out my foam stamps that I did with PMR studio. These ones are the handmade Rosa stamps, and I'm putting them on with an amsterdam pewter color. They're looking glorious. Yes, they're kind of circular, but not exactly. But it's all matching on the page because all the shapes are similar. But all of the layers and the different colors and putting them on top of each other. I was just having so much fun. I just had to keep at it. After I covered the beautiful paper in the larger size stamp and the smaller size stamp, I thought I'd better put it aside and just let it dry. The colors are great. The layers are fabulous, and the shapes have been so much fun adding to the paper. Now, the beautiful part about using your gel plate when you're doing stamping techniques, if you're creating it as a great big stamp pad, then when you're putting the paint on your paper and pulling it off the gel plate and adding it to the paper, you're creating a design both on the paper and on the gel plate. Using my beautiful handmade roses on this glorious copper piece of paper. I covered it in the muted violet of the liquitex color. It looked beautiful. But I was also making sure to create a fabulous design on my jelly plate because I knew I would want to pull that paint off as well. And when I did, it looked fabulous. So you get a two for one deal when you're using the jel plate as a stamp bad to create your stamping techniques. I just love it. Then I decided to pull out my brand new foam stamps that I've just created from my dance move designs. They're so cute. I'm just loving them. Pulled them out and put them on with the fabulous muted gray onto this background piece of, I think it's the Chinese paper. It's really soft and really absorbent, and it worked really well. I'm loving my new stamps. They're just fabulous. They're such beautiful little shapes from my dance moves design. And I'll tell you a secret. All of them have a cypher secret cypher code, and I'm creating words with the shapes It's just so much fun. So, as I'm stamping on the paper here, I'm actually creating a word. Right. And you won't know what the word is unless you have the secret Cipher. They print beautiful. The colors are glorious, and I absolutely love having my own secret language. It's a brand new concept that I've just created, and it really is a lot of fun. And seeing as it's brand new, I'll tell you what it means. I'm writing happy creating. Isn't that so much fun? All of the little shapes are allocated an alphabet system with a secret cipher code. And when you decode it, that's what the words are saying. I've got them in the vertical format just because it looks fantastic and I'm loving this design. It really is a whole lot of fun, having a bit of play with this idea. And if you get yourself a set of these fabulous phone stands, you'll have to make some secret words for me to decipher. I would so love that. That would just be so much fun. Now, it really is so very easy to get a fabulous build up of colors and shapes on your papers for your collars using stamping. This one here, I absolutely enjoy using the little circle gel plate so much, I had to do it again. So I'm putting on with the same sencil some gold onto the paper, and then I put some of the beautiful muted violet on the page as well, I'm loving this print. It did have a great background to start, but it wasn't brilliant 'cause it pulled on the plate. So if you've got jelly prints that aren't absolutely perfect, or you're not happy, or they didn't go exactly how you want, pull them out and attack them with some of your stamps. 'cause you'll be amazed and how beautiful they can look and how much better they can come up as a print if you add another layer on with some different shapes or colors or patterns. This one, to me, now looks like it could be carpet. I think it's because of the design of the stencil that I was using. But also the stamping created a little bit of a fuzzy mark because I just put the paint on wet on my little round circle gel plate and splattered on the paper. It was really fun. Because it's a little, smog has got a fuzzy ness to it. It looks like carpet to me. I really like it. And I think I might use this one in today's collage because it was just a lot of fun. And I want to remind myself when I look at my art journal that that was that fabulous circle jelly plate, and I really enjoyed using it, and I should use it again. Of course, I did get on a bit of a frenzy. I pulled out a piece of black tissue, ordinary black tissue and stamped on it with the iridescent bronze fine in my fabulous crosses foam stamp. It's just so easy to cover the whole area, really, really fast. And then I used the wooden stamp again, and it turned out so much better on the tissue. That's because when I stamped it on the watercolor paper, the watercolor paper is very rough, and it didn't really get good contact with the surface, but putting it on the black tissue. Oh, W. Perfect. It turned out perfect. And then what I like to have is a whole heap of papers that I can put into a file, put in my drawer, and pull them out another day, or put some into my scrap bag, and you know how useful that scrap bag is. That comes out most times when I'm collaging, and just having that little circle shape or the crosses, or being able to rip out some of those tissues with the little marks on them. Oh, I just adds that bit to the collage. That can just finish it off or just be the cherry on What you can do is contribute little bits and pieces to your own scrap bags, and then they'll be there when you need them for your next masterpiece. Now, because of all my stamping, I had some leftover, beautiful, iridescent bronze fine, and we can't waste any paint. That's for sure. I kept going with the fabulous handmade roses and put some of the bronze shapes onto the beautiful, muted violet print that I had pulled it looks fabulous. It just looks fabulous. It really just pops and it sees and I might use that today, as well. But of course, I still had a pile of the paint. I know. I squeezed out too much to start with. So I pulled out the black tissue, stamped on that, all very neat until I still had paint, and I couldn't stand wasting it. So then I stamped like a crazy person. Cover the black tissue. Now, that one looks really good, too. So, don't forget, you can go over and over your prints with your stamping and keep creating layers. Use up all the paint. Definitely don't wash that expensive pigment down the sink. You can stamp on any of your prints that you've got lying around, or you can do paper packaging. Yes, love paper packaging. And it's also a good way to get all the paint out of your stamp as well. Have a good stamping frenzy on some paper packaging, clean off your stamp, clean up your palettes. You've got tons of papers to use for collage. And it's a whole lot of fun. It's all just a bonus. Now, I've got all of these papers and prints. What am I going to use for today's collage? I'm so excited. I think I have to start with that. One that looks like carpet and some of the black tissue. That was a little stunning. Alright. I'm going to get the art journal. Right, so I love this one. It looks like carpet. So remember, to print over your jelly prints that you're not happy with, but didn't work out exactly how you want, 'cause you might end up just loving them. I'm loving this now. Also, I do have to use some of my secret coded words. This idea to me is just so much fun. It just makes me laugh, thinking about it. They look so great, and they're so fun to use. They're so cute. Yep, I'm gonna have to use some of that. I do like this print, as well. That's going to work. This one looks fabulous, using up all of that iridescent bronze fine and had a look at my beautiful piece of black tissue. I know I didn't need to make this much for the collage, but I like making a whole heap at once because then I've got some for another time. Now, I'm probably going to put some of these pieces into my scrap bag so that when I'm creating collage and I go and get that fabulous scrap bag, some of these will be sitting in there. Otherwise, if I put them all in my drawer, I actually forget that they're there. So that works well for me. I'm definitely gonna use some of those 'cause they look really beautiful. But what I love about the ones on the white tissue is you can tear them out. Like this, and I've done it so many times. You tear out a little piece like this from the white tissue, put it into your collage, and it will dissolve into the background, so you don't even see it. So instead of having to go and get your paint and find the right size and stamp on your artwork, you can just pull out one of these shapes and put it into your collage. And you'll already have them already made, and they're fun to make it a whole heap at once. Right. So that's. Let's put those over there. Let's try and find some room here for my little tiny, weeny way too small art journal, and let's make some serious decisions. Right. So that's a great start. Tough decisions had to be made. And I've got these three pieces down. They're beautiful, loving the colors, loving the textures. I love that this is going to remind me about the fun things I really enjoyed. And I love having my own secret language. That has a great potential for creativity. Right? So what am I going to do next? I could add some of these fabulous shapes on here. The colors do match. Um, but do we really need it? I don't foo. Is it about need, or is it just about want? I might want to put those on there. I think I do want to. I also might want to add some of these circles as well, perhaps. Do I want too much? That's the question. I'm going to start with these ones and see ops, how they look. They weren't straight. If you want to cut them out in a straight line, you do have to print them straight on the paper, which I didn't do because I get into much of a frenzy, I get too excited about stamping, and they're not straight. But it doesn't really matter. It just creates another layer on your page. I'm thinking about putting this one here. I like this idea. The tissue will dissolve more into the background. And then I think I might add some of this one on here because well, It's just fun. That's all. That's all the reason is. It's just fun. The colors are going to work. Think I will do it. Let's try it on there. Brings those two sections together. Maybe those three ones there. No, they're not straight, either, but that's okay. I can live with that. So do I want to add anything else is the question? Oh, man. Thinking of adding some more on there. No, I think that might be overdoing it. Because then you won't see my fabulous carpet piece. So I think I'll just stick those on. See how that looks. I'm pretty happy with it. I love the colors and the textures. Makes me happy. So there you go. Have a look at how beautiful the pages have dried up. I absolutely love it. All of the fabulous textures and layers now. Don't forget to reuse and recycle. Reuse some of your jelly prints and recycle some of the papers that you're not happy with. Stamp all over them like a crazy person, see what you can create, and see where you can take them. Have a look around your house and see what objects you can use for stamping. Or you might even want to carve your own. You can carve out a foam or you can carve out of erases, or you can really make stamps out of so many different materials. But let your imagination go crazy and see what shapes and objects you can try as well. You'll find more information in your notes if you want to find out where to buy my beautiful foam stamps. I can't wait to see what it is that you're creating on your page. Don't forget to post a photo so I can see your fabulous stamped background. We're on to the last lesson of this class, and I absolutely love putting the multiple papers together. 9. Day 42: Mixed Media Medley : Day 42, Mixed Media Medley. Now, what I love about the last lesson of each class is to combine the different prints and techniques? The favorite parts that you loved about the other lessons? Put them into this collage, and let's see what we can create. Combine any or all of this week's prompts to create your collage art journal page. Which of the mixed media techniques did you like the best? Which ones? Didn't you like Hwa magazine image transfers turno Or are you hating that lesson? Today we're going to put a few of the different papers, print, and techniques that you enjoyed about the lessons into one cohesive collage. Now, first of all, I loved so many parts of these lessons. I absolutely loved these printed feathers. Oh, my gosh, I love them. So what I'm going to do is I'm going to chop the top and the bottom off this piece of paper, and I'm just going to stick it in. I'm not going to put anything else over it because I want to remind myself how much I enjoyed printing those feathers, and I might return to it another day. And then on this side, I'm going to do something with Julia's eyes, make a little bit of a mysterious collage. But what will I put with her? I'm not sure I have a ton of different papers and prints to use. Maybe some of my fabulous dance news shapes in my secret coded message. That might work. I also have some of the other image transfer pieces. That could possibly work. I mean, I've got all of these in the right colors, or even some of the door. That could work as well, or else we could get dramatic with some of the prints from the last class in my stamping frenzy. There's so many options. But also, I'm going to then turn over the page and stick this fabulous burden because I just love it. I love the outstretched wings. I love the expression of freedom and flight. So I'm going to put this one on another page spread, but it fits on 1.5. So then I'll have to decide what I want to add on the extra piece. Maybe a bit of bronze background. Maybe some of the dramatic leaves from here or maybe some of the beautiful bright blue. Actually, they might work really well. I think I might pull some of those out and put them on to finish that page. I know you only really have to do one collage. But why would you stop there when you've got so many options and so many possibilities? I love creating these classes. I love making these lessons, and I love that you're on this journey with me. Right. So I'm going to definitely put these pages together. Somehow, all of this is going to fit. Right? The beautiful feather print is in. I just had to have it. I had to keep it. I love it out to look back at the art journals and see different techniques and different colors and prints that I've tried. Before, and I might want to do it again. So Yay. To me, my art journal is a treasure trove of ideas, and endless possibilities of more creative ideas to try all together in one book where I can find them. Now, I'm thinking I want to use Julia, but I only really want her eyes. I think we need to create something interesting and mysterious with some of these other prints so maybe like a strata composition. Something like that could work really well using the different layers of textures and prints. I don't want that much of her, but usually when I tear too much, I never ends well. It's actually just easier to cut more and cover it. Then tear it too short and not have enough. Yes, I have done that many times. Right. What are we going to put with her? Do we want some more of the magazine transfers, or do we want some of the other textured pieces? That's a bit same, same in color, I don't if I'm feeling that, I do like the dramatic impact of the black with the beautiful bronze in the wood cut stamp. From yesterday, that's pretty nice, and perhaps some of my very interesting and intriguing dance move shapes. See how much more impact that has by covering that section of her face. Yes, that's far more interesting. Now, what else are we going to put with her? What are the colors shall we add? I've got some more of my fabulous print that I think looks like wallpaper, but no, not feeling it. Or, we've got some of this one. That's a beautiful print, as well. But I'm feeling like a little bit of drama, and perhaps Hmm. So clashing contrast. I might add some from this print here. It's got a blue tone to it from the indigo print that I printed the bird with, and then I use the transparent mixing it, and I just think that that color would be a nice contrast. But I don't want the bird. I just want the bottom of the piece of print here with the music notes and that particular color. So we'll put that over there for another day, and I probably only want this much. I've definitely decided that a strata composition is going to work well for this kind. Of application. So let's see how many different layers and textures I want to add. That's going to work. I like the colors. That's going to work at the bottom there. I'm liking a little piece of my dance moves there. I need something for there, and maybe something else for there. But I think overall, this is not a bad idea. I might just straighten this piece a little. It's just a little bit wonky. Let's put it there. Okay. So that's going to go there. Maybe baby, or it could go at the top. That could work, too. It would work at the top. Then I could straighten it out. All right, I'll do that. So I'll straighten the edge and put it right at the top with the beautiful music notes. Just like that. Right? There. Okay. Then I want something for there and something for there. So, let's pull out the scrap bag. See what we can find for those little pieces. Oh. Yes. Some black would work really well. Yes, I'm very partial to that idea. Oresme white white would work, too. Black or white would work. No, that more crosses today. What else do we feel like today? I'll have a little rummage. Ooh. Some of that might work in the colors, perhaps perhaps perhaps or even some of the brown that could work, too. Oh, man. Now we've got to decide what it is, I actually want to put on there. Ooh. That one's pretty dramatic. So many options. And I forgot that I have these left over from the very first lesson. That was so much fun using that stencil and our celestial skies theme. So maybe, baby, some of the blue and gold might be really nice on there, too. I think that's what I'm feeling like. I want that contrast in the colors. I don't want all the colors to be the same value or hue because I just feel like that today. And as you know, some days, you feel like something particular more than others. Oh, maybe this piece 'cause it's got that little bit of fabulous deco foil on it. Don't you love left doers? I love left poas. I love having all these pieces from the other lessons, and don't forget you've got to keep all of your papers and textures and pieces left because you might want to use them in the next class. You just don't know what's coming up. So keep them in files or folders or boxes, just somewhere where you can put your hand on them, especially when you forget that you've made them. Right, I'm thinking we need that somewhere there like that, for sure, might need to make it a little bit straighter. I definitely want that piece there. Something for there. Do we like the gold? Maybe we do. Maybe we don't. I don't know, man. Oh, maybe we want that blue. That's looking pretty nice, too. Let's put a little slither of this one here. And then I'm going to add some of the black textured paper on top. Just to create another layer because I love having different layers in the collage. That little piece of blue in there might be really nice amongst the black and the yes. Yes. That's what I'm feeling. So I'm going to glue or this down something like That I might put a little slither. Yes, I'm definitely putting a little slither of black on it. No, what. And then I'll show you how fabulous that looks. But I am going to do that bird on the next page because I just have to. I just want to keep it. I think I absolutely love it, and I'm just going to stick it on, put some little extra bit on the background, and then it'll be where I want it to be when I want to see it again. Yes, I'm putting that at the top, like that. That bit on there, and then a little bit extra on there. Love the textures. It's gonna look fabulous. I'll glue that down. Show you how amazing the pictures are. And that's a really fun way to combine the different lessons with the textures and the papers and the prints. Do a strata format. You know we've done that before in one of the classes with our abstract landscape. You see, all your skills are building on top of each other in your artistic tool belt. So much fun. Don't the pages look absolutely fabulous? I'm just loving the print of these beautiful feathers. They turned out better than I expected. I just stuck the whole piece on because I just love it. Just how it is all by itself, and the other pages looking fabulous, too. Look at the glorious little slither of Julia's eyes. And the textures and the combinations of colors and patterns that I put with this. I'm really happy with it. I think it looks absolutely beautiful, and I'm loving both these pages. Now, of course, I couldn't stop there. I really wanted this bird in my art journal. So I cut it out, and I put it with the glorious turquoise colored background with the fabulous blue leaf shapes. It worked really well, I cut pieces from around the bird that was printed on that one. Put it with this print, and it's looking really good. Of course, I couldn't leave it alone, so So I added some of the mixed in relief paste onto the bird's feathers last night before I finished for the day, because now this morning, ta ta. It's all ready to put the fabulous art deco foil on. And you can't actually see it because it's all invisible now that it's dry, it dries completely clear. And I'm happy to say, we're ready to go. So which colors am I going to add is the question because I bought a pack of these fabulous deco foils, and I really like the way you get quite a few different colors. You get quite a few in these little tubes as well. I think it's quite good value. I'm going to put some of this beautiful, rich copper color. I think it's copper. On the breastplate of the bird here, I'm thinking. And then I think I'll add some of that glorious blue, silvery gold, the one that's a little variegated in color. I'm going to add some of that onto the wings. I'm thinking, we'll start with this 'cause it's such a beautiful, rich, warm color. Are you ready? Are you ready? Ta. Ha. Oops. Ta. Ta. Absolutely fabulous. Loving that color. It's glorious. Now, some of the blue in the variegated tone on these sheets, I'm thinking some of this one would look really good on the wings. Loving the outstretched wings. So let's put some on here. Along this side. And then I might just put a little of the gold. Mm. Maybe I'll go over it with some of the gold sheets just to see if I've missed any of the areas, 'cause that's quite possible. Give it a good rub. Make sure it has good contact with the deco foil, and I know it's completely dry 'cause I did leave it overnight. Right, so that should be enough. T T man I love this stuff. Love, love. Look at the glorious shine of it when it hits the lights. Oh. It looks even better in the flesh than what you can see on the screen. Love it. Okay. I think I'm gonna do the same on this side, 'cause that looks stunning. Look at the wing on my paper. You know, I could use that for a collage. You know, I would. Right, So, let's put this wing on this side, here. I think the shape that's left in the deco foil is quite fascinating. And, yes, I am definitely going to at some stage, stick that into a collage. Right? So I think I've got all of that area covered. Hopefully. Oh. Yes. It's beautiful. Now, I was going to get some of the gold, but I think I'll just stick to the copper color because I think it will shine better seeing as his head is actually on the gold paint, and I'm going to rub over this section here to see if I can get more of a defined line along the top of his head. Also, I did put a little blob in his eye, so if that picks up, that should shine really nice, too. We'll see how much stuck to that. Ball with eyeballs shining. I'm loving it. It looks beautiful. It's such a great way to finish the column. Both these pages are looking great for my mixed medium medley. I love using the leftover prints, and been able to showcase the techniques from the class. I've really enjoyed this class. It's been so much fun. I've learned some different things. I look how much I love using my little round jelly plate for a stamp. And I got to explore more of the Deco foil, and it's looking fabulous on the birds. Mm. Yes, there are some definite favorite parts. Right, so I'll give you a of the beautiful page. And then we're moving on to the end. The last few moments of our time together. 10. Let's Celebrate: Well, here we are at the end of another class. I know. It's always so bittersweet when I'm filming the very last lesson. H Thank you for joining me on this epic adventure, and I really hope you're enjoying this as much as I am. I'm loving this. I'm loving the techniques that we're learning, and I'm loving the artworks that we're creating. It really is a lot of fun, and I just love being able to journey through this with you. So, don't forget to show me photos of your collages. Which ones did you like the most? Which techniques did you really enjoy? Which ones didn't you enjoy? Did you get through the magazine image transfer lesson? Without a big tantrum, I loved that lesson. The magazine image transfers turned out way better than I expected, and I'm just loving these pages. I know, I really love the deco foil. I pulled it out a few times because it's just so beautiful and so shiny and so easy to use. But, of course, my Venice inspired doors really have my heart. Oh, Vanie. It was a moment. Don't forget you can use your own images for any of the collage pages, and you can find all of the information in your class notes if you want to use mine or find out what materials I'm using, where to get them, and the exact art supplies. There just might be a color that you're really stuck on, and you just have to have it. Don't forget to keep all your prints and papers and materials from the previous lessons in a box or somewhere where you can find them because the lessons compound on each other, and we will be using these papers or techniques in the next lesson or even the lesson after that. I know I pulled in one of the little trinkets from the previous lessons. Maybe it was class two with the found objects, or it was class three with the steam punk. Or was that class five? We've made so many fabulous lessons and so many great pages. Now, don't forget to have a look at your class notes. And also, there's the treasure map. Oh, man, I love making this treasure map. I really hope you're downloading and printing it out. You can tick off the classes that you've already done or even circle the ones that you like the most. It's just It really is a bit of fun. I hope when we get to the end of the hundred that all of your pages are ticked off. I think we will deserve a medal when we get there. Now, if you are looking for papers or products for my recommendation, don't forget the discount codes. Everybody likes a bargain. All the information. Yes, I know. This is the third time I've said it is in your class notes. Now you can jump into my Facebook group and plaster it with hundreds of your beautiful collages because I would love to see those photos. Or you can leave a pick in the project section here on Skillshare. If you are having any problems, you can e mail me directly. The information is, yes, you know where it is. And you can find out more on my website frail art.com. Right. So next we're on to class seven crafting dynamic storytelling with collage art. I know. It could be a little challenging, but I know that we're up for it. It'll be class seven. You've already got so many techniques in your creative tool, a heap of materials in the box that you're putting aside, so we're ready for the next challenge and the next adventure. And I can't wait to see you in the next class. Happy creating, and don't forget to show me some photos. O