Art Journaling Summer 2017

ART

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JOURNAL PAGES

A COLLECTION OF

TINY T INY J JOURNALS OURNALS

BY B Y TTORRIE GASS p. 118 ABOUT FACE:

GAYLE PRICE’S DELICATE PORTRAIT TECHNIQUE Qp.U114E

DYAN REAVELEY’S

WHIMSICAL WORLD R LD p. 20

Stampington & Company JUL/AUG/SEP 2017 s DISPLAY UNTIL 9/30/17

86 &$1

I AM INSPIRED: NICHOLE RAE’S DAILY AFFIRMATION JOURNALING PRACTICE ICE

ARTJOURNALINGMAGAZINE.COM

p. 74

LISA MALLETTE

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Inside our July/August ’17 installment: ĆŒÉ„ Turning old calendars into art ĆŒÉ„ Whimsical, stitched dresses that will leave you feeling nostalgic ĆŒÉ„ See how ordinary shipping tags are the perfect substrate for all your projects ĆŒÉ„ Fun, funky gratitude cards to pack in your Etsy orders ĆŒÉ„ Artist ProďŹ le: Nellie Wortman CAT KERR

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Summer ’17 Summer has arrived with this issue of The Stampers’ Sampler.

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Spring ’17 In this issue of Somerset Digital Studio, Billa Bozem brings her brilliant life-infused art to our pages to stir your heart and inspire you, and Donna Goar shares her scrapbook layouts, capturing life in the most intimate of ways. Jane Long is back with her amazing series, The Watchers, a beautiful collection of images using fresh flowers (with eyeballs) as props — a mysterious and intriguing article! Also in this issue, Sebastian Michaels of the famous “Photoshop Artistry: Fine Art Grunge,” “Awake: Living the Artistic Life,” and “Creative Black & White Photo Artistry” courses is back with an informative, instructional article that you won’t want to miss. Plus, our Gallery section features page after page of beautiful artwork by our readers.

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Summer 2017

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© 2017 Stampington & Company. All rights reserved.

Volume 9, Issue 3

Dear Friends, One of my favorite parts about Art Journaling is that many of the journals that arrive are a window into another person’s life. For this issue, I was lucky enough to interview Dyan Reaveley, an artist who inspired and created the Ranger line Dylusions. While I had known of Dyan’s brand, I was unaware of the many obstacles she faced in her life leading up to the woman we know her as now and how her artwork reflects those struggles.

It really opened my eyes, and I hope it will open yours, too!

There is immense value in journaling and that can be seen when you read the inspiring stories of the women who submitted their stories to this issue. Whether we are talking about Dyan Reaveley’s (p. 20) surreal and vivid journaling pages, Valerie Teele’s (p. 38) travel journals she makes to try and capture the perfect vacation moment, or Nichole Rae’s (p. 74) daily affirmation practices in her journal, there is one theme that seems to string all these artists together — each uses artwork as therapy and to improve their lives. As we wrap up this issue, I feel that Pablo Picasso’s quote never seemed so true: “Art washes away from the soul the dust of everyday life.”

I hope you enjoy browsing through the pages of this issue as much as I enjoyed working with my colleagues to put it together. I’m grateful for each artist who made a contribution as well as the team here at Stampington & Company — they all worked tirelessly to produce this beautiful magazine!

To washing away the dust of everyday life,

Devon Warren Managing Editor

Artwork by Sherry Pollack

If you submit artwork to a future issue, try your hand at adorning the packaging.

If your mail art is chosen for publication, you’ll receive a complimentary issue of Art Journaling.

Artwork Theresa Gl Glass A t k bby Th l

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TA B L E O F C O N T E N T S

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54 Seeing Me %< 7+(5(6$ */$66

64 Planning & Not Planning, Combined %< 5(1(( 67,(1 Gayle Price’s journal page graces the cover of this issue.

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Summer 2017

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Do you usually start with a theme for your art journal or do you just put down whatever comes to mind?

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What is your favorite quick-drying or easily accessible material to use when journaling?

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Have you taken a workshop, online course, or created artwork in a community that has deeply inspired you in your life as an art journaler?

How did it change your perspective or improve your technique?

114 A Space of One’s Own % < * $< / ( 3 5 , & (

118 A Tiny Series: A Year of Petite Ary Journals %< 7255,( *$66

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7

A TRUE

Transformation

BY MELISSA JOHNSON

8

journaling ART

Summer 2017

I

love taking online art classes. With my hectic schedule, working at my own pace through a course is the ideal setting to learn and try new techniques. So when Donna Downey (donnadowney.com) opened up her Metamorphosis class, I was super excited. I’ve always been a fan of her work, and I think she’s a fantastic teacher. This class offered something I had never seen before and was interested to learn more about. We were going to create a journal from muslin that ends up feeling and looking like it’s made from leather — how fascinating! Of course, I signed up right away.

MASTERING THE LEATHER TECHNIQUE Using muslin, drywall compound, gesso, paint, and acrylic ink, Donna taught us how to create a beautiful journal. For someone like me who is all about instant gratification, the process is a lesson in patience — but the results are worth it.

Then my art nemesis arrived: the image transfer.

I’m not sure why, but I’ve always had so much trouble doing image transfers, but magically, this time, it worked like a charm. The transfers came out perfectly and added just the right amount of muted color. » artjournalingmagazine.com

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9

The first journal I made was the class project, so I stayed true to the color palette that Donna had chosen. We applied black and white acrylic paints with a brush and palette knife. I used a black acrylic ink fine-tipped pen to add writing to my pages. At the time I was listening to one of my favorite songs, so I loosely wrote a few lines that were in my head. When the class journal was completed, I thought it would be fun to make another journal using a different color theme, which led to the creation of the pink book. My intention was to create several of these journals using one dominant color mixed with black and white. Âť 10

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FOR SOMEONE LIKE

me WHO IS ALL ABOUT instant gratification, THE PROCESS IS A LESSON IN

patience â&#x20AC;&#x201D; BUT THE RESULTS ARE

worth IT.

D E TA I L

artjournalingmagazine.com

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11

MAKING A MARK Rubber stamps were used heavily in these journals. I used Dina Wakleyâ&#x20AC;&#x2122;s rubber stamp line combined with one of Donnaâ&#x20AC;&#x2122;s word stamp sets throughout both books.

Stenciled work is featured in both journals. I always try to use the same stencils throughout to add consistency. The repetition of a pattern over several pages helps to tie the entire project together.

TIPS t Look online for classes featuring a technique you have never tried before and sign up! Most are self-paced and allow for yearlong (in some cases lifetime) access to the lessons. t Practice mark-making in your journal.

Start with basic shapes or patterns and repeat them on several pages throughout your journal. t Use stencils on your backgrounds in several places in your journal to add consistency. Try using the same stencil with different colors, turning them different ways, or using only specific parts throughout your pages.

12

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… I

thought IT

WOULD BE FUN TO

another journal USING A DIFFERENT color MAKE

THEME, WHICH LED

creation OF THE pink BOOK.

TO THE

Mark-making was also used in this class, which was something that I had been working on in my own journals. The marks don’t have to be complicated: simple is best. It can be basic patterns or lines. The marks add interest to the page and can even be used as journaling lines, as I did on one of the pages.

I made my marks with acrylic paint and acrylic ink, and highlighted them with white paint and a palette knife.

All of the pages were sealed with Dorland’s wax, which, when dried, made the entire book feel like leather. I sewed the pages together with my sewing machine to complete the books. It truly was a metamorphosis to see the plain muslin develop such a beautiful texture.

Melissa Johnson is a self-taught mixed-media artist from Garden Ridge, Texas. She is a business owner, wife, and mom of five. She loves travel, good books, and life in general. You can view more of her work at melsartjournal.wordpress.com. artjournalingmagazine.com

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13

BEETLE

Mania

BY LESLIE WOOD

14

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Summer 2017

E

very fall my house is invaded by brown or red ladybugs. Each day a new set appears, wandering around on the walls on the east side of the house.

They come with their own fancy perfumes and leave their beetle footprints on the doors and windows so I will know exactly where they have been.

They are not well-mannered little ladies.

How did they end up in my art journal? A few days after discovering they were back, I was in my studio painting over an old children’s board book.

I used happy pink and red colors, and — voilà! — the two worlds emerged.

The ladies became part of my art journal, which documented the beetle mania in my house.

LADYBUG INSPIRATION Art journals, for me, tend to alter between light and dark, but this one definitely felt happier. I think my background colors mostly inspire these different moods in my books, but it’s also, I’m sure, influenced by my moods and the thoughts in my head. Since it was originally a children’s book, I kept it in that same theme with a little ditty about my polka-dotted friends.

I wanted to see how many different types of ladybugs I could come up with, so there are bugs with small wings, large wings, ladybug suits, and even mafia-inspired sneaky bugs. » artjournalingmagazine.com

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THE POWER OF

art

journals LIES IN THEIR UNLIMITED possibilities, THE ONLY BOUNDARIES BEING OUR

imaginations.

The great thing about art journals is that they can be whatever you want them to be. They can be daily accounts and drawings of your life, photo collages of your friends and family, or even a silly rhyming childrenâ&#x20AC;&#x2122;s book. The power of art journals lies in their unlimited possibilities, the only boundaries being our imaginations. For me, art journals are a place to explore ideas, techniques, and drawing studies that later end up on canvases, in clay, or in other forms of my art. I can never say enough about the power of the journal for me: They contain the beginnings of all my art and ideas, they are the diaries of my thoughts and feelings over the years, and they can even transplant me back to my moods of those years past. If you have never started your own art journal, I highly recommend you do so, even one as simple as a doodle book. You may be surprised where those doodles may one day lead you.

Whether they are rambling polka-dotted beetles or other mysterious creatures, you can let them come out and play in your journals.

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Summer 2017

WORKING WITH OLD CHIPBOARD For the journal itself, I used an old chipboard children’s book. I sanded down each glossy page until I felt the paints would stick. I added masking tape to the inside seams, because it’s always difficult to remove the glossiness off those areas, and the paint will stick better to the tape. For all my journals, I apply acrylic paint with a rubber brayer to the pages.

I like acrylic paint because it doesn’t contain a lot of medium, so it dries very matte, which helps keep my pages from sticking together. » artjournalingmagazine.com

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I used my splotchy paint technique on most of these pages: first painting one coat of paint and then adding a second coat in a different color. I spritz the second coat of paint with water and, while still wet, I blot the water off the page with a paper towel. This leaves hints of the original color that I previously painted.

For the characters, I stuck to the same colors as the background but mixed them to get different shades of the pinks and reds. Sometimes I added black and white in the form of striped clothes to go with their polka-dotted bodies. Everyone knows that polka dots and stripes are a rocking look for any fabulous lady. On some pages, I collaged papers in the same 18

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Summer 2017

great THING ABOUT ART journals THE

IS THAT THEY CAN BE

whatever YOU WANT THEM TO BE.

TIPS t Baby chipboard books are fun bases for small journals.

They don’t have a lot of pages, and the pages are heavy board and won’t tear or warp. Be careful you don’t add too much collage material that may cause the bindings to tear or break. t Limit your colors to tone-on-tone, and add bits of black and white to make images pop off the pages.

red and pink colors. I sketched and finished the pages with charcoal to give them that fun smudgy look. I used a white Signo Uni-ball gel pen to add in details, and wrote words with Posca paint pens.

Leslie Wood has been creating art ever since she can remember. She has a bachelor’s degree in engineering, but after working for a few years, decided to go back to college and take art classes. She enrolled with the University of Alabama in Huntsville and studied photography, sculpture, and painting. She dabbles between the real and fantasy worlds in her art journals. She offers art journaling classes at coursecraft.net/users/scs. For more information, visit Leslie’s website at lesliewoodarts.com. Leslie actively posts her journaling experiences on Facebook (lesliewoodart) and on Twitter and Instagram (@lesliewoodarts). artjournalingmagazine.com

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ARTIST PROFILE

Dyan Reaveley B Y D E V O N WA R R E N

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Summer 2017

A TRUE EXAMPLE OF SOMEONE WHO

sought refuge AND peace of mind in art, IT TOOK DYAN A WHILE TO LEARN

the power creating HELD FOR HER.

A

t first glance, Dyan Reaveley seems to have it all. She dwells in a magical world of fabulous color. Upon watching her teach or demonstrate any one of her wonderful products from the Ranger Dylusions line, her signature line of art supplies, it’s hard to believe she could have ever encountered any kind of struggles. Her public appearance is just as stunning as her artwork — Dyan loves to sew her own clothes, has many gorgeous tattoos, and has a love for crazy hats.

Of course, everyone is human, but Dyan’s vivacious personality and her penchant for creating beautiful, near psychedelic artwork that makes a person stop and take notice, makes it difficult to believe she has even a bit of tortured artist in her. That is, until you learn more about her. “People are very surprised to learn that I am a very solitary, introverted person,” Dyan says. “When I finish teaching, I prefer to go back to the hotel on my own and I enjoy my downtime.”

Dyan was born in England and describes herself as a “Yorkshire-born-and-bred Brit, who stumbled upon art accidentally later in life.” A true example of someone who sought refuge and peace of mind in art, it took Dyan a while to learn the power creating held for her. » artjournalingmagazine.com

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ARTIST PROFILE

While finishing up a law degree and also balancing the joys and difficulties of raising four children as a single mum, Dyan was diagnosed with chronic fatigue syndrome, a disorder that is defined by persistent weakness typically accompanied by headaches or tender lymph nodes. As a result, Dyan was bedridden for two years and ill for another five. The silver lining came when her mother brought her a very special gift during her illness. “While I was bedridden, Mum bought me some plant pots and paint, and I started painting,” Dyan says. “I enjoyed painting as an outlet — I was only well enough to work three hours a week, but this introduced me to a whole new world I feel in love with.”

As she became more and more enthralled with painting, Dyan discovered another one of her callings while taking a glass-painting class. “One day, the glass-painting teacher rang in sick and there was no one left to teach the class. The students were waiting, so I was told to teach it. I was terrified but enjoyed it, and that started it all. I started teaching kid’s classes at the craft store and then eventually began teaching out of my home.”

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Summer 2017

Dyan’s life was not always filled with the color you see in her artwork. “I had a very poor upbringing so we didn’t have many things. We had the basic colors of crayons, so now I want to use every color in the box.” In addition, Dyan lived most of her life with a feeling something was off, but she never really knew the cause until a traumatic event led to this discovery.

“I struggle with mental illness, which was diagnosed after my mum died and then all of the pieces clicked into place,” Dyan says, “I always felt that I didn’t belong and I had a troubled childhood, and I couldn’t understand why I did the things I did. So, it was a massive relief to have a diagnosis.

I always believed that when you are born you are given a manual for life, but my manual was for a washing machine.

I could never get that manual to work, but now that I have discovered I am a tumble drier, I’ve got the right manual and I work perfectly.”

Upon first glance, most will recognize Dyan’s artwork for the bright, bold shades that have come to define her style. »

artjournalingmagazine.com

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ARTIST PROFILE

In a discussion about her favorite colors, she says she likes to work with “Anything Bright.” In the creating process, Dyan says, “Pink and Orange, Turquoise and Bright Green are the colors I go to the most. Inspiration from my stamp line all comes from collage work. I create the collages and then draw things from them.”

Brilliant color saturates her artwork, but at times the subject matter reflects Dyan’s struggle with mental illness as well. One of Dyan’s favorite mixed-media pieces can be found on page 23, and Dyan explains: “To me this is all about mental health. To me 24

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Summer 2017

this signifies my outward face and my inward struggle. The hands are putting a mask on, and the area around the eyes represents being on fire with emotional struggles internally. It was only after I completed this piece that I realized I could be myself because I prefer the top part to the bottom.”

When asked if Dyan makes time to journal for herself, she responded,” I haven’t kept a personal journal for ages … but I have just recently started a new ledger of collage that is just me, no Dylusions product. I have been so caught up with teaching everyone the basics that I needed to get back to just Dyan.”

Get over yourself.

“

IT SOUNDS HARSH, BUT IT WAS REALLY GOOD ADVICE GIVEN TO ME BY

Tim Holtz. YOU HAVE TO do art for you, nobody else. AND PRACTICE, PRACTICE, PRACTICE. I SPEND HOURS PERFECTING MY WRITING, AND MY EVERYTHING.”

Dyan offers this piece of advice to artists striving to become better at creating: “Get over yourself. It sounds harsh, but it was really good advice given to me by Tim Holtz. You have to do art for you, nobody else. And practice, practice, practice. I spend hours perfecting my writing, and my everything.” Also, Dyan does not forget those who have helped her, whether it is her son and business partner, Ben, who runs her store located in the UK called Art from the Heart, her daughter, Jay, who helps with her Dylusions line, or the lovely people at Ranger. “I always say that my success is attributed to everyone supporting me in the pyramid — my Ranger team. Without everyone, I would still be an artist, but with the team I am a successful name in the industry.”

In her time as an artist, she has definitely evolved, and she has found that her style changes along with her interests as well.

“I used to be a folk art painter, so everything was extremely precise.

It was beautiful, but it was stressful,” Dyan says, “The more known I became … the more busy I became, and I didn’t have the time to perfect everything. At that point I decided I would rather create more art than have perfect pieces, and the messier I became the more popular I became. I think this is why I am popular, because people realize that art doesn’t have to be perfect and I encourage people to be themselves. I always say I teach confidence and empowerment and permission — I don’t teach art.” » artjournalingmagazine.com

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ARTIST PROFILE

I THINK THIS IS WHY I AM POPULAR, BECAUSE

people realize that art doesn’t have to be perfect AND I ENCOURAGE PEOPLE TO BE THEMSELVES. I ALWAYS SAY

I teach confidence AND empowerment AND permission

— I DON’T TEACH AR T.”

Dyan does not rely on many new-fangled technologies and she embraces tactile materials and supplies in lieu of computers and computer-processed art. “My lightbox is my favorite piece in each studio. I work old-fashioned and draw everything out — not on computers. I am very technophobic.”

Split between two studios, Dyan finds it easy to create almost anywhere. “I have two studios one at Ranger and my studio at home. Both look very similar — they are full of color and things that inspire me including Monster High Dolls, pieces of art, and loads of books. At home I am in limbo at the moment, as my art studio used to be the whole downstairs of my house, but as of lately I decided to be a bit more like a normal person and have a sitting room and a dining room. My studio at the moment is upstairs in a bedroom, which drives me mad! I have plans drawn up for a new open floor plan studio with glass doors overlooking the garden. I love to see nature. My favorite places to create are the beach, campsites, and the garden.”

Through all the creating and all the hard work, of course Dyan would have a list of rules to adhere to, right? But really, she is the kind of artist who goes with the flow, and she shares that the only thing that really stands in her way is not having enough time. Each day of her life is different, and her schedule is constantly changing. Dyan says, “There is no typical day. I spend so much time on the road teaching classes, all over the world. If I am at Ranger I am usually in early and spend most of the day being pulled from pillar to post in meetings, etc. » 26

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ARTIST PROFILE

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IN AR T, SO MANY

desire perfection

— IT’S A SUBJECT THAT

makes artists crazy, MAKES THEM LOSE THEMSELVES, BUT IT ALSO

makes them human.

When everyone has gone home I am creating or designing until late at night in the quiet of my office.” In art, so many desire perfection — it’s a subject that makes artists crazy, makes them lose themselves, but it also makes them human. In the end, perfection is simply in the eye of the beholder. Dyan has spent so many hours achieving perfection, but she also explores her flaws and imperfections.

Through this, she has become who we all know her — she is Dyan Reaveley and she has discovered that the secret to artistic perfection is being herself.

You can see more of Dyan Reaveley’s work and find links to her social media and Facebook group at dyan.reaveley.blogspot.com.

Devon Warren is a managing editor at Stampington & Company, who resides in Huntington Beach, California. In her free time, she likes to explore new places, take her sweet puppy, Penny, on walks, and spend time with friends and family. She welcomes email at dwarren@stampington.com and accepts friend requests on Facebook. artjournalingmagazine.com

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WE ASKED THE ARTISTS:

Do you usually start with a theme for your art journal or do you just put down whatever comes to mind?

Theresa Glass

Leslie Wood

I start with a quote or verse, grab elements and colors that catch my eye, and go from there. There is never a plan and I’m often surprised by how my page turns out!

I often start with a theme for my journal with the characters on the different pages becoming part of a complete story.

Torrie Gass Artwork by Karen Gaunt

I love the idea of themes, but I don’t often implement them in my works. Each page reflects how I’m feeling at the time or current events that are happening in my life, so they naturally tell a story about a period in my life. I do enjoy a good theme though, and have collaborated on themed journals with others in the past as well. A handful of my smaller journals have a specific theme like my journal dedicated to female power or one that is letters to my children. These themes are ones that are deeply personal to me and the pages in them take time to develop.

Valerie Teele Artwork by Torrie Gass

I always have several journals going in various stages and each is for something specific. My primary journal is really the record of my life, so I like to keep it flowing chronologically. Any individual page is usually a product of whatever I am trying to express.

However, the pages usually have drawings or paint or collage on them already, so there is a jumping-off point. If the background doesn’t seem to fit the emotion, I’ll either paint over it or skip that page and use it as a place to play and experiment.

My journal pages usually begin with a mood or feeling i.e. feeling happy, feeling sad, feeling reflective, feeling angry, feeling disappointed, and so on. My mood will dictate what colors I use, what mediums I select, the images I use, and the words or story I want to express.

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Artwork by Torrie Gass

Gayle Price

Artwork by Carolyn Dube

Melissa Johnson The majority of my journals are pretty random. I like to use my journals to explore different mediums or techniques. Occasionally, I will do a themed journal.

For example, I’ve done a journal documenting my word for the year “grow” (featured in April 2017 Issue of Art Journaling). I’ve also done journals exploring one specific technique throughout.

Amy Maricle Artwork by Renee Stien

Sometimes I plan my pages. For example, if I get inspired by a beautiful scene in nature, I’ll plan a painting of kelp or a shell. Most often, though, I try to let the process evolve on its own. Sometimes I write to get all my feelings out on the page, and then paint over it with acrylic, gesso, or watercolors. Or I might draw or stamp a pattern all over a spread, or choose from a collection of small art pieces I keep on my desk and glue them in as collage. I might combine all these techniques in different layers on my page too.

Jenny Petricek

Artwork by Dyan Reaveley

Artwork by Lesta Frank

I have done both, and enjoy both! While it’s true that most of my journals are planned around a specific theme or subject matter, I always have at least one journal in progress that contains unrelated pages about random topics or what’s going on in my daily life. I like the continuity of themed journals and how they allow me to explore a single subject in great depth, but there are also times when it’s nice to take a break from that.

Linda Giese Some of my books have no theme, but my travel sketchbooks are themed for one trip. My everyday sketchbook pages are often blank but occasionally have a border. My travel sketchbooks, on the other hand, are totally decorated with distressed ink borders, sometimes paint, and sometimes stamps.

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Victorians,

LY R I C S & C O L O R

BY KAREN GAUNT

I

’ve loved art from a very young age and I’ve always enjoyed being creative. As with most people, life and responsibilities got in the way of me pursuing art as a full-time career. I finally found myself at 30, feeling that there was a big hole in my life from a creative point of view. I felt it so strongly, but I was completely at a loss about how to start, what to do, and where to go. Then I discovered art journaling through the wonderful world of Pinterest, and I bought myself a super cheap journal to get started.

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DEPRESSURIZING THE PROCESS Art journaling gives me a chance to create something tangible every day. Working full time, being a mum, and life in general takes up much of my time. Carving out some time each day to create something inside of my journal allows me to say, “I made this today. I took this time to be completely selfish and created this for no other reason than I like the process and the end result.” »

I MADE THIS TODAY. I TOOK THIS TIME TO BE

completely selямБsh AND CREATED THIS FOR NO OTHER

reason THAN I LIKE THE process AND THE

end result.

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I often think people feel the need to pressure themselves about their art: there has to be a deeper meaning behind it, there has to be a purpose, it’s got to be profound or it’s not worth doing. I’ve never approached my journaling in this manner and I think that’s why I enjoy it so much. I open my journal with no plan other than to make something that I enjoy. I always try to remember that I journal to escape the pressures around me, not to create another one.

I am immediately back in the memory that song is associated with. I love to use collage in my work as well and I have a wonderful book of Victorian women’s illustrations from Dover that has some beautiful artwork. I love to combine them with a modern lyric and create a really tongue-in-cheek spread, just like my Bonnie Tyler spread with the two Victorians shown here. They’re both so dramatic and over the top, and creating a little story about them through the lyrics is something that gives me great pleasure and a good giggle.

EVER EVOLVING My journaling process is always changing and evolving, and that’s what I love the most about it. One thing I always start with is color.

Rarely will I start a spread with a definite plan for where it is going to end up, but I will always start by picking out some colors I love and getting them down onto my page.

You will often see song lyrics on my journal pages. I love to use lyrics from songs that I love, songs that remind me of a happy memory, or ones that I associate with a certain period in my life. I look through my playlist for some inspiration and pull the lyrics from there or from a song I overheard whilst out. I am not someone who feels the need to write down all of my deepest feelings onto my journal pages, so using lyrics helps add a deeper meaning for me personally. When I look back through the pages and find a spread I made with a favorite song, and

NEW IDEAS ARE NEVER A BAD THING I am a big believer in learning from other artists and allowing myself to “try on” their style. I am a fan of Lisa Congdon, Rae Missigman, Marybeth Shaw, and Roxanne Coble to name a few. I’ve taken classes from all of these women online and with each new lesson or technique I’ve learned, I’ve been able to take the parts I enjoyed and add my own twist. I believe style is something that will find you, but only after you have gone through the process of making a lot of work and learning from other artists. Don’t feel like you are copying in a negative sense if you are growing from it. You need to always give credit where it’s due, of course, but working your way through someone’s style and coming out the other side with new ideas is never a bad thing. » artjournalingmagazine.com

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TIPS t Art supplies can sometimes be very expensive to purchase. Buy one thing per week, like a paint marker or oil pastel. By giving myself a small budget, I have built a nice collection over time. t I think that if you can save money on your materials, it shouldnâ&#x20AC;&#x2122;t be on your journal. Try to purchase the best quality one that you can, as youâ&#x20AC;&#x2122;ll be working in it a lot and for a long time. I personally love to work in Moleskine Art Plus journals in A5 size. t Paints can be another really pricey purchase. I mostly use the cheap craft acrylics, but I have invested in a heavy-body white and black acrylic paint. I love how they give amazing coverage. They are really worth the investment and I highly recommend them. t One supply I love to use over and over again is my little alphabet stamp set. I must have used them in nearly every spread in my journal. I love my handwriting too, but there is something really fun about stamping out my words. t Sharing your work online either through Instagram or your blog can be a wonderful reward in ways you cannot imagine. Never be afraid to share your work with this wonderful community. The opportunities that can come from this can change your life in ways you canâ&#x20AC;&#x2122;t even imagine.

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After three years of working on art journaling, I feel like I have a style now. I would not have reached this point without learning from other artists. Always keep trying new things and new styles, learn from it, adapt it to your own style, and you will be amazed how much you can grow.

Karen Gaunt is a mixed-media artist with a passion for color and a soft spot for paint. She works a regular full-time job and daydreams about the moment she can let loose in her journals in the evening. Karen believes that making art is for everyone, and she loves to encourage and inspire others to create. She loves to try new techniques and colors, and believes that there is no such thing as too many art journals. To learn more about Karen, visit her website at karen-gaunt.com or follow her on Instagram (@karen.gaunt).

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JOURNALING FOR AN

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FOR ME, THE

creation OF THE LITTLE guidebooks BECAME A WAY TO ENJOY THE

anticipation and excitement OF THE TRIP BEFORE THE ACTUAL VACATION DATES.

W

e have never been very successful with family vacations. I always wished for an idyllic trip with my son and daughter that looked just like a Disney cruise vacation commercial. Instead, we had “adventures” such as having my son thrown out of a Hawaiian hotel lobby for snorkeling in the lobby koi pond while his friend caught it on video. Or there was the time both kids were in casts at the same time, so I received stares like I was an abusive parent. Or perhaps the time I spent our only day at Disneyland in the infirmary with my daughter after a bad Caesar salad. Or even the time we paid for a door that acquired a hole resulting from a shoe that missed its intended target. I’m not sure whether time dulled my memories or I was still clinging to the hope of a harmonious family vacation, but the schedules and circumstances in the lives of, what are now, four adults seemed to align. Carpe diem! We were heading to Italy. » artjournalingmagazine.com

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PART 1: PLANNING & ANTICIPATION IS HALF THE FUN From the minute we booked the plane reservations, I began not only planning the logistics of the trip but I also started researching art, history, food, and activities.

Rather than keep all of the information stored digitally, I wanted to be able to take all of that research with me throughout the trip; ideally, small enough to fit in my purse. I decided to create three 4" x 6" ring-bound groups of cards for each city we were visiting: Venice, Florence, and Rome. Essentially, I created my own personal guidebooks!

Beginning with a small stack of the blank cards, I created mixed-media backgrounds using a variety of techniques and materials without thinking of what their specific use would be. I wanted the option of not having to always start with a plain white card. As my research grew, I was able to create sections that were separated by title pages with interesting hand-lettering.

Other than that, there was no structure or rules; each 40

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MY GOAL WAS TO HAVE THE BOOK BE

very interactive, WHICH ENCOURAGES THE VIEWER TO TAKE THE TIME

find AND manipulate THE visual content …

TO

section simply evolved by recording information that I thought would be useful while walking the cities.

For me, the creation of the little guidebooks became a way to enjoy the anticipation and excitement of the trip before the actual vacation dates. The other part of this planning phase was making a journal that I could take with me to record the events of the day.

I happened to be taking Seth Apter’s Mixed-Media Dossier class, and I used that opportunity to create my travel journal. I had already collected vintage books of Italy, vintage maps, and contemporary travel-themed ephemera to use in layering with paint, stencils, and stamps. A brainstorming session with Seth led me to shift the color palette between cities. Each day I made two pages that were so layered and filled with imagery that I wouldn’t have to worry about how much I wrote. » artjournalingmagazine.com

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PART 2: BEING FULLY PRESENT The daily journaling in Italy, which I call Present/Entries, was super easy and fun because it was all ready to go. With so much to see in each city, I knew that I would be less likely to record the events of the day in a blank notebook, and I certainly wouldn’t have time or the materials to actually create the journal pages on the road. I think it’s important not to spend so much time and energy trying to capture the moment for the future at the expense of not being fully present while you’re in the experience.

I knew we were all taking photos, so, between the four of us, we would certainly have coverage of everything. I brought along a small instant printer so I would be able to print photos from our phones and tape them right into the journal.

I also wanted to be able to do small sketches or watercolors should I have enough time in one spot. I had assembled a small art kit in a makeup bag with plastic pouches that contained my Koi watercolor box, paint brushes (including a waterbrush), a small pack of baby wipes, a folded paper towel, a mechanical pencil, a kneaded eraser, a few watercolor pencils, a very small plastic bottle of water, a tiny sponge, a few cotton swabs, sunscreen, reading glasses, cut pieces of watercolor paper, and a miniature glue stick. I also used it to keep the daily ephemera that I collected along the way. Actually, I ended up having more painting time than I had anticipated due to the unfortunate timing of a torn right meniscus. From pain comes art!

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D E TA I L

I THINK IT’S

important

NOT TO SPEND SO MUCH TIME AND ENERGY TRYING TO

capture the moment FOR THE FUTURE AT the expense OF NOT BEING FULLY PRESENT WHILE YOU’RE IN THE

experience.

VA L E R I E L I K E S T O J O U R N A L U P S I D E D O W N WHEN THE MOOD STRIKES HER.

PART 3: REMEMBER, RELIVE & RECORD After we returned home, I kept the memories fresh by creating a scrapbook/journal/photo album. I don’t even know what to call it because it is such a hybrid! I dissected a couple of readymade Smashbooks and selected certain pages to use.

They also served as a template for other pages that I made from patterned paper, watercolor paper, and vintage book pages. I really enjoyed the engineering of it, treating each page as a separate project, and figuring out how to make mini-books, accordion books, pockets, flaps, and unique ways to display or hold the photos.

My goal was to have the book be very interactive, which encourages the viewer to take the time to find and manipulate the visual content rather than just flip through a photo album. Selfishly, it makes the memories more alive for me too!

Because of the thickness of the pages, I decided to sew the pages into four signatures and then bind them together. I learned this technique from a class I had taken a from Julie Fei-Fan Balzer where she taught us basic sewn bookbinding. » artjournalingmagazine.com

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TIPS t Reading reviews and recommendations on travel sites is a great way to find out what is in the area where you will be staying. It is an easy way to find great restaurants, the closest grocery store, and most accessible transportation hub. Record that information on index cards and make it an art project! t Plan your travel art kit carefully with only the essentials and take it for a test run before you leave. There are a ton of great ideas on Pinterest. t A small, portable Wi-Fi printer, such as the Fuji film Instax Share, the HP Sprocket, or the Polaroid Zip prints 2" x 3" photos instantly from your smartphone. Itâ&#x20AC;&#x2122;s so much fun to put them in your journal with decorative tape! t Think beyond traditional scrapbooking and photo albums for your printed photos. Pockets for loose photos or mini-accordion booklets are fun to make and easily attached to larger pages. While on vacation, try to keep up with daily entries. Even if you write a few words or key phrases, it will help you to remember in greater detail when you have more time to journal. Itâ&#x20AC;&#x2122;s surprising how quickly events start blurring together!

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The covers are cardboard thatâ&#x20AC;&#x2122;s been wrapped with dark green embossed leather that I had left over from a project in my past life as an interior designer. And the end papers are marbleized Florentine paper that I bought on the trip.

Originally, I wanted to store them all together, but the size of the hybrid book made that impractical. Instead, I decided to store the other books in a cardboard suitcase found at HomeGoods.

The shape and size were right, but it was in a zebra print.

No problem â&#x20AC;&#x201D; I painted it to look vintage and finished it off with some faux luggage label stickers and a hang tag.

I knew that this trip would be a once-in-a-lifetime adventure and I wanted to experience that joy for as long as possible!

By using what I now call my three-phase paper method, I stretched a two-week vacation into a much longer experience that now brings back so many wonderful memories. Oh, by the way, except for some crankiness due to jet lag, we finally had a very successful family vacation. I wonder if I can convince them to do it again?

Valerie Teele is a former interior designer turned mixed-media artist living on the San Francisco peninsula with her supportive husband and two spoiled Cavaliers. She is currently building a home studio, where she also plans to teach. More art can be seen on her website at ateliervalerieann.com. You can follow her on Instagram (@valerieteele). artjournalingmagazine.com

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T H E N AT U R E

of Growth B Y PAT T Y R A D I S H

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T

he last couple of years have been a time of loss, joy, renewal, and reorientation. I have become increasingly drawn to the healing energies of nature by walking in our local woods and neighborhoods.

I love to get out into the fresh air as much as possible and enjoy all the sights and sounds and, of course, take many photos along the way. Taking the time to enjoy the outdoors, not just to garden but also for the sake of being outside, has been the biggest part of my healing and personal growth. These ventures have also become a wonderful way to add a new dimension to my art journaling. Incorporating collected items found in nature and inspirational images, along with my own photography, has given my pages more life and has taken my art down a fresh new path.

I still enjoy using vintage images, and combining these two styles can be quite challenging but also a lot of fun.

MARRYING TWO STYLES Surrounding my writing by beautiful images is such a departure from writing endlessly in generic lined journals like I used to do back in the day; this is how I feel art journaling is set apart from traditional journaling. Sometimes words flow out of me in torrents, other times three or four words are sufficient, and some of my favorite pages are created around a quote that has inspired me. But itâ&#x20AC;&#x2122;s the images and artistic touches that complete the narrative. Marrying these two styles of journaling by being able to get it down on paper while still having room to create art is the perfect fit for me. Âť artjournalingmagazine.com

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TAGS AND JOURNALING CARDS ARE A GREAT

even more interest TO A WAY TO ADD

PAGE BY TURNING THEM INTO MINIATURE

art pieces.

I usually prefer not to put my journaling front and center on my pages, so I’ve created little hiding places, or tuck spots, to keep them in. I made envelopes for the large journaling pages and pockets for the tags and cards, which are a great way to add even more interest to a page by turning them into miniature art pieces. I love to see my pockets filled with art. Sometimes, I’ll want to journal quite a bit, and having full sheets of paper to fill and tuck away into an envelope is like writing a note to my future self. Luckily, most of my journaling these days is of the gratitude variety, but I’ve been known to make myself blush (or cringe!) when re-reading some of my journaling.

A VARIETY OF ELEMENTS This journal was created with a variety of different pages.

Some pages are pre-painted, distressed, and then stamped or stenciled on: others are taken from vintage books, and then I bind them together randomly. On the text-heavy pages, I’ll scrape small amounts of gesso and acrylic paint, just enough to slightly blend the words into the background before starting the collage. » artjournalingmagazine.com

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TIPS t Look around your creative space for opportunities to use up old supplies. You liked them once, maybe they just need a new home. t Imperfections add character, so work with them. t If youâ&#x20AC;&#x2122;re at a loss for inspiration, go for a walk and take photos. Play with them when you get home and see what you can come up with. t Be sure to cut out images you like from magazines before you toss them out. Stick them up on a memory board or in an envelope for future use. t Play with color. Usually the pages with the quirkiest color combinations are my favorites.

The elements I use vary from page to page, but for the most part my process usually starts with paint scrapes, a little tissue paper or text pieces, a main image, decorative tape, postage stamps, rub ons, and some stamping. The next step is usually sketching around each image with a soft lead pencil, and then going back over the pencil marks with an eraser to blend and remove some of the lead. This step adds contrast while softening the sharp edges of the images. My favorite part of building a page is playing with color, looking for the small opportunities to add just enough randomness to keep oneâ&#x20AC;&#x2122;s eye moving around the page.

Patty Radish lives in the Pacific Northwest with her supportive husband and two furry partners in crime. You can find more of her creative goings-on at pattyradish.com, or contact her at eclecticartjournals@gmail.com.

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Lisa Engelbrecht

Judy Riesch

Melissa McCobb Hubbell

On $

12.95 + S&H

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This specialty publication is available directly from Stampington & Company at stampington.com or by calling 1-877-782-6737.

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PAPERS ANGELA CARTWRIGHT COLLECTION Angela Cartwright creates her unique art by fusing two distinct artistic talents: photography and painting.

LYNNE PERRELLA COLLECTION Lynne Perrella inspires crafters with her detailed and eye-catching designs.

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Explore the full collection at stampington.com/artist-papers or call us toll-free: 1-877-782-6737 artjournalingmagazine.com

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Book pages are a favorite ephemera of choice for many artists, but the words can reflect what an artist is feeling while journaling. Using a pen of your choice, circle words on a book page to reflect additional meaning.

Artwork by Jenny Petricek (p. 104)

Old slide frames can be found many places, from the local thrift shop to your grandmotherâ&#x20AC;&#x2122;s attic. Try adhering patterned decorative tape to the frame or decoupaging it with gift wrap. If you are really crafty, learn how to do an image transfer!

Artwork by Jenny Petricek (p. 107)

Library check-out cards are all but obsolete these days, but they can add a charming vintage tone to your journaling work. In addition, if the card is blank, you could use it to log when you journaled. Otherwise, just fill it with your favorite drool-worthy ephemera.

Artwork by Patty Radish (p. 47)

Vintage date stamps add interest to your art journaling pages and also serve a very valuable purpose: Use these nostalgic rubber stamps to quickly and efficiently log the date you worked on a page.

Artwork by Nichole Rae (p. 75)

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Collaging is one of the basic techniques used in mixed-media artwork, but it can really change the look of a simple page. For instance, tear strips from your scratch paper pile and adhere it to the page as you work on your page. Piecing scraps can also be a great way to cover any mistakes!

Artwork by Lesta Frank (p. 95)

While mixed-media is all about doing exactly that — mixing different materials and mediums — an art journal is the perfect place to keep a swatch of fabric.

Use a fabric scrap from a damaged family heirloom, your fabric stash, or even store-bought specifically to complement the theme in your journal.

Artwork by Karen Gaunt (p. 36)

Getting messy is arguably one of the most fun parts of art journaling. If you don’t know where to start on a page, begin layering paints in any way that feels natural and allows your inner child to come out and play. To create an element of intrigue, finish with a realistic image.

Artwork by Renee Stien (p. 68)

While journaling is about making art and exploring mixed-media style, it is also about the daily, weekly, or even monthly meditative action of putting pen to paper. Try including calendar pages in your journal to keep track of your thoughts in art form or simply use pretty calendar pages as ephemera.

Artwork by Nichole Rae (p. 83)

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SEEING

Me

BY THERESA GLASS

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D E TA I L

I

started art journaling a few years ago. I had no idea what I was doing, but I really wanted to get into it.

I watched many YouTube videos and tried a lot of different techniques and styles. It was so much work trying to make art like someone else, but I wanted to try different things to find what I liked.

Then I joined an art journaling group on Facebook called Colour Me Positive. This encouraged me start a new journal; for this one, I decided to let myself go and do whatever came to me. I remember flipping through the first few completed pages of that journal and realizing that I had found the way my soul wants to speak. I saw myself in each page! Âť artjournalingmagazine.com

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It brought tears to my eyes and I thought, “Well, here I am.” I am finding that after discovering the way I like to create, I am braver to try new things yet not really drawn to them as much. When I journal I want to get lost in it, and it’s hard to get lost in art when I’m trying to be someone else.

I connect with God through journaling. It settles me down and opens me up so I can be with God in a still way that is so beautiful. I don’t usually pour my thoughts onto a page, yet the way my mind and heart open up while I scrape paint and glue paper helps me listen to God and think through things in a safe way. I also learn more about myself. I hear beautiful things that my soul wants to say.

It’s surprising sometimes, but it’s me and I love it!

COLLAGE ART TAKES FLIGHT I’m not great at drawing or painting, but I can glue!

I love using someone else’s art to express myself and create a beautiful page. I have quite a stash of books that I’ve gathered from thrift stores. Now that I know my style of art, I tend to buy books with great landscapes, pictures of regular people, and art history books. So many times, I want to contact the author of the book and say, “Thank you! I found your book at a thrift store and am now ripping it up. You should see what I made!” » 56

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I ... LEARN MORE ABOUT MYSELF. I

beautiful THINGS THAT MY soul wants to say. IT’S SURPRISING

HEAR

SOMETIMES, BUT IT’S ME AND

I love it!

My collage art took flight when I found Dianne Fago (aka PackerDi) on Instagram. She got me hooked on butterfly wings and roses, which add such freedom and richness to a page. Dianne’s YouTube videos showed me how to make a little snip in one image and tuck another image behind it to bring it all together. Layering and mixing different collage elements was a game-changer!

I love using quotes in my art. Once I find my quote, I spend time flipping through my collage stash and books, and pulling out anything that speaks to me. Sometimes I’m speedy, sometimes I peruse.

JOURNALING WITHOUT A PLAN For my backgrounds, I use acrylic paint that is inexpensive yet good quality. Blick Paint and Deco Art Media Paint are my favorites. Their colors are rich and deep, and they stir something within me. I like to layer shades of one color by scraping them onto my page with an old gift card.

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My artist friend Katie Denoyer taught me that technique and I have never looked back. I rarely use brushes. I love using stencils on my pages, too, whether I use them boldly to stand out or add a subtle hint of stenciling to the page. If my layers of paint are covered up with other layers of paint and paper, this is totally fine — it’s being in the moment and creating intuitively!

I stay open-minded when it comes to adding my collage elements. Sometimes one image is all I need and sometimes I need multiple layers. When collaging an entire page, ripped strips of paper are where it’s at. Whether tearing up two images and combining them, or adding a small little strip of paper to a bigger image, strips and bits of other images add more to the story and texture of a page.

I love journaling without a plan and watching the art and story of the page come together. It makes me look softly at what I’m creating. I notice details and messages beyond the words on the page, because my eyes and heart are open and willing.

Theresa Glass (aka tg) lives in Grand Rapids, Michigan, with her husband and three teens. You can follow her on Instagram (@tgtglass), visit her Etsy at artbytg.etsy.com, or view her tutorials on YouTube (artbytg art journaling). Theresa welcomes email at artbytg@gmail.com. artjournalingmagazine.com

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BOUND FOR ART

Permission to Play J O U R N A L B Y C A R O LY N D U B E

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A

Permission to Play journal is a place with zero pressure to make it perfect. No intimidating first page. No worries about wasting something precious. This is a place where anything goes.

Pages made out of recycled cardboard are the consummate material because it is cheap, easily accessible, and there’s an endless supply available in the form of boxes. Cardboard takes the pressure off because the moment a critical voice in my head tries to boss me around, I just remind her that this is cardboard that would have been tossed away. It’s trash, and how can I ruin trash? That reality check stops my inner critic in her tracks.

Complex and precise book bindings do not fit the requirements for a place to play. I needed a very forgiving binding that allowed me to not measure a thing, make mistakes as I always do, and was speedy since I’m impatient. The uncomplicated knot-binding enables pages to be added or removed, including the cover, at any point. No commitment means no pressure, which means more play.

Traditional journals are usually closed and on a shelf when not in use, but there is creativity, emotion, and color on those pages that I wanted to showcase on any shelf or table. Fan open the pages and it easily stands on its own, displaying the play while beckoning to me to come and play again. » artjournalingmagazine.com

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BOUND FOR ART

SUPPLIES t Cardboard t Journaling supplies: markers, watercolor pens, etc. t Pencil/Bookbinding awl t Ribbon: 18" x 1" (3) t Scissors/Craft knife t Wire: 4"

TECHNIQUE 1.

Cut five to eight cardboard pages to any size you prefer. I tend to make pages approximately 8" x 6½". Apply mediums and create the page before or after binding. My preference is to start them before binding and finish after binding.

2.

Apply gesso and/or paint to three pieces of ribbon to stiffen them.

3.

Use an extremely sharp pencil or book-binding awl to poke three holes along the side of a piece of cardboard. The center of each hole should be approximately ½ inch from the edge. This will be the template for all the other pages.

4.

Line up the next piece of cardboard under your template, mark the holes, and then poke the — one page at a time. Repeat for all the pages.

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TIPS t To make feeding the ribbon through the holes easier, fold a piece of wire in half and place the ribbon in the bend. Pull the wire and ribbon through the hole. t With the knot-binding technique, the pages will turn easily and also stay tight enough that the journal will stand up when the pages are fanned open. t The Permission to Play tutorial videos, along with specific ways to rediscover how to play, are available in a free workshop at bit.ly/2o0juVU or on my blog at acolorfuljourney.com.

5.

Stack your pages in the order you want them to appear in your journal.

6.

Tie a big messy knot at one end of the piece of the ribbon and then thread it through the top hole of each page. Repeat this with two more pieces of ribbon for the other holes.

7.

Only one side of the ribbon is knotted so you can adjust the width of the journal binding. Once adjusted, put a knot in the other end of each piece of ribbon.

Carolyn Dube is a self-taught mixed-media art adventurer, educator, and StencilGirl designer, who has found freedom through play. She explores the colors of the rainbow, avoids rules whenever possible, and lets the little kid inside her free as she shares her colorful journey and the message of O.O.P.S. on her blog at acolorfuljourney.com. artjournalingmagazine.com

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Planning

& N O T P L A N N I N G, C O M B I N E D

BY RENEE STIEN

I

love it when a plan comes together, but I love it even more when the unplanned comes together!

When art journaling, I usually have several journals started at the same time. Some of the journals have a specific idea or theme, while others are full of random spreads and pages.

Oftentimes I end up with a spread that started out with a plan and midway through veered away from it, which by far provides the best results in my opinion.

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… IT JUST SOR T OF

combine old photos WITH THE nearly forgotten

CLICKED TO

PASTEL FLOWER.

INSPIRATION FROM AN OLD PHOTO ALBUM A year or two ago I watched a video by Mystele Kirkeeng about playing with chalk pastels and gesso. That video inspired me to create a painting of assorted flowers with a black gesso background.

When the painting was finished, it reminded me of the old needlepoint designs on black velvet pillows that my grandmothers made many years ago. It was a pretty page and it was fun to create. Since I wasn’t sure where to go with it, I set it aside on my art desk and forgot about it.

Months later, I was going through an old photo album looking for the perfect picture to use on a journal page. As I was thumbing through the album, it just sort of clicked to combine old photos with the nearly forgotten pastel flowers page. » artjournalingmagazine.com

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After a bit of brainstorming and doodling ideas, I came up with a plan. Before long I was tearing the flower page in half to use the two pieces as my front and back journal covers, and I was digging through old photos to use on the inside pages.

One of the perks of being a pack rat with artsy inclinations is that people tend to give you things they no longer want but cannot throw away. That is how I ended up with a vintage photo album full of people that I do not know. No one left in the family knew who the people were either, but they did not have the heart to throw the album away. What makes using this old album so fun is that since I do not know the people, I have no preconceived ideas of how their pages should look. Âť 66

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ONE OF THE

perks OF BEING A pack rat WITH ARTSY

inclinations IS THAT PEOPLE

give you things TEND TO

THEY NO LONGER

cannot throw away.

WANT BUT

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I used pictures from that old album for about half of the journal, and the other half are some of my favorite go-to pictures of my own family members.

STRUGGLES WITH MINIMALISM I wanted this to feel like an old treasured family keepsake album. I hoped it would conjure up fond memories for someone as they paged through it. I also wanted to challenge myself to try to keep the pages on the minimal side.

I have struggled with staying minimal in pretty much every phase of my life. My house is cluttered, my closets are overflowing, my journal pages are full, and pretty much everything I do, I tend to do in excess. Challenging myself to keep the pages minimal would indeed be a struggle.

I used small bits of painted papers, vintage ledgers, fabric scraps, decorative tapes, and assorted bits of ephemera with the photos. In addition, I added color with 68

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acrylic paints and spray inks with stencils. Since the pages are small, so I tried to use these things sparingly.

Combining the photos with tapes, papers, and color, I tried to let each page convey a feeling or tell a little story of its own. For the most part I feel like I succeeded in that aspect.

The challenge to keep things more minimal, however, is another story. Compared to my usual style, I guess the pages are bare, they are just not quite as bare as I had originally intended. Instead of making rigid rules for myself, I let the pages take on a life of their own as I was working on them.

I accept that I am just not a minimal gal and thatâ&#x20AC;&#x2122;s OK. By combining the planned and unplanned while creating this journal, I accomplished what I set out to do.

I also think that a few of the pictures I used from that old album may have more than just one story to tell, so do not be surprised if they make an encore appearance in the future. Âť

I

hoped IT

WOULD CONJURE

fond memories UP

FOR SOMEONE AS THEY PAGED THROUGH IT.

TIPS t When using old photographs, scan them and play around with re-coloring and resizing. A bit of tweaking can totally change the look of the photo. t Watch those online videos that so many artists love to share.

You can adapt just about any of the techniques you learn from videos to work in your art journal. This is a good way to tweak the technique into something that works great for you. t Be flexible. If you feel pulled to try something other than your original plan, go for it. Those pages that practically create themselves are the best. t Try using an art supply in a new way (i.e. pastels with gesso).

You may find a new favorite supply or at least a new way to use an old supply. artjournalingmagazine.com

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â&#x20AC;¦ I LET THE PAGES

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Renee Stien lives in central Minnesota.

Although she has not had a lot of time to do so lately, she loves to art journal. She would love to connect on Facebook (thetingoat) to see some of your journal work as well. artjournalingmagazine.com

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WE ASKED THE ARTISTS:

What is your favorite quick-drying or easily accessible material to use when journaling?

Lesta Frank My three favorite media are watercolors, acrylics, and spray inks. I work in two journals which allows one to dry while I work in the others.

Theresa Glass Old gift cards! I can apply a thin layer of gesso or paint with these, which speeds up the drying time.

If the page is still a little wet I grab my heat tool (a blow dryer works great too!).

Nichole Rae Artwork by Renee Stien

I love using oil pastels in my work. They require no dry time and you can create a unique look by smudging the color you place on your page with your finger. I use oil pastels to accent my pages and will often create a horizontal or vertical line on the top, bottom, or sides of page and smudge to add extra color. You can also blend colors together. Oil pastels come in a wide collection of colors and are also easy to carry with you.

Amy Maricle Artwork by Nichole Rae

The easiest thing to access in art journaling is a good permanent pen, like a Micron. You can draw what you see around you or create simple patterns with lines, circles, triangles, or dots. I really enjoy simple, repetitive drawing. It’s how I practice mindful meditation through art —listening to the sound of the pen tapping the page, feeling the texture of the paper under my hand, and hearing my breath as I make little sighs in between sections of my drawing. It’s an adventure for me to watch what appears without planning it too much.

This would be Atelier Interactive Acrylic Paint. All acrylic paint dries very quickly, but this paint can be adjusted and blended for longer than others, allowing for soft edges and smoother, easier blending.

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Artwork by Renee Stien

Gayle Price

Artwork by Gayle Price

Jenny Petricek

Artwork by Karen Gaunt

When I want things to dry quickly, I stick with dry adhesives, such as double-sided tape or a glue stick, and include non-wet embellishments like letter/ word stickers, rub-ons, and Dymo labels. For rubber stamping, I’ll use pigment ink because it dries almost immediately. I’ve found that this formula works especially well when I’m traveling!

Valerie Teele Lately, it’s been my Uni-posca Paint Markers. I keep the various widths separate in small cosmetic bags, so they are easy to take with me. I like that they are opaque, there is nothing to spill, and they dry almost instantly so they’re great for layering.

Artwork by Patty Radish

Linda Giese

Artwork by Renee Stien

I use a waterproof pen to sketch. When traveling, my sketchbook is small. This way I am able to capture a scene when we have a 10-minute stop for photos. The pen and book are always at the ready.

I may skip taking my purse off the bus, but never my sketchbook when traveling. The watercolor and pen details are saved for the hotel room.

Leslie Wood I use inexpensive craft paints in all of my journals.

They dry fast with an almost chalky finish, but I almost always help them along with a heat tool to speed up the drying time.

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I AM:

A C R E AT I V E D A I LY JOURNALING PRACTICE

BY NICHOLE RAE

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I

carry the words I AM. These two words are the foundation of my creative daily practice, the Art of Daily Practice. This affirmation has grounded my creative spirit to practice — to go toward my vision with love, with space to try new things, to cultivate my confidence — and it has evolved into my own creative routine.

The Art of Daily Practice began three-and-a-half years ago when I set an intention to bring more positivity into my language, both what I was thinking in my mind and speaking out loud. For many years I heard a heavy negative inner voice that it was holding me back. This intention unfolded as I began using the affirmation I AM along with positive words — brave, enough, whole, evolving, creating. This was what I most needed to find and believe in my journey.

I began to journal 108 I AM affirmations so I could connect with my present self using positivity and inspiration. For 15 or more years I have been on a journey to collect and document my life through mixed-media art. This lifts my creative spirit and is the foundation of my art journaling practices.

Over the years my creative practices have shifted and evolved, and those three-and-a-half years ago I was not actively creating. As I unfolded into my practice of affirmation, it cultivated my creative spirit to begin making again using my art journaling process. » artjournalingmagazine.com

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As I began collaging in a journal, I was inspired to use a date stamp to document the day I created the page. As part of my morning practice, I would choose an I AM affirmation that I would carry with me throughout the day. It was through this collaboration of practices that I began to progress, inspired to create what I most needed to find for my day.

Each day I would create a page to collect the inspiration from my creative spirit and document where I was at that present moment. My confidence and intuition started to grow and I began to unfold my ideas and vision day by day.

AN INVITATION TO PRACTICE Today, I invite you to practice with me and create your own I AM affirmation journal. Remember, we are practicing. Allow space for the practice to guide you and show you what it will be. You may create every day, every other day, or once a week. Give yourself permission to allow your creative daily practice to evolve and lead you into your heart space. Be patient. Âť 76

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confidence AND intuition

MY

STAR TED TO GROW AND

unfold MY ideas and vision DAY BY DAY. I BEGAN TO

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A BIT OF GUIDANCE As a creative guide, I would like to offer you guidance to begin a daily practice with me along with all the little bits you will need to begin. In my creative daily practice I allow the pages to evolve as I create them. Each day I explore my paper bin and chose papers, colors, and materials that speak or call to me, allowing space for my creative spirit to guide me to exactly what I most need to expand, explore, and discover about my present self.

My I AM affirmation journals unfold in a Moleskine 5" x 7" kraft journal, and I work on a full two-page spread. I use a collection of miscellaneous papers from old books, paper, maps, office stationery, and paint samples. »

… I BEGAN USING THE AFFIRMATION

I AM ALONG WITH positive words — BRAVE, ENOUGH, WHOLE, EVOLVING, creating …

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My signature technique is to tear the edges of the paper I use to create a unique edge. I work with square or rectangular pieces of paper to create a patchwork design. I glue the paper down using a glue stick. I then add rubber stamping in a variety of designs, such as feathers, flowers, and birds. If you stamp the design multiple times on the page, it creates a unique pattern and depth. I then add decorative tapes and oil pastels using colors that are present in the other sheets of paper to unify the page. When using decorative tape, I suggest tearing the piece in half horizontally â&#x20AC;&#x201D; this creates a thinner piece and an interesting edge giving your page a different look. Âť

D E TA I L

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GIVE YOURSELF

permission TO ALLOW YOUR creative daily practice TO evolve AND lead YOU INTO YOUR heart space. BE PATIENT. artjournalingmagazine.com

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I enjoy using oil pastels to add elements of color; this medium allows me to smudge the lines I make and blend them into the page.

I also use paper clips on my pieces of paper and glue the paper down with the clip attached; this allows me to adhere another piece of paper or paper tag under the clip, adding an extra layer.

Once I have my background created, I cut out the words “I AM” and the affirmation word I will be using with it, and glue them down.

I use a date stamp to document the date I created the page and to close my creative practice. Each day I follow this practice and allow the pages to evolve as I create them. »

create A PAGE TO collect THE inspiration FROM MY creative spirit AND

EACH DAY I WOULD

DOCUMENT WHERE I WAS AT THAT

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present moment.

D E TA I L

TIPS t Explore creating indifferent sizes of journals as well as old hardcover books. t Save miscellaneous junk mail or envelopes, and use postage stamps or bits of color to collage with. t Use a basket or box to store and organize your supplies. This will allow you to create at your dining table or at a small space that may be used for other activities as well. Use a shoebox or basket as your paper bin and build a collection. t Use 4" x 6" photos to collage with along with postcards, maps, greeting cards, or other ephemera you have saved from adventures you have taken. t Visit artofdailypractice.com/resources to print your I AM and affirmation word sheets to use in your creative practice. artjournalingmagazine.com

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… ALLOWING

space FOR MY creative spirit TO guide me TO EXACTLY WHAT I most need TO EXPAND, EXPLORE, AND discover ABOUT MY PRESENT SELF.

Artist Nichole Rae is a creative guide. She carries the Art of Daily Practice, a collection of healing arts in art journaling and affirmations. She leads workshops, the custom affirmation bead project, and a collection of creative tools online. She is the author of the book “Art Journal Art Journey” (North Light Books, 2014).

Visit her creative online space at artofdailypractice.com, or create with her in Minnesota. Be inspired daily on Instagram (@artistnicholerae). Connect with her at artistnicholerae@gmail.com.

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JUST A SAMPLING OF THE MANY AVAILABLE ISSUES!

Gather them up before they’re gone!

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Colette Copeland

The Art of Creative Sewing with Mixed-Media Sew Somerset is a 144-page publication that shows that stitches are not just for fabric anymore.

Inside the Summer 2017 Issue: Tina Walker

Renee Stien’s mini-accordion booklet that can be tucked away in an altered Altoid tin for safekeeping Tina Walker’s eco-dyed stitched journal filled with vintage findings, handmade papers, and inspirational quotes

Carrie Payne

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Colleen Attara

Halle Gustafson’s custom kraft gift bags featuring collages of paper, lace, and photographs

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Here we revisit some of the most innovative and artistic lettering that has graced the pages of Art Journaling. You are sure to be inspired by these wonderful interpretations of the written word.

WILL CALL AGAIN Not many offices use phone call memos anymore, especially with the newer technology of email.

However, using a memo slip in your artwork is intriguing, finds a use for those old memo books, and gives you a change to practice your cursive.

More from this art journal can be found in the Summer 2016 Issue of Art Journaling. To learn more about Patty Radishâ&#x20AC;&#x2122;s art, visit her blog at radishblossoms.com.

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CIRCLED & BOLD Printed word ephemera can be found anywhere from old magazines and junk mail to computer-generated quotes. If you would like to express yourself easily without writing in your own hand, cut out a few words from your favorite source and adhere them into your journal. To emphasis the word, stamp over with a bottle cap and some paint â&#x20AC;&#x201D; this adds artistry and expression.

More from this art journal can be found in the Winter 2017 Issue of Art Journaling. To learn more about Ella Wilsonâ&#x20AC;&#x2122;s art, visit her blog at ellasedge.blogspot.com.

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BALLOON SCRIPT Art journalers usually love to highlight their writing and play around with typography, and this technique gives the artist a few different ways to experiment. Start by doodling or painting a bubble shape into your journal. From that point, you can write words or little messages into the balloons.

More from this art journal can be found in the Spring 2016 Issue of Art Journaling. To learn more about Carrie Toddâ&#x20AC;&#x2122;s art, visit her blog at mystudio13.com.

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SCRAP MESSAGES Trimming out arty letters from your ephemera stash bring to mind the days of coded or secret messages. Because journals are at times quite private, scattering your thoughts around the page in this way can create a more personalized atmosphere within your journal. To add more detail, stamp letters onto scrap paper or draw some lettering or phrases onto a label or other journaling supply â&#x20AC;&#x201D; there are so many ways to play with words!

More from this art journal can be found in the Winter 2017 Issue of Art Journaling. To learn more about Nancy Baumillerâ&#x20AC;&#x2122;s art, visit her blog at nancybaumiller.com.

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Spirit Speaks:

THE EVOLUTION OF MY ART JOURNALING B Y L E S TA F R A N K

FIRE BIRD 1

M

y first journal was a pink Betty Betz diary in which I wrote all my teenage secrets. I locked it with its little key, which I carefully hid from my sister. As an art major in college, we were required to take and use a sketchbook wherever we went. We drew anything or anyone we saw whenever we had a moment to record our surroundings. Âť 90

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FIRE BIRD II

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The next step on this journey was to record my travels. I used small watercolor books to create trip journals. This seemed to work best when I was with other artists who were willing to slow down, sit, and paint.

By art journaling, I was able to have a more direct and memorable experience with my surroundings. Sharing the journals with friends led to numerous requests to create a class where these skills and techniques could be learned.

COMING UP FOR AIR My response to an emotional crisis was the mindless application of paint on paper. As the blues and turquoises flowed together, I realized they had taken me to the bottom of a metaphorical ocean from which I needed to come up for air. Faces emerged on the pages that mirrored my emotional state. Suddenly, I realized the trap I’d been caught in. My soul was crying out to me through the pages I’d just painted. Unknowingly, I compromised myself in order to be a marketable professional artist. It forced me to re-evaluate my process. Suddenly I saw the power and purpose of art journaling! » 92

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SUDDENLY, I

realized THE TRAP I’D BEEN IN. My soul WAS crying out TO ME THROUGH THE PAGES I’D

just painted.

D E TA I L

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IT FORCED ME TO

re-evaluate

MY PROCESS. SUDDENLY I SAW

the power AND purpose OF AR T JOURNALING!

DISCOVERING DIVERSITY With my newfound awareness, I realized I had a powerful gift to share. The friends asking for lessons brought a myriad of motivation for journaling. One wanted to document her old family photos with stories, another wanted to track her field research about frogs, another wanted to learn about mixed-media layering. I decided that offering a variety of samples might be a viable solution.

I noticed that some students felt stressed about making art. I found a solution in a childâ&#x20AC;&#x2122;s ray-gun, which lit up in bright colored lights with crazy sounds. When doubt and fear took hold, I zapped their inner critic.

The unexpected action shocked them into laughter and jolted them back to their creativity.

Currently, I ask students to imagine themselves as a child in awe or a mad scientist experimenting in her art laboratory. If you are simply playing or experimenting, there can be no mistakes.

I encourage students to let intuition lead the way.

Take some deep breaths and cultivate the art of allowing.

Releasing control can move one into a more relaxed state that is less analytic and more creative. Âť 94

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COLORED COLLAGES In this art journal, some pages explore making figurativebased collages with magazine photos. I color these with Portfolio brand water-based oil pastels. After completion, a subtle message often appears from the subconscious.

CREATING FIRE BIRDS I began with a watercolor wash, adding layers of acrylic stenciling, stamping, and ink sprays to create texture and layers of interest. I cut out sticky shelf paper to cover and protect a bird shape, and then stenciled acrylic paint using a sponge trim roller. The birds were then painted leaving a big puddle halfway in the middle of a wing or tail. I blew on the paint to create an organic, free look for the tails and wings.

JOURNAL COVER An image of Quan Yin was created by gluing strips of phone book pages to hot-pressed watercolor paper with matte medium. When these were nearly dry, I peeled parts of them off â&#x20AC;&#x201D; whatever came off easily. This left an interesting surface to draw on with charcoal pencils and paint with water media. Âť 96

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D E TA I L

I

encourage

STUDENTS TO LET

intuition lead THE WAY. TAKE SOME DEEP BREATHS AND

cultivate the art OF ALLOWING.

TIPS t Use black gouache instead of black watercolor for the best dark surface to show off writing with metallic pens. t Look for unusual art supplies everywhere. My newest favorites are toe separators from a nail salon, which make great stamps when covered with acrylic paint. t Before you begin painting, invite your creative muse to join you, and check in with yourself at the end of your experience to see if there is a subtle message from your deeper self. t Some of my artwork was inspired by other artists. Betty Locke, a calligrapher, inspired the big letter â&#x20AC;&#x153;Sâ&#x20AC;? on this page with the words surrounding it. Catherine Anderson (catherineanderson.net) inspired the ray-gun idea.

Lesta Frank is a mixed-media artist and freelance teacher who lives in San Antonio, Texas. She welcomes email at lestafrank@gmail.com. You can also follow her on Facebook (lestafrankart), and visit her website at lestafrank.net. artjournalingmagazine.com

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WE ASKED THE ARTISTS:

Have you taken a workshop, online course, or created artwork in a community that has deeply inspired you in your life as an art journaler?

How did it change your perspective or improve your technique?

Renee Stien

My favorite class is 21 Secrets with Connie Solera.

I have learned so many tips and techniques over the years from all the excellent teachers that Connie lines up. I often find myself using something I learned in one of these classes.

Lesta Frank

I took an online class from Connie Solera called Painting the Feminine. During this process I got back in touch with a more soulful place from which to paint.

The experience made me realize how I can lose my way if I become too outwardly focused. This showed me to allow feelings to be my focus.

Melissa Johnson

Artwork by Nichole Rae

I am blessed to have a great network of online art friends who I regularly collaborate with on many projects. I am always inspired by the way we can all take the same theme and create so many diverse projects. I am currently working on the Sustainable Souls project headed by my good friend Tina Walker, which involves several artists using art to direct attention to environmental issues. I am inspired by creating art that can make a difference.

Jenny Petricek Artwork by Gayle Price

I’ve been a grateful member of Orly Avineri’s wonderful Facebook community, A Stand for Art Journaling, for several years, and I love it! I’m endlessly inspired by all of the beautiful journal pages and techniques shared by fellow members, and have made many friends there. Initially, it was difficult for me to post my own pages, but the support and positive feedback I received from others has helped develop my confidence.

My first submission was an altered book to Art Journaling. At the suggestion of a friend I also tossed in my first travel journal. My altered book was sent home, but the Mexico journal was chosen.

I was so surprised because I didn’t think I could draw that well. This publication gave me the courage to teach travel sketching.

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Artwork by Valerie Teele

Linda Giese

Nichole Rae

Artwork by Lesta Frank

My art journaling practice began when I took a workshop with Sabrina Ward Harrison 15 or more years ago in California. In this workshop we were introduced to using a old book to create in using a variety of supplies. This workshop inspired me to find my own creative collage practices focusing on beginner’s art journaling that I have documented in the book “Art Journal Art Journey” (North Light Books, 2014). It has also helped me improve and grow in my art journaling journey.

Amy Maricle Artwork by Patty Radish

When I watched Roxanne Coble’s Fragments and Mysteries chapter from 21 Secrets, I was tickled to see how similar our approach was to letting the page evolve on its own. But what really caught my attention was when she pulled out some highly pigmented liquid paints and started smearing them on the page. This started a love affair for me with high-flow acrylics.

Part of their magic is that they invite more observation and less manipulating. I’m developing a new class to help everyone use this highly accessible, incredibly fun medium in their journal too.

Valerie Fei-Fan Teele

Artwork by Gayle Price

Artwork by Patty Radish

I have been fortunate enough to take live classes from Jane Davies, Julie Balzer, Seth Apter, Pam Carriker, Donna Downey, Nathalie Kalbach, Dina Wakely and Dylan Reaveley. They are all uniquely wonderful teachers and I’ll admit that I’m kind of a geeky fangirl! Even if the subject seems like it would be repetitious, I always learn something new. The same is true for online courses like Creative Jumpstart, where many artists present a lesson based on a theme. As a true introvert, it was hard to venture outside the safety of the studio, but there is nothing better to fuel mixed-media madness than finding your tribe — shout-out to Julie and Donna!

Theresa Glass

Instagram! I follow many amazing artists and get to ask them questions about their art and process.

I post my art and get feedback and encouragement.

My Instagram friends give me courage and build my confidence. There aren’t a lot of people in my life that art journal, but on Instagram I have an entire community.

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KEEPINâ&#x20AC;&#x2122; IT

Simple

BY JENNY PETRICEK

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“Keep it simple, sister”— AND IT DAWNED ON ME THAT PERHAPS THIS

philosophy COULD

BE APPLIED TO MY

journaling PRACTICE!

A

s a full-time schoolteacher and the parent of a very active high school freshman, my life seems anything but simple sometimes. My career requires that I work long hours as well as take work home at the end of the day, and my role as a stepmom means that I am frequently called upon to help my stepson with homework and attend his extracurricular events in the evenings. Although these pursuits are very rewarding, they leave precious little time for one of my favorite mixed-media passions: art journaling. Sometimes, at the end of a busy day, I feel frustrated that I don’t have enough time or energy remaining to sit down and create in my journal.

Last summer, as I looked ahead to the beginning of yet another hectic school year, I decided it was time to devise a new strategy for fitting art journaling into my daily routine. I’m a big believer in the acronym K.I.S.S., which I interpret to mean, “Keep it simple, sister”— and it dawned on me that perhaps this philosophy could be applied to my journaling practice! » artjournalingmagazine.com

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I pondered the possibilities for a while, and then established a few simple rules in what would become my new K.I.S.S. art journal.

SIMPLE RULE #1: KEEP THE JOURNAL SMALL In the past, I’ve worked in journals and altered books that are quite large, usually at least 8½" x 11".

While a larger size is nice because it provides more space to create, sometimes this large space is difficult to fill in short spans of time, which is all I tend to have when I come home from work. In following this rule, I purchased a smaller 5½" x 8" sketchbook for my K.I.S.S. journal, and worked on primarily one-page spreads, which I could fill in a matter of minutes for instant satisfaction. » 102

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SIMPLE RULE #2: KEEP MATERIALS & SUPPLIES TO A MINIMUM I typically love to work with wet media in my journals, such as gel medium, gesso, and acrylic paint. Itâ&#x20AC;&#x2122;s great when I have plenty of time to prep, work, and clean up afterward, but not ideal when I only have a few moments here or there. Honestly, at times, the prospect of getting everything out only to have to put it away quickly often discourages me from working in my journal. I decided to combat this problem in my K.I.S.S. journal by sticking to one media, mainly paper collage, and using mostly fast-drying adhesives, such as a glue stick and double-sided tape. By working this way, I virtually eliminated clean-up and drying time. In addition, it forced me to expand my horizons when it came to the design and 104

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layout of my pages. To make them visually interesting without the influence of paint, I had to reach for papers with unique textures and colors, develop dynamic layers, and crop images in unusual ways. By placing limits on the materials I used, I had the opportunity to explore collage more deeply, and it definitely pushed me to improve my skills in this area.

SIMPLE RULE #3: KEEP EVERYTHING CLOSE AT HAND While the hunt for materials and supplies in my studio can be a fun adventure, it can also be an enormous time-drain that I canâ&#x20AC;&#x2122;t afford on most evenings. Âť artjournalingmagazine.com

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felt THE urge to create —

ANYTIME I

EVEN FOR JUST 15 MINUTES — ALL OF MY

supplies WERE

READY TO GO.

For my K.I.S.S. journal, I gathered a modest collection of vintage and patterned papers, tissue paper, words and images clipped from magazines, vintage photos, paint samples, stickers, rub-ons, rolls of decorative tape, pieces of mail, and an assortment of found ephemera. I placed them in a small box so I’d always have the materials at hand. My glue stick, pair of scissors, rub-on burnisher, small rubber stamps, and a few of my favorite inkpads were close by as well. Anytime I felt the urge to create — even for just 15 minutes — all of my supplies were ready to go. When I was done, back into the box they went.

Incidentally, I found this small container of supplies to be extremely convenient to travel with; I took it along with me while staying in a hotel and during an overnight visit to my parents’ home, and in both instances spent several hours working on my journal, which was awesome (and mess-free!). » 106

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convinced MYSELF THAT keepin’ it simple WAS THE REASON I STAYED ON TRACK WITH MY journaling routine AND I

MADE SO MUCH PROGRESS! I began my K.I.S.S. journal on August 24th and finished it on January 5th. Between those dates I created a total of 34 completed pages. I and convinced myself that keepin’ it simple was the reason I stayed on track with my journaling routine and made so much progress! In past years, I could never have completed this many pages, or an entire journal for that matter, in that time span during the school year, and this accomplishment made me feel an enormous sense of relief.

I finally found a way to continue being an active journaler, even in the busiest months of the year. It’s definitely a mindset I’ll be returning to in the future!

Jenny Petricek is a mixed-media artist who resides in Racine, Wisconsin. She welcomes email at jennypetricek78@gmail.com and invites readers to visit her blog at startingoverstudio.com.

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ART JOURNALING

at the Speed of Life

Choosing a

Journal to Cherish B Y PA M C A R R I K E R

I

was recently teaching with my friend, Mary Beth Shaw, and she showed me a new journal that she’d been trying out. It sparked my interest, so I ordered a couple right away. When I returned home from my teaching gig, the new journals were waiting for me thanks to the wonders of online shopping! I was eager to try them out, but since we are in the process of moving and updating our new house, my studio is largely still packed away along with my art journals. I reluctantly set the new journals aside but in plain view so I could play in them as soon as possible.

While painting my studio at the new house, I happened upon my boxes of art journals. In preparation for writing this column, I unpacked them to help me decide on my topic. Something kind of jumped right out at me as I stacked journals by type before putting them on shelves. Over the years I’ve used a variety of journals, but I’ve stuck with each type of journal for a lengthy amount of time and have several of each kind I’ve used.

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D E TA I L Looking through them, I started to note the things I liked about each journal and some of the things I didn’t really care for. I’d like to share some of the pros and cons of journals I’ve used while in the continuing search for that perfect art journal.

PAPER PROS & CONS One of the most important elements of a good art journal, is of course, the paper! Your substrate holds your artwork and is the foundation for all that will go on top of it, so it’s very important to choose paper that works with the media you like to use in your journal. There are always ways to prep pages to help them work with wet media, but having paper that is specifically made to handle it makes life so much easier. When I was going through the self-made journal phase, I loved to use 90-pound hot-press watercolor paper. I loved that the pages weren’t too heavy but were still resilient enough to handle acrylic paints, collage, and other water-soluble media. The smooth texture is great for collage, stamping, stenciling, and sketching, all of which usually end up in my journal work.

In some of my older journals the paper was 140-pound cold-press watercolor paper, which was stiff and rough, and really absorbed paint like a sponge unless you prepped it with gesso first. I used to prep the pages with a paintbrush, but now my preferred method is using a scraping tool so I can apply the thinnest possible layer. » artjournalingmagazine.com

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ART JOURNALING

at the Speed of Life

D E TA I L JOURNAL SIZE These journals didn’t have very many pages in them. One thing I’ve noticed is that I don’t like having too little or too many pages in a journal — sounds like the Goldilocks dilemma. I prefer around 32 pages (64 sides) so I can use a journal for a while but not be bound to the same one for a long period of time. I also like a size that can fit in my purse, so around 5–7" x 8–10" is good for me. It’s big enough to have ample room to play but not so large that it takes forever to fill the pages.

BINDING The way a journal is bound can have a huge impact on whether or not it will work for you. I like my journal to lay flat when open, which led me to using spiral-bound books for a while. However, if the cover of a journal is soft, it can allow a sewn journal to lay flat too and you won’t have to work around the spiral when doing a page spread. If you tend to create one page instead of a spread, you may prefer the spiral binding, as you can fold the journal back on itself and focus on one page at a time.

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I USED TO

prep THE PAGES

WITH A PAINTBRUSH, BUT NOW

my preferred method IS USING A scraping tool SO I

CAN APPLY THE THINNEST POSSIBLE LAYER.

COVER One thing I notice about my stacks of journals is that I’m drawn to black covers. About 90 percent of my journals have plain black covers. I really love the look of them on my shelves; business on the outside and an art party on the inside!

If you love opening a pristine new journal to play in as much as I do, you may want to take a look at journals you’ve used in the past, make your own list of pros, and cons and try something new. Even the journal you choose to play in can spark your creativity and get your muse itching to make art.

Pam Carriker is a mixed-media artist, instructor, and author of the books “Art at the Speed of Light” (Interweave, 2011), “Creating Art at the Speed of Life” (Interweave, 2013), and “Mixed Media Portraits with Pam Carriker” (North Light Books, 2015). Her articles and artwork can be found in over 50 publications, and she writes the column “Art Journaling at the Speed of Life” for Art Journaling magazine. She serves as a Director’s Circle Artist for Somerset Studio, and has created instructional videos for Strathmore Artist Papers’ line of Visual Journals, a signature line of art stencils for StencilGirl Products, and rubber art stamps for Stampington & Company. She also developed a signature line of mixed-media art products with Derivan Matisse. Visit pamcarriker.com to learn more. artjournalingmagazine.com

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A Space O F

ONE’S OWN

B Y G AY L E P R I C E

I

view my journal as a space for me only, to use for whatever I want: to write, to scribble, to vent, to draw, to splash color, to express emotion, to tell a story, to doodle, to experiment with different mediums, to explore creative ideas, to distract me.

Even if I only spend a very short time each day exploring the possibilities of a blank page, in my space, in my journal, it is enough to remove me from reality. It is my way to meditate.

It keeps me calm and it makes me happy.

HUMBLE BEGINNINGS I initially started using an art journal as a place to experiment and try out different mixed-media techniques. As a scrapbooker, I didn’t want to mess up a pretty piece of paper, so I would test my ideas and various mixed-media techniques in a journal first. My interest and love for mixed-media grew, and journal pages soon became my favorite spaces to explore ideas, stories, color, pattern, texture, and everything art. The other thing I love about art journals is that they are a genuine reflection of their creator’s personality. They allow for so much creative, personal freedom. Here there are no rules, no judgements, and no expectations. It’s just you, on a page, in a space. Your space.

Each new page in a journal is an opportunity — an opportunity to try something new. I do not have a set process that I use for every page. I am always eager to experiment. I never plan a page or have a preconceived idea of what I want it to look like once completed. Being entirely absorbed and lost in the creation of the page and going with my intuition seems to work for me. The physical acts of mark-making by way of drawing, painting, stamping, stenciling, collaging, and writing is often just random. The placement of an image, a line, or a color can be purely intuitive.

BREAKING FREE OF DESIGN PRINCIPLES I know there are design principles, color laws about balance and harmony, and theories about how to make a page look dynamic and create movement and depth. All these rules and ideas work, and are important, useful, and relevant when creating art.

However, I believe that in a personal journal, your response to what you have created on your page, in your space, by whatever process, is the only response that matters … and therein lies the freedom and relaxed joy that art journaling brings. » 114

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A FEW OF MY FAVORITE TECHNIQUES One of my favorite techniques is collage. I love to cut and glue — it’s very therapeutic. Images adhered down onto a blank page make for a great starting point. Collaged images are an easy way to add pattern, color, layers, focal points, and textures to a page. In most cases, I use fluid gel medium as glue. If I am collaging heavy papers, cardstock, chipboard, or fabric, then I use heavy gel medium (which comes in a jar rather than a bottle).

Another technique I love is using acrylic and watercolor paints to color my pages. I am far from proficient and I have much to learn in the use of these mediums, but I love the glow and depth of color that good-quality acrylic paint creates. I adore and am excited by the random, unpredictable effects of watercolor — it is such a fun medium to play with.

A theme that is a constant in my journals is using a face. I am fascinated by faces, in particular eyes. To give a personality to a flat, two-dimensional face glued down or drawn onto a page is a very difficult thing to do, and I love the challenge of that.

Making marks and adding color to a new journal page may suddenly come to a dead end. You may find yourself sitting there, staring at the page, and not having any idea what to do next.

Never force your creative flow. Leave that page, start again on another one, or close the book. Walk away, flick through a magazine, spend some time on Pinterest, or go for a walk.

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TIPS If you are going to use mixed-media materials in your journal — a combination of wet and dry mediums like paint, crayon, and watersoluble pencils — then always apply gesso to your page first: It creates a great surface for all mediums to work well on: t It strengthens the paper and helps it to stay rigid and supportive when being soaked by water, gel mediums, paints, and sprays. t It helps protect the back of the page from bleeding ink, paint, or pen. t It’s a start. Applying gesso helps ease you into the creative process and breaks down the fear that the blank page can induce.

I guarantee you will return to that troublesome page one day, and it will be the perfect starting point for whatever ideas or emotions that are flowing through you at the time. You will know exactly what to do next.

Gayle Price is a wife and a mum. She has a background in art education and loves to create mixed media. She is currently a member of the Finnabair Creative Team, which is an honor and an inspiration for her. Living on the south coast of South Australia, she is surrounded by rolling hills and vineyards on one side and beautiful beaches and the ocean on the other. You can follow her on Facebook (Gayle Price) and on Instagram (@gayleprice12). View more of her work on her blog at blissandgesso.blogspot.com.

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A TINY SERIES: A Year of Petite Art Journals

BY TORRIE GASS

I

discovered art journaling in 2015 as I was trying to reconnect with my inner artist.

Iâ&#x20AC;&#x2122;d lost her years before and unsuccessfully tried other creative outlets to meet with her again. As soon as I started art journaling, I knew it was the path I had missed. It was the walkway to a life bursting with color and art and joy. Through art journaling, I connected with other artists by sharing my work with the online community. I had finally found a group who understood the innermost parts of who I am and loved me for it.

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[AR T JOURNALING] WAS

walkway TO A life bursting WITH COLOR

THE

AND ART AND JOY.

AN UNLIMITED PRACTICE After art journaling for a year, I was presented with the idea of a yearlong project by friends in my art community. A whole year? On one project? I wasn’t sure that I would be able to stick with it for long. After some rumination, the idea of creating very tiny art journals came to me. Before this project I had only worked in larger formats, mainly 8½" x 11", and had always thought bigger was better.

As I dreamt up the idea of limiting myself to a small space, I was exhilarated by the challenge of working in such an unknown format. The only requirements for the project were that no journal could be larger than 3" x 4" and that I complete one for every month of the year. I gave myself flexible deadlines so I was not deterred if I did not complete a journal on time. Thus began A Tiny Series: A Year of Petite Art Journals. » artjournalingmagazine.com

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AFTER STAR TING, EACH JOURNAL QUICKLY BECAME

more meaningful.

THE SERIES BECAME A MONTHLY SPACE

dedicated to me.

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MORE DETAIL THAN EVER BEFORE As I completed each journal, I shared them online through my blog, Fox + Hazel, as a form of accountability to ensure I didnâ&#x20AC;&#x2122;t lose steam on the project. The series started as a challenge, like a to-do list or task to complete. After starting, each journal quickly became more meaningful.

The series became a monthly space dedicated to me.

Instead of focusing on finishing the journals so I could check it off my list, each page soon became an important piece of a story I was creating inside the covers. The journals took longer to finish, became more detailed, and had more intensity. I no longer felt I had to finish a journal each month. I wanted each journal to reflect me wholly.

At the start of the project, I felt that I could finish each journal quickly because they were so small.

However, as each month progressed, I found that I wanted, needed, to include more and more detail. Âť artjournalingmagazine.com

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The small format did not equate to quick work as I assumed it would. I discovered that the detail I could add to a 2" x 3"page was limitless — it could be as tiny and detailed as I wanted or didn’t want it to be.

EMBRACING TINY JOURNALS Tiny journals are not a format that are readily available, especially as my journals seemed to get tinier each month.

As a result, I made each journal by hand. I tried various substrates in the journals, from watercolor paper and grocery bags to junk mail and cut-up paintings by my children. I created each journal from materials I already had in my studio, and I intentionally repurposed as much as I could when making them. The material I preferred the most was paper grocery bags. They were flexible but still sturdy enough to hold up to most mediums, making it easy to assemble a journal out of them. » artjournalingmagazine.com

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D E TA I L

felt I HAD to finish A J O U R N A L I NO LONGER

E A C H MONTH. I WANTED EACH JOURNAL TO

reflect me wholly.

Each art journal varied in techniques, topics, and styles.

Early on I started trying to find a theme for each journal, whether it was in the topics, techniques, or color palettes.

By not limiting myself to a theme or technique for the entire project, it gave me room to explore myself and ideas that were present at the time of creating each one. The tiny journals were a space to explore thoughts such as feminism, teen angst, depression, unbound joy, childhood, and everything in between. They allowed me to discover different mediums as well. One journal is exclusively watercolors, another is completely done in acrylics, yet another in collage only. Each journal reflects what was weighing on me at the time and needed to have a physical place to reside in. My journals were also influenced by the artists who inspired me as I created; the neon journal took cues from Alena Hennessy and the floral illustrations from Alisa Burke. I saw their work and tried my take on their techniques to see if it fit my personal narrative.

I do this to help me continually learn, grow, and develop my own style. Âť artjournalingmagazine.com

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TIPS t The more you create, the better you will get. No one is a master on their first attempt. t Do not wear expensive clothes to make art in, especially your nice shirts! t Find a creative tribe who gets you and reach out with arms wide open to embrace them. t Challenge yourself every time you create. Youâ&#x20AC;&#x2122;ll be surprised what you can do. t Put scrap paper behind the current page you are working on to protect the rest of your journal pages. No more overpainting, sprays, or bleeding!

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Torrie Gass is an artist, designer, mother to three small children, and wife who resides in the Canadian prairies. She loves inspiring creativity in others and can often be found with too many art journals open on her desk. She shares her creative journey, tutorials, and more at Fox + Hazel, foxandhazel.com. If you want to connect with Torrie, you can find her on Instagram (@foxandhazel) or send her an email directly at torrie@foxandhazel.com. She loves getting to know fellow artists!

Torrie also loves emo/punk music, having pink hair, a good cup of coffee, and ignoring housework. artjournalingmagazine.com

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SQUARE ONE

Sometimes when staring at a blank journal page, we need a little inspiration. Here you will f ind journaling prompts to help you move past â&#x20AC;&#x153;square one.â&#x20AC;? Whether a question, a quote, or a simple list, these prompts should have you journaling in no time.

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R5 " .5 )53)/,5" ( -5- 35 )/.53)/>5 (Shared by Roc Nicholas)

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R5 53)/5 )/& 5 , . 5 5* , .5 3651" .51)/& 5#.5&))%5&#% >5 (Shared by Kelli May-Krentz)

R5 Äť#(%5) 5.", 5')' (.-5." .5) /,, 5 /,#(!53)/,5 35 ." .53)/5 , 5!, . /&5 ),5 ( 51,#. 5 )1(5 (5 2 ,*.5.)5 - ,# 5." '5),5-% . "5 5-3' )&5.)5, *, - (.5." '85

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R5 )53)/5" 0 5 5 0),#. 5 (#' &>5 - ,# 5),5-% . "5." 5 +/ &#.# -5) 5." .5 (#' &5." .53)/5 '#, 85

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To share your favorite journaling prompts with us, send them to artjournaling@stampington.com.

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GALLERY CARRIE TODD Upland, CA mystudio13.com “I believe God has a very deliberate and very detailed plan for the artist in the kingdom of God. If your beliefs are not the same as mine, no worries; the art is still the same.”

DYAN REAVELEY North Yorkshire, United Kingdom dyan-reaveley.blogspot.com “I can create art anywhere — airplanes, waiting rooms, studios, bed, etc. The messy things such as paint and ink are all done in the studio and all else on the road.”

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GALLERY

DYAN REAVELEY North Yorkshire, United Kingdom dyan-reaveley.blogspot.com “I spend so much time on the road teaching classes, all over the world. If I am at Ranger I am usually in early and spend most of the day being pulled from pillar to post in meetings, etc. When everyone has gone home I am creating or designing until late at night in the quiet of my office.”

KAREN GAUNT Dublin, Ireland karen-gaunt.com “You will very often see song lyrics in many of my journal pages. I love to use lyrics from songs that I love, songs that remind me of a happy memory, or ones that I associate with a certain period in my life.”

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KAREN GAUNT Dublin, Ireland karen-gaunt.com “For me art journaling gives me a chance to create something tangible every day ... Carving out some time each day to create something inside of my journal allows me to say, “I made this today. I took this time to be completely selfish and created this for no other reason that I like the process and the end result.”

TORRIE GASS Canada foxandhazel.com “Early on I started trying to find a theme for each journal, whether it was in the topic, or techniques, or color palettes. By not limiting myself to a theme or technique for an entire project, it gave room for me to explore myself and ideas that were present at the time of creating each one.” artjournalingmagazine.com

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GALLERY

TORRIE GASS Canada foxandhazel.com “I discovered art journaling in 2015 as I was trying to reconnect with my inner artist. I’d lost her years before and unsuccessfully tried other creative outlets to meet with her again.

As soon as I started art journaling, I knew it was the path I had missed.”

RENEE STIEN Minnesota Facebook (thetingoat) “Some of the journals have a specific idea or theme, while others are full of random pages and spreads.

Oftentimes I end up with a spread that started out with a plan and midway through veered away from that plan, which is by far the best in my opinion.”

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NANCY BALES Monterey, CA nbales@sbcglobal.net “The Stampers’ Sampler led me to learning how to use art to cope with my losses and my joys; and eventually, art journaling became a daily practice. It gave me a way to express what I was feeling and my dreams of what the future would bring.”

NANCY BALES Monterey, CA nbales@sbcglobal.net “Art journaling isn’t always about the words you write but more about the things you choose to tell your story.”

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This stirring 144-PAGE

MAGAZINE is jam-packed with the BEST of the MIXED-MEDIA PROJECTS from past issues of

Somerset Studio, Somerset Apprentice, Sew Somerset, and Art Journaling.

INSIDE VOLUME 10: Artist Profiles: Heather Murray & Andrea DeMeng

Linda Trenholm

Easy methods for altering photographs for your art journal Art inspired by Jane Austen Soldering without the iron Embracing imperfection in your artwork

Now Available

Andrea Matus deMeng

Wax lyrical with a faux encaustic technique

Tina Gilmore Colleen Attara

Volume 10 is available directly from Stampington & Company. Look inside this issue, and reserve your copy at stampington.com/artists-cafe or by calling 1-877-782-6737 for only $14.99 + S&H. CATERINA GIGLIO

Somerset Apprentice takes its readers by the hand to teach them the fundamentals of creating Somerset-style art — URSULA WOLLENBERG one basic step at a time.

Inside Somerset Apprentice Spring ’17: ťƥ 7 ÝÉƥáé Úƈ Āƈáé Úƥé °É³Üî áƥ³ÉùÏÂù³É«ƥ É îáé³ ŧƥ ³áéÝ áá ŧƥ É ƥ áá È Â « ƥ ÝéŬƥ ťƥ éîݳɫƥáÚ é î Ýƥ ÝéúÏÝÀƥ Āƥ Ýé³áéáƥ)ÝÂƥ>Ï Â ŧƥ 7ĀÉÉ ƥ=ÏÉ Ý³ ªªŧƥ éƥ5 ÝÝŧƥ É ƥÈÏÝ Ŭƥ ťƥ tÏîƥúÏÉƚéƥú ÉéƥéÏƥȳááƥÏîÝƥ É úƥn ƥƪáÀ ƥé° ƥƪÝé³áéáƥ á é³ÏÉƥú° Ý ƥú ƥ Âù ƥ ù Éƥ Ú Ýƥ³ÉéÏƥé° ƥ Ý é³ù ƥÈ³É áƥϪƥÏîÝƥ ÏÉéݳ îéÏÝáŬƥ ťƥ n ƥ Éƚéƥú ³éƥéÏƥá° Ý ƥÏîÝƥ !ÂÏáá ÝĀƥVÚÏ鳫°éƥú°³ °ƥ °³«°Â³«°éáƥ ƥé ÝÈƥªÝÏÈƥÏîÝƥ «ÂÏáá ÝĀŧƥ«³ù áƥáÚ ³ª³ ƥ ÿ ÈÚ áƥªÝÏÈƥé° ƥ³ááî ŧƥ É ƥ³É Âî áƥé³Úáƥ É ƥéݳ ÀáŬƥ

CAT KERR

The Spring ’17 issue is now available on newsstands. Look inside this issue, and reserve your copy at stampington.com/somerset-apprentice or by calling 1-877-782-6737 for only $14.99 + S&H. 134

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TINA WALKER

176 PAGES of

MIXED-MEDIA INSPIRATION In the Summer ’17 Issue:

i Donna Salazar creates a stunning cascade of handmade die-cut paper flowers in a monochromatic color scheme. i Inspired by life experiences requiring her to be brave, Monica Downing shares her shadow box shrines with Dresden trim, metallic paints, and crystal drawer pulls. i Discovered by accident, Lisa Bebi applied correction fluid to photocopied family photographs to produce interesting texture and an eye-catching effect. i Lynne Moncrieff combines driftwood, rusty wire, silk ribbon, and wooden feathers into beautiful mobiles featuring positive affirmations.

MONICA DOWNING

LYNNE MONCRIEFF

Now Available

MELANIE LEGRAND MARILYN ROANE

The Summer ’17 issue is now available on newsstands.

Look inside this issue, and reserve your copy at stampington.com/somerset-gallery or by calling 1-877-782-6737 for only $14.99 + S&H.

ANGEE MANNS

TRINETTE REED KELLY KNOX

SUSAN LICHT

Bella Grace is now available on newsstands. Look inside Issue 12, and reserve your copy at bellagracemagazine.com or by calling 1-877-782-6737.

JACK SOROKIN

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Now Available $22.95 $9.99 CONTRIBUTING ARTISTS INCLUDE: Nina Bagley, Angela Cartwright, Nancy Curry, Sarah Fishburn, Jill Haddaway, Jen Osborn, Carol Owen, DJ Pettitt, Michelle Ward, and many more!

Transparent Art is available directly from Stampington & Company at stampington.com/Transparent-Art or by calling 1-877-782-6737.

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Your Favorite Magazines

Now Available on your Computer, Tablet or Smartphone Choose from 65+ Must-Have Issues starting from $4.99

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M O R E S T U F F F O R Y O U R S TA S H

DINA WAKLEY MEDIA JOURNAL Exploring different textures is a favorite part of creating mixed-media artwork and this journal from Dina Wakley’s Ranger line is a wonderful basic for anyone who loves art journaling, whether she is a beginner or an accomplished journaler. Included in this journal are a variety of unique surfaces from burlap to canvas to kraft cardstock. Measuring 7¾" x 10¼", the journal is small enough to take with you everywhere but large enough to really explore your creativity on each page. Each page is a canvas to try different mixed-media substrates and practice varying techniques, which makes it perfect to take notes in as you learn!

For more information, visit ranger.com.

DINA WAKLEY MEDIA RUBBER STAMPS FOR MIXED-MEDIA LAYERING Rubber stamps that create background textures go a long way in any mixedmedia activity and are very versatile. This new stamp collection by Dina Wakley Media is sure to provide hours of stamping fun and experimentation. Created with layering in mind, this stamp collection can be used with a wide array of acrylic paints, inks, and other mediums. Use these stamps together or mix with some of your favorites to open a world of magical artistic possibilities!

For more information, visit ranger.com.

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Subscribe Today, and Receive a FREE Gift!

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Give a Gift Subscription Includes a beautiful gift announcement card that’s artfully wrapped in Divine Twine and tucked inside a special gift envelope, for you to personalize before giving to the recipient.

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Find hundreds of creative ways and ideas to celebrate in every 144-page issue of Mingle.

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ART JOURNALING

Book that Started it All

Megan Scurlock

Previous issues available, starting from $7.99. Select Digital Edition: only $9.99 each.

Save $15 Heather Johnston

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“True Colors” is available directly from Stampington & Company at stampington.com/True-Colors-Book or by calling 1-877-782-6737 for only $14.95 for a limited time. (Retail value $29.95)

True Colors Inspiring Creative Spaces of Women

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Christy Nimeh

Dawn Younger Smith

The Autumn ’17 issue is available on newsstands August 1st. Look inside this issue, and reserve your copy at stampington.com/where-women-create or by calling 1-877-782-6737 for only $14.99 + S&H.

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ƍƱ All chapters in this 144-page book include simple stepped-out photographs with clear instructions. ƍƱ Create exciting projects from some of the finest art and crafting instructors in our industry.

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Look inside issues of Somerset Workshop, and reserve your copies at stampington.com/somerset-workshop or by calling 1-877-782-6737.

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SUBMISSION GUIDELINES Art Journaling is released on a quarterly basis. Submissions for specific issues must arrive on or before the following deadlines:

Upcoming Deadlines Winter 2018 Issue – August 15, 2017 Spring 2018 Issue – November 15, 2017 Summer 2018 Issue – February 15, 2018 Autumn 2018 Issue – May 15, 2018 Art Journaling is currently open to submissions from all our readers who wish to share their art journal pages with our audience. We encourage artists to submit entire journals so that we can evaluate how they will best fit into our publication.

If there are pages in your journal you do not wish published (for reasons of privacy or otherwise), please be sure to mark them clearly so we do not consider them.

GENERAL ARTWORK SUBMISSION GUIDELINES We prefer submissions of original art. If original art is not available, our next preference is hi-res digital images (300 dpi at 8½" x 11"). If hi-res digital images are not available, we will very rarely consider professional-quality transparencies or color slides. Colorcopy submissions are not accepted.

For collaborative projects, it is the responsibility of the submitting artist to obtain permission from each participant prior to submission. In addition, each piece of the collaborative must be labeled with contact information of the artist who created it. Please be aware that the collaborative project in its entirety will only be returned to the submitting artist and must have sufficient return postage.

All artwork must be properly identified with your name, address, and email address clearly printed on a label or tag attached to each submission. As artwork often gets separated from instructions during our selection process, we ask that you attach the information directly to the piece; for example, affix a label to the inside of a sleeve. If your piece is difficult to label, please attach your identification with a removable string, or pack the sample in a plastic bag with your identification.

Artwork that is not properly identified cannot be considered for publication.

A concise yet thorough description must accompany each submission.

Include separate documentation for each piece you submit.

NOTE: If you are able, please keep an electronic version of your instructions, as you may be requested to send those in if your work is selected for publication.

All samples, queries, and correspondence should be sent to: Stampington & Company ATTN: Art Journaling 22992 Mill Creek, Suite B Laguna Hills, CA 92653 Please include a note inside the package indicating which publication the submission is for. For acknowledgment of artwork receipt, include a self-addressed, stamped postcard.

ART MANAGEMENT POLICY We require you to supply sufficient funds if you wish your item(s) returned.

We will provide tracking for all packages, but we strongly encourage you to request insurance and provide additional funds. Stampington & Company is not responsible for damaged or lost artwork once it has been shipped out of our office.

Send a check or money order made out to Stampington & Company to cover return shipping costs (U.S. funds). Please do not include return envelopes, packing materials, stamps, or prepaid labels and do not attach postage to packaging.

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Checks or money orders will be cashed and put in a mail funds account within 30 days of submission receipt. When your artwork is returned, the funds you provided for shipping will be drawn from the account.

Submissions intended for one issue may be better suited for another issue or publication, so we may request to hold your piece for up to 9–12 months. Items appearing in Somerset Studio Gallery may be held longer. Rest assured that we will take excellent care of your artwork, but Stampington & Company cannot be held responsible for damage or loss due to circumstances beyond our control. If you move, please send a postcard or email to the editor with your new address.

If you need your artwork returned by a specific date, please indicate this in your submission information and send an email to the editor three weeks before the date you would like your submission returned.

If you have any questions regarding our submission guidelines and artwork returns, please contact artmanagement@stampington.com.

If your piece is selected for publication you will receive a FREE issue of Art Journaling.

ARTICLE IDEA SUBMISSION GUIDELINES We are always interested in proposals for articles. If you have a unique story, project, or technique, send photos accompanied by a query letter outlining your idea to the managing editor at the address below. Please note: If a technique you wish to share was learned in a class, workshop, television, book or other publication, Art Journaling requires that you give credit to the author, source, or teacher and obtain permission to publish his or her technique prior to submitting it to us.

All samples, queries, and correspondence should be sent to Devon Warren, 22992 Mill Creek, Suite B, Laguna Hills CA 92653, USA. No telephone calls, please. The editor welcomes brief email queries: artjournaling@stampington.com.

COPYRIGHT INFRINGEMENT Stampington & Company only accepts original artwork for publication consideration. All images used in artwork must be copyright free. Any techniques featured in artwork submissions that are not the artist’s own must be attributed to the proper instructor, book, artist, workshop, etc. It is the responsibility of the submitting artist to ensure that no copyright infringement has occurred and that all submitted work is their own.

SIMULTANEOUS SUBMISSION GUIDELINES Stampington & Company will not accept simultaneous submissions of artwork. While your work is under consideration we ask that you do not submit the same piece of work to competing web or print publishers.

Likewise, artwork that has already been featured in other competing publications or sites will not be accepted. Publishing on your personal blog is permitted, but we ask that you adhere to our reproduction guidelines. Any questions can be directed to our editorial staff.

PUBLICATION SCHEDULE Artwork accepted for Art Journaling is published as soon as practical. Be advised we receive more submissions than we can accommodate and it may take several months from the time we accept your artwork for publication to the time it appears in an issue, so we ask for your patience. You will receive notification in advance of publication.

DESTINATIONS R E TA I L E R S I N Y O U R A R E A ALASKA Stamp Cache Alaska 642 S. Alaska St., Suite 107 Palmer, AK 99645 (907) 745-4848 CALIFORNIA Scrapbook Island 14090 Blossom Hill Road Los Gatos, CA 95032 (408) 978-8900 FLORIDA Everything Scrapbook & Stamps 4095 State Road 7, Suite Q Lake Worth, FL 33449 (561) 432-5201

Whim So Doodle 237 2nd Avenue South St. Petersburg, FL 33701 (727) 827-4911 www.whimsodoodle.com For Planners, Agendas, Scrapbooking, Mixed Media, Stamping, Card making, Sewing, Fine Art Supplies, and Bible Journaling, we are your destination store.

INDIANA Palette and Paper 6421 Oaklandon Road Indianapolis, IN 46236 (317) 459-3199 KANSAS Ink Paper Rubber 7220 W. 80th St. Overland Park, KS 66204 (913) 381-2217 Mrs. O’Leary’s 126 N. Mead Street Wichita, KS 67202 (316) 262-0600

KENTUCKY Ephemera Paducah 333 North Ninth St. Paducah, KY 42001 (270) 443-0003 ephemerapaducah.com A mixed-media haven attracting national instructors teaching incredible workshops, Ephemera Paducah is the place for the everyday artist!

MARYLAND Queen’s Ink 8600 Foundry Street Savage, MD 20763 (301) 497-9449

MICHIGAN Scrappy Chic 33523 W. Eight Mile Road Livonia, MI 48152 (248) 426-9020

NEW MEXICO Guadalupe’s Fun Rubber Stamps 114 Don Gaspar Ave. Santa Fe, NM 87501 (505) 982-9862

The Gilded Page 516 North Guadalupe De Vargas Mall Santa Fe, NM 87501 (505) 820-0098

PENNSYLVANIA Joys of Life Scrapbooking 5222 E. Trindle Road Mechanicsburg, PA 17050 (717) 458-5723 TEXAS Texas Art Supply 2001 Montrose Blvd.

Houston, TX 77006 (713) 526-5221 Twisted Yarns 702 Spring Cypress Road, Suite A Spring, TX 77373 (281) 528-8664 VIRGINIA GoldensHill Papercrafts 12644 Chapel Road Clifton, VA 20124 (703) 298-7688 WASHINGTON Impress Rubber Stamps 120 Andover Park #140 Tukwila, WA 98188 (206) 901-9101 NW Country LLC 41506 292nd Way Street Enumclaw, WA 98022 (206) 992-1100

ONLINE CONNECTIONS Jubilee Flea

OKLAHOMA Paper Crown 9303 N. Pennsylvania Oklahoma City, OK 73120 (405) 484-2389

jubileeflea.com An online shop filled with vintage paper + fun things for coloring or journaling + TN inserts. At ridiculously low prices.

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Use code AJ10 for 10% off your first purchase!

If you are interested in carrying Art Journaling in your store or finding more information about advertising in our Destinations or Online Connections section, call (877) 782-6737 or email: advertising@stampington.com artjournalingmagazine.com

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ABOUT THE PUBLISHER Since 1994, Stampington & Company has been a leading source of information and inspiration for arts and crafts lovers, storytellers, and photographers around the world. Launched with a small line of rubber art stamps by President and Publisher Kellene Giloff, the company has since expanded to include over 30 bestselling publications.

“When it comes to the art of crafting, no one does it better than Stampington & Company.” – Mr. Magazine™ Samir Husni PUBLICATIONS Known for its stunning full-color photography and step-by-step instructions, the company’s magazines provide a forum for both professional artists and hobbyists looking to share their beautiful handmade creations, tips, and techniques with one another.

Since its 1997 debut, Somerset Studio has become the f lagship publication within the industry and attracts a large, devoted following of readers seeking the latest innovations in paper arts and mixed-media.

Art Journaling — the first publication of its kind — features exquisite mixed-media work and inspiration for achieving stand-out pages in journals.

Bella Grace is a 160-page book-azine devoted to discovering magic in the ordinary. Compelling stories and striking photographs capture soul lifting moments that celebrate life’s beautiful adventure.

Willow and Sage shares more than 70 unique recipes, uses, and beautiful packaging and gift ideas for homemade bath and body products.

The success of Where Women Create — a collaboration with Jo Packham — has warranted a popular cooking edition called Where Women Cook and a groundbreaking title that divulges tangible tips for artisans and business owners: Where Women Create BUSINESS. The Stampers’ Sampler is a quarterly publication filled with handstamped creations, a free designer artist paper, and a Tempting Template pattern inside every issue.

Take Ten features rubber stamped cards for all occasions that can be made in 10 minutes or less.

Art Doll Quarterly is a unique publication devoted to the art of making dolls and sculptural figures.

GreenCraft Magazine honors and inspires those who find artistic, functional, and eco-friendly applications for normally discarded resources.

Belle Armoire provides the very best in handmade wearable arts.

Several successful jewelry, handbag, and altered clothing titles have taken off from this concept and offer the most fashionable and functional wearable accessories.

Mingle is an incredibly unique publication that explores the art of entertaining — from various types of intimate, creative gatherings to largerscale art retreats.

For more information, and to look inside these publications, please visit: stampington.com/publications To learn how you could be published in an upcoming issue, go to: stampington.com/calls-and-challenges

SOCIAL MEDIA PRESENCE Stampington & Company provides daily doses of inspiration and a place for likeminded artists to connect on their Facebook, Pinterest, Instagram, YouTube, Google+, and Twitter pages, which currently have more than 195,000+ followers. In addition to exploring the latest crafting trends on their creative blog, Somerset Place, the company continues to send out weekly and monthly e-newsletters with artist tips, special sales, and free how-to project ideas to their loyal subscriber base of more than 50,000 creative minds.

COMING AUGUST 2017 One of our favorite parts of putting together Bella Grace Magazine is designing worksheets for the readers to respond to directly in the book.

We’ve had such great feedback on these prompts that we are excited to be launching Field Guide to Everyday Magic, which will be made up entirely of worksheets and the beautifully designed, inspiring quotes Bella Grace has come to be known for. Our hope is that you’ll throw your copy of the field guide into your bag and fill it up with your thoughts and doodles as you make your journey through life. Look for our newest release this August.

Learn more at: bellagracemagazine.com/everyday-magic

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journaling ART

Summer 2017

stampington.com/publications Be the first to get a sneak peek of the articles and breathtaking artwork inside the latest issues of our magazines! Explore your favorite titles, browse through all available back issues on sale, and read about exclusive FREE GIFTS for subscribers.

stampington.com/art-stamps Discover the most unique lines of Clearly Impressed, Wood Mounted, and Cling Mount stamps by talented artists Dina Wakley, Traci Bautista, Michelle Ward, Pam Carriker, Christine Adolph, Lynne Perrella, and more!

theshoppeatsomerset.com With over 4,000 unique crafting essentials and instructional books, The Shoppe at Somerset is an artistâ&#x20AC;&#x2122;s one-stop destination for inspiration. Feed your creative spirit by indulging in the hottest tools around and explore the possibilities!

Where the Heart Is Canvas

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stampington.com/free-projects Discover more than 700 inspiring project ideas designed by our creative staff ! Each sample comes complete with step-by-step instructions and close-up, detailed photographs to keep you crafting all year long.

I Love Being Queen Canvas Project