Yesterday I decided to make a second card with a coordinating envelope. I wanted to try out using the Chameleon fine-liners to add colour in the form of lines and cross-hatching. Finally, I added some gold dots to the points of the petals on the flower design.
To draw the design and execute the hand-lettering, I used a Uniball Unipin pen. I then used various pairs of Chameleon fineliners to add the colour.
I prefer this way of adding colour with the Chameleon fine-liners, though I’m not entirely happy about it either. Looking at it now, in the clear light of dawn, I think I could have added a flat colour below the coloured lines. I may go and add that colour in a little while. After all, it’s just a card, an experiment, and if I mess it up, I can always make another one! A lesson learned, an experience gained is worth the few pennies worth of materials and the time it took just as long as I remember the lesson in the future.
I’m also not happy with my hand-lettering; I like the idea of the letter layout, but it’s not centred between the arcs.
I do like the ‘banner’ I’ve used to enclose the hand-lettering. However, there’s something about the rectangular ribbons and the patterns within that I don’t particularly like. I’ll work out what it is in time.
For now, I’ll try adding flat colour to the coloured sections to see how that works out and not worry about messing up the card. I’ll use it as a learning experience.
And that reminds me, I’ve still not set up my One Note journal for my private critiques and what kinds of methods and techniques I use in my art.
A piece of yellow card cut to 4″ x 11″, scored and folded in half to make a top-fold card measuring 4″ x 5½”.
A piece of white card approx. 4″ x 5″ for the top layer.
A We R Memory Keepers Envelope Punch board and an piece of paper measuring 7⅞” x 7⅞” or a blank envelope that will fit a 4″ x 5½” card.
A pencil and ruler for the guide-lines and a good eraser to remove them.
A black fineliner pen for drawing and hand-lettering; I used a Uniball Unipin pen.
Pens to colour the design; I used Chameleon fineliner pens.
A gold gel pen for the dot embellishments; I used a Uniball Signo gold gel pen.
If you’d like to learn more about dangle designs or are looking for some more inspiration for them and how they can be used in cards, BuJos, scrapbooks, bookmarks, journals, and more then my book ‘A Dangle A Day’is a good place to start. It takes you through how to draw monograms and dangle designs for all kinds of occasions around the year in simple steps.
Today, I have a dangle design card along with a coordinating envelope for you. I’ve kept the construction of the card simple with just one layer on the card blank. The dangle design and hand lettering are also quite simple as well as whimsical in character.
If you’d like to find out more about drawing dangle designs, then A Dangle A Dayis my book about dangle designs with plenty of inspiration and suggestions.
Materials and dimensions of the card and envelope
The yellow card blank is 5½” x 4″ in size with a top fold. So, I started with a piece of card measuring 11″ x 4″.
I also cut a piece of Winsor and Newton Bristol board to 5″ x 3½” for the top panel.
Next, I used some thick printer paper to make an envelope. I used the We R Memory Keepers Envelope Punch Board. The size of paper needed and the position of the first score line are printed on the board. This tool from WRMK makes it so easy to create custom envelopes.
To make an envelope to fit a 5½” x 4″ card I needed to cut a piece of paper measuring 7⅞” x 7⅞”. I used 120gsm white printer paper for the envelope.
Before I started, I used a ruler and pencil to draw in some faint guide-lines for the banner ribbon and the hand lettering on the top layer. I also pencilled in the hand lettering.
On the envelope, I added some guide-lines on the left and bottom to give me a border.
Hand-lettering and drawing the design
I started by hand-lettering the sentiment, then I drew the ribbon banner around it.
My next task was to draw the dangle comprising of beads and hearts.
Finally, for the top layer, I drew in the arrangement of plants and added some shells and butterflies.
I didn’t use a pencil to sketch the design before I drew it in ink simply because I’m confident in drawing these kinds of designs. However, it is a good idea to do so if you’re less than confident. I started with the central flower pot and let the design grow out from there.
I then took my attention to the envelope. I started by drawing in the ledge on the bottom. Next, I added the plants, flowers, shells and butterflies. I then drew a black border around the envelope, just inside the edge. This line gave me something to hang the dangle from; I added a dangle similar to the one on the card.
With all the drawing complete, it was time to add some colour.
I’d received my Chameleon fineliners yesterday, so I thought I’d try them out as there are lots of small areas in this design. I love my Chameleon markers, but using them to add colour to tiny spaces can be a little tricksy.
I did try the Chameleon fineliners out yesterday for drawing lines and hand lettering. I found that they give a very long gradient, even with the shortest of touches of the cap to the pen. I thought this might work well in colouring the flowers in. I achieved a pleasing change of colour of the petals on each bloom from just one blending process. This blending also worked well for the butterflies.
What I did notice is that the fineliners moved some of the black pigment from the Uniball Unipin pens that I used to draw the design with. That was a bit disappointing. It may be that in the future I will need to draw, scan and then laser print the design out. That’s a bit of a faff, but it’s doable.
I’ve never been a fan of fineliners for colouring; I find they leave lines and tend to pill the paper. This is just a personal gripe about all fineliners.
The Chameleon fineliners are pleasant and comfortable to write with – comparable to other fineliners. So, unless I want to add colour using lines and cross-hatching, writing is going to be my primary use for these pens.
To colour the pots, banner, leaves, cacti, shells and ledge, I used some of my Copic Ciao markers. I chose to use these as the brush nib lets me colour tiny areas. Also, I wanted to use pastel-ish colours to tone in with the colouring from the Chameleon fineliners.
I did add some very simple Copic shading to the design.
The Chameleon fineliners had spread the black dots I’d added to the flower centres. So, I broke out a gold Uniball Signo pen to colour in the centres of all the flowers. I also used it to add a sprinkling of little dots around the design.
I enjoyed creating this card and envelope. It was a quick, simple project. I also do enjoy drawing whimsical designs.
I like the sunshiny yellow card blank; it makes me smile, especially as it is currenty a grey and rainy day here in the valleys of Welsh Wales.
I think the card may benefit from the use of a bit of Wink of Stella to add some shimmer and shine to the wings of the butterflies and maybe the hearts.
I could’ve ink blended a background to the design using Distress Inks. I also could’ve added a drop shadow around the design to give it some dimension. Today, I chose not to do these things to keep the card relatively simple.
I also only added one layer to the card. I could’ve cut a piece of contrasting colour to go beneath the top layer to give a bit more of a layer. Alternatively, I could’ve used amarker to colour the edge of the layer to give a border, or ink blended some distress ink around the edge. Again, I chose not to do so; I wanted to keep the card simple and easy to do.
I think the result is cute and whimsical. I now have to find someone to send it to! I think that I’ll use some Distress Micro Glaze to protect the artwork on the envelope before posting it though.
I agree that handwriting does matter. Handwriting is as unique and individual as the person creating it. It’s also a much more personal way to communicate with others. It takes longer to handwrite a letter, note or memo and then deliver it either to the person or the post office.
It’s always nice to receive chatty, friendly emails from friends, and of course this is a quick and instant communication. However, there’s something to be said about the slower nature of communication by traditional post and that personal touch that handwriting gives.
I make these cards but rarely send them to another person, let alone include a handwritten note or letter. The cards sit around my home and never get shared with another person.
I think that needs to change, don’t you?
Not sure how to go about it, but if anyone who reads this would like to receive one of my cards and maybe a letter then leave a comment or contact me via social media or email.
I actually do love to hand-write; I always have and I’ve always taken a lot of pride in my handwriting. I remember making a huge effort to change it when I realised it was looking like my mother’s writing.
My preferred way of learning was to write and re-write my notes, condensing them into just a few lines of ‘memory joggers’. If my notes in lessons or lectures were messy, I would make it my task to tidy them up as soon as I could, which was also a way for me to review, consolidate and learn.
I have the facilities to hand-write digitally. I could keep a journal by writing on the screen. However, such activities frustrate me as I can’t turn the writing area to the angle I like to write at!
Also, as much as I love working digitally in so many artistic pursuits, there’s nothing quite like the feel of pen on paper, and I do love pens! I have a bit of an obsession with stationery, even though much of my work is digital these days.
Handwriting and therapy
Nowadays most of my handwriting is in my journals. It’s not as neat as I’d like it to be. I make mistakes. I like to hand-write my journals as the process of putting pen to paper slows my mind down. It gives me a chance to reflect and review what’s been going on in my life and also with my emotions.
Of course, reflecting on my thoughts and emotions, catching them in action is important to me as I continue with my journey to recovery from CPTSD. It also helps me to record events, emotions and thoughts that need to be discussed in EMDR therapy.
Handwriting vs Hand Lettering
Handwriting is that almost unconscious way we write things down – thoughts, notes, memos, to-do lists etc, as well as our signatures.
Hand lettering is a much more deliberate activity. It is like drawing the shapes of letters, not writing the whole word in one go. It’s consciously deciding what the shape, size and embellishments of a letter should be.
I enjoy hand lettering and I do tend to use the shapes of letters that I use in my handwriting. But that’s where the similarities end for me.
Do you still hand-write? How do you make use of handwriting? Do you think it’s still an important skill?
Leave a comment, I’d be really interested to hear what you think?
As it’s Friday it’s time for a dangle design, and here it is. All in monochrome, well nearly. I added some subtle colour to the photograph.
If you’d like some ideas and step by step instructions on drawing your own dangle designs then my book “A Dangle A Day” is a good place to start. Just saying like.
I decided to use one of the images from the ‘Photobooth’ collection in the Idea-ology range by Tim Holtz. I thought that around it it would be nice to create an entangled frame, and to add a simple dangle design to this frame.
With the vintage nature of the photo I thought that the hand lettered sentiment of ‘golden memories’ would be a good one to add.
In keeping with the vintage design I thought a monochrome colour scheme would be appropriate. Mind you, a color palette of subtle vintage colours would work quite nicely too. It would be nice if I’d changed the colours from greys and blacks to sepia tones.
I drew the design and did the hand lettering with Unipin pens on Winsor and Newton Bristol board. I then cleaned up the scanned image, and added the subtle colours to the photo, using Autodesk Sketchbook Pro, Microsoft Surface Pen and Microsoft Surface Studio. I also added some subtle grey shadows to the design.
This would look absolutely charming framed, a lovely way to display cherished photo-booth images. I drew this image on a sheet of A4 paper (approx. letter size).
However, this would work on a smaller scale for a scrapbook, journal or even a BuJo. It would also make a lovely greeting card or note card for someone too.
It’s also an idea that can easily be altered for a more masculine tone, perfect for father’s day or a male birthday.
Yesterday I sat at a table lit by the golden light of the late spring sun, enjoying the feel of a soft breeze contradicting the warmth of sunlight on my skin while the glorious sound of birdsong gently caressing my ears in the café at the Blaenavon World Heritage Centre. On the table was a lovely pot of tea and a home-made fairy cake (small ‘cupcake’) topped with vanilla buttercream icing and my journal-sketchbook into which I would be recording my thoughts and observations. This was a treat after picking up a batch of mugs that I’ve had printed with a piece of my artwork and a short greeting for my lovely year 11 class who are leaving on Thursday. That will be a day filled with tears and joy, a liminal moment for the pupils as they stand on the threshold of the next phase of their life. The leavers’ assembly being an opportunity to mark this transition point, a liminal point, with celebration, with laughter and with the memories of experiences.
The view from the window was of the neglected graveyard attached to St Peter’s Church which falls away towards the valley bottom as the café abuts the eastern edge of the graveyard and I realised that I was sat at a liminal place, but not one of one phase of life to another. This liminal place marks the boundary between the living and those who have passed out of this earthly existence.
As I realised this, a pair of magpies flitted from tree to tree, their tails twitching as they settled on branches, and sunlight on their plumage revealing the iridescent purples, blues and greens that are so often missed. A solitary cabbage white butterfly careened from plant to plant, it’s pale colour standing out against the brown tangles of brambles and the bright greens of spring growth, signs of life surrounding the memorials of those long dead.
Magpies are associated with bad omens, and one such superstition is that if you see a single magpie on the way to church then death is close (myth-making at blogspot). Considering that many churches have a graveyard around them or close to them, then that is quite true! I love magpies and the other members of the corvidae family of fine feathery friends, despite their gloomy reputations.
As one thought bounced to another, I realised that I too, was at a liminal point in my life as I continue to work on unravelling the tangles of the past through journaling, meditation, self-hypnosis, gratitude and pennies-dropped-epiphanies as I’m becoming more aware of the inner critics and their continual sussuration of negative messages about me. I’m learning how to dis-empower them, little by little, and I may be approaching a turning point for myself in how I view myself and what my beliefs are.
The grave markers were splotched with lichen and algae, patterns reminding me of growths of penicillin on laboratory agar plates or stale and mouldy bread. Tumbled tangled brambles wrapping round them, seemingly pulling them down, down, down into the ground, the Earth reclaiming what had been taken from it, and with it the memories of those long passed. Despite the pull of time and neglect, the taller columns and headstones bravely rose above the tangles, holding their heads up high in the sunshine, proud of their leprous appearance, suggesting age and longevity, that they remember even if the living no longer do.
Others, however, seemed to be surrendering to the gradual depredations of time. Their sharp leaning stance, the first phase in laying down, showing an acceptance of their fate. No one alive who remembers them, who cares for them enough to tend to the memorial of a life once lived. The connections between the present generation and the past generations fading and weakening with time as symbolised by the tumble-down state of the gravestones. This was reflected in the laughter and chatter of the living enjoying beverages and vittles in the bright, warm, life-giving sunshine. The proximity to the necropolis and it’s visible symbols of death, funerary rites, and grief having no effect upon the high spirits of the living.
Perhaps that is because a wall, a visible boundary separates the activities of the living from the area of the dead. If we were to dine and party on their graves, perhaps we may feel differently, irreverent perhaps; an attitude maybe not unique to our own culture or time. I saw this video about dining with the dead in Georgia on the BBC news website earlier this week, and an example of how different cultures approach death and the places of the dead and how rigid and solid the boundary between us, the living, and our deceased friends and family are.
Death is, essentially, a great leveller; the great and the good lie alongside the poor and meek. Only the memorials tell us who is who,and only a skilled osteologist would be able to tell which was which were their skeletons disinterred and separated from any clothing, jewellery or other funerary offerings that they were interred with. To most of humanity they would be the remains of people, equal in death as they were not in life. Given enough time, all return to the Earth, return to what we were created from, very few leaving traces that will last for centuries, millennia or the aeons of time.
Traces remain in the bones that remain of their lives; hardship, luxury, adversity, ease all leave their marks in the bones. As the flesh decays, as memories fade, so do the individual stories of each person’s life, the stories that make each of us unique. The funeral monuments may tell us about them, there may be hints of their life in written records, but so much about them, such as whether they were kind or cruel, loving or neglectful, are lost.
Gloomy thoughts? Not at all! I like what the we can learn of our ancestors from their funerary rites, from records, from stories still held in the memories of the living, maybe experienced first hand or tales handed down through the generations. It matters not whether they are iron-topped tombs of the magnates of Blaenavon or the ring-barrows of a person from the Bronze Age, or the fossilised remains of our distant relatives. For many, we can only make educated guesses about their life and times, sometimes more educated than others when written records exist.
Of course, the choice of a place for cemeteries is a story in itself. In ancient times where a lot of effort was expended to bury a few in monuments such as cairns, ring barrows, cists, long barrows, then they weren’t just plonked in the nearest available place. The choice of place had meaning, just as the choice of place has meaning to us whether it’s where we go on holiday, where we choose to live and experience life. We choose places that give us meaningful experiences, be they linked to happy or sad times. The same is true when we choose places for funerary rites, whether we choose them ourselves before we die or whether we choose them for our loved ones who have passed away. My father’s cremains were buried beneath a sapling plum tree in a country lane where he used to collect all kinds of fruits and plants to make wine from. A friend’s father’s ashes were sprinkled from a bridge to return to the sea which he loved and sailed while serving in the Navy. Another friend’s father’s ashes are to be buried with his brother, if permission can be gained from her aunt.
If we take time and care to choose an appropriate resting place for the physical remains of our loved ones, I’m sure our ancestors did so too, even though it may not have seemed so to us as in many cases we have no ideas of their beliefs and the practices that stemmed from them. Nor do we know for sure why certain people were accorded such seemingly prestigious and important funerals, whether they were the great and the good or whether their deaths had a different meaning and the funeral a different purpose than commemoration and a reminder of our connections to the people of the past, to our ancestors, to those who have shaped the society we life in at any particular point in history.
I couldn’t help but wonder what stories the land could tell us if we could access it’s memory. I’d love to know what events the stones beneath my feet have witnessed in their long aeons of existence. What lovers’ trysts and promises. What betrayals, joys, toils, griefs. Whose feet have passed over them and what is the story of the lives. I don’t just want to know about the great and the good, people whose lives are most probably fairly well documented. I want to know about the ‘ordinary’ people as well. Everyone has a story to tell, everyone’s life experience is unique to them due to their unique perceptions, beliefs, actions, reactions and personality, and what thoughts and beliefs they had about themselves and others.
Perhaps the land, the position of the cemeteries, their relationship to the use of the land in the past and the present, the stories told about the land, it’s people all serve to keep alive the memory of the ancestors, aiding in remembering their stories and the stories previous generations and in so doing keeping the ancestors alive, in memory, and our connection to them stronger. The scape surrounding the cemetery becomes woven into the stories of the recent ancestors and the myths of the more ancient ancestors, acting as aide-memoires to the tales. Each feature in the land around the cemetery is not devoid of emotion, of meaning, and for each feature these would change as the time of day, the season of the year and the weather changes. We interact with these scapes through the feelings and meanings and the way that we make use of them and that induces a feeling of belonging to them. Ideas such as these are propounded by archaeologists such as George Nash.
I realised then, how much I’d enjoyed writing my thoughts, how going to a different place other than home allowed me the inspiration I needed. It’s also brought up links between things that are occurring in my life at present, and that will help to unravel any tangles knotted by the inner critics in the past.
Self-love, journal writing and letter writing to heal.
It’s been a while since I last blogged something.
Life has been both interesting and uninteresting. I’ve had a lot of thinking to do, a lot of ‘down time’ has been needed to recover from the emotional stresses and strains of my working life.
I’ve spent a lot of time reading, the latest books are about using a journal as a method of self-love and healing oneself from the events of the past. Something I need to do.
I have kept a journal for many years now, and I do vent and rant in it and find my way to some kind of clarity. I have become a little disheartened at times as I seem to end up ranting about the same things over and over. The books I have read ( Writing to Heal by Jacqui Malpass and Journalution: Journal writing to heal your life and manifest your dreams by Sandy Grason) have shown me that this isn’t a problem, that it may take many times through the same thing to come to clarity, forgiveness (of self and others) and to let go and move on. In other words, I need to be kinder to myself and not be such an overachieving perfectionist! And I mean that kindly
My plans for my journal today are to make a list of people who I need to write letters to for the hurts done to me in the past (even if such hurt and pain was not their intent) and to people I’ve not had ‘completion’ with. These letters that will never be sent but will allow me to let out of myself the anger, fear, hate, upset, disappointment and so on, and work my way towards forgiving them and myself.
I’ve swallowed down hurt and upset and anger and fear and so many more emotions with copious quantities of food. The emotional reactions have been locked away, though they burst out at times, quite explosively at times, and it scares me that this ‘ice maiden’ has such energetic emotions. I’ve spent a lifetime of nearly fifty years suppressing my feelings, not sharing how I feel with others for fear of rejection, embarrassment conflict, hatred. I’m not good at putting into words what I think and feel if I’m upset in anyway. I am, however, much better at writing things down, as shown in my journaling of the past decade or so.
I won’t keep the letters either. I’m going to burn each one as it’s finished. If I need to return to the same person or group of people over and over again to clear things up for me, then I will do so. I will keep doing this until I can write a letter that forgives them, and one that forgives me too.
Some of the letters may be apologies for the way I behaved. I do have a tendency to cut people off, dead, if they upset me or betray me in any way. To keep myself safe, I walk away, ignore them when they are around. If I’m expected to work with them I can be cold and short with my words, protecting myself with such a thick wall of icy feelings and icy words.
This is kind of a scary thing to do. It’s not the first time I’ve tried this, but this time has the feeling of ‘the time is now’ about it. Pennies have dropped about the purpose of the letter writing, of letting out all the things I’ve kept bottled up for years inside me in a controlled manner, the writing being the control.
Art has been pretty much on hold as I struggle with the idea that I deserve to love myself, finding out what self-love and self-esteem are all about, and just letting ideas filter through the conscious to the unconscious mind. Inspiration for art has been, maybe not lacking, but put on the back burner for a while. However, there are some creations, some that are works in progress, others that are finished pieces.