Everything Roses, Part 2

As I mentioned in the last post, I got frustrated with heat embossing the raised images of the embossed cardstock. Whenever I brayer over an image with large debossed areas, I invariably get some ink in those areas. That means that embossing powder sticks there and you will get embossing there! It took some time to heat emboss the cardstock because I had to brush away the parts that were where I didn’t want them to be. There was a lot! I used a small, soft brush, so I could get where I wanted to without removing what I wanted to stay.

Frustrating, right? So, I thought of something else… why not STAMP an outline image and emboss that? So, that’s what I did with the same rose image from Fifth Avenue Floral (it’s just smaller than the embossing folder).

So, here’s the image once it was heat embossed.

Embossed Rose Image

Embossed Rose Image

Here is a closeup:

Embossed Rose Image, Closeup

Embossed Rose Image, Closeup

You can see that the lines are not as deep and wide as with the embossing folder. But, I have seen other people (on their blogs) that have tried this so I was confident that this would work. It all depended upon my coloring skills now! šŸ™‚

So, here are the first few that I created using the same watercoloring technique as in the previous post. I have to say, I am very VERY conservative with color, so I always like to start with the lightest color first (and that’s sometimes what they teach you for watercolors). However, Patty Bennett suggests that you start with the darkest colors first. Since this was all an experiment, I thought I would try both as starting points for my flowers.

Start with the lightest color first:

Both of these started with Summer Sun, then had Tangerine Tango and Riding Hood Red added in (in that order).

Start with Lightest, take 1

Start with Lightest, take 1

Start with Lightest, take 2

Start with Lightest, take 2

Start with the darkest color first:

This one started with Riding Hood Red. Then, Tangerine Tango and Summer Sun were added (in that order).

Start with Darkest, take 1

Start with Darkest, take 1

This one started with Tangerine Tango. Then, Summer Sun and Riding Hood Red were added (in that order).

Start with Darkest, take 2

Start with Darkest, take 2

Interesting how they all come out different, huh? Even if you use the same starting point and colors, as I did with the first two.

In all of this, I have come up with some interesting conclusions and observations:

  • You should start with the darkest (or one of the dark) colors first. This seems a little counter-intuitive. I think what happens is that the first color will dilute quite a bit before it dries in the puddles. If you start with the lightest color, you will get a very VERY light color (see first two images above). However, if you start with the darkest color, less water will be available when you put down the light color (’cause of evaporation and absorption). This means that your light color will stay a little bit more intense (see last image above).
  • Sit and position your work light so you can see the puddles. This means you can see where to apply your color, i.e., where to put your brush. Believe me, if you put color in a “dry” spot, nothing much will happen except right where your brush is!
  • Don’t be afraid to add water (as well as color) from your Aqua Painter. I’ve been able to “coax” puddles to “grow” (i.e., add more water where it dried out). I first stick my brush into a puddle, then “drag” it to the dry area. Cool; water comes out from your brush and helps add to the puddle of water already there! Trick is to start with your brush inside a puddle and move it. Don’t put your brush directly down into the dry spot.
  • Don’t be afraid to let your brush sit in a puddle for some time. After a while, you’ll have quite a bit of ink in your Aqua Painter. It seems like you need to pick up more ink to add color to puddles, but what you may really need to do is tap it inside a puddle for a bit.

So, I think I like this technique WAY better. Plus, after trying it out for a while, I think I got the hang of how to add color into the images (I think that’s the more important lesson). I’ve seen a sample on someone’s blog (Jan Tink?), in which she also adds color to the OUTSIDE of the image. It looks pretty cool.

Now, another question comes to mind… can you “fix” anything once it has dried? Especially images that came out too light. I’m going to take the second image above and try that out. Stay tuned!


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