AIM DIY: Recycled Rainbow Mobile

August 9, 2016October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

Rainbows are amazing. They’re awe inspiring in the sky, they are a great way to organize things*, and they are just plain magical.

This little recycled rainbow mobile tries to be a few of those things- and has the added bonus of being a nifty reason to doodle.

SUPPLIES

Thin plastic boxes and containers- like those that salads come in
Scissors
1 1/2″ Diameter Circle Thick Material Punch from Fiskars
Colorful Permanent Markers like Sharpies
A scrap ring, one cut from a plastic container lid
Thin string or baker’s twine
Thread
Safety Pin or Awl
Ruler

Use the thick material punch to cut circles out of every piece of plastic you can find. Don’t worry, the idea of using recycleables for art will make you look insane. Embrace it. (;

Use your rainbow of markers to doodle decorations on each circle. It’s okay if you have an uneven amount of some color because you think orange is terrible, just have fun!

Tie three strings to your top ring, and tie those three together to hang the ring parallel to the ground. Find a place to hang this ring while you work.

Choose one of your most popular colors (purple for me), and poke a small hole near the top of each piece with a safety pin. Cut a piece of thread approximately 12″ long, and string it through one of the holes. Tie the ends of the thread together, and attach it to the hanging ring using a lark’s head knot. Repeat this for each circle of this color.

Choose the next color in the rainbow (blue in my case) and poke each piece like you did before. This time add two inches to your thread for a length of 14″. Attach each of these pieces to your ring.

Continue by adding 2 inches to the length of each new color until you have tied all of your pieces to the ring.

When you have finished, hang it in a bright window and watch it sway and catch the light.

See, sometimes trash-art is fun!

*I may or may not be one of those people who sorts books by color. My librarian mother may be driven insane by this fact.

AIM DIY: Watercolor & Wax Paper Jewelry

August 2, 2016October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

Sometimes I come up with a project that I enjoy so much that it’s hard to stop to write a post. This, my friends, is one of those.

It’s a simple combination of watercolor, melting wax, and punching shapes- but it’s oh so satisfying.

SUPPLIES

Thick paper for Watercolor
Watercolor paints and brushes
Pencil
Straight Edge
Paraffin Wax
Scraping Tool, like a vegetable peeler.
Iron, ironing board, towel or other surface to catch wiley bits of wax
Parchment Paper
Scissors
Large Thick Material Punches (optional but recommended) I used circle punches in 2″ diameter, 1.5″ diameter, and 1″ diameter
Small hole punch
Thin cord or ribbon
Jump Rings (optional)

Step One: Paint it

Gather your paper, pencil, straight edge, paints and brushes.

Draw several parallel lines with your pencil to create stripes of varying widths.

Begin filling in each stripe with a color in the order of the rainbow. (ROY G BIV – Red Orange Yellow Green Blue Indigo Violet).

If you fill a small stripe, use a similar color next to it (Orange red and Red for instance.) It’s okay if your paint is a little irregular, or you have small white spaces.

Now it’s time to paint the back of your pendant. Draw some non-parallel lines on a new piece of paper, and fill them in with some of the same colors you used on the other side. Leave a little white space as well. Set your paintings aside to dry.

Step Two: Wax it

Now you will need your ironing setup, parchment paper, and wax. You might have a little wax escape during the ironing process, so it’s a good idea to have a scrap towel or cotton fabric to protect your ironing board. Remember to keep an eye on your ironing so you don’t singe anything!

Sandwich one of your dry watercolor sheets inside a piece of parchment paper. Shred a pile of wax on top. (You can always add more wax, so this is a good time to play!)

Turn your iron to it’s lowest setting, and gently melt the wax between the sheets of parchment paper. You will see the paper start to look wet. Continue working the liquid wax into the paper until it starts to be consistently translucent. You may want to add more wax.

Flip your paper over, and add a pile of wax to the other side. This will be the “glue” that holds your two sides together.

Lay the other piece of paper on top of that pile…

shred some more wax on that, and iron again following the earlier instructions.

Continue to add wax until the papers are translucent and consistently wet looking. When you’re happy with the look, put a little bit of weight on the stack, and let it cool for a couple of minutes.

When it is still warm, but safe to touch, uncover the paper, and use your finger or a tool to smooth any puddles of wax. (Playing in wax is one of my favorite things!) Now let it cool completely (a few minutes.)

Step Three: Punch it

I am loving these thick material punches from Fiskars. I have long abused normal paper punches, and they have a habit of breaking at the worst possible moment. These punches go through everything like butter.

Use a punch (or scissors) to take shapes out of your waxed paper…

until you have a nice little pile of shapes to work with. To turn solid shapes into pendants, punch small holes on one or two sides. You can run cord through these holes (or attach jump rings.)

After you have everything cut out, polish the shapes by using your fingers to rub excess wax off the surface and edges.

Feed thin ribbon, cord, or chain through the holes in your pendants. You can feed your cord through, wrap it several times, or tie a lark’s head knot. Anything goes! Leave enough room to slip the necklace over your head, and you’re set.

Double sided rainbow pendants!

Now I want to wax all the paper. Someone stop me before I go too far!

AIM DIY: Paper Maché Birdy Penny Bank

March 3, 2016October 17, 2023 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

My friend Tara is a paper maché inspiration. A couple of years ago she made a couple of piggy banks that were so amazing I decided I needed to make a bank of my very own. A birdy bank.

I love that papier maché gives you the opportunity to make basically anything out of recycled materials. This is a great project for kids and adults alike- just be ready to take it in shifts over a couple of days so that the form has time to dry between each coat.

Basic Supplies and Tools

A table cloth or paper cover and an apron. This is a wonderfully messy project!
A balloon
Newspaper
Flour and water (to make paste)
A piece of chipboard (like scrap from a cracker box)
This template for the feet, beak, wings and tailfeathers (which you will cut from chipboard.)
Masking Tape
Glue – Hot glue works great, but other thick glues work in a pinch
Scissors and craft knife

Finishing Supplies

Sand paper or sanding block
Acrylic paint
‘ glue or similar
Brush

Step One: Starting the Paper Maché and Form

Blow up one balloon about 5.5″ in diameter, and crumple up a piece of paper to make a head about 2.5″ in diameter. Tape the “head” to the balloon*, roughly the opposite side from the tied end. (If you would prefer the inside of the birdy to be smooth, cover the balloon with a layer of paper maché before attaching the head.)

To make your simple paper maché paste, mix one part flour with one part water. (You can change this ratio if you prefer a more watery or thicker paste. Practice makes perfect.) Stir the paste with your finger until it is smooth.

Tear your newspaper into small strips and pieces and begin to coat your body form with a layer of newspaper. Dip each strip into the paste, and pull it through your fingers to remove excess paste and moisture.

Overlap the pieces of newspaper on your form, and cover all but the tied end. It may be helpful to set the balloon on a cup or bowl to lift it off of your surface.

When you have completely covered the form with one layer of newspaper, set it aside to dry. If you have a fan or space heater, set this little guy in front of that and it will dry faster. Make sure to let it dry almost completely before moving to the next layer of material, or you will have a soppy mess. At least wait a few hours.

Step Two: Adding more Detail

Since your bird looks nothing like a bird yet, it’s time to add some appendages. Download and print this template and cut each of the pieces from a piece of chipboard.

To build the birdy legs, cut into one side of the chipboard as shown, and roll the other end into a cylinder. Secure the roll with a couple of pieces of tape.

Then tape across the foot to attach it to the leg. The flap left at the end of the leg will be glued to the base of your balloon form.

Roll the beak to form a cone shape, and tape it in shape. Stuff a little piece of paper into the open end of the cone to make it easier to attach to your birdy head.

Glue works best to secure the wings, legs, beak, and tail feathers to your form. Hold them in place until the glue is holding firmly. When everything is in place, begin to add another layer of papier maché, covering all the new parts of your bird in addition to adding another layer to the main form you’ve already covered.

As you add paper, make sure to leave the end of the balloon visible; this is where you’ll be breaking the balloon and pulling it out. Paper maché is very forgiving and it’s easy to cover up this hole.

When you’ve covered the form with one or two layers of paper, let it dry again. You may find that you have to stop before you’ve completed covering the whole thing because life gets in the way of your messy fun, or your messy fun become a little too messy. No worries! Just make sure that your paper is as smooth as you can make it, and let the bird rest.

Step Three: Removing the Balloon and Making this Guy a Bank

Yes. It looks silly. That’s okay, the best things are silly. When your form is completely dry, you’re ready to remove your balloon. Gently grip the balloon’s knot, and pierce the balloon to let the air out. As it shrinks, it should pull away from your paper. If it sticks in a spot, gently pull it out of the hole.

No bank is complete without a place to put the money. Mark a line down the back of your bird, between the wings, about 1/4″ wide and 1.5″ long. Use a craft knife to carefully trim out the piece you’ve marked.

To finish the bottom of the bank, you have a couple of options. You can either add an access hole for money to be removed or go with the ol’ piñata method– keep the money inside until it’s time to smash! (Which is definitely satisfying.)

If you’d like to make your bank reusable, find a small lid or something else that would work as a plug. Trace around the shape and cut any extra paper. It you’re having trouble keeping the cover in, trace it onto a scrap of chipboard and make a ring the perfect size, then glue that on top of your form and cover it with paper. The chipboard with provide a little extra stability. (Yes, I know this all looks kinda amusing. Giggles are allowed.)

Step Four: The last of the Papier Maché

If your form is feeling pretty secure, it’s time to start adding the last layer of papier maché. The paint will not completely cover the paper (unless you want it to) so this is a great time to start having fun with your paper color and prints. Save gold and orange colored paper for the beak, cover the wings and head in dark colors, and use white newsprint for the breast. When you’re happy with the way it looks, let it all dry overnight!

Step Five: Sanding and Painting

If you’re anything like me, your form will need a little sanding. USe sand paper or a sanding block to smooth off any edges of paper, clumps of paste, or rough edges- making sure not to sand below your papier mache layers.

To make a transparent paint layer, mix equal parts glue and white acrylic paint with a little water. (Add more glue for more transparency, or more paint to cover the paper more opaquely.)

Gently apply a layer of paint and glue to the whole form and let it dry.

When it dries you will still be able to see a lot of your newspaper pattern. If you like, add another layer of white paint, or start to add more colors to bring out details. To keep some of the transparency, you can water down your colored paints and streak them across your form.

Let it all dry, and get ready to fill it with money!

Using this balloon method you can make pretty much any animal you want! I’d love to see!

AIM TODAY: Be Inspired, Not Intimidated.

July 29, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

***

I’ve been kind of at odds with my work lately, and I’ve been drowning myself in busy work to keep from having to address the elephant in the room- What do I do next? I’ve spent the weeks since the store closed doing anything but the things I need to further my art, and the longer I waited the harder it became to pick up a pencil again. Somehow in that time I became more and more discouraged by the truly awesome work I saw all around me, and I’ve decided it’s time to do something about it.

The internet is an amazing thing for an artist. Snap your fingers (or ask Google) and you have access to a million inspirations and a trillion resources. (Also a gazillion distractions, but that’s beside the point.) You might need to do a broadband comparison before searching for some inspiration, just so you actually get some results and don’t have a slow, lousy connection. A decent broadband connection will also let you use various apps to create art and even have the ability to upload artwork online, whether it’s to a selling site, personal website or any other platform. It’s great that we don’t even have to go to a library or a museum to be exposed to new work or new concepts; it’s just there, in our Facebook feed, for us all to see from the comfort of our own home.

With such luxury, it seems like our possibilities for inspiration are endless, and yet all these amazing things can be just as intimidating as they are stimulating. How can you ever draw that well? Why can’t you come up with the perfect idea? Why should you spend hours on something that they can do without even a sketch?

Thus begins the cycle of stagnation: 1: Get discouraged, 2: Can’t work, 3: Don’t get better at what you do (and don’t get to enjoy the process), 4: Spend more time on the internet looking at “inspiration”…. Rinse and repeat.

So, lets turn this whole thing on its head, and figure out how to see inspiration as just that.

1: Acknowledge talent, and move on.

Even is your first defensive instinct is (like mine) to pick apart the work of other artists, try to instead see what is causing you to react. It’s likely envy, and that’s just silly. There isn’t a finite amount of talent to go around.
If someone is awesome, let them be awesome. Admire what they do, and that they do it well. Move on.

2: Realize that what you like in your work does not have to be what you love in someone else’s.

I love looking at realistic art. I love looking at landscapes that seem to miraculously appear from patches of paint. I like mosaics built from found trash that take on a whole new life in their new format. I have no intention of doing any of those things. I am never happy trying to be realistic. I like lines, not plains; and when it comes down to it, I really just want to make functional art.
You’re no less an artist because you do something differently- obviously art is all about being different. You can be an artist in the kitchen, an organizing savant, an expert at standing on one foot while you knit– and all the while you can love the things you don’t do. Maybe you can love them more because you DON’T do them.

3: Spend a little time looking at things outside of your comfort zone.

I have a long list of blogs in my feed reader and I almost always read the web comics and interior design blogs first. Now, as a dedicated blog contributor I should probably be looking at things that are a little closer to home- but I get inspired by things that are outside of my experience.
You can find inspiration anywhere. In a history book that talks about the mysterious ins and outs of the past. In a mystery novel that lets you see out the eyes of someone else. In a garden reference that talks about permaculture and the growth of magnificent living things. Even in a cute kitten video. (That one’s a little bit of a stretch, but if it feels good it can’t be all bad!)

4: Get away from it all.

If you are seeing too much, close your eyes for a while. Unplug from the constant stream of visual information and take a deep breath. It’s okay. The internet is forever, and you can always go back and see things later. When you’re ready.

5: See your work for what it really is.

I don’t know everything, but I suspect that we mainly make because we are trying to express ourselves. We are trying to show everyone else how we see the world, trying to highlight and solve a problem, trying to learn. So, if someone else is doing that differently, it’s alright.
I am who I am, and you are who you are, and I like it that way.

AIM TOOLBOX: Water Color Masking Fluid

April 22, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

I love playing with watercolors, I’m going to admit that right now. I love the way the colors run together, the little blotches of pigment, and basically everything else about it. I’m not a watercolor expert, which means that whenever the paint does something unexpected I have the giddy feeling that I just discovered something amazing. (What did I tell you? I love the process.)

My philosophy teacher in high school used to amazing things with watercolor, and I would always try to sneak a look at his paintings before and after class. One day I noticed him using something to cover up portions of the paper while he was working– cut to 15 years later and I finally decide to buy myself a little bottle of masking fluid to play around with. (I bought Winsor & Newton Colorless Art Masking Fluid.)

Still a little overwhelmed to jump in, I watched this introductory video, decided on a test project; and gathered my brushes, paints, and spirit of exploration.

A note: the first time I used the fluid, I ruined my brush. It was a cheap brush, granted, but after that I sharpened up and coated the next brush in dish soap before dipping it in the masking fluid. I coated the whole thing in the dish soap, then squeezed the excess out. (This video shows you how.) Trust me. It’s better that way.

I drew a basic outline of the words I wanted to mask out with pencil. After coating the brush in soap, and gently rolling the bottle of masking fluid to mix it up, I dipped my brush in and saturated it.

Bit by bit, I covered the words with the masking fluid.

All the lines are covered in the fluid now. I’ll be able to erase the pencil lines once everything is done.

I let the masking fluid dry COMPLETELY before I began to paint with my watercolor. (The dry masking compound feels like rubber cement. You’ll know it’s dry when it is only slightly shiny, and your finger does not stick to it.) The watercolor will not stick to the mask, so you will be able to see what you’re working with.

When I had finished my first layer of paint, I let it dry COMPLETELY, then added a little more masking to what would be the little abstract windows in the buildings.

Then I let those dry COMPLETELY (do you see a theme here?) before I went in and darkened all the fields of color.

When I was done working around my masked areas, and everything was dry, I lightly rubbed the masking agent off with the tips of my fingers. (This alone is worth the trouble. I love pulling glue off of things.)

Once the mask was off, and I did a little erasing, I had crisp white lines to work with.

The masked areas were pale enough to let me add a little light yellow watercolor. I love the way the white letters stand out.

Tips to remember

• Test out the water color paper you’re going to be using before you start your artwork. Some of the papers I tried stuck to the masking fluid terribly, and I had to tear the paper to get the dried mask off.
• Coat your brush in soap, or you will ruin a brush, and most likely the piece of paper you’re working on. The first brush started to pull the drying mask fluid back off the paper, and it totally ruined one of my projects.
• Let everything dry COMPLETELY before moving from fluid to paint, or paint to fluid. The fluid will cling to wet paper, or your wet paint and make a wet mess.
• Remember to have fun! Let that childish sense of wonder take over for an afternoon… and when you’re done experimenting, send us the outcome! April’s DIY Challenge is Watercolor, after all.

AIM TODAY: The Magic is in the Making

April 15, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

***

Every month we send handmade badges to our favorite DIY Challenge entries. Rachel has made most of them, because she’s a whiz, and I was too scared to attempt embroidery. When I finally sat down to try* I found myself enjoying the process, and realized that the little imperfections were just fine. They were evidence of my process, and the process is everything.

I’ve been thinking a lot about the little monsters that keep us from creating. The doubt that we feel about our talent and ability, the fear we have that what we make will be judged by others, the comparisons we make to those who we feel are more talented.

Well, those are my little monsters. They make it difficult for me to call myself an artist, even when people specifically ask me if I am. Even when I’m working on rearranging my studio to work better for the way I make things.

But here’s the thing. When I take a step back from my own insecurities I see that for me the value of art isn’t in the product; and it definitely isn’t in the value that someone else places on the product. All the value and happiness is in the making.

When I’m making something, I get to do all my favorite things. I solve problems, like what tools to use to get the result I want. I teach my hands to move in new ways. I explore the interaction of materials- the way certain paints soak into wood, the way paper is cut by different blades, the way it curls. I train my eyes to see the world differently, to take items out of context, to turn a stick into a story. I play with the sound of words in my head, the picture they can paint with a little touch of color.

So what if all that beauty in my head and in the world turns into something that no one understands but me? Who cares if the end product is less “art” and more evidence of exploration? The magic is the way I feel when I’m working.

What do you think? What part of making brings you the most joy?

*I used a lot of the techniques from Rachel’s Alphabet Hoop Art tutorial, craft felt, embroidery floss, and good ol’ creative drive.

AIM Toolbox: Drawing with Gouache and a Nib

April 8, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

A while back I took a calligraphy class from Tara Bliven, and it opened up a whole new world of drawing tools. Not only did I get to try out new tools and techniques, it was the first time a pen and nib really worked for me. (Sometime I’ll give my whole “It’s tough being a lefty” rant.) As a lefty I need to use a special Oblique Pen Point Holder to write left to right– but with a little practice I learned to use a plain pen and nib to draw with gouache.

All the dark blue lines on this piece were done with a pointed pen, the rest is watercolor.

What’s so great about drawing with gouache?

• You can draw any color you can mix, for cheap. Instead of buying half a million different markers, buy a primary set of gouache and mix the colors you love.
• Gouache colors are opaque, which means you can do light lines on a dark background.
• Skinny paintbrushes are a pain. Although some people *ahem, Rachel* seem to be able to make magic with a brush, I have no luck doing fine lines with a paintbrush. A pen works much better.
• Gouache mixes wonderfully with your watercolor projects (#diycraftchallenge)
• The quality of line you get with a pointed pen is awesome.
• You look like a total bada** when you’re using a pointed pen. Trust me.

For this piece, I put down a dark blue background in watercolor, then used gouache to add the white words and flourishes.

There is a little learning curve when you’re working with a pen and ink, and practice makes perfect. I like to do little doodles on scrap paper to practice my lines, play with color, and generally mess around.

Supplies

• Gouache– like this Winsor & Newton set.
• A pen holder– like this one from Speedball
• A pointed pen nib– I used a Nikko G pen for this project, but Tara also recommends the Brause EF 66 which is better if you’re not as heavy handed as I am.
• A dropper of distilled water.
• A couple of ratty paintbrushes for “ink” application, mixing, and cleaning.
• The rest of your usual painting tools– a paint tray or plate, a jar of water, paper towels, paper, pencil, etc.

To start, I put a drop little bit of gouache into my paint tray…

and add a couple of drops of distilled water. I add just a little bit of water to start, because it’s easier to add more water to make the consistency I want.

I mix my water with my paint until it’s consistent (using a cheap kids paintbrush). I like to play with different degrees of “wateriness,” more water means that the “ink” will be thinner and less opaque. Typically I used a mixture that’s about 3 parts paint, 1 part water.

To apply the paint/ink to the pen, I saturate a paintbrush, and slowly slide it against the backside (concave side) of the nib. The ink will cling to the nib and seem to fill it partially. When it seems full (this part takes some practice) I will gently point and shake the pen downward towards the tray to get any extra blobs of ink out before I start drawing. In some cases (like today), I will actually drop the extra bits of paint onto my paper, for fun.

Then it’s time to draw. I place the nib gently again the paper, concave side down, at an angle. Then I slowly pull the nib along, rather than pushing like a lefty with a ballpoint. (If you’re having trouble, check out one of the amazing tutorial videos on youtube- like this one.)

Unlike a normal pen or marker, a nib like this will need to be refilled rather frequently (using the brush method above.) I try to keep an eye on how much ink/paint I have in my nib so that I don’t run out in the middle of a line. When you’re using the nib, you’ll notice that the tip is made up of two pointed pieces. When there is enough ink, it looks like one point on the end, but when they start separating, I probably need more ink.

Periodically, I stop to rinse and scrub my pen. I dip it in my jar of water, and use a clean brush to scrub any dried bits of ink/paint off of it. Then I dry it gently with a rag or paper towel, reink, and go back to work.

For this doodle, I had both white gouache and blue gouache in my paint tray, and I went between the two when I was reinking.

Can you see why I like drawing with gouache? The possibilities!

I was inspired to pull out my gouache today by the April DIY Challenge: Watercolor. We’d love to see what the theme inspires in you, so pull out your favorite medium and tools and share with us!

AIM TIP: Finding the Grain in Paper

March 24, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

I’m working on a super fun tutorial for tomorrow, and I thought I would take a minute to share a tip about finding the grain in paper.

What is paper grain?

Very simply- Most paper is made up of long fibers that align parallel to each other, which means that the paper will be more flexible in one direction (with the grain) than the other (against the grain.)

Why is grain important?

If you work with paper at all, you will find yourself working or fighting with the grain of paper. Because the paper will naturally want to flex with the grain, it will behave very differently depending on the way it is cut. This is especially true when you are working with thicker paper or cardstock.

What direction is the grain of this paper?

I always test the grain of a paper before I start planning a project or working with it. Some people will tell you that the grain typically runs parallel to the long side of a piece of paper, but I’ve found several instances where paper is cut the other way.
To find the grain of the paper:
• Take the paper in your hands and gently flex it one direction, then rotate it 90 degrees and flex it again. Depending on the thickness of the paper, you may want to flex it until it’s almost folded.
• It should flex more easily one way. That way is called “with the grain”.
• Sometimes I will make a light pencil mark along the flex, to show me which direction the grain is running.

What’s the best way to work with grain?

Here are a few activities that you might do with paper, and how the grain should be aligned.
• Book Binding – Book covers and guts should have the grain running parallel to the spine. If the grain goes the wrong way, pages will be difficult to flip, and the cover may warp.
• Folded Cards – You should always fold with the grain, meaning that your fold will be parallel to the fibers of the paper. That way your fold will happen in between the strings of fibers, rather than breaking them.
• Quilling or curling – If you are cutting your own quilling paper, it’s a good idea to cut against the grain, which means you’ll cut the fibers of the paper shorter. The paper will curve more fluidly this way, and you’re less likely to get ugly creases in your curls.
• Resistance projects – conversely, if you want to play with the stiffness of the paper rather than curling it up, you should cut with the grain so you have long strong fibers. (This is the kind of paper I was working with for my paper bird project.)
• Gluing – if you are duplexing, mounting, or otherwise gluing two pieces of paper or paperboard, you want to make sure the grain direction is the same for each piece. When paper is introduced to moisture from glue or even from the air, it will start to curl one direction. You want the grain direction to be the same on both pieces so that they don’t pull on each other.
• Tearing – Paper is always easier to tear along the grain (because you are pulling strings of fibers away from their neighbors instead of tearing them in half.)

What happens if you ignore the grain?

Terrible things! Books that don’t flip! Warped duplexed paper! Rough folds on your cards! Bends and creases where you don’t want them!

Know the grain. Respect the grain. Keep making stuff.

How do you play with paper? Does the grain effect you?

AIM SHOW + TELL: Watch Ali Draw Words

March 4, 2015October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

I think that it’s one of life’s small miracles that no one has to listen to all the noises that go on in my head while I’m working. The cajoling, the reassuring, the brainstorming, the problem solving, the bickering, the promises, the compromises… you get it. It’s noisy, but generally productive (“What were you thinking, Ali?” “You can do it, Ali!”) That’s my process.

Since this month’s craft challenge is all about LETTERS, and so am I, I thought I’d give you a little glimpse into the sketching steps of my lettered pieces.

I showed you my travel kit of supplies, but my sketches rely on just a few tools. A mechanical pencil, a ruler, a compass, clipboard, lots of erasers, and some thin white card stock.

I usually have a concept that I’m trying to convey in words. Often it’s one of the mantras I repeat to myself while I’m working (which makes the whole process very meta.) I will write down a bunch of phrases, and think about…
• Priority of words (Visual Hierarchy) – The most important words should generally be biggest and easiest to read to reinforce the message of your piece. I like to think that if you only read the big words, it would be like a summary of the whole statement. As fun as it is to make a really big and elaborate THE, it doesn’t make much sense. (THE message gets hidden.) You can also use visual hierarchy to hide a message and make people really look.
• What shapes I can use in the phrase: Is there a representative shape I can work into the overall form of the lettering? If I’m writing about lemonade, should I make it fit into the shape of a glass?
• What kind of typography would best represent the words? – Some words want to be formal (“Typography”) and some want to be flourishy (“Passionate”). Sometimes it’s fun to mix those up.

I’ll also start looking at the way a word is structured so I’m sure to give it enough space per letter.

When I have a general idea of the shapes I’d like to play around with, I’ll build myself a make-shift grid with the ruler and compass. I find that I like to make mostly symmetrical pieces, so I’ll map out the middle of the page and go from there. I end up with a lot of extra reference lines, but that’s fine.

Then I will start very lightly penciling in the skeleton form of letters. I do A LOT of erasing, so light lines are important. Usually while I’m working on the basic structure of the letters, I will start to think about the shape they will take in the end.

I am constantly working to find the center of a word or phrase. I can count letters in my head, but nothing beats a quick jot down of the phrase. I’ll then count (including spaces) and mark the middle. (This is also helpful because if a word has a lot of skinny letters – like Ilif – it will be much shorter than one with fat letters – MmNn)

At some I will inevitably get a “better idea” and shift a bunch of letters to work better. In this case I shifted my grid up, erased and re-lettered.

One of the best consequences of lettering practice is that I’ve started to think of writing as “drawing letters” which makes it sometimes possible to write backwards or sideways. This helps with lots of things including spacing words from the center line (see above). It is also SUPER handy when you’re a lefty who loved to drag your hand through wet ink all the time.

When I have the skeleton of the letters basically where I want them, I will make decisions about how to flesh them out. My first inspiration was the word “Letter” which reminded me of a typeface I love in my very precious American Wood Type book. (We’ll be showing our favorite lettering books later in the month!)

I love to keep printed samples of type on hand to look at. I used to try to look at inspiration on a screen, but it never translated right in my brain. I’ve started saving all sorts of printed materials (filed by style) to look at when I’m lettering.

Again using a light touch, I will start to add details to the letter using my inspiration pieces. Sometimes I make little changes in a letter form to better fit my space (hey, I can do what I want!)

Sometimes the skeleton of my letters will have to move to allow for more space for some letters

and sometimes the letters stretch outside of my borders.

Once I’m happy with the general form of everything, I’ll start erasing the extraneous pencil marks.

Once they are gone, I will sometimes look at the whole thing and decide to make changes.

Like for instance, I might change the phrase itself.

But that’s okay- it’s just a sketch. If I love it I’ll take it to the next level with paints and ink, and if I don’t love it I’ll put it away to inspire me another day.

What’s your sketching process? Is it anything like mine?

AIM TOOLBOX: Dremel Micro Review for Glass Etching

September 17, 2014October 28, 2020 | Alison - Adventures-in-Making

From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.

I have a secret. I’ve been hoarding glass bottles… and jars. Sure, I’ve been drinking out of a set of 6 jars, but what no one knows is I have a whole box of them in my closet.

Shoot. Now you know.

The big plan was to use etching cream to mask and etch them into glass masterpieces– but something always stopped me. It may have been that the first time I pulled out the etching cream, Safety Husband insisted on reading the ingredients and warnings. He then set out a strict list of suggestions for using the DANGEROUS stuff I got from the craft store. I followed the suggestions once, but lived in fear of getting out the cream ever again. I had the PPE for it, but even so, it was a little scary. “Wear gloves. You don’t want it eating through your skin… to your bones.”

We live in a world of excess caution, over here.

Safety Husband recommended safety goggles and a respirator- talked down to spectacles and a dust mask. — For Dremel Etching, Safety Husband recommended safety goggles and a respirator- accepted spectacles and a dust mask.

The box of glass lived to taunt me. Sitting in there, instead of going to the recycling bin where it belonged; until I got the bright idea of looking for alternate etching options. There are a lot of great, videos, but the one from Dremel sold me. It was time to replace our old rotary tool, so after some shopping I decided on the…
•Dremel Micro, which is cordless.
•I bought two diamond bits, but I’ve only got around to playing with the one that looked most useful, the Dremel Diamond Wheel Point Bit.
** UPDATED 12/14 – I’ve since started using two different diamond bits with more success. 7105 Diamond Ball Pointand 7103 5/64-Inch Diamond Wheel Point

Experiments

I tried several different ways of getting my initial artwork laid out, including drawing the design on with a Sharpie, as well as using masks that we had made with the intention of using the etching cream.

Tara Bliven drew and cut out this beautiful mask for me.

We drew and cut these masks out of contact paper, but you could also use masking tape. They are a great way to start out, because the mask will help you learn to control the tool. Thankfully, this is a cordless dremel tool so you don’t have to worry about the wire tangling whilst you’re trying to follow the guide. If you jog out of the lines, the mask material will shred before you mark the glass, giving you one chance to screw up without consequences.

The mask is definitely the most time consuming and tedious way to go. I’ve moved on to freehand patterns, and occasionally use paper templates that taped to the other side of the glass. (More on that later.)

Tips

•Higher Speeds (controlled with a button on this model) work much better for etching glass. I usually use the second to highest speed. The highest works even better, but the sound is skull-splitting, so I only use it when absolutely necessary.
•Using the bit I’ve listed above, you will mainly be making thinnish lines, so plan on going over your artwork a couple of times. It works best to hold the bit as close to parallel with the surface of the piece.
•Make a jig for round items. I took a couple of wood scraps and made a kind of rail for the glasses to lay in. (See in the photos above.) Make sure it’s small enough to move around, as you will want to be able to approach your piece for all angles. After my experiments, I sprayed the whole jig black so I could see my work more easily.
•Wear Protective Gear… or you’ll get in trouble. I found a dust mask and glasses worked for me, but it might be good to start out with even more coverage, so you might want to look for personal protective equipment to suit you and the job you’re about to undertake. Remember that your glass could shatter at any time.
•Start with thick glass pieces, and don’t grind too much in one place. This is not a tool for drilling, so you’re more likely to shatter your pieces than cut cleanly through.
•Start with trash pieces you’re not afraid to throw away. There’s definitely a learning curve.
•Hand-wash any pieces, to make sure you’re not shocking the thinned glass with hot water.
•Work outside. You’ll be generating a ton of dust. While I haven’t had any sharp pieces (yet) it’s nice to let nature get rid of the dust.
•This is a no-distraction project. Don’t plan on watching TV while you work with power tools.

Things to Love

•It’s lightweight. Initially I was planning to use a flex shaft like they use in the video, but the cable is not very flexible, and I decided the lack of cord would be a benefit.
•It compact and easy to transport (although it does not come with a carrying case.)
•The battery lasts longer than I do. I haven’t had to stop what I was doing to recharge.
•I haven’t hurt myself (yet). This is always remarkable.

Things to Hate

•The “Lock” button sticks out just above the power button, and I have hit it accidentally a couple of times while the Dremel is running. It makes a terrible sound to tell me I’m killing it to death.
•It’s still a little clumsy. Even though the end is tapered so you can hold on to it, it’s more like trying to write legibly with a Squiggle Pen than an actual writing implement.
•It is quite tricky to get make a curve. A lot of this has to do with skill, and the kind of bit I’ve been using.
•The sound, especially at higher speeds. It makes a high keening when you’re using it on the glass. The birds have been complaining about this as well. It’s just life in the etching game.

Things to Try

•More bits. I tried scratching the glass with non-diamond bits with little result, but now that I’m hooked on the etchin’, I’m going to try everything. (If you have suggestions, I’d love to hear from you.)
•More freehand designs.
•On flat surfaces, like plates, trays, etc. On mirrors.
•Make a set of matching glasses, with patterned numbers, using paper templates. That’s pretty specific, huh? I guess a DIY is in the works… but until then, have fun!