Resist Background Techniques for Paper Crafting Class

1. Resist Background Techniques for Paper Crafting Introduction: Welcome to resist background techniques for paper crafting. I'm Cheryl and I'm teaching this class. In this class we're going to show you six different ways to use resist backgrounds or resist techniques to create backgrounds. Let's go take a look at what we're gonna be doing. These are the cards that were going to be creating in this class. Now I've turned these backgrounds into cards. You could absolutely turn them into art journaling, mixed media, scrapbook pages, different paper crafting, that sort of thing. This was just a smaller project and an easy way to show you how those backgrounds could look in use. We go over six different techniques. The supplies and pictures of this final samples are on the supply list that's included in this class. And that supply list is linked to the supplies where you could buy the supplies and have them delivered to you if you choose. I'm using a variety of different papers for those techniques and they will be listed on that supply list as well. Now let's go start creating some resist backgrounds. 2. RBT1b Let's Talk about what Papers & Inks to use: So before we get into the techniques, let's talk about the papers and the inks that we're going to use it because they matter. So for the first emboss resist technique, as well as the gel and sculpture medium techniques. I'm using distress white heavy stock, the stamping and embossing one. The very first technique you could use a different type of paper. I like the way this one takes ink. For the gel ones, you definitely want something that's been heavier. You want something that can take the weight of the gel as well as the moisture. For the batik technique. I'm using watercolor paper. I happen to be using some Stonehenge from legion. You could use other watercolor paper that would work totally fine, but you definitely want to use a watercolor paper. If you don't use a watercolor paper, the ink, when we spray it, it is going to start leaching under, it's going to soak into the paper and certain leaching under the embossing powder, and it ruins the effect basically. So you definitely want to have a watercolor card stock. I have cold press for this and it creates some little funky lines in there that I quite like. And that's because it's got some texture to it. If you want it to be completely smooth, you would want to choose some hot press watercolor card stock. And finally, for both of our wax paper resists, I'm using alcohol ink card stock, which is a glossy card stock. It is a clay coated paper, so it is porous. A lot of people think that because it's glossy, It's got a coating on it that makes it non porous, but it is absolutely poorest. You could also use photo paper for this technique that would work as well. I just don't have any, so I'm using my alcohol ink card stock for it. For the inks for the entire class, the inks that I'm using for the resist techniques or the distressing. You could use the distress oxide. Both of them are water reactive and would not be permanent on the different mediums that we're using to create the resist. You do not want to use anything that's permanent. It's not going to wipe off to create that resist. And I'll show you here. So I'm going to put some of the distress and one corner trying to press down to create a dark area so that you get a lot of the resist. Look. Now, if I need if there's any on the embossing powder and I need to wipe it off. It comes right off without any trouble at all. Let's do the oxide here. So oxide is a dye pigment blend, but it's water reactive. So it's not going to be permanent on that embossing powder either. Super easy to wipe, write-off, stays on is a solvent. Ink is good for non porous surfaces. Are embossing or gel medium or wax paper would be considered a non porous surface. So once we've got it on there, while it's wet, you can take some of it off. Once it's dry, you're not gonna be able to take it off. And then when it comes to archival, who funny thing is, I haven't actually tested this one out, but I'm going to guess it's going to be very similar to stays on. While it's wet, you can take it off. But once we give it a few seconds to dry, it's going to be on the embossing permanently and we're not gonna be able to take it off. So see how well this one actually did stay up. This one tends to stay spray. This one tends to stay damped a little bit longer than the stays on the stays on dries quicker. So I would definitely choose something that has a diabase to it. Now let's go make some cards. 3. Emboss Resist: Background: So for this card we are going to do and Emboss resist background. So we're going to embossing powder onto the background and then we're going to use some inks and it will resist wherever the embossing is. And then we're also going to create the elements, the butterfly elements. So very first step, we need to ink our stamp here. I have a background stamp. It's just slightly narrower, narrower, and narrower than my card piece of the park card piece is four and a quarter by 5.5. It's bigger than what I need. It will be cut down. But by leaving it bigger, I give myself options. If by chance I don't necessarily stamp and emboss it straight, I can adjust that when I go to cut it down. I'm just pressing to make sure that ink is all over the place. They've got a tub here with some clear embossing powder. Clear embossing powder is a powder that I use a lot. So I tend to keep it in a big tub so that I can just scoop it and it falls right back into the container. Just ends up being a little bit hand here. That way. You don't have to, you can keep it in the container that it comes in and then do it the way that I do, typically the other type of embossing? Well, it's the same embossing. It's just I do it with a scrap paper underneath, but I just find this as a little bit more convenient. So you probably can't see the stamp damage and the powder too well, but let's emboss it. There's a couple of little red marks here. I must have had something still on my mat from before that's going to get hit and when I go and blend the ink. Alright. So if you have an emboss before, I forgot to mention I had to time. This is what I'm using. I'm using reverse numeric pad. It's a watermark stamp pad, but the ink stays wet for awhile. So it's going to hold that embossing powder while you emboss. Get rid of the excess. There. I've got a few ink pads here that I'm going to use. I wanted to keep it all nice and bright. I'm going to blend them in with blending brushes. So as with any ink blending, start with a light hand. And then as you get a feel for how much ink is on your brush, then you can increase the pressure. You can always add more ink, but you can't take it away. So better to be light handed. And then once you kind of have a feel for how much ink is on your brush, you can just increase the pressure. Depending on how I should use different pads and stuff like that. There can be different amounts of ink on each one. So just easier to err on the side of caution and go with a light hand and then increase the pressure as you feel how much you've got on there. There's no rhyme or reason to how I'm blending. I just want to get a little bit of each of the color of ink that I've got here. Now that I say that I want to make sure I've got room for the pink and this is going to end up being cut. So I just want to make sure that you can see it. Definitely when you're choosing colors, choose ones that are going to blend nicely together. I've got basically rainbow colors. So I know when I go with the pink over the blue, I'm going to get a bit of a purple. When I go with the pink over the yellow, I'm gonna give a bit of an orange. Just be mindful if you're going to use different colors and you could do this all in one color. You could have inked with just one color over the whole thing. I just liked the color or the bright colors altogether and thought it would look really pretty. And it especially looks nice with butterflies, which I wanted to use. There we go. So anywhere that the embossing was, it completely resisted the ink that I used. So now I'm going to take my tremor. I'm going to turn that down to the size I want for the card. I want to have a mat to frame this. So this piece and I'm cutting down is going to be 33 quarters by five inches. I'll have the measurements in your supply list as well. For each of the cards. There we go. And as you're cutting it down, you can choose where you want the edges to be, what? To make sure that you have the colors that you want in there. Now I'm going to die cut some butterflies here. This one, this guy here has got a solid piece plus a cut-out piece. So we're going to cut both of them now. I'm going to leave the detailed Cut Piece white and then the solid piece. We're gonna do some ink blending just to blend or a coordinate those in with the background. I just have a piece of first start from the last time I die, cut it. So I want to put that out there. You can die cut these all at the same time. I've got two smaller pieces of card stock might as well use up the scraps. You could cut them out of one big piece if you didn't have scraps though. But most of us tend to have a lot of scraps. They accumulate quite quickly, right? So the solid ones are all cut. They don't necessarily need a second pass through the machine, but I find the detail once sometimes do. I'm going to take this outline here. The outside part. I'm just going to turn them on my machine. I'm going to run them through again just because I can see some spots where there's not a 100% cut through. When you have a die cutting machine, often there's different pressures in different areas. So it's a good idea to move them and die cut them again. That is cut. Now, our solid ones just pop right out of the die. They're super easy to get out. So what I'm going to do here, little piece of hair here, I'm trying to get off. I'm going to take my pink and yellow for this one. I'm going to do the yellow in the center. Now I didn't clean my mat off, but keep in mind, when you're blending things off the edges, you're getting some color on your mat. So even if you can't see it, sometimes it can pick it up. So if you're concerned about that, definitely clean off your mat between the different stages of this card. Just so you don't accidentally pick up a color that you don't necessarily want on that specific area. That is done. Next one I'm going to in green and blue. Let me go. And once again start with a light hand. Increase the pressure as you're getting used to how much is going on your paper. Always better safe than sorry. And then to get these guys out of the die, I like to use It's called a spell binders tool and one, a little brushes, different Humbert, couple of different companies that make this. I leave my die cut in the die and I use my brush and it takes a lot of those little pieces out. There may still be a couple that are left in your dicot, but it's the easiest way to get most of them out to start with. And it makes it so much easier. When it's done. What I'll often do when I'm crafting, when myself, I'll do this rate over top of the garbage can. Then I don't have to worry about cleaning my surface up. That one, they all came up. Those dyes to the side. Get this off here. The last step to these butterflies is I'm going to glue just the body. Because I want those wings, wing tips or whatever to flap up. So I'm only adding glue to the body of the butterfly. I'm going to glue them flat for right now. And then once the glue has dried, I'm going to raise them. There we go. So I'm going to let that dry a second. I'll see you in the next video and we'll start assembling our card. 4. Emboss Resist: Card Assembly: Alright, so now we're going to start assembling our card. So I've got my mat here. I chose blue. You can choose whatever color you want to tie in with your background. And you can see on my back and my piece of paper, I've got a little bit of the barcode on here. It doesn't show on the piece that I'm using for the card. So as long as you make sure you put the glue on the right side, there's no reason you can't use that tiny edge of the card stock that's got the barcode. Now I'm going to put my piece here that's got the background. The glue that I'm using is distress collage medium. It's a nice liquid glue. It dries completely clear and Matt. So if you get it a little bit of glue on your project, like for instance, there's actually a little bit right there. Once it dries, it'll be completely clear and it'll be mat. You'll never notice it was there. Which is quite handy. So my butterflies here, I'm just gonna put a little bend. Were the wings attached to the body and then glue them down. And I'm gluing just the body down here as well because I want even that solid part to lift up just a tiny little bit. And then same with this one. Just a little bend. It just adds some dimension to your card. But the nice part about it is you can just put them flat so it goes into a regular envelope. So you don't need an envelope that allows for extra dimension. Very last step, let's do our sentiment. I've got this little hello friend stamp, and I thought it would be cute to do it in two colors. Only because this is nice and bright. So y-naught. So I'm gonna start at one end with the blue. And I'm kinda slowly working my way in. And I can see exactly where it is inked on the stamps, so I don't need to worry about what's inked and what's not. Then I'm working from the other end with the pink. You don't have to do it in two colors. You can absolutely do it in one color. I just thought it'd be fun. Then I'm going to use my mini tremor to trim this down. Typically I would let it dry for a few seconds first, this ink dries fairly quickly. But sometimes even if you think it's dry, it's not quite yet so it can smudge. So typically I'd wait a little bit for it to dry. There we go now, leaving the tremor here because I'm going to glue this to a yellow Matt just to frame it a little bit. You can put it like this, but I just kinda thought a matter around it, framed it a little bit nicely. I'm just leaving a little tiny bit of that yellow. Yellow is actually my least favorite color. But sometimes you just need to use and I just think it totally brightens up. This card. I don't typically do things with a ton of bright colors, but this week I just felt like it. You can glue that on their flat or you can use some foam pad dots. I like to use the phone pop ducks, just because, again, it adds some dimension very easily and quickly with very little effort. Let's take the backing off and then glue it right onto our card. So there we go. Very cute and boss resist technique will see you in the next video. 5. Emboss Resist Batik: Background: So for this current, we're going to take the emboss resist technique and we're going to just tweak a few things. Firstly, I'm using some watercolor card stock. And then once we're done embossing or server, we, once we're done adding the ink after we've embossed and whatnot, we're going to add some shimmer spray. Now, I made my own shimmer spray. This is just a little mister has got some water in it. And all you do is add just a little bit of mica powder to your water. I'm using perfect pearls. I like it for this because it's got a binding agent that makes it work with water that's activated with water. If you have Micah powders that don't have a binding agent in them, you'd need to add. I think it's called gum Arabic in order to make this work for you. Or you could use an already pre-made shimmer spray. You just want something that is transparent because you want to be able to see the colors underneath there. So let's start with embossing our background. So once again, this background is a little bit bigger than the one that we're gonna be using on the card. The reason for that is once it is all dried, I can cut it down to the size that I am wanting. I'm going to take my watercolor paper. I'm going to choose the side that's got the least amount of texture. This is cold press watercolor paper, so it's got a texture to it anyways, if you use hot press that apparently doesn't have any texture to it. I don't have any and I didn't want to buy any just for this project. But what I like about using the texture of watercolor paper is that it adds just a little, little cracks in there that are created with this watercolor paper. And to me it just adds to the batik effect on this card. So I've got some stamping Inc. versus dark ink on there. Let's add our clear powder. Tap the excess off and then put it on the other side. Once again, you can be liberal with the powder because anything that comes off is going right back or anything that doesn't stick to ink is coming right back into the container. So we're not wasting anything. And now we heat it and melt the powder. Gets old boss. Alright, so now we're going to blend our ink. I'm using the same colors as the last one, except I didn't use the green for this one because really when you go from the yellow to the blue and you cover, you go over, it turns into green anyway, so you can put your colors wherever you want them to go. There's no rhyme or reason. You see how you get green in there by blending the two colors together. Then when the pink goes over the blue, you get a little bit of a purple in there. Pretty much a rainbow card. And really you could even do stripes to create a rainbow card if you wanted. All right. If you wanted, you can make the colors a lot darker. I don't mind it like this. So what I'm gonna do now is I'm going to take my shimmer spray and make sure that none of that Micah has settled to the bottom if it has, just shake it around a little bit and I'm going to spray liberally. And that's going to rehydrate all those inks. It's going to help the colors flow together. Now I need to set this aside to completely dry. We can't do the next step until that is 100% dry. Just going to wipe the excess spray off. Those little mini mysteries are great for creating your own sprays. The only thing is if you have a very large project, It's very hard to get consistent batches. So they're appropriate for smaller projects or something that you didn't really care whether you had the same amount of mica in it or not. Now we're going to blend the bird. Well, we've got our inks rate here. But the one thing I wanted to do, I'm going to use a little bit of tape. I want to keep the birds feet white. I'm going to take some taping and put it a little bit under that tail because I want to get some color on the tail. The nice thing about the blending brushes as you get a nice grip, radiation from late to or from dark to light. And it just happens naturally. There we go, we can tuck our bird to the side. The last step, I'm going to stamp the little sentiment. I've got a little birdie told me here. We're going to do a similar thing to the last one. I'm starting with one end with the pink, starting at the other end with a blue. And I do go over each other to kind of have a little bit of a blend in there. Again, you don't necessarily have to do that. I just thought the color blend was really cute, nice and playful because the cards are fairly playful. And then trim this down. Again on the other side. I'm just using the guides on my ruler here to try to keep it as straight as possible. There we go. You could leave it like this, but I decided to use the ink pad to frame it. So all you do to frame it with an ink pad? I'm just rubbing it along the edge of the ink pad and just inks the edge of it in whatever color you're inking. In this case blue. There we go. So now that is ready. I'll see you once all of this dries and we'll continue. 6. Emboss Resist Batik: Card Assembly: Alright, so now it's time for the rest of the batik background. So what you may or may not be able to tell is there's no more embossing on the sample card. So what we're going to do, I've got some newsprint here. I've got an iron set to cotton with no steam. That's already pre warmed up. I'm going to put my background here between the newsprint. You could also use copy paper. I would use a couple of sheets because it is going to go seep into the paper and you don't necessarily want it on your iron and you're going to heat it up. So this is going to remelt that embossing powder. And it's going to absorb into the newsprint. When you see batik fabric, the resist is done with some wax. They do, they're drawing or their pattern or whatever with a wax. And then they iron it to get the wax back out. So you can see that the embossing has gone into my newsprint here. I'm just going to move it over. I'm going to do it again just to see if there's any remaining embossing there. You don't necessarily have to do this step. You could leave it as is, but it's just a fun, different twist on this technique. There we go. Note there was no more embossing left, so I'm going to turn my iron off. Instead it to the side while it cools down. And we can get rid of this newsprint, this piece here. You can still use it for doing ink blending, doing sprays or whatever. So you don't necessarily have to throw that away just because it's got some embossing on it. I'm going to take my background here and cut it down to size. So for this card I want it to be 33 quarters by five. I'm actually going to cut from all of the edges. Just a little bit. There we go. Now let's glue or pieces, short guard together. I've got my card base, this one here I did attempt card base. You could do the regular one where the fold is on the side to that is going to work just fine. 1 second. Make sure my blue pieces sometimes we're a little bit long, so I forgot to check this one down. Actually, it's fine. These are all ones that I pre-cut. A long time ago. I had a ton of this blue card stock, so I just got a bunch of them. And it wasn't full sheets of card stock it with stuff that was cut down. Sometimes I forget to check the measurements to make sure they are what I'm wanting. Alright, so that piece is down. I'm gonna do this on the bottom just because it kinda makes it look like grounds since we're doing a little birdie sitting on it? Like I'm pretty sure I probably said before, you could do the blending and just one color or two colors. You don't have to necessarily use a bunch of different colors. But for the batik look, typically there's a few different colors blended together and I just thought it would suit it very well. Now let's glue or bird down. This bird die doesn't actually have an i2 it, but if you wanted, you could absolutely do that. Just get a gel pen or whatever and draw one in. I don't mind that it's missing one. Then last but certainly not least, let's put some foam pop dots on our sentiment. Take the back hangs off of them. Because sometimes that's the hardest part is taking the backing off the tape. There we go. Alright, and then I put it so that it's little bit covering the bird. I mean, the sentiment is so long that you'd have to, but you could turn the card around if you didn't want it to cover, you can put your sentiment there and then your bird beside it. But there we go. Batik emboss resist background. And that shimmer is so pretty with those colors, just really catches the light. 7. Gel Medium Resist: Background: So for this card here, we're going to do a gel medium resist. So I've got a stencil here. It can be any stencil you want. It'll work the same with any stencils so it doesn't have to have any requirements. So we're doing backgrounds here. So I like something that has an all over background. But you absolutely could do something that say has some flowers or, or butterflies or whatever, whatever your heart desires. So I'm gonna take my pencil down just so that it doesn't move on me. I've got some gloss gel medium. I liked the gloss because then when it's dry, it's going to have a nice glossy finish. If you use matte medium, it's going to be matte and a little bit dull. And what we're gonna do later is going to have a dull finish anyway. So I like the contrast of the two different finishes. So I've got some gel medium here that I put on my surface. Just going to move that up. I want to make sure that I have the whole piece of paper within the openings of the stencil. I'm going to start at the top and move my way to the bottom. I'm scraping my palette knife right along this tensile. As I'm doing it, I don't necessarily need a super thick coach. The thickness of the stencil is thick enough for me. This here I must have had I was doing something with pigment powders last week and I must have had one sitting there. So if you don't want anything to transfer onto your stencil or onto your paste. It make sure that your surface is very clean. I thought I had cleaned mine, but clearly not well enough. Alright, I need a little bit more gentle medium. The main thing is once you're done with the stencil and you lift it up, you wanna get it either into a tub of water right away or you want to wash it under attack right away. It washes super, super, well, very easily with a little bit of soap and warm water, but you don't want to leave the stuff on here to draw you can't get it off after it's dry. I'm just going to carefully lift this up. And there we go. I'm going to tuck that to the side so that it can dry. And I'll clean this up and be back to continue to clean it off my stencil. But I wanted to just show you it's super easy to get off of your surface with just a baby wipe, you could use a wet cloth. What I would suggest if you use a wet cloth is to go and rent it out under the tap as soon as you're done. Simply because Jeremy, I'm kind of acts like glue. If some of it is in a cloth that dries, it's going to harden. And you can't get it out after that. So much easier to go. Rinse it under a tap and you don't necessarily need to have a baby wipes just for that. I'm only using it for the convenience right now. So we've got our gel medium drying. I'm just going to do the next part. That is stamping and embossing are seahorses. And then stamping and embossing our sentiment at the same time. So that, that is ready for us when we're ready to move on to the next step. So I've got some red pearl embossing powder here. And I've got a verse of Mark pad or smart pad is just a watermark pad. It's a sticky ink that's perfect for embossing because it stays wet while you heat emboss your images. I'm actually going to do both of them at the same time because that ink will stay wet enough to do that. And I can kind of see it probably probably can't see it on the camera, but I can see where my other image wise. So I know that I'm not stamping it in the same spot or overlapping it in any way. Alright. You can be generous with the powder over top. Anything that goes onto my scrap piece of paper, it's going to go right back into that container so we're not wasting anything. There's a little bit of powder sticking to something on here. If you want, you can fix it. But we're going to hand cut this out. So there's really no need because whatever is on there is going to be cut out. Anyways. I'm going to use a heat gun. You can see that powder is kinda granular. As I use the heat gun, it's going to melt and then it's gonna go shiny. Once you're done, you can kinda see if there's areas that aren't totally finished. And if we're finished by by being finished, I mean, there aren't totally melted and if there are, you can just reheat them and melt them. It dries very quick. So what I'm gonna do to change the color of one, because I'm going to take my blending brush and wonder if the blue ink pads, I'm just going to ink it. This ink is transparent, so you're going to see some of that pink going through, so it makes it look like it's purple. You can be a light or as heavy as you want. I tend to start light and then get a little bit heavier. Then I stopped when I see the amount of contrast that I like. You could do the other one as well if you wanted them both to be inked and have a little bit more contrast from the embossing. But I wanted them to be two different colors. Alright, so that one is done. Now I'm going to step in and boss the sentiment. I'm doing it with white to tie in the background there. We're going to use that same verse of Mark ink pad. My stamp doesn't want to stick to the block. We're using the same ink pad, but we're just going to use some white embossing powder for this. Now this because it's gonna be cut in a rectangle shape. If there's something on there that you don't want to be on there, then you would definitely get a fine brush and brush it off. There we go. Alright, so I'm going to talk. I've got my embossed or my gel medium piece tuck decide I'm going to hand cut these off camera because watching someone cut something is like watching paint dry. I'm just going to use a fine detail scissors in order to do that. And once we're back, it's gonna be when my gel medium is completely dry and I've got this stuff prepped and we can create or we can assemble the card. 8. Gel Medium Resist: Card Assembly: Alright, so our gel medium is completely dry. And now what we're gonna do is we're gonna take some ink and we're going to apply it to the background. Actually, I meant to do that lighter color on top. I'm using a fairly heavy pressure with this. That gel mediums is raised. So I'm making sure to get my bristles of my brush down onto the paper that the gel medium is on. And I'm using three different greens for this. You could use one color or you could use any. I mean, it can be any color. It doesn't have to be green. But I just thought it would look neat having a little bit of an ombre effect on there. So I got a little bit of the ink onto the front of the gel medium. All you're going to do to get that off is a dry paper towel. If you find that you're not getting enough off after a little bit, change to a clean part of your paper towel. There we go. If you've got a pick a section that's a little bit stubborn, you can use a baby wipe to reactivate that ink. But often you don't even need to use the baby wipe. So there we go. This piece is too big for our cards, so we're going to cut it down. Let's move the ink pads another way. For the front of the car. I want it to be four by five and a quarter. By doing this a little bit big, if I happen to touch the gel medium while I'm getting it off to my mat. Or if I happen to mess up the ink and a certain area, I can cut that off. It just gives you a little bit of flexibility. I didn't cut that with the tremor typically cuts through the gel medium very easily. So now all that's left is a gluing or car together. I'm going to use that same distress collage medium that I typically use. The lid off. I'll be using it again in a second. Center that on the front of your card while that is sitting because I'm gonna be putting glue on the seahorses. I'm just going to put an acrylic block just to hold that down so that I don't have to hold it down myself. It's like it gives you an extra handle that it stuck to my shell block there or my child, my acrylic block. There we go. Let's try this again. Then for the sentiment, I like to put foam pop dots on the back just to give that a tiny little bit of dimension. Once again, this technique works with any stencil. The only thing I would suggest, like I said before, is I'm using gloss medium. I would suggest using the gloss medium rather than the mat. Because the mat just the different texture. Sometimes it catches the ink little bit. There we go. Gel medium resist, background. 9. Structure Gel Resist: Background: So for this card, we're going to take the concept from the gel medium resist, but we're going to tweak it a few ways. First way is I'm going to ink the background first, so beneath the gel is colored. Second way I'm going to use some mother of pearl structure gel. This has got an opalescent teeth look to it. So when you're looking at the card, it's got a bit of a iridescence to it. I turned the stencil over because I kinda thought it looked a little bit like waves. So I decided to go for it. So I'm going to use some ink here. Now. I've gotta distress ink, it's called Broken China. An oxide ink would cover a lot easier and a lot quicker. However, the oxide inks have pigment to them that I found when I did the next part of the technique, once the gel was dry, it didn't really take as well. So by using the dye ink, using dye ink over it, afterwards, it just works so much better. The technique work better. I've got some smears in here, some circles, some lines. It's not really going to matter a lot because some of it's going to be covered with the texture gel. Like I said, I kinda thought this looked like waves. So variation in color is totally fine. I'm not going for a completely even coverage. If I wanted it completely even coverage, I would've just use blue card stock to begin with. You'll notice I'm moving my hand a little bit. Sometimes when you put your finger on here, you get a little bit more pressure and a little bit darker color. That's what I'm trying to do in some areas. The other thing I could have done was ranked my pad ahead of time, so there was a lot more ink in it. But when you've got a really, really juicy pads, sometimes you have a little bit of trouble controlling how dark it goes. I always say you can always add more color, but you can't take it away. And this especially applies when it comes to card stock and ink. So by doing it this way and just adding more color, you have a little bit more control over how dark it goes. And I do want there to be some contrast in color between this color and the color that I'm going to use when it comes to the next part. Once you have as much color as you want on there, you are done. Now I'm going to put my pencil while my paper is going the other way. My sense was going the other way. We change that. My paper is going in the same way, but my sense was going the other way. And then I'm going to tape it down again. I can't take the paper down beneath it because I want the whole paper covered with the gel. I can only taped down the central. So you'll notice, especially when I started I hold the paper so that it doesn't shift on me while I'm doing the same thing as before. I'm scraping the palette knife radon, this tensile does work a little bit easier going this way flowing with this pattern on this tensile. Definitely going to run out of Joe. For this, you could take the regular gloss gel medium that I had used in the section before and add some Micah powders to it in order to get a little harder part in there. There we go. And get the iridescence, the iridescent look. So if you're unable to find the mother of pearl structure jail, That's always an option. And by doing Micah powders, you can choose what Micah powder color you want. You can choose any color if you want. It's always nice to have just the different ways to get a similar look. So this is going on blue. You don't necessarily see a whole lot of color change. But let me show you this drill on black. This is the exact same gel, but on a black surface and it takes on a purply tone, which is really cool how it does that? Alright, this can be lifted. I just tossed those pieces and F students those tapes have Joe meeting them on them. I just tossed them. So I'm going to stick this to the side. I did get a little bit of lift with my stencil coming off that paper. It might have been a little bit wet still from cleaning it off. But that's okay for what we're gonna do next. It's going to work just fine. So I'm going to clean this up and I will be back and we'll go for this card. I'm going to stamp and Emboss an octopus with that same red parole embossing powder. And I'm gonna do it onto some red card stock. Again, you could choose a different color embossing powder, a different color of card stock. I just like the contrast between the red and the blue there. I kinda thought, How old are you? It was cute with an octopus with eight tentacles. So I'm not worried about this part here because it's gonna be cut off. And unfortunately, yes, I do cut out this octopus. So I'll be doing that offscreen. It's not the funniest one to cut out, but it definitely looks a lot better when you take the time to cut it out. There we go. I just flick that paper just to get that excess powder off. And did not mean to do that. Still not wasted. I'm going to heat emboss this heat done. Heat gun does get hot so you want to make sure you're doing it away from your fingers? There we go. So like I said, I will cut it out. There is an opening there between two tentacles that you will need to use. An exacto knife and a mat to cut that part. You could leave it in there and then just put the How old are we or how you're how old or whatever up a little bit if you wanted to just hide it. Now I'm using a dark blue. I'm just stamping your how old stamp? This one. I'm not bothering to emboss. I'm just going to stamp it and it'll tie into the card later. So I'm just going to use my mini tremor to trim that one down. What I do is I use my ruler. There's lines on the ruler here. I use that to gauge how straight and even it is. And go from there. It is a little bit challenging at times to do it that way, but it's easiest way to get it as straight as possible. There we go. So I'll see you in the next video and we will have everything ready and we'll continue our background technique and we'll assemble. 10. Structure Gel Resist: Card Assembly: Alright, so our opalescent mother of pearl structure medium is completely dry. I'm going to take a darker blue ink pad and I'm going to use a fairly heavy pressure. I want to make sure to get that ink onto that background. And remember these white bits here that I must have had, some must have been wet or there must have been some gel medium from the technique before on my stencil. The blue ink is going to color that. You get a little bit of rough edges on there from that. But what I'm gonna do is I'm going to put that at the bottom. And I'm going to have my octopus on on that part. So it is something to keep in mind. Make sure that your stencil is completely dry. And I probably rest when I was taking off the gel medium and just didn't get it clean enough. So that is something to work or to pay attention to as well. Now some of the ink is on the front here. I'm just going to use a wet wipe to rub some of that off and then I can use just a dry paper towel to dry it. Now this piece is bigger than my background, so I'm going to trim it down. Actually the parts that I would trim down or actually in the middle of the card. So there's not really anything. Any way of getting rid of that. This here was when some gel medium went underneath my stencil, probably when I was trying to pick up that dry it off glue tip thing. I'm going to take it from this side. I want this to be four inches by five and a quarter. Once again, I'll have those measurements on your supply list. Let's glue this to the card. Now, I'm just going to this one here. My sample is a little bit more off the card. I'm going to leave this with where I have it cut right now just because it does cover up some of that area that I don't particularly like. That's part of the fun of making handmade cards is creative problem-solving. So if you have an area you don't particularly love, sometimes it works better than others, but we're going to go with it. Just going to line up that edge there with the edge of my card. I don't mind that it goes off the blue piece. I actually think that looks more interesting. And then I'm going to add some foam pop dots. Let's put this on here, hold that down for a minute, put some foam pock dots on the back of my sentiment and phone popped out. You can get them in a bunch of different thicknesses. This particular one that I'm using right now is a thinner one. But sometimes if you want something to stick out a little bit more, you can use a thicker one. There. There we go. Structure gel, opalescent, resist. And I love how the opalescent they could just turns in the reflection of the light, just makes it so much more interesting. 11. Wax Paper Resist: Background: So for this card, we are going to do a wax paper resist. So I've got my newsprint here that I'm going to do my ironing on. We need an iron. I've got it hot set to cotton. And I've got a piece of wax paper here that's a little bit bigger than my piece of glossy card stock. I'm going to trim it down before I use the iron. I've got two pieces of glossy card stock actually here. So this is just alcohol ink card stock. It is a clay coded card stock, so it is still even though it's got a shiny surface, it is a porous surface, so it's going to let the ink soak in and our wax paper is going to create a resist and the wax or the ink will not soak in where the wax paper resist is. You're going to need two pieces of the glossy card stock. You could also use photo paper. I don't have any, so I'm using the glossy card stock. So you're going to take your wax paper and you're going to crumple it up and then open it back up. I've got my glossy card stock, shiny side up. And then this one here, I'm gonna put shiny side down. So you want both sides of the glossy card stock, shiny side against the wax paper. I'm just putting it on my desk too. Make everything even layers. And I'm just going to trim the rest out here because I don't want to get melted wax onto my iron. Because you are going to put the iron rate along your card stock. You're not using any paper to protect it. I'm putting it down. I'm going to hold one side while they are in the other just because I found that if I didn't do that, the paper sometimes did move. And I'm going to put the iron on it for I want to say thirty-seconds, Forty-five seconds, maybe a minute. What you can do after doing it for a little while is you can, while still holding one end down as you can lift it up to just see if you're starting to see the wax paper resist and I am seeing it on that side. And because we're using two pieces of glossy card stock, you actually get two pieces of paper to work with here. Which is pretty cool. So I'm just assuming that second one. There we go. It's perfect. Both of them worked. Not sure you can see it in the camera, but we've got a glossy or a wax paper resistor. I'm just going to move my iron, turn it off before you move it. I am using it again in a moment, so I've just got it somewhere safe. I'm going to use three different colors here. I liked just doing stripes with it. I did try one where I kinda color blocked it or whatever. But in the end I liked this better. It was just a bit more of a more striking look. You could also do just one color that would work just fine. I'm going to start with my yellow just because it's the lightest of the colors and best to put the pad rate on the paper. I tried this with the blending brushes, but there just wasn't enough ink. Now I'm gonna do the pink one. And I am going to go a little bit over that yellow. Then I'm going to do the blue one and I'm gonna get some yellow on my hand by doing this. These colors, they're all while the yellow is a little bit later, so I could contaminate it, which is why I started with that 1 first. The yellow and pink are kind of around the same tone like one isn't necessarily lighter or darker than the other. I'm not worried about contaminant contaminating my pad. I let that sit for a few minutes. My piece of card stock here came out of the package and it's four and a quarter by 5.5. To make my card, I'm going to cut it down a little bit anyways. So it was not a big deal that I had to touch it because I need to move it anyways. So I'm going to just rub the excess ink off and I'm doing it in the same motion that I rubbed my pad on. I didn't get a whole lot of the pink and the blue and that section. So I'm just gonna do it again. No reason why you can't. I'm not gonna do the yellow. The yellow is pretty much even throughout. It still came off in that same spot. That's okay. I had that with this one here. There was one spot here. It just didn't want to take ain't no matter how many times I tried putting it on, that's totally fine. But it's a fun random luck by just crumpling up that wax paper and using it in this way. So I'm going to trim this down and probably going to trim this side and then a little bit, actually I'm going to dilute it a little bit off the top because there's a bit of a line there. And then I'll see you in the next video and we'll put our car together. 12. Wax Paper Resist: Card Assembly: Alright, so for this card, I decided to keep it super, super simple. I simply stamped and embossed the image in white. You could put dye cuts on here or whatever if you wanted. But again, stamping and embossing is also an option. You can absolutely stamping and boss on glossy card stock on photo paper. I would test something before you go into your main card. I've had some that worked and some that really did not like the heat of a heat gun. So better to test it then have a masterpiece and accidentally ruin it because it didn't like the heat of your heat gun. I'm going to position this where I want it, stamp it down firmly. And one thing I realized after the fact that I forgot to mention was my gel cards, as well as the first emboss resist card was done on distress heavy stock. The first emboss resist card, you could just do it on regular card stock. It doesn't necessarily need to be heavy card stock. The gel resist though, I would definitely recommend doing it on heavy stock in order to accommodate the wetness of the gel and the heaviness of the gel. You want a card stock that can handle it. And some thinner card stocks definitely can't handle that weight. Were the moisture. There we go. Now I stamped this or I embossed this one and white embossing powder because it went with the colors of the background. You could absolutely, if you preferred, say do it in like a silver or even gold or whatever color you want it. If you wanted it to stick out a little bit more. Then I left the rest of the cards super simple, just simply glued onto a card-based. I'm actually going to use my acrylic block here to hold that in place for while it's gluing. Sometimes when you're heating, that, when your heat embossing, your card stock works a little bit and it just did that. So by having something heavy on there that's going to glue it or hold it down, it's gonna glue ladder. But that there is the final result. This would also like really, really pretty with and sparkly or glitter embossing powder as well. 13. Embossed Wax Paper Resist: Background: So now we're going to take that wax paper resist and we're going to take it up a notch. First thing we're gonna do is we're going to emboss our wax paper so that we get a different texture and you can use any embossing folder for this. Obviously some patterns will look nicer than others. But I have chosen this 3D embossing folder. It's a newer one. I think it's called woven or something like that. So I'm going to put my wax paper in the folder. And in order to emboss a 3D folder, we only need one of the plates and the tab two needs to be open and your big shot. For any other machine, you'll have to look up what this stacking is for your machine. I'm only familiar with this one. So we're going to run it through. Typically with card stock, I run it through a few times. Wax paper is so thin that one time is plenty and you can even see that it actually shredded it. It's going to be fine. I may get a little bit of those streaks in there. I'm totally okay with that. I probably should have only put it through once, but I've got stuff on that side of my desk and I didn't want it to hit. So I'm just going to set up with the iron and I'll be right back. Alright, so same as before. We're going to use two pieces of glossy card stock. The glossy side on both of them is facing the wax paper. And just like last time, I'm going to trim off the excess trying not to turn my card stock, but I just did. Here we go. You could probably just do one piece on the wax paper, on the background or on the newsprint here. But why not do two for one if you can get two things at the same time as one. Why not? So once again, I'm going to put my iron on it. Thirty-seconds. 45. I'm just putting the iron on one side holding the other so that my card stock doesn't move. That wax paper and the glossy side of the card stock is fairly slippery is good. I don't want it to move on me. I'm not putting any extra pressure on the iron. It's just the weight of the iron. Only thing I'm doing is moving it around in circles. And the reason I'm moving it around the circles is because it's actually a close iron, so it's got those holes there. And I don't want to have dots of spots that don't have the resist on there. There we go. We're good. Let's move this out of the way. I'm going to turn it off because I don't need it anymore. And there we go. We've got the pattern on both sides and I actually don't see those ribs in there, but let's just see what happens. Once again, I'm gonna put my pad directly the paper for the sample I use the pink. I also tried it with the blue and just thought, why not go with the pink because it's something different and unexpected. Get a nice amount of ink on there. This is where it's perfect to work on a piece of newsprint so that you don't have to worry about getting anything else. Messy. Reuse my paper towel from before because it's still not use left out of it. And then rub it off. Love how it just adds a different texture to it. This would be really cool in the width green folder, I just didn't want to introduce brown when all the other color, all the other cards head brighter colors to it. But very, very cool. You see any excess ink you might want to wipe it off because otherwise it's just going to go onto your fingers. So I'll see you in the next video and we will assemble our card. 14. Embossed Wax Paper Resist: Card Assembly: Okay, so the very first step is we're going to glue our wax paper resist piece onto our backing. Between videos. I did cut it down, so it's now four inches by five and a quarter. But remember the cut list with the measurements for each card is on your supply list. I already have my flowers die cut. They're from two different datasets, but I really liked these two daisies together. I like seeing an open one and a closed one. So I tend to use them together because I think it's more interesting than different flowers. I'm putting the stem of that flower just to the bottom of the card. This one here, I'm going to put it lower so that the flowers are two different levels and then just cut off the excess. So this one, this background would be really fun to go through. I've got tons of embossing folder, go through them and just play with them and see all the different backgrounds that can be created. Once again, it's always fun having a new use for the supplies we already have. Alright, I'm gonna just going to snip that bottom of that one there. Then with the extra paper from those daisies. I'm just going to put my one flower or the petals of the DZ want to keep coming up. So I'm just going to put a block there to hold it down while I'm stamping. This, made this one a simple hello friend card stamped in the same pink so that everything coordinates. There we go, and couple of pop dots to pop it up. This would also be looked really cute to stamp and emboss the hello friend and white right on the background. Because I think white would pop out just like the daisies. But I chose to put it on a different piece of paper. This one. Here we go, Very simple, elegant card, but a fun technique for that background gives us lots of texture with very little work really. Before I forget. For this one, I just added a little bit of a stickler in the center of that flower just so that the center of it kind of popped out. Otherwise it kinda blends in. You could do it around, say the flower petals or whatnot to, but it just adds a little pop of sparkle in there. 15. Resist Background Techniques for Paper Crafting Thank You: Thank you so much for joining me for resist background techniques for paper crafting. Remember, I made these, are turn these into cards, but you can absolutely use them in art journaling, mixed media, scrapbooking, all sorts of different paper crafting things. So let your mind go wild. I'll see you in the next class.