The Final Installment of the Tutorial (Oh...relief!!!)

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

After yesterday, we were basically at the point of laying on ink gently to add to an aged appearance. This is what using one color does, with the majority of the ink being the Tim Holtz Vintage Photo brown, but also a bit of regular brown dye ink used.
Put a bit on, work it in with a rag, wipe it off to smooth the edges and make it seem stained or just aged paper.
One color family sometimes works fine, but I generally go in with black ink also. This photo below has black dye ink and I go back to my rough brush that I used for the gel and gesso application.
Tap it on the ink pad, or stroke very lightly to pick up small amounts of ink. VERY SMALL. Then begin to shadow along edges of paper, skim lightly over wrinkles, smudge a bit here and there after brush application with the rag. More texture begins to show, and the piece gains in interest.

When I have that done, to where I like it (and this is a matter of personal taste) I will go back with the STAZ-ON and do the edges of the canvas so it really is dark. That makes the center of the panel pop and sometimes, I will let just a touch of the ink go over onto the top of the panel.
At this point, you need to let everything dry very well.
You will then spray the begeezies out of it with a workable fixative (I use Krylon exclusively) and make sure the sides are sprayed too.
I can't say this enough:

HAVE ADEQUATE VENTILATION!!!

In the summer when it is hot and dry out, I'll go outside the studio door to do it. But most of the time I am in the cellar and I spray and run. Sit the piece down, again, let it dry well. When you get back to it you will notice the workable fixative has added depth to the work, the colors seem brighter and it also has left a bit of a slick finish. That's fine.

Next are stamps if you choose to use them, but you will want fluid acrylics or craft paint thinned with a collage medium. Dye ink will not dry on this--Staz-On will, but the color will be quite intense. I like the workability of the fluids and paints. This, again, is personal preference. You can stamp partial images, texture, whatever. Stamps must be cleaned immediately after use or you have just ruined your stamp. The paint does NOT come off with stamp cleaner once it's dried. I have a very soft old toothbrush and artists brush soap I use, but as long as it is something gentle, you're okay.
CLEAN YOUR STAMPS! They are a big investment even on sale!!!

This has a bit of texture stamped on. You can see the dark edges well in this photo and also how the fixative brought out the layers of texture in the rest of the piece.
So why am I stopping here? Because this is all you need to know for a background. Everything else, from here on, is foreground, and that is when you, gentle reader, make your personal statement. What is it you want to say or do? Do you strictly want to do an abstract? Do you want to do a painting? Do you want to collage on images and words?
Whatever you may consider, you're ready. Remember anything printed from an ink jet printer will have to have a good coat of the workable fixative before being applied. Anything that is not water proof becomes so with the workable fixative. Don't skimp.
I hope this has been of benefit to you and I hope to hear from some of you, that you've tried this and a photo would be even better! (hint hint!) Then we could have a blog post about what different ways we all went with the same technique.
Now, don't be afraid to try this, don't be afraid to ask me questions, but most of all, have fun with the art you make.
And if it flops, well, put it away like I did mine, let it *cure* for a while and then take it back out when your mind is clear! After all, that's what this is all about. Recycling. Everything, the art included!
Wishes for the best of luck and the best of fun.....

Pax.

Part Three: CHEAP CHIC!

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

Well, here we have the essentials for the next step, and one essential for ANY step in my art, my favorite coffee mug filled with good strong java! ;-)
Your panel is completely dry, and now we get to gesso. There is only one brand I use---ONE. It is the artists grade from Demco, manufactured in Canada and sold locally at Hobby Lobby. Not a particular plug for them, but if you can't find it, you can order it from their website. Make sure it's the artist grade, as there is a big difference.
Have handy an old rag (don't try paper toweling--won't work and it's a waste of money--rags wash), the coarse brush you put the gel on with and just use the gesso off the foil liner. You don't need a lot.

I use a small amount; this is almost a dry brush technique, because you want it to sit on top of the texture from the gel medium, lightening and blending the background papers. Don't put it all over--unless you want to. I prefer a light touch at first and then add as needed.

Sorry for the lousy quality of a couple of the photos but I have a hard time holding everything! The side view shows a bit better that all is not covered, in fact, in the process I occasionally will wipe some off with a slightly damp rag, or rub some in to make it fall into the gel grooves.

The sides, all around, are covered with gesso. If you think you have a bit too much on, just wipe it down with the rag. No big deal.

And here is what it looks like when I decided there was enough white to suit me. You can see I left some areas pretty much untouched as they are integral to my final product......at least at this point. That can always change---that's what's so great!

Now to inks. Above are DYE inks and STAZ-ON inks. Dye inks are great in that they dry quick, can be softened with a damp cloth, can be stamped and will be dry soon, but they do require a sealer before putting any other wet media on top of them or they will run.
STAZ-ON, as the name indicates, STAYS ON!!!! On your clothes, on your hands, on you worktable, on everything--which makes it good for final coats, heavy ink applications, and when you know for sure you want something somewhere. I have two colors simply because they are double the price of the dye inks. But they are an excellent product....just take time to learn to use them.

I start tinting the panel on the sides with the dye ink, using the pad to rub it on, then softening the finish with a rag. This isn't quick work---you need to enjoy detail work. A LOT.

I take the pad and lightly touch it to the top surface of the panel, getting only a small amount of ink on the gel. Practice will let you know the right *feel* of this.

Then I still, usually, will rag the ink, to soften and distribute it around. I only work the outer edges first, to build a visual *frame* of color.

The very outer edge is inked heavily, and not rubbed in. I want the crevices from the paper and gesso to show through as there will be other applications after this. It's a matter of having to learn to leave it alone. (hard lesson for me!) Just ink it and walk away. Go finish your coffee, play on Facebook, go to town. Let it dry.
Tomorrow we will finish the top of the panel, and I probably will leave you at that point to pursue either doing one, or you're going to have to wait quite a while for a finished piece of art from me due to my sewing requirements at present.
This is all very achievable work---anyone can do this. If you can't find the paper selection you would like, visit Manto Fev for one of their foreign paper samplers. It's how I've built my stash and it is most affordable.
Above all else, have fun with this! If you decide to make a piece, let me know. Maybe we can post the finished art here at some point!
Yes, I have thrown down the creative gauntlet!!!
Have a great and productive day!

Pax.