Collage in Color Preview

color
in
Volume 1
your
Brayer
getting to know
By barbara delaney
A brayer is a multipurpose tool that looks similar to a paint roller.

Brayers are great for printmaking, painting, paper crafts, and much
more. Using a brayer ensures consistent results when inking, gluing,

printing, and painting.
There are rubber, acrylic, and sponge brayers available in a number of
different sizes and handle shapes. The type and size you use depends
on what you are using it for. Be sure to choose one that is comfortable
in your hand.
types
Hard rubber brayers feature
a high-quality rubber roller
and are perfect for embossing,
inking stamps, and gluing.
The hard roller makes it ideal
for light carving or gluing
applications, and excellent for
rolling down print surfaces.
(Figure 1)
Soft rubber brayers are an
ideal fit for most paper craft
projects. Use a soft brayer to ink
stamps or to lay ink onto paper
directly from your inkpad. Its
also perfect for block printing
techniques. (Figure 2 & 3)
Acrylic brayers are rigid. They
can be used to smooth glued
papers without damaging the
roller, and they are good for
spreading a thin layer of paint.
They are especially useful when
filling in stencils with paint

or ink. Elastic bands or other
elements can be wrapped or
adhered to the roller to create
texture without distorting the
roller. Acrylic brayers easily wipe
clean after use. (Figure 4)
Sponge brayers soak up a lot of

paint, but they are inexpensive
and a good tool to use for filling
in large areas. They can be used
for scrapbooking, fabric painting,
and stenciling. This is the roller
to use to brayer over mesh or
stencils, as the foam will allow
the ink to reach the paper.
(Figure 4)
Interweave Press LLC. Not to be reprinted. All rights reserved.
3
color
in
Volume 1
care and cleaning

Because a brayer can be used with so many different
materials, it is especially important to clean it after each
use.
Snap in the
acrylic brayer.
Clean the roller and handle before the paint (ink, etc.)
dries. It will be much easier to clean.
Many brayers have removable rollers (Figure 4). If

yours is removable, take the roller out for easier
cleaning.
Most brayers can be cleaned with water, but check

with the ink or paint manufacturer before doing so.
If you use products that cannot be removed with

water, check with the manufacturer before using any
special cleaning products.
Use a paper towel or an alcohol-free baby wipe

(so that you dont dry out the roller surface) as a
temporary fix if you cant clean the brayer well right
away.
Pay special attention to the ends of the roller as ink/
paint may build up there.
Dont ever use a sharp tool to scrape paint from the

roller as you can easily damage the surface of most
rollers.
Store your brayer with the roller facing up so that the

roller doesnt develop a flat side.
Whats a brayer
good for?
Printmaking
Applying paint or ink to a substrate
To spread paint on a palette
To ink up a stamp to assure even coverage
To smooth out papers in collage or other
Snap in the
sponge brayer.
layered applications to prevent bubbles

and/or gaps
VIDEO
VAULT
enter
Welcome to video vault, where we keep cool tutorials under
lock and key. Just watch and learn. In this issue were bringing you some awesome
transfer techniques: metal transfers, newspaper transfers onto organza, and a
collage tape transfer. Are you up to the challenge?
Ne
w ws
it
h
Tape Transfe
r
Co
llage
with Julie
Fei-Fan Ba
lzer
pa
Je per
an
ni Tran
e
Pa sfer
lm
er
Mo
or
e
Image Transfers on Metal

with Robin Dudley Howes
Watch Julie Fei-Fan Balzer make a tape

transfer collage.
Ne
w ws
it
h
Tape Transfe
r
Co
llage
with Julie
Fei-Fan Ba
lzer
pa
Je per
an
ni Tran
e
Pa sfer
lm
er
Mo
or
e

See Jeannie Palmer Moore demonstrate how

to transfer newspaper onto organza.
Ne
w ws
it
h
Tape Transfe
r
Co
llage
with Julie
Fei-Fan Ba
lzer
pa
Je per
an
ni Tran
e
Pa sfer
lm
er
Mo
or
e

Watch Robin Dudley Howes make image

transfers onto metals.
Ne
w ws
it
h
Tape Transfe
r
Co
llage
with Julie
Fei-Fan Ba
lzer
pa
Je per
an
ni Tran
e
Pa sfer
lm
er
Mo
or
e

watercolor
monoprint
for collage
Ive always loved the look and

feel of textures, especially
textures that have an aged,
patina, antique look. There
is something wonderful
about non-perfect marks, the
subtleties of random pattern,
and liquefied hues that flow
into each other. Handprinted
watercolor monotypes give us
the expression of intriguing
texture. I took traditional
printmaking in college, and
quickly decided that traditional
printmaking methods involved
too much prep, too many rules,
By helen shafer garcia
directions
Make the plate
1. Choose the amount of paper

you want to use for printing and
cut or tear the papers to size. The
papers should be the same size as
the acrylic sheet you use.
2. Soak the paper in water for at
least a half hour.
3. While the paper is soaking
in the water, mix the dish soap
and the water in a 2:1 mix in the
other container. Keep in mind
that you need enough soap and
water mixture to cover the acrylic
printing plate.
4. Paint the acrylic sheet

(printing plate) surface with the
soap mixture using the wide flat
brush. The soap will release the
watercolor pigment that will
be painted onto the surface
later. Allow the plate to dry
completely.
5. Draw out your design on a
sheet of paper that is at least 1
(on each side) smaller than your
acrylic printing surface and place
your drawing under the printing
plate.
6. Use your drawing as a guide
and paint directly onto the dry
soap surface of the printing plate
with watercolors.
materials
Rives
BFK paper,
heavyweight (280gsm)
Water
Containers
for water
(Youll need 2: 1 for
soaking papers, 1 small
one for the soap/water
mixture.)
Dishwashing soap,
Acrylic sheets (I
clear
use
Plexiglas or frosted
Mylar.)
Finished collage on monoprint.
Paintbrushes,
including a
wide, flat brush
Drawing
paper
WATCH
& LEARN
directions
Make the plate
1. Choose the amount of paper

you want to use for printing and
cut or tear the papers to size. The
papers should be the same size as
the acrylic sheet you use.
2. Soak the paper in water for at
least a half hour.
3. While the paper is soaking
in the water, mix the dish soap
and the water in a 2:1 mix in the
other container. Keep in mind
that you need enough soap and
water mixture to cover the acrylic
printing plate.
4. Paint the acrylic sheet

(printing plate) surface with the
save time,
I likethe
to prepare
soapTomixture
using
wide flat
more
than
1
printing
plate
brush. The soap will release the
at a time.
You can that
also use
watercolor
pigment
will
a
hair
dryer
to
speed
up
the
be painted onto the surface
drying
if desired.
later.
Allowprocess,
the plate
to dry
completely.
5. Draw out your design on a
sheet of paper that is at least 1
(on each side) smaller than your
acrylic printing surface and place
your drawing under the printing
plate.
6. Use your drawing as a guide
and paint directly onto the dry
soap surface of the printing plate
with watercolors.
materials
Rives
BFK paper,
heavyweight (280gsm)
Water
Containers
for water
(Youll need 2: 1 for
soaking papers, 1 small
one for the soap/water
mixture.)
Dishwashing soap,
Acrylic sheets (I
clear
use
Plexiglas or frosted
Mylar.)
Finished collage on monoprint.
Paintbrushes,
including a
wide, flat brush
Drawing
paper
WATCH
& LEARN
color
in
7. Use water-soluble crayons to

add details, drawing into the wet
watercolor surface or into dry
areas. Allow the paint and crayon
to dry.
Printing
1. When you are ready to print,
take 1 sheet of paper out of the
water at a time and place on a dry
towel to absorb the extra water.
The paper should have a damp,
non-shiny surface.
2. Carefully place the Rives
paper over the top of the dried
watercolor printing plate. Being
careful not to shift the paper, use
the baren or a wooden spoon and,

gently rub over the back of the
paper to transfer the image.
3. Lift a corner of the paper
to check that the image has
transferred. If the image has fully
transferred, pull the print by
lifting the paper off of the plate in
one gesture. If the image has not
fully transferred, continue to rub
it with the spoon or baren until it
has. Allow to dry.
4. If enough watercolor remains
on the printing plate, a second
print or ghost print may be
pulled following the steps 13.
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
Plate ready for printing.
color
in

to dry.
Printing
non-shiny surface.

has. Allow to dry.
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
The first pull off the plate is numbered

as 1/1 at the bottom left of the
monotype.
color
in

to dry.
Printing
non-shiny surface.

has. Allow to dry.
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
The second pull off the plate is called a

ghost print and is the remnant of the
previous paint left on the plate.
Embellishing and collage

I start out with watercolor washes in sections of
my monoprint that I want to enhance. After the
washes are dry, I start my collage process. I like
to use my own hand-carved stamp images for
collage. I print on white or off-white rice paper
with solvent-based ink pads and then paint
watercolor tints onto the stamped image after
the stamp ink has dried. This allows the color
on the stamped rice paper to blend with the
monotype colors. These small images are great
for interest and layering. Acrylic soft gel works
well to glue the images to the monotype.
I also add bits of handmade decorative papers
for interest. Thin bits of ephemera papers also
work well as long as the monotype textures
show through the layers in some areas.
Embellishing and collage
After printing, adding collage

to the monotype offers instant
gratification. Bright colors, lines,
and shapes pop with little effort.
The trick is not to go overboard
and end up covering all of the
nuances of the underlying
monotype.
I start out with watercolor washes in sections of

my monoprint that I want to enhance. After the
washes are dry, I start my collage process. I like
to use my own hand-carved stamp images for
collage. I print on white or off-white rice paper
with solvent-based ink pads and then paint
watercolor tints onto the stamped image after
the stamp ink has dried. This allows the color
on the stamped rice paper to blend with the
monotype colors. These small images are great
for interest and layering. Acrylic soft gel works
well to glue the images to the monotype.
I also add bits of handmade decorative papers
for interest. Thin bits of ephemera papers also
work well as long as the monotype textures
show through the layers in some areas.
color
in
Plate Preparation
Caption
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
Frost Leaves II
Read about it
color
in
Adding Color
Caption
WATCH & LEARN

Plate
Preparation
Adding the
Background
Frost Leaves
Adding Color
Pulling a Print
Read about it
color
in
Adding the Background
Caption
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
Peace Artichoke
Read about it
color
in
Pulling a Print
Caption
WATCH & LEARN

Plate
Preparation
Adding the
Background
Adding Color
Pulling a Print
Life is a Dream
Read about it
color
in
Torn-Paper
Paintings
Having been a watercolor

artist for years, I
suddenly developed
an urge for more depth
and texture.
I tried to explore
collage, but never found
satisfaction in the
traditional style of cutting
images and putting them
together. It just never
clicked for me. That is,
until I realized that I could
create images using papers
as my paint, resulting in
By wanda edwards
color
in
Part of the challenge of this process

is in finding just the right pieces
to add to the work for the viewer
to find. Papers with tiny almost
unseen images, text that is part
of the story of the piece, and even
personal paper bits can be added. So
much depth can be created through
layering. The viewer takes in the
image as a whole and then moves
into the piece to see the multitude of
layers that actually create the image.
Most of my subject matter comes
from the coastal New England area
where I live. I am minutes away
from the ocean and my home sits
by a lovely little pond, so it is no
wonder that beaches, fish, coastal
birds, and summer nostalgia are all
part of what I create. My watercolor
background draws me to a mostly
light and airy palette.
Much of my work is created
outdoors on warm sunny days when
I take all of my rice papers, book
pages, and sheet music outside
with my paints to create the colored
papers I need for my work. I also
make some handmade papers as
well so that I have a wide range of
textures.
color
in
directions
1. Paint the entire surface of the
canvas with the main body color. I
also paint the sides of the canvas
with this color.
2. Once the initial color is dry,
create a pencil sketch of your
chosen subject on your canvas.
This gives you placement for the
foreground and background.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Medium for my glue.)
Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, book pages, found
and purchased papers,
Washi papers, handmade
papers, etc.
Step 1
color
in
directions
with this color.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, etc.
Step 2
color
in
directions
with this color.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, etc.
Step 3
color
in
directions
with this color.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, etc.
Step 4
color
in
directions
with this color.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, etc.
Step 5
color
in
directions
with this color.
Collage
Painting
Step-by-step
materials
Stretched canvas
Acrylic paints
Paintbrush
Pencil
Gel medium (I use
Liquitex matte Gel

Varnish
(I use Liquitex
Matte Varnish.)
Papers:
pre-painted rice
papers, etc.
Step 6
color
in
3. Start tearing and placing

papers to create the background.
I start with the sky. For this part I
normally look for imagery and text
that relate to the subject.
Apply the papers with gel medium,
spreading it both under and over
the papers as you apply them.
Make sure there are no air bubbles.
4. Brush on a light wash of the
same acrylic color you used to
initially cover the canvas. This
unifies the papers and pushes
them further into the background.
5. Using acrylics, paint the
subject onto the canvas. Keep it
simple, with few details, since it
is mainly to create a road map for
the application of the papers, and
to help establish the lights and
darks and color variations. Allow
the paint to dry.
note: This will look very different once

its covered in bits of papers, so dont
worry about creating a work of art at
this stage.
color
in
6. Apply the papers. As with

traditional painting, work from
the background to the foreground.
This also makes it easier to
overlap some of the papers as you
work forward.
Torn-paper paintings
Let your finished piece dry for a

day or two, and then brush on a
thin coat (or two) of matte varnish
to strengthen and protect the
piece.
tearing tip
Watch how you tear your papers.
When you tear some papers it
leaves a white edge. Tearing these
papers in the opposite direction will
reduce this. When tearing a piece
for a curved area I tear in the arc of
the curve. I plan the placement of
text and design around my tearing
as well.
Watch Wandas time-lapsed video of her torn-paper process.
color
CC
color
corner
If I had to pick any job in

the world other than the
one I have now, Id be a
color namer. I just love
colors. Have you been to
the paint department at
the hardware store lately?
Its like color heaven! It
takes all of my willpower
to keep me from leaving
the store with 200 paint
swatches.
By jenn mason
Complementary
in
colors
View All
Primary Colors
Secondary Colors
[ Select a color to see

its complement]
color
CC
color
corner

swatches.
By jenn mason
Complementary
in
colors
View All
Primary Colors
Secondary Colors

its complement]
color
CC
color
corner

swatches.
By jenn mason
Complementary
in
colors
View All
Primary Colors
Secondary Colors

its complement]
color

swatches.
By jenn mason
colors
View All
Primary Colors
Secondary Colors

its complement]
Red-Green Complement
CC
color
corner
Complementary
in
color
CC
color
corner

swatches.
By jenn mason
Complementary
in
colors
View All
Primary Colors
Secondary Colors

its complement]
Or
ang
e-B
lue
Co
mp
lem
ent
color
CC
color
corner

swatches.
By jenn mason
Complementary
in
colors
View All
Primary Colors
Secondary Colors

its complement]
ent
m
e
pl
low
Yel
-P
Com
e
l
urp
color
in
A red and green complement is not limited to a traditional holiday theme,

try varying the colors with the use of white or black.
Complementary colors are the

colors just opposite each other on
the color wheel. They can be tricky
to use together. When used in the
right proportions they produce
a lovely vividness of color, but
mixing them together in paint
form can make mud.
infinite combinations. Using red

and green together, a piece of
art can immediately take on a
Christmas tone, but if you shift
your colors to pink (a shade of red)
and spring green, you get a classic
combination that doesnt make
you think of sleigh bells.
The basic complementary color

sets are red and green, blue and
orange, and yellow and purple.
You can use these colors as is,
or tweak their saturation to get
Another great use for

complementary colors is to
help make other colors in your
composition pop. If you had a
collage with mostly lemon-yellow
Veiled Woman By Becky Anzelone

(orange-blue)
color
in
In any color complement, there is a wide range of possibilties to explore.

This combination shows a reddish-orange paired with aqua blue.

form can make mud.




(orange-blue)
color
in
In this yellow-purple complement, the yellow takes the form of

a deep ochre, and the purple hints at blue-black.

form can make mud.




(orange-blue)
color
in
Complements
gallery
Florescense by Karen Isaacson
(orange and blue)
tones, adding just a touch of deep purple in the

shadows or to the focal point of your piece can
magically make the yellow come alive.
The images in this article are provided by
our Facebook fans and past contributors to
Cloth Paper Scissors.
We All Have Stories

to Tell by Loretta
Benedetto Marvel
(red-orange and
blue-green)
color
in
CC
Complements
gallery
Cross Perforated
Metals by Abby
Glassenberg
(red and green)
Fly By Seth Apter (orange and blue)
Untitled by Magaly
Ohika (dark red and
olive green)
color
in
Complements
gallery
Our Lady of Perpetual Debt II by

Dae Rebec Sanchez (red/coral and
light green)
Piterskoie Okno by Natalya Aikens

(lavender and yellow )
color
in
AR
Y
T
R
T PA
Birds on Buntings
I love using paint, paper,
and oil pastels together
when making collage art.
Throw in a little modeling
paste and you have the
perfect combination of art
ingredients! The modeling
paste and paint layers
combined create an
overall aged and imperfect
look while giving these
chunky pieces quite a bit
of texture.
By Mandy Russell
color
in
directions
1. Use sandpaper to quickly

remove any splinters or rough
edges on the wood pieces. Then
prime the front and all 4 sides
with gesso. Let dry completely.
3
1
2
materials
Sandpaper
Gesso, one tub
Modeling paste,
one
946 ml tub is enough
for 14 pieces
(I used Liquitex
modeling paste.)
Decorative
papers,
a variety to share
Acrylic
paint, brown,
one 4 oz. tube
Water
Container
paint
for mixing
Solvent
ink pad,
black, to share
_
(I used StazOn
jet black.)
Cotton
Swabs, one
small box to share
Light
blue and/or aqua

acrylic paint, two or
three 4 oz. bottles
2. Using the credit card, spread

the modeling paste over the
primed front and sides of the
wood, as if you were frosting
a cake. While the paste is still
wet, very lightly rake the short
edge of the card over the front
side of the wood in a top-tobottom direction, repeating this
motion every inch or so across
the entire front of the piece. The
goal is to create irregular, topto-bottom line-like peaks while
smoothing out any major globs
of modeling paste. (Figure 1)
3. Repeat for each of the sides
except rake in a right-to-left
direction. Let the paste dry
completely.
4. Make a wash by mixing
1 part brown paint to 3 parts
water. Using the foam brush,
paint the wash over the front
and sides of the wood covering
the modeling paste completely.
Let dry. (Figure 2)
color
in
directions
1. Use sandpaper to quickly

To eliminate some wait
time at
thesplinters
art party,or
I suggest
remove
any
rough
Step One be completed
beforehand,
that
way
partygoers
edges on the wood pieces. Then
can start by rolling up
their the
sleeves
and
frosting
their piece
prime
front
and
all 4 sides
with the modeling paste.
with gesso. Let dry completely.
3
1
2
materials
Sandpaper
Gesso, one tub
Modeling paste,
one
946 ml tub is enough
for 14 pieces
(I used Liquitex
modeling paste.)
Decorative
papers,
a variety to share
Acrylic
paint, brown,
one 4 oz. tube
Water
Container
paint
for mixing
Solvent
ink pad,
black, to share
_
(I used StazOn
jet black.)
Cotton
Swabs, one
small box to share
Light
blue and/or aqua

acrylic paint, two or
three 4 oz. bottles
2. Using the credit card, spread

the modeling paste over the
primed front and sides of the
wood, as if you were frosting
a cake. While the paste is still
wet, very lightly rake the short
While you are waiting
edge of the card over the front
for the paste to dry, its a
side of the wood in a top-togood time to work on your
bottom direction, repeating this
bunting. Place the decorative
motion every inch or so across
papers in the middle of the
the entire front of the piece. The
work table for your guests
goal is to create irregular, topto choose from. Cut out an
to-bottom line-like peaks while
uneven number of triangles
smoothing out any major globs
for the bunting, I usually
of modeling paste. (Figure 1)
use 59 triangles, measuring
3. about
Repeat
of theand
sides
114"for
topeach
to bottom
except
rake in a1"
right-to-left
approximately
wide at the
direction.
Let the paste dry
base.
completely.
4. Make a wash by mixing
1 part brown paint to 3 parts
water. Using the foam brush,
paint the wash over the front
and sides of the wood covering
the modeling paste completely.
Let dry. (Figure 2)
color
in
5. While your wash is drying,

choose the birds you want to add
to your line, from the selection
provided (last page of this article) or
draw your own, and cut them out
using sharp scissors. Take each
bird, one at a time, and place it,
front-side down, on the black ink
pad. Tap all over the cutout with
a cotton swab until the paper
is saturated with ink. Carefully
remove the bird from the ink pad
and let it dry thoroughly.
6. Pour a few big puddles of the
light blue or aqua paint onto the
front of the wood piece. Using
only the credit card (no brushes
allowed!), spread the paint all over
the front and sides, working it
into any crevices. Then, using light
pressure and the short edge of the
credit card, smooth out the paint
in a top-to-bottom direction across
the front of the piece, wiping off
the excess paint from the credit
card as you go. You will see the
brown under-paint pop through the
blue paint along any raised areas.
Repeat for the 4 sides, working in a
right-to-left direction. Let dry. Once
the blue paint has dried, the collage
fun begins!
snack time
Waiting for your paint to dry is a great time to break for snacks.
Fruit & Cake Trifle

Ingredients
Serves 12
cups cut-up fresh fruit

such as berries, peaches,
nectarines, and/or mangoes
1/2
1
2
cup sugar
cup water
Sara Lee frozen pound

cakes (thawed), cut into
1 cubes
Cool
Whip, or can of
whipped cream
Directions
1. Place the cut-up fruit
in a medium-sized mixing
bowl. Add the sugar and
water and stir well.
Let it sit for 20
minutes.
Make this up beforehand, or give each person a
cup and some ingredients, and let them create
their own!
color
in
7. Choose an oil pastel and

draw the sagging line for the
bunting across the front of the
wood. Begin just under the top-left
corner and swoop down, almost
touching the midline center, and
then swoop up again, almost to the
top-right corner.
8. Following the line from left
to right, apply slight pressure
with your pointer finger or a
cotton swab and smudge the line,
smoothing out any little bits of
oil pastel along the way, and then
smudge upwards, in short little
motions, all along the line.
9. Place the bunting triangles
along the line you just made,
beginning with a triangle in the
very center. You may need to
trim the edges of the triangles a
bit or adjust their placement to
find the most visually appealing
arrangement. Keep in mind that
you want to be able to see some
of the smudged line above the
triangles.
color
in
7. Choose an oil pastel and

If drawing
thesagging
line freehand
makes
draw the
line for
the
youbunting
uncomfortable,
use
painters
tape
across the front of the
to map
out
the line
beforehand.
wood.
Begin
just
under the top-left
corner and swoop down, almost
touching the midline center, and
then swoop up again, almost to the
top-right corner.
8. Following the line from left
to right, apply slight pressure
with your pointer finger or a
cotton swab and smudge the line,
smoothing out any little bits of
oil pastel along the way, and then
smudge upwards, in short little
motions, all along the line.
9. Place the bunting triangles
along the line you just made,
beginning with a triangle in the
very center. You may need to
trim the edges of the triangles a
bit or adjust their placement to
find the most visually appealing
arrangement. Keep in mind that
you want to be able to see some
of the smudged line above the
triangles.
color
in
10. When you are satisfied with

the look of your bunting, use
Mod Podge and a foam brush
to adhere the triangles to the
front of the wood piece. Always
start in the center and work
outwards, remembering to cover
each triangle with Mod Podge
immediately after sticking it down.
Make sure to cover the oil pastel
line with the Mod Podge as well.
Let dry. (Figure 3)
11. Use the Souffle pen, or another
dimensional pen, to draw a thin
line along the bunting, barely
touching the tops of the triangles.
12. Place the birds on the
bunting (download the PDF on the
right), playing around with their
arrangement until you like what
you see, then adhere the birds with
the Mod Podge using the foam
brush. Cover the entire front and
sides of the wood with the Mod

Podge to seal it, and then let it dry.
13. Paint the back of the piece and
let it dry. I used brown for this.
Use a ruler to center the sawtooth
hanger on the back of the wood,
1" down from the top, and nail it
in place. Dont forget to sign your
name with the permanent
marker.
Download the
invitation
Download the
Bird Illustration
color
in
10. When you are satisfied with

the look of your bunting, use
Mod Podge and a foam brush
to adhere the triangles to the
front of the wood piece. Always
start in the center and work
outwards, remembering to cover
each triangle with Mod Podge
immediately after sticking it down.
Make sure to cover the oil pastel
line with the Mod Podge as well.
Let dry. (Figure 3)
11. Use the Souffle pen, or another
dimensional pen, to draw a thin
line along the bunting, barely
touching the tops of the triangles.
12. Place the birds on the
bunting (download the PDF on the
right), playing around with their
arrangement until you like what
you see, then adhere the birds with
the Mod Podge using the foam
brush. Cover the entire front and
sides of the wood with the Mod

Podge to seal it, and then let it dry.
13. Paint the back of the piece and
let it dry. I used brown for this.
Use a ruler to center the sawtooth
hanger on the back of the wood,
1" down from the top, and nail it
in place. Dont forget to sign your
name with the permanent
marker.
Download the
invitation
Download the
Bird Illustration

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A brayer is a multipurpose tool that looks similar to a paint roller.

more. Using a brayer ensures consistent results when inking, gluing,

filling in stencils with paint

Sponge brayers soak up a lot of

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care and cleaning

Many brayers have removable rollers (Figure 4). If

Most brayers can be cleaned with water, but check

If you use products that cannot be removed with

Use a paper towel or an alcohol-free baby wipe

Pay special attention to the ends of the roller as ink/

paint may build up there.

Dont ever use a sharp tool to scrape paint from the

Store your brayer with the roller facing up so that the

layered applications to prevent bubbles

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Welcome to video vault, where we keep cool tutorials under

Image Transfers on Metal

Watch Julie Fei-Fan Balzer make a tape

Image Transfers on Metal

See Jeannie Palmer Moore demonstrate how

Image Transfers on Metal

Watch Robin Dudley Howes make image

Image Transfers on Metal

Ive always loved the look and

1. Choose the amount of paper

4. Paint the acrylic sheet

Finished collage on monoprint.

1. Choose the amount of paper

4. Paint the acrylic sheet

Finished collage on monoprint.

7. Use water-soluble crayons to

the baren or a wooden spoon and,

WATCH & LEARN

Plate ready for printing.

7. Use water-soluble crayons to

the baren or a wooden spoon and,

WATCH & LEARN

The first pull off the plate is numbered

7. Use water-soluble crayons to

the baren or a wooden spoon and,

WATCH & LEARN

The second pull off the plate is called a

Embellishing and collage

Embellishing and collage

After printing, adding collage

I start out with watercolor washes in sections of

WATCH & LEARN

WATCH & LEARN

Adding the Background

WATCH & LEARN

WATCH & LEARN

Having been a watercolor

Part of the challenge of this process

Liquitex matte Gel

Liquitex matte Gel

Liquitex matte Gel

Liquitex matte Gel

Liquitex matte Gel

Liquitex matte Gel

3. Start tearing and placing

note: This will look very different once