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I was playing with my new stamp set tonight, trying to color. I wanted to try the Jennifer McGuire white ink on kraft paper technique, embossing with pigment ink and coloring inside the lines.
Despite trying different wet mediums, nothing was working. I got :confused: :mad: but then realized all the variables at play:
-- I was using thin 60# kraft paper which is much more absorbent than many papers � even different kraft papers can vary in absorbency. I don't know what weight kraft paper she was using.
-- The pigment ink was pretty thick and goopy, so it's hard to create a crisp image with a detailed stamp. A chalk ink might've worked better.
-- My stamp has many fine lines, and I don't think I used an extra fine embossing powder. So many areas where I would have had more room to color were almost closed up.
-- Started out with Inktense blocks, which I find tricky in terms of finding the right amount of water for the right color saturation, especially on a brownish absorbent paper. Moved to Distress Inks, which looked better but my brush was a little too big to get in between fine lines without making a mess.
After analyzing all of these variables, it's no wonder that it didn't work out as I intended :eek: Makes me wonder how many times I have given up without changing multiple variables, which could have gotten me closer to success. It's knowing which ones and in which order that is key, of course :rolleyes:
It's about knowing when I need a new tool or supply to get the effect, too � let's face it, sometimes that's the difference between failure and success.
Now I wonder what the trash bins of the YouTube crafters look like? :eek:
Well, the best way to learn is to experiment!
On the fine lines, I remember that when I used white embossing on white card as a TLC challenge last year, I found that images with a lot of fine detail didn't work well, even with fine detail EP. One of my experimental examples, with a lot of image detail, just ended up in the bin.
I tried this technique too, and my results were mediocre at best. As the OP said, my inks just sank into the cardstock. Many of her techniques don't work for me, because I don't have exactly the same supplies. I just try to adapt and make what I have work somehow. I have fun experimenting (when I have the time).
I too have trouble with trying some things that I see on You-Tube & I end up frustrated & annoyed with myself. I can't always get the same products in Australia that are used on cards in the USA so I use what I have on hand - often with mixed results :rolleyes:
This is a great reminder for me! I walked away from a card last night because I was so frustrated, but I'll take another look at it now. Maybe I can change up a variable and become happier with it.
Jennifer uses Neenah Desert Storm for her kraft cardstock. It's a part of the Environment line (as opposed to the Classic Crest line that she uses for her white cardstock).
I buy it from my paper store, but it is available at Ellen Hutson as well as at Simon Says Stamp. There may be others, but those I know.
(Just a heads up...SSS sometimes confuses you by saying "classic crest" in the header and "environment" in the description. Their computer people don't know paper very well.)
Well, the best way to learn is to experiment!
On the fine lines, I remember that when I used white embossing on white card as a TLC challenge last year, I found that images with a lot of fine detail didn't work well, even with fine detail EP. One of my experimental examples, with a lot of image detail, just ended up in the bin.
I agree 100%. I have to tell myself: Use plain outline images. No detailed shading lines inside. If I follow that rule, then if my EP doesn't give me a hairline-size line it still works!
I SHOULD have put my experimental sample with a lot of image detail like yours in the bin!
Jennifer uses Neenah Desert Storm for her kraft cardstock. It's a part of the Environment line (as opposed to the Classic Crest line that she uses for her white cardstock).
This is a really good point - actual kraft paper is made with a different process and longer fibers to be more absorbent and durable... I think in the crafting world we're just thinking of kraft as a color now. The Neenah paper is the right color for these types of techniques, but a heavy, smooth card.
Makes me wonder how many times I have given up without changing multiple variables, which could have gotten me closer to success. It's knowing which ones and in which order that is key, of course :rolleyes:
It's about knowing when I need a new tool or supply to get the effect, too — let's face it, sometimes that's the difference between failure and success.
I have found your perceived failure to be extremely encouraging. Your post has given me reason to step back and rethink my "lack of talent."
All my adult life, finances have been limited--some years more limited than others. Because of this, and my lack of artistic talent, I have been hesitant to buy art supplies other than paper, punches, adhesives, stamps and a few ink pads.
Just last week I went to Michael's to get gel medium and as I looked at the price a little voice in my head said, "That's for artists and you are not an artist." I looked at the gellato crayons and thought, "Maybe if I was an artist." I left empty handed, which I think now was a mistake.
Perhaps if I allowed myself the luxury of buying a few "non essential" supplies and art medium, I could increase my success rate and maybe even gain a bit of artistic talent. Just recently, I learned what a difference good cardstock makes. I will never again use flimsy cardstock as a card base! I think that lesson may very well translate into other areas of my crafting.
Melissa - take a look at the post 2 above yours, and read the quote that Dini has in her signature:
If you hear a voice within you say you cannot paint,
then by all means paint, and that voice will be silenced.
Vincent Van Gogh
Those things at Michael's aren't just for artists, any more than the tools at Harbor Freight are just for trained architects and carpenters. Or the mops and brooms at Wal-Mart are for paid custodians.
Perhaps if I allowed myself the luxury of buying a few "non essential" supplies and art medium, I could increase my success rate and maybe even gain a bit of artistic talent. Just recently, I learned what a difference good cardstock makes. I will never again use flimsy cardstock as a card base! I think that lesson may very well translate into other areas of my crafting.
As I was listening to a podcasting conference while trying to watch a free "photographing your craft item" class today (why are all the great things at the same time?) they were discussing the benefit of just starting, even if you don't have the best of everything. An iPhone camera can take pretty great pictures, close to a DSLR, if you keep in mind its strengths and weaknesses.
That said, you do need some good basics to make sure your message (or your talent) is able to come through. For instance, Mod Podge is not comparable to a good gel medium in collage work, in my experience. For some applications, it's just fine but if you want a really excellent outcome go with the gel medium. It is more expensive, but the result is so much better.
And I'm learning what is the point of having good card stock if your trimmer is crappy? Just asked myself that question last night.
So I empower you to call yourself an artist and treat yourself to the best that you can afford. You're worth it
All my adult life, finances have been limited--some years more limited than others. Because of this, and my lack of artistic talent, I have been hesitant to buy art supplies other than paper, punches, adhesives, stamps and a few ink pads.
My situation exactly! Experimenting with art supplies is incredibly expensive. I have 9 different white inks, bought while determined to find one that would print(without side-spatter) a clear image on black cardstock. Each ink is a pad and a reinker, about $14 X 9 =$126.
But I really think artists are born, not made by their supplies. Birgit Edblom is a born-artist who could make a masterpiece with a chunk of coal. I wasn't born with that gene, darn-it.
But I have fun being a thrifty crafter because only born-artists get chosen for design teams and get their supplies sent to them for free. Or so it seems to me.
That's my story and I'm stickin' to it! :rolleyes:
I have 9 different white inks, bought while determined to find one that would print(without side-spatter) a clear image on black cardstock. Each ink is a pad and a reinker, about $14 X 9 =$126.
But I really think artists are born, not made by their supplies. Birgit Edblom is a born-artist who could make a masterpiece with a chunk of coal. I wasn't born with that gene, darn-it.
Did you find a really good white ink among the 9 you purchased? Inquiring minds want to know.
White ink must be tricky in all forms. I can't find a decent white pen for the life of me. Next try will be a calligraphy pen and white dip ink.
As far as artists being born . . . Sadly, I agree. Some people either have it or they don't. I found this out 15 years ago when I bought a DSLR camera and some costly lenses. The photographers I used to work with could get better shots with a disposable camera than I could with my expensive gear.
And yet, there is still a burning need to create. Does that make me a masochist? LOL
Did you find a really good white ink among the 9 you purchased? Inquiring minds want to know.
And yet, there is still a burning need to create. Does that make me a masochist? LOL
I ended up stamping with Versamark and heat embossing with Stampendous fine Detail white powder. I tried using White-Out, by the way, and that was too thick. I've used all kinds of white pens. Some have worked for one card but never worked again.
And about the burning need to create, though missing a born-artist gene, that's me, the eternal optimist, just sure the card in my head will turn out perfect. 3 times in 11 years it has. The trying is sooooooo fun!
Did you find a really good white ink among the 9 you purchased? Inquiring minds want to know.
White ink must be tricky in all forms. I can't find a decent white pen for the life of me. Next try will be a calligraphy pen and white dip ink.
As far as artists being born . . . Sadly, I agree. Some people either have it or they don't. I found this out 15 years ago when I bought a DSLR camera and some costly lenses. The photographers I used to work with could get better shots with a disposable camera than I could with my expensive gear.
And yet, there is still a burning need to create. Does that make me a masochist? LOL
Finding the perfect white ink pad seems to elude me. But I found a white pen I'm quite happy with. Its Gelly Roll 08 by Sakura. The number on the pen is XPGB#50.
I use Color box frost white and emboss with detail white. Not sure but I think I saw the results of white ink comparisons here . It really showed up well in the four inks used. I think the embossing powder makes the difference from my experience.
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