Hi folks and welcome to our mixed-media moods for May Jen and I are super excited to be here we are a little bit late with it but it's only because we've been planning some super fabulous things not sure if you're aware but coming up in July is our one year anniversary already nitrogen or I can believe we've been doing this this long.
Stay tuned in the video and then our our Facebook group and on our blogs because we have some really exciting announcements coming up right here at the beginning of this video.
Further abductive a this challenge is really exciting and I a V we're done this board I love it I love the mustard color and then I paired it this time with navy which is really cool and like bright and fun especially with a pop of white.
I started with a stack of ephemera and some jelly prints that I had I specifically did a jelly printing session for this mood board because I loved the color combination.
Much and then I pulled out a canvas board from blick and all of these links will be in the video description as well as on my blog.
Be sure to check those out if you have any specific questions about supplies because there's these video they're more about techniques rather than the exact supplies like I'm not talking a lot about the wood boards though the wood boards are really cool because they have this huge edge to them it's like an inch and a half tall and then I I went through those jelly prints and I picked out two that had less patterns than the others and they reads to Joey prints are more about kind of like color blocking and just color application because I really wanted to set the intention for my piece.
I didn't want to concentrate on patterns I wanted to get a mix of the colors that beautiful Navy and that kind of mustard yellow from the mood board and then using some golden heavy matte medium and a brush I have applied these jelly prints to my board I did trim them down and then I glued those down with the heavy matte medium and I made sure that our that it is matte but have you gel medium because is really sick I made sure that I had gotten all the edges and the corners down nice and tight specifically I didn't lock it's not that I didn't mind specifically about the middle portion it's just that I knew I was going to keep layering on top of it and this helped that will help keep everything sort of anchored then from there I'm pulling back out my like kind of like stack of goodies some of it is vintage ephemera like that little page with the handwriting on it comes from a vintage invoice or at vintage memo book hosting and cool and it was written in a blue-black pen.
Then when I applied clear gesso to the top of that page the blueblack bled a little bit and then it kind of has that midnight tone to it it's really nice this where the process is really more about kind of stacking things and putting them on top of each other and taking them off in and I refer to this type of stuff as the song and dance because you put them on you take them off you put them on you take them off and I slept almost I would say like two thirds of that process in the video for you because it's very personal and there's a lot of personal preference and falls like what do I like I love raggedy edges and and things like that.
I always make sure to tear my edges rather than to cut them it adds to the authenticity I think is a good word for me to use and I keep saying personal preference because it is and in this piece of artwork is really beautiful to me and speaks to me because that's what is the things that I love I'm expressing myself but um what I want to say the reason I keep saying that is because I can give you some tips and tricks what I love to do to help your artwork also be aesthetically pleasing to others and especially if you're kind of doing this on the dance and things don't seem to really be working out I have some tricks or some tips that might help you achieve more than what you're looking for.
One of those things is to grip the edges especially when it comes to mixed-media and sort of collaging and stacking and earrings risky edges that really really helps the other thing is sometimes it's really good to stay in sort of a monochromatic theme.
I'm working in these pans and off twice but then I'm supplementing in some really darker tones of some other vintage texts that I also have lying around.
I started with the creams and sort of lighter whites that came from the mood board and then I also supplements it in some really vintage tone tan ones and it's not necessarily every other layer whatever you may be third layer and then that really helps kind of create this beautiful layered paper look then I just did a quick stitch down the middle and set that to the side now I have out some gesso and I have justify all kinds of companies and sometimes I kind of go back to my favorites but that doesn't mean that others aren't good either.
Specifically on this one I wanted to use Golden's Jessel because it's nice as well as the liquitex in the black version that I usually use.
I scraped some Jess along with a clean palette knife and I did make sure that it was clean because then I could control the application process a little bit better now keep in mind when I was collaging those jelly prints down to my wooden block I did not go over the top of them as a collage I only matte medium between the paper and the wood board then I sprayed some gesso and let that dry then I got my handy dandy with a little marks all pencil and I kind of went around the edges of my board after everything was dry and then I wet it with a paint brush and by doing that and kind of spreading it out the Jessel acts a little bit as a resist and then wherever that more like raw paper is then the it's soaked up that's the billow and got really grungy and dark and it's cool it's such a cool process.
And I was telling Jen just a couple weeks ago after watching on a Robin Murray video it was like like crawl like it's the difference is insane by how you treat your paper.
If you have your raw paper exposed and it's really going to soak up some crunchiness really easily but if you cut if your collaging and you cover the top with matte medium then you've created a barrier and that grungy effect is a little bit harder to achieve.
Keep that in mind when you're working and then it will help you achieve the differences that you want in your artwork.
Sometimes it's good totally to collage everything down and be secure and then sometimes is better to leave some of those raw edges and surfaces on the forefront I did paint the edge of the board with gesso and then I scraped back over some of the gesso to make it a little bit brighter where it had gotten grungy from that Stabilo.
Now I had that grungy paper in the background instead of gesso and all the stuff is really coming together now this sort of like chunky kind of weird thing that's in the middle. This is a silk casing from the cocoon of a silkworm and. This is kind of what's left over after they have harvested the silk to turn into yarns and fibers and things.
I picked up a huge section of you and they are basically just like off casting of a really cool process to make silk.
I love them it's kind of like a long tube that's been slit in the middle and it's wonderful completely completely wonderful I have a huge bag of them I just got them in the mail and now I can't wait to use them on all kinds of projects especially because I love incorporating natural elements into all of my pieces sometimes it sticks sometimes with rocks it's in this case it is that being this like silk corn chasing kind of cool piece I did apply my collage little stack of papers with that same matte gel medium I've been using and then I got a nice two pillow the same one I've been using and I started to darken up the stack a little bit sort of my little like layered embellishment but it's really big.
I don't know if it's considered on embellishment but now I am honing the focus of my whole piece in towards this sort of middle area and I did really like how about Sybilla was turning out and then I got out yesö one of the really cool tips I've picked up from other people is if you have these golden jars and it couldn't of shaped them before you open the piece as long as your lid is on nice and tight then when you open it you can use the paint directly from the lid it's.
Cool then you can just kind of set the whole pot off to the side and you don't ever have like too much paint and there's not a bunch of paint waste sort of laying around.
Then one of my favorite tips to share is the end of your paint brush like the back end is as much a tool as the front end and I love to use mine to create these sort of uneven more whimsical dots all over my page.
Or project or mixed-media or altered art or whatever I'm working on.
Using that brush I dip it into the paint and then kind of moved it all around the board and from the left in the right hand side it was thicker and that kind of came in and focused in towards the middle now I've kind of been playing with this soap casing trying to figure out exactly how I want to attack it in all reality I probably if I had thought further ahead I would have stitched it onto the stack of paper before I glued it down but I didn't do that hindsight is always 50/50 then while I was sort of playing with it I ended up rubbing it and at first I was really upset and I was trying to sort of like put it back together and then I thought it's. Okay, it's part of the process just go with it it's a natural element and you can't always control that.
I sets it aside and I got out this um paint by Idina lately it's called night and it's the color that I use in the jelly printing and it's beautiful.
I couldn't not use it.
I darkened up sort of that stack of goodness and I've been to December just right in the middle and now I'm going to apply this beautiful yellow DMC flaw to the silk casing because it's underneath if there's a slit in the back and I'm not exactly sure about the whole process of making silk I plan to research it.
I can know exactly what piece that I bought and them using from the process but there's a slit in the back where I think they remove the silk on the inside and then I am using that flit to go up through the top of the casing and I am using the DNC block to make a French knot.
These beautiful little French knots that are really popular in embroidery after I learned them a few months ago I can't stop putting them on everything and they are hence superb they're such a cool way to add dimension and texture and I end up kind of having trouble with this last one since but that's against because it just gives me a quick little chance to talk to you about what's coming up.
Jen and I now because we've totally been on the ball with everything are going to start also doing weekly videos for you with our mixed-media moods.
Keep an eye out for those and we'll have some smaller but justice fun techniques coming to you weekly and then in July we're going to have a huge big bash starting at the end of the July for our first month all completely full of inspiration.
Because we're still kind of working out the details I want stop right there with that information but just keep that in the back of your mind I after I was back to the project after I was done with the DMC flop and the French knot then I just tied that DMC into a knot on the back to secure it all and I put my little silkworm casing down with the matte medium.
Everything there is done and that's the finished piece you can check out more of the shops here and thank you very much for following us be sure to join our Facebook group I would love if you would subscribe to my channel getting back into the groove of creating videos and inspiring you guys and it's all you it always makes me.
Happy and I'll see you around for the next video thank you you.