artsy expressions embossed cards for StencilGirl®

Hi everyone, today I am on the StencilGirl® Talk blog sharing some fun folding cards that I created with StencilGirl® stencils and embossing. I love handmade cards. There's something about knowing that someone took the time to create a piece of art to express their wishes. I recently wanted to send an artist friend of mine a note, and as I searched my stash of handmade cards, I decided it was time to update my collection. This particular friend tends to use a lot of stencils in their art, so I thought it would be fun to create some cards with my StencilGirl® ATC Mixup Alphabet stencil designs.

You can find all the details over on the StencilGirl® Talk blog, here. And the best news is that my stencils are on sale for the next 2 weeks! Just use code  AB20  for 20% off any of my stencils! Just enter the code at checkout. (code expires 04/29/25)

Thanks so much for stopping by!

Ann

hallo(DEX)ween collaboration for StencilGirl®

It's an All Hallows' Eve Masquerade at Lost Souls Garden and the guests have traveled from near and far to join in the fun!  Follow along as I introduce you to everyone...  

For this collaboration project, we were each asked to create a Halloween themed piece using StencilGirl® stencils and a chipboard roloDEX tray and cards by UmWowStudio. We were to use any other supplies we wished for the theme, and to let our imaginations take us where they may. The pieces created by each artist are truly wonderful, each a unique representation of the artists' style. It is definitely worth a hop over to the StencilGirl® Blog to check them all out. You can click here to visit.

Now, onto the details for my All Hallows' Eve Masquerade Attendees inDEX.

I began by assembling the tray, using glue to secure the pieces in place. Once dry, I spray painted the base tray black. The exterior sides were covered in backdrop paper (by Tim Holtz). Next, I traced the Botanical Wildflowers stencil (L774) onto black paper and cut out the pieces by hand. These pieces were then glued onto the outside of the tray to create the "garden." An inked Idea-ology quote chip and resin skulls (for feet) were added to complete the base tray. 

With the base tray complete, it was time to begin creating the cards that would fill it up. I wanted to create a garden gate to welcome all of the guests. Using a retired Tim Holtz Sizzix die, I cut two Gothic Gates out of heavyweight paper and adhered them together leaving the bottommost edges separate. the two bottoms were then glued to either side of a painted spine that would slide onto the DEX rails. Tiny type uppercase die cut letters were used to form the words Lost Souls Garden, and Golden bronze irridescent paint highlights were added. 

To further create the setting, I added a spooky moon with bats and shadowed vines. Using a half circle tall card, I painted a base layer of Golden bronze iridescent, then stenciled the Linear Textures (L857) vines with black gesso. The bat confetti pieces were painted with gesso then glued onto the "moon".

The next piece we encounter is the Masquerade announcement, an altered Idea-ology baseboard frame. The highlight of the announcement being the reverse side, where I used the Botanical Wildflowers (L774) mask and lightly applied the Golden bronze iridescent paint around it, creating an ethereal appearance.

The line up of attendees begins with the Forsaken ones, Alice and Herman. Each of these lost souls were abandoned at an early age; neither have been able to find their soulmate. They have both donned their fineries in the hopes of finding someone special at the event. The halos for both of the Forsaken were created using the Beautiful Halo (S543) stencil, with modification. 

Henry, the Undertaker, wears his majestic wings. Having to spend all his days with the dead, he looks forward to meeting up with other souls at the Masquerade. Henry's halo features the Beautiful Halo (S543) stencil, he also has a special detail on his lapel using a stencil from ATC Mixup Missigman #2 (L793).

The Gypsy, Madam, has traveled the world, oftentimes being called a weaver witch. Madam is always on the lookout for unique fabrics and fibers with which to weave her wonderful textiles. She has been known to cast spells through her complex weavings. Faithful Halo (S545)  creates the perfect backdrop for this attendee, whose woven skirt was made using the DEX weaving frame.

The Apothecary has volunteered to utilize his formulation skills and serve libations at the Masquerade. Clyde fancies himself a concoction connoisseur. He has a modified Faithful Halo (S545) to highlight his dapper attire.   

The next attendee is Palm Reader, Rosalie. When she is not reading palms, she can most often be found reading tea leaves, her true passion. I modified the Beautiful Halo (S543) stencil to incorporate some Botanical Wildflower (L774) stencil parts reflecting her talents. Rosalie's dress has an overlaid pattern from ATC Mixup Missigman #1 (L792)

The last Masquerade attendee in the tray is the Fortune Teller. Everett has his secured his future by predicting others'. Growing up, his favorite pastime was creating stories for his peers of where their futures would lead. After learning that many of his predictions became reality, Everett accepted his extra sensory abilities and decided to make a living from them. Lost souls are his favorites to work with. Faithful Halo (S545)

The final piece in my project is another Idea-ology Baseboard frame featuring the poem Night. The reverse side has been treated with the same technique used on the announcement, highlighting the Botanical Wildflowers(L774) mask. 

I truly enjoyed creating each of these pieces, and look forward to adding more. Working with the roloDEX system is addictive and playtime with StencilGirl® stencils is never ending fun.

It is always a pleasure to be part of Tina Walker's StencilGirl® Collaborations, and this Halloween themed project was no exception. I hope you can stop by the StencilGirl® Blog to check out all the awesome projects that were created! 

Thanks you for visiting my blog today, I truly appreciate it.

~Ann

StencilGirl® stencils used:

Botanical Wildflowers (L774) by Rae Missigman

ATC Mixup Missigman #1 Art Marks (L792) by Rae Missigman

ATC Mixup Missigman #2 Botanical (L793) by Rae Missigman

Faithful Halo (S545) by Pam Carriker

Beautiful Halo (S543) by Pam Carriker

Linear Textures (L857) by Lucie Duclos

UmWowStudio roloDEX used:

half circle tall, half tabbed, spines, standard cards, weaving frame, roloDEX tray

 

13 days adrift book collaboration for StencilGirl®

 

Hello everyone, today I am excited share a handmade book I created for the most recent StencilGirl® collaboration hosted by Tina Walker. The concept behind this challenge was fairly simple: each artist would receive a vintage 13 Days Adrift booklet. You would then deconstruct and reconstruct a book/journal with a technique/style of your choosing. You were welcome to use the original book however you chose, as long as it was incorporated into your new book. 

The rules were as follows: pick one shape of stencils to be used throughout your book, the book pages must be created in black and white (and all shades of grey), you can use any mediums (as long as they are black white or any shade of grey), and you can use any theme, structure, or story.

13 Days Adrift tells the story of the survivors of the East Indian, a ship that was sunk by a German U-Boat while out to sea. The book contains illustrations that I knew right away I wanted to incorporate into the new book. After reading the story and considering how I wanted to construct my new book, I wanted to create something that would be as true to the original book as possible. 

The covers of my hand bound book are made from pieces of driftwood. I selected pieces for each cover that were similar in size and that somewhat fit together. The pieces were glued to each other along the edges; a piece of natural twill tape on the inside of each cover serves as additional reinforcement.

The book is comprised of five signatures. Each signature contains pages made of various materials. Marine maps, gel printed original book pages, watercolored illustrations, and handmade papers are collaged, layered, embellished and then sewn together with natural hemp cord. I utilized an exposed binding method that incorporated jute rope, reminiscent of a ship's rigging.

The stencil design I use throughout the book is a circle. Many of the stencils I chose were designed by Seth Apter for StencilGirl®; however, I also used many other designers' stencils, including Mary C. Nasser, Pam Carriker, Traci Bautista, Lauri Mika, and Rae Missigman. 

All of the stencils used are listed below this post. The stencils were used on the gel plate, as well as direct to paper. I used a masking technique for the stencils that contained sections that were not circles. 

When creating my pages, I wanted to achieve a nautical theme. To this effect I must admit I stretched the rules a bit... we were to use only black, white and ANY shade of grey... I chose payne's grey as my primary color, and then added black and white to create different hues. 

The illustrations that I used from the original book were watercolored with payne's grey, white, and black. The main base color used on my gel plate, payne's gray, when layered with white, created a light blueish color. 

After taking the original booklet apart, I removed all of the illustration pages, as well some of the pages that contained phrases I would be cutting out. The remaining pages were gel printed. Within the book I use torn pieces, die cuts and punches of these gel prints.

Many of my favorite pages are displayed within this post; however, I have done a complete flip through of the book on my YouTube channel. You can view the video by clicking the link below. 

I never cease to be amazed by all of the incredible projects that result from these collaborations, each one is completely unique to the artist that created it, even though we all receive the same instructions. I hope that you can take the time to hop over to the StencilGirl® blog and check out all of the different books that were created. (Click here to visit.)

Thank you so much for stopping by, this was a very special project for me. I learned a lot during the process, from paper preservation to color theory and even a new bookbinding technique. Many thanks to Tina Walker for continually inspiring me and challenging me to expand my creativity. 

Wishing you a creative day!  ~Ann 

StencilGirl® stencils used:

ATC Mixup Apter Stencil

ATC Mixup #2 Apter Stencil

Circles Circles Stencil

Color Gradient Swatch Wheel Stencil

Compass Stencil 

Faithful Halo Stencil 

Pilgrimage to the Renaissance Stencil

Spinner Stencil

Techno Insiders Circle Stencil

Urban Insiders Circle Stencil

creative recipe collaboration for StencilGirl®

It's always a treat to participate in one of Tina Walker's collaborations for StencilGirl®, and the most recent one:       "Cooking with Tina" was no exception. 

The idea behind this collaboration was simple, Tina would create a "creative recipe" that each participant would follow in order to create their own piece of art. Over the course of twelve weeks, each Monday we were given a new ingredient to add to our project, culminating in a completed artwork. We were not given the entire recipe in advance; therefore with each step the piece had to adapt to the new introduction. I decided to complete an art journal spread for this collaboration. 

Week one: prep surface, add two colors of acrylic paint

Using my largest art journal, I added two colors of PaperArtsy Fresco finish paint. I decided that keeping the colors fairly neutral would give me more flexibility for adding the future ingredients.

Week two: add collage material

I added pieces of maps as well as some torn tea/coffee dyed papers along each side of the spread, still keeping with the basic idea of a neutral base to build upon.

Week three: stencil a repeating pattern

At this point, I started getting ideas about the direction I would like my journal spread to take. I envision some sort of architectural approach. In keeping with this idea, I chose the arched aqueduct stencil, and distress ink to create the designs on each of the pages. To maintain balance, I flipped the design along the right hand side. 

Week four: scribble/doodle

Using fluid acrylic paint in a fine liner, I added scribbles along the top and bottom edges of the pages. I also added some lines to accentuate the stencil design and bring it into the foreground.

Week five: opposites

This prompt generated a lot of ideas, ranging from symbols all the way to colors. I settled on using words to express opposites. You will notice the words OPEN and CLOSE. My thoughts behind this choice, since I was still under the assumption this would be some sort of architecture based design, was something along the lines of when one door closes another opens... we will see how that works into the future steps.  

Week six: draw a face

I have to admit, drawing faces is NOT my thing, so I cheated a bit and used a stencil as the basis for my drawn face. I used charcoal with the sweet girl face stencil to draw the basic shape and locations for the features, then went back in with a pencil and attempted to add details. This is THE step that changed the direction of my page. I now had no idea of how this page was going to come together... 

Week seven: add the color red

Adding the color red was not a difficult ingredient to incorporate. I could totally see the sweet girl with a red and white striped shirt, so I repositioned the stencil directly over the face and used a paint pen to color in the striped details on the collar. I also added a red die cut heart "barrette" in her hair.

Week eight: stencil with a Tina Walker stencil

Some of my favorite Tina Walker stencils are from her travels abroad. The cathedral floor stencil was inspired by Jedburgh Abbey from the Scottish borders region. I thought it would be fun to play on my original architecture idea by using this stencil, but in a more whimsical way that would work with the sweet girl that now played a prominent role in my spread. The stencil design became the pattern within butterfly wings that flank the girl. 

Week nine: add ink

Using a water brush, I add distress ink within the butterfly wings, as well as on the sweet girl's cheeks. 

Week ten: add words

Since the art journal spread has detoured from my original thoughts behind the OPEN/CLOSE idea, I used this prompt to add words and create the phrases "close your eyes" and "open your heart". In my mind, this gave the whimsical wings a better tie-in.  

Week eleven: cover something up

This was a no brainer step, I covered up the sweet girl's eyes that I had drawn and were so unhappy with the look of. It also worked well with the "close your eyes" phrase.

Week twelve: add finishing touches

I believe there is still some work to be done on this spread; however, for the sake of completing the collaboration, I "completed" the pages by inking the page edges, adding some bold black marks with the art marks stencil to balance and draw attention to the words, and also added some red thread. As I progressed through this collaboration, the ancient Chinese proverb "an invisible red thread connects those who are destined to meet, regardless of time, place, or circumstance. The thread may stretch or tangle, but it will never break" kept running through my mind, and it was inevitable that it would become integral to the piece.

This was probably one of the most challenging collaborations I have ever done. Since I had no idea what "pieces" would be included, I was never able to get a clear idea for the final result. At times this was frustrating. When I am creating something, even though I don't always know exactly where I am headed, I usually have a general direction and concept. When I tried to keep to an underlying theme, things didn't always work with that idea. Even through all of the detours, I ended up being pleased with the final art journal spread. 

I believe in pushing yourself to try new things and explore beyond your normal boundaries, this is how we experience growth. Thanks so much for taking the time to stop by. I hope that you can visit the some of the other artists that participated in the collaboration, there are so many wonderful projects. You can find Tina's StencilGirl® Talk blog post, including the list of participants here. 

~Ann 

 x

   

StencilGirl® stencils used:

Arched Aqueduct Stencil (L359) Carolyn Dube

ATC Mixup Missigman Art Marks (L792) Rae Missigman

Cathedral Floor (S822) Tina Walker

Sweet Girl Face small (S859) Jeanne Oliver

new architectural stencils for StencilGirl®

Hello everyone, today I am really excited to share my newest StencilGirl® stencil designs: architectural.  There are four new designs in this release. These four stencils are based on residential architectural design, the foundation of my work in architecture. I love the linear quality of architectural plans; each line type and width represents different elements found within the design. A concept is developed into a vision, which begins with a set of plans. 

These stencils are perfect for use in so many different art genres, from art journaling to card making and everything in between. Below are images of the four stencils and a little bit of background on how they came about.

                                                      MASTER SUITE (S871)

One of my favorite aspects of the Master Suite stencil design is the unexpected angled passage that splits the traditional plan. Rectangular spaces throughout the residence sometimes need a shake-up.  Envision yourself encountering a passage that appears to go in an unintended direction, when followed, it brings you to a vaulted space with the finest finishes and the grandest views. This angled corridor brings a lot of interest to the plan as well as the experience, an will also create interest when the stencil is used. 

                                 

This stencil is a 6x6 size and can be used with all mediums: paints, inks, pastes and more. It can be used in small sections or in its entirety. I can also see this stencil being used as a framework for design within an artwork. 

BACK HALL (M330)

This stencil was derived from a floor plan of the more utilitarian areas of the residence. As one enters the back hall they can access the more personal spaces within the residence, a very different experience from the grand entrance of the foyer. These spaces are smaller and more functional. This stencil provides linear graphics with perpendicular intersections and dashed lines. Its small size can have a big impact and would work wonderfully within a linear or grid journaling format. Small sections of the stencil can also be used for mark making.

 

I envision this 4x4 stencil being used with inks and paints, perhaps even textural pastes to give the appearance of raised lines within a piece of art.  

 

                                 ORIENTATION (M331)      

Every set of architectural drawings references a building geographically. The elevations are typically labeled north elevation, south elevation and so forth. Each drawing then contains a graphic that relates the “building north” as depicted on the drawing labels to “true” north. These types of orientation graphics can be as simple as overlapping rotated axis or as complex as the architect desires it to be. The orientation stencil is based on my interpretation of this graphic. I like to include an aerial view of the structure atop geographically accurate compass points. 

                                                                                                     

This 4x4 stencil works wonderfully with paints and inks, as well as embossing and pastes. You can easily utilize portions of the design or the entire graphic. 

                                                 FOYER (S872)

Another of my favorite aspects in architectural design are portals that give glimpses into spaces beyond. Sometimes these offer only subtle hints, other times a full understanding of what lies beyond. The foyer stencil evolved from one of my residential designs. The double story entry contained a barrel-vaulted passage through to the main living space as well as a turned staircase that, when ascended, provided sweeping views of the property all along the upper level corridor. This 6 x 6 stencil contains both large and small openings. It can be used for the simple repetitive patterns that symbolize the stairs and railings or the more open geometric shapes that form the arched passage, trimmed paneling and cased openings, or as a complete architectural design.

This stencil is perfect for use with all different types of mediums. The larger openings are well suited to doodling or filling with color, images or even ephemera. 

 

Details from an architectural art journal spread:

In this architectural art journal spread, I used the Back Hall (M330) Master Suite (S871) and Orientation (M331) stencils. This art journal spread contains layers of paints and collage materials combined with the stencils. A grid-like design is reminiscent of rooms within a building, creating the perfect spaces to incorporate the stencils during the initial layers. Once the spread began to take shape, pieces of ephemera, collage fodder, gelli prints and vintage papers were included as well as ink and paint through portions of the different stencils. Some of these areas were filled with more collage while others provided opportunities for mark making.

You can find more ideas for creating with my new stencils  on the  StencilGirl® blog today;

and, you can find all my StencilGirl® stencil designs here. 

I will be sharing more ideas on this blog and my Instagram feed (@aksbarchitect) over the coming days. 

I hope that you love these new stencil designs as much as I do! 

Thanks so much for stopping by today, 

I truly appreciate it.

~Ann

x

Direct links to stencils:

Back Hall (M330)

Foyer (S872)

Master Suite (S871)

Orientation (M331)