1. Vagabond tool was used
to die cut #8 tag using manila folder and tag die.
2. The tag was placed on
craft sheet. The tag was painted with a thin layer of pearlescent medium
followed by several colors of distress inks and finished by spraying a mist of heirloom
gold. If the color is too dark, a simple spray of water will remove some of the
color. Always heat set to dry. Using a variety of distress inks can be achieved
to get the desired color on your tag.
3. Perfect positioner was
used to stamp a perfect alignment of image and then adding clear embossing ink and heat to
4. Thanks Lizabeth from RRA; she supplied a link for the calendar:
I was asked recently to share sewing a signature. Since 2004 I've made several mini-books using the signature method. I'm working on a tutorial to share here on OWSE with a step-by-step process.
Supplies needed: a needle with large hole, [darning needle] waxed thread, [you can make your own by running crochet thread across beeswax or a candle] card stock, scoring tool, paper clips or clothespins, pencil and a paper trimmer.
4-23-11 update; this may take several weeks, I've come down with another sinus infection.
Following the instructions for the molding compound, make molds of the beads you want to duplicate and a mold of whatever you want for your pendant. I used Mold n' Pour for the rose mold and Amazing Putty for the bead molds.
Fill the melting pot to the fill line with half clear and half red hot UTEE. When melted, gently stir with the spatula to mix, add the flex and allow the flex to melt. Stir again.
If you want to darken the red, lightly sprinkle black embossing powder into the melted UTEE and stir. Add only 1/8 teaspoon at a time so you don't darken it too much. When you have the shade of red that you want, pour the melted UTEE into the pendant mold, set aside to harden. When completely hardened, pop it out of the mold.
It takes some practice to do a bead so don't get discouraged if they don't come out right. The beauty of making anything with the melting pot and UTEE is that if you don't like the results, you can always throw the piece back in the pot and remelt it.
Starting at the point, coat about three inches of the knitting needle or skewer with clear embossing ink.
Carefully pour the melted UTEE into the bead mold and fill almost to the top of the mold but not level with the top. If your mold is filled to the top, when you insert the needle to make the hole the UTEE will overflow. Insert the coated needle or skewer into the center of the UTEE in the bead mold. Make sure the needle presses against the bottom of the mold so your hole will go all the way through the bead. Hold the needle in place for a count of at least 50 seconds or until the needle stands in the mold by itself.
Let sit for maybe another minute and then pop the bead out of the mold, push the needle to make sure the hole is all the way through, remove the needle and then push it in the bottom hole so that the hole is uniform all the way through. If you let the bead harden too long with the needle in it, you won't be able to pull the needle out. The bead should still be warm, but solidified when you remove the needle. If your bead should get stuck on the needle, put the bead on the needle back in the melting pot and it should melt off. You can use a heat gun to melt any residue UTEE off the needle.
When you have ten beads and a pendant you like, clean out the pot with paper towels while it is still on. Be careful not to burn yourself. When your pot is cleaned out, shut it off.
Put your beads on a toothpick and brush on a thin coat of Diamond Glaze to give your beads a shine. Stick the toothpicks in clay or styrofoam and let dry.
Brush Diamond Glaze on the pendant. If the glaze puddles in the creases of the pendant, brush it out so it isn't too thick. Let dry.
Glue a pendant bail on the back of the pendant. I also glued a pearl in the center of my rose. Then string your necklace with complimentary beads of your choice. Save two of the faux coral beads to make matching earrings.
For Technique Tuesday, I'll share my card and tutorial that was published in Rubber Stamp Madness Spring 2011.
Glossy kromekote cover cardstock 10pt.
Archival Black or Sepia ink
Tim's Tiny Attacher
Adirondack Alcohol inks; Pearl,purple, and yellow
Alcohol felt applicator
White china plate
1. Before inking new photostamps lightly scrub with soft
nail brush and dish soap. Rinse well, and then dry using a lint free cloth.
2. If the photostamps image still won’t give a good stamped
image, it might need a light surface sanding with emery cloth under running
3. Just before inking your photostamps make sure they are free
of pet hair, lint or dust. Rinse with water and pat dry with lint-free cloth.
(I use an old cotton sheet cut in small 12" squares, when they are soiled they can be clean with work clothes or
4. Ink your brayer with a forward rolling position on Archival black or sepia ink
pad. Keep rolling the brayer in the ink until well covered.
5. Roll the brayer in one direction onto the stamp until well
6. Place glossy paper on cushion pad shiny side up, press inked image down,
smooth fingers over the stamp, leave image down on paper and start counting 10-20
seconds and then lift off stamp.
(If you are new to this is might take you several times to
find the right pressure to get a perfect image.)
7. Set image aside to dry. For best results; let the stamped
image dry overnight.
8. My palette includes 6 colors; pink, green, orange, blue,
yellow and brown watercolor crayons. From these colors you can make all colors by
mixing two or more colors together.
9. Use a clean white china plate for your palette.Scribble each color around the outside of an 8” plate. You will have plenty of room to
mix these colors on the plate. Leave the center for mixing flesh tone
Note: when you finish water coloring let the colors dry on
the plate, and then cover with plastic wrap until the next time you need to color
an image. Add more color as needed before wetting the surface.
10. Use a wet waterbrush to swipe a very small amount of
yellow, orange, pink and several swipes of brown in center of china plate add
droplets of the water to a runny consistency. Picking up more as needed to get
the color you need for the face, arms, neck and hands.
Note: Test the coloring on a scrap piece of glossy
cardstock. My preference is to color the face first. And then add color to
Note: if the image looks too wet, blot with cotton cloth.
Actually I keep the cloth in one hand and waterbrush in the other hand.
Blotting as needed, adding more color as needed.
11. Use waterbrush with orange mixed brown or yellow mixed with small amount
of brown for the hair.
12. Use a waterbrush with blue and pink for a purple color for
13. Use waterbrush to mix yellow mixed with brown for the flowers. Highlight
some of the flowers with a little orange watercolor. Set aside to dry overnight.
14. Trim image leaving a white border or mat to white
(Note: Create the look of a real photo by polishing the
watercolor image with a soft cloth.)
To complete this card:
15. Load pearl, purple and yellow alcohol ink onto felt applicator.
Apply to 4” X 5 ¼”
glossy cardstock. Don’t over mix. Leave some areas light. Let dry.
The image (window) was stamped on a piece of paper to enlarge on clear transparency film using a home printer/scanner. Xyron adhesive was applied to the back of the enlarge window. On a separate sheet of copy paper I applied a direct to paper with distress ink. The transparency window was applied to the paper and cut out with a stencil tool to expose the window opening. Set this aside.
The image was inked with Archival sepia on glossy cardstock. Watercolor crayons were used to color my image. A DaVinci image was applied to the window frame (shrine).
A box was made to fit the shrine using a box maker.
Kraft paper was distressed with ink and applied to cover the box. The shrine (window) image was applied to the back of box.
Note: The owner of these stamp gave me permission to enlage the stamp.
* 2 piece of white or light colored cardstock 4" x 5 1/4"
* 3 or 4 colors of glitter paint or acrylics
* newsprint or Kraft paper to cover your work surface
* Digital tool
* Folded card
1. Cover your work surface with several layers of newsprint or Kraft paper.
2. Place one piece of cardstock on top of the newsprint.
3. Squirt a generous amount of paint on the cardstock, randomly or in a
4. Place another piece of cardstock on top of the first, folding up one
corner about an inch (you will use this to move the pieces around, spreading
5. Smooch the pieces together. You could use a roller, but I just use my
hands and press down firmly.
6. Holding the corner, wiggle the 2 pieces in opposite directions until the
cardstock pieces are covered completely or near completely. The "wiggling"
makes the designs unique.
Option: add glitter to paint while still wet.
Place on a protected surface to dry. Let dry overnight.
The image was stamped and watercolor. "For You" was made with my Cricut tool both were applied to a folded card to finish.