Another Paper- to Digi-Technique – Stenciling

After last week’s tutorial came out, I got a really nice private message from calgirl (aka Steph). It read, in part: “I love the tutorials you have done on the digital version of a paper-scrapping technique.
I have been trying to think of other techniques it would be fun to see – how do you do this. I happened upon this you tube video which has many ideas but I was particularly interested in the stenciling concept.” Well, I checked out the YouTube video she linked in her message – it was a speedy card-making video (more about that later) and I knew just what would work to create the look she was after. Below you’ll find three ways to use digital scrapbooking elements as stencils! The basics are the same for all three, but the looks are all quite different. It’s a lot easier than it looks, and definitely less messy!

The most obvious element I could think of – and find quickly – for this technique is a doily. I chose one from Lindsay Jane‘s kit Dogs and Puppies. It’s pretty, and has some nice open areas that could work nicely for stenciling. I opened a new 12×12 canvas on my workspace and dropped the doily onto it.

Next, I decided on some colours and got them set. Then I opened up my Brush tool. The Basic Brushes set that comes with the software will work for this method so I chose a large, soft, round brush. I’m working on the layer UNDERNEATH the doily, but don’t worry, it’s going to work exactly like I want it to. If you recall, working on a separate layer with your brushes gives you a lot of options such as simple resizing, repositioning and adjusting Opacity. And you can copy the brush layer(s) as many times as you want.

Here you can see that I have the layer at the bottom of the panel active.

I centered the brush over the doily and gave it a single click. if the screenshot was bigger and clearer, you’d see the doily sitting on top of the brush layer.

With the doily layer turned off, this is what I see.

I decided the brush layer just wasn’t… enough. So I Copied it once (CTRL/CMD>J) then I made the copy brush bigger, to 120% of the original. By doing that, I deepened the Opacity of the original layer and pushed the softer edge further out.

Before I moved on, I Merged the two brush layers together.  (CTRL/CMD>E)

Keeping the brush layer active, I CTRL/CMD>clicked inside the layer thumbnail for the doily – the image inside the box on the doily layer. That Selects the edges of the doily, and produces the marching ants.

The next step is to Edit>Cut the doily area away from the brush layer. (CTRL/CMD>X)

It’s a bit hard to see in the screenshot but the area where the doily laid over the brush has been removed and the transparent background shows through. The doily layer is turned off.

Here’s a much closer look at it. As you can see, there’s no doily texture showing, just the outline of where it was.

I looked at the results for awhile and decided I wanted the edges to be just a smidge sharper. So I added another layer on top of the brush layer. (Doily is still turned off.)

This time when I Selected the outline of the doily, I chose to add an outline Stroke. I wish there was a keyboard shortcut for that, I use it a lot. But there isn’t. Edit>Stroke (Outline Selection) has to do.

I used the same colour as for the brush layer. The outline doesn’t have to be too bold, so 2 pixels on the outside of the selection will work. Why put the stroke on a separate layer? It’s all about control!

I’m still thinking about how to remove the overspray area around the outside of the doily outline. I think I have it figured out, but will need to play with it a bit more. Once I’ve got it down pat, I’ll edit this post to include the details of how I did it.

Okay. Let’s go back to the beginning and look at another way of doing it. Because you know there’s always more than one way of doing most things.

For this example I used a sharp-edged round brush from the Basic Brushes set that I could size to fit the doily exactly. It’s at full Opacity too.

But here’s where the fun starts! I changed my foreground colour to that fuchsia/magenta colour you might have noticed in the previous screenshots. Then I chose the Gradient tool, which is right below the Eraser tool. This tool has a few options that make it very useful. Because I’m working with a circle, I chose the Radial setting. I clicked on the centre of the doily image and dragged my cursor up to the top left corner of the canvas and let go there. That tells the tool which way to grade the colour. I could have chosen any point on the canvas for either action and the gradient would go “from here to there”. If you look closely, you can see the pink is darkest at the centre and fades away as it moves from the centre out. Notice too how the turquoise has changed to periwinkle.

I used the same steps to remove the area of the gradient layer where the doily covers it. I don’t know how many of you can see it, but the doily layer is turned off, and it doesn’t matter! The software will still select the edges even when YOU can’t see it. And, of course, the gradient layer is separate from the others.

Now, with this method, it’s super-easy to remove the overspray area. I used the Elliptical Marquee tool to pull out a perfect circle. The tool’s settings let me go with a Fixed Ratio of 1:1, which creates a circle shape. The hard part is getting the size right. It took me 5 tries to get it right.

The Selected area needs to be Inverted so that you’re cutting the part of the gradient layer OUTSIDE the circle away, not what’s inside. You can either Select>Inverse or CTRL/CMD>SHIFT>I to make that happen.

Then, just like before we’ll Cut it off. Edit>Cut or CTRL/CMD>X.

There! The only pink area is inside the circle.

I liked how it looked, but thought I could make it even better so I Copied the gradient layer and dropped the Opacity down to 70%. Pretty?

One more! I might have mentioned that I have LOTS of brushes. Many of them were freebies or challenge-related, but the ones I get free from Brusheezy are fabulous. One of these sets is the 20 Spray set. I had to load the brush set to be able to use it, since I haven’t had the opportunity to load them all on my new laptop, but that’s easy enough to do. I wish I could still screenshot the selection bars but haven’t figured that out either! I changed colour to this purple and hit my canvas with it. It’s a different look for sure. I Cut the doily out of the brush layer too.

I changed my brush, made it smaller and changed my foreground colour back to fuchsia. Then I randomly added some pink to the mix. On its own layer. ALWAYS!

After Cutting away the doily this is where I was.

Then I thought, how would it look with some green?

Some random hits with a third brush from the same set gave me this… before I did anything else to it.

I thought the green was too much so I toned it down to 35%.

And then for fun, I plopped a black spider web paper from Just So Scrappy‘s Spookalcious kit behind it. (I erased the big splats from the purple layer too.) I think it looks gloriously boho!

What do you think? Something you might try? Obviously, you can use anything that might work as a stencil with this technique, it doesn’t have to be a doily. I had fun with it, and I know you will too.

Now, about the video… the host showed off a paper-scrapping tool that caught my eye. It’s called a Misti (Most Incredible Stamp Tool Invented)… anybody familiar? It allows for perfect placement of stamps on just about any size and shape of paper, and for restamping the same image multiple times for more hefty outlines both with acrylic and unmounted rubber. Well, I decided I wanted one, since I do make cards and have a big collection of acrylic stamps. So I looked for it on Amazon… and nearly died when I saw the price! $138 seems like a lot to me for something so simple in concept. So I kept looking. I found some YouTube videos that showed a couple of similar products, but they had to be withdrawn from the market over patent infringement claims. Sounds like I was going to have to suck it up and pay the $$… until I found a seller who had a couple of the taboo knockoffs for $37 each. It arrived today and will work beautifully! I’ll have to wait to use it though. It has to go into storage with all the rest of my paper crafting stuff. To be continued!

What’s Your Digital Style?

Can we talk about style for a minute? We all have a certain style, a concept of ourselves and our environment; that style is reflected in the way we dress, the way we decorate our homes, the way we interact with others… and how we scrap our memories. If you spend any time wandering through the Gallery you’ll know exactly what I mean. There are scrappers whose style is instantly recognizable – you don’t even need to look for the scrapper’s name. But have you ever thought about the basic underpinnings of style? Let’s discuss!

First let’s look at the very popular Pocket Scrapper style. This layout from the GingerScraps Gallery is by ngocNTTD. Pocket scrapping is organized and photo-oriented. It’s one of the most basic of paper-to-digital styles out there, having emerged from Project Life and the various other daily, weekly and monthly project formats. Pages in this style document day-to-day and special events in a clean, grid-based arrangement. Any embellishment will be limited so as not to obscure the all-important photos. As you can see, ngoc has included 10 photos in her layout.

Heritage scrapping is a very popular style, especially for those of us interested in genealogy. Who doesn’t love vintage photos of our ancestors? There’s something very powerful in documenting our past in this way, as craftytam has done in her layout below. These layouts focus on history through the use of muted colours, with a slightly distressed look. Information relating to the life of the subject is a must for these pages, which may be as simple as vital statistics or as detailed as a complete life story. Journaling in hand-written fonts is characteristic.

A combination of these two is the Storyteller style. KatherineWoodin‘s layouts are such perfect examples of this style. Each page tells of a specific event; photos aren’t a requirement but if they’re used, they’re integral to the story being told. There’s a heavy emphasis on journaling, as you can see below. The use of embellishments is dictated by the feeling the scrapper wants to convey.

Classic scrappers rely on clean lines, limited embellishment, precise placement and precise use of words. Layouts are conservative, in several senses – paper scrappers might default to this style because it doesn’t use a lot of “stuff”. In this layout by gethane, the classic style is obvious.

And that leads us to the Modern style. Glori2 has solidly incorporated this style as her own. Modern layouts are the ultimate in clean and simple, which refers to minimalism and not the use of texture and grunge. Embellishments are few, and very carefully chosen. White space is vital to this style, giving the eye many options to rest.

I suppose the opposite of Modern is the Shabby Chic layout. This layout by kabrak1207 is a stellar example of Shabby Chic… muted pastels, vintage elements and ephemera, brushes and worn paper come together to create a visually appealing whole.

The Artist scrapper focuses on the overall image, using paints, brushes, blending and a multi-media approach. Kythe uses a deft hand here, blending not only the photo but also the leaves into her background. Those little ghosts look ethereal and are grounded by the vignette in the foreground. Artist-style layouts don’t rely on journaling to tell a story, and may not include a title either.

The last style is an art-form all on its own. Art Journaling conveys emotion through imagery. There really are no rules in Art Journaling, other than to use it as a way to express things we might not be comfortable expressing in any other form. Rather than putting a feeling into words, the use of word art, word strips, doodles, brushes, paint and textiles are used to tell the story. Intensely personal, this might be the most difficult of all styles to integrate into one’s repertoire, but cinderella has no problem!

Thinking about your own layouts, where does YOUR style fit? It’s quite likely that you aren’t easily pigeon-holed into a single style, but pull different aspects from several into your work. And as time passes, your style will evolve, both as your skills grow and as your world changes. HOW you do it isn’t as important as that you DO it! As for me, I’m still working the kinks out with the new laptop and having some trouble getting comfortable with it. It can only get better, right?

Making the Most of Milestones

Before I get into today’s discussion I want to thank all of you for your get-well wishes last week. I’m not completely back to normal but can see it from here. I had bronchitis and am still coughing, but no longer running a temp, waking up with a vicious headache or feeling like I’d been run over by a train. I’ve eaten a party-pack of Popsicles over the last two weeks and think I’ll need to keep them in the house all the time now. I forgot how much I like them!

Here in the northern hemisphere, kids are going back to school and summer is winding down. Is it just me or has the first-day-of-school photo shoot gotten as complicated as wedding photos? When my kids were still in school, first day photos were taken standing by the front door for a height reference, with various grimacing and bellyaching. These days it seems, there must be props, special backdrops, dozens of poses and expense. But what can the average mom do to commemorate their precious kiddos’ first days without the headaches? Turns out getting memorable shots doesn’t have to be a huge hassle. Let’s talk about how!

Think about it ahead of time! Planning is never wasted and in this case it can be squeezed in wherever you have a free moment. Think about what you want, how much time you want to put into it, how much advance prep you want to involve and don’t forget to think about your child’s personality. If you have a few minutes, take a look on Pinterest for ideas so you can start palling for them.

Don’t be a slave to the calendar! Nobody’s going to change dramatically in a few days so those first-day photos can actually be taken the weekend before, when nobody’s rushing to get out the door. The weather doesn’t have to be a factor if you don’t take those photos on the exact first day. It’ll also give you a chance to be sure the chosen first-day outfit still fits, is clean and doesn’t have buttons missing.

You don’t need to buy a bunch of props! A simple chalkboard or whiteboard can be highly useful. You can write whatever you want on it and change it between kids. Have your child write his name on the board, then write in the date and their new grade. Simple! Felt signboards can be just as useful, if you already have one. The child’s name, date, grade and school name will all fit on the small ones. An apple, a couple of books or handful of pencils will work as visual connectors to the occasion. Backpacks, lunch bags, new shoes, all those things can serve as props. One image I think would be awesome is of their new shoes, on their feet, with their new backpack leaning against their leg.

Simple backdrops are free! Think a brick wall, the sidewalk in front of your house, their school, a school bus 0r even the siding on your house. Brick walls are classic school images and are nicely neutral. Stand slightly to the child’s side so you’re not perpendicular to the wall, have the child lean his shoulders against the wall then turn a little toward you and start shooting! Have your child stand on the sidewalk with her backpack in hand. Use the portrait setting on your camera, crouch down so you’re on the same level as her eyes and snap! The background will be slightly blurry but still be recognizable. It’ll give the sense of the journey about to begin. Another really effective pose has the child/children walking down the sidewalk AWAY from you, maybe glancing back over one shoulder. OR – use sidewalk chalk to write out the important stuff then have the child lay down on the sidewalk looking up at you. Or shoot down looking at their feet with their new grade in chalk on the pavement. Shooting with the portrait setting from the sidewalk in front of the school can give nice depth of field to provide that sense of growing up and away. If there’s a big sign in front of the school, you could pose your little person sitting cross-legged on the concrete anchoring it to the ground. Another option is to have them posing as if they’re entering the school. And even if your child isn’t going to ride the school bus, they’re dandy backdrops. If your house has clapboard, aluminum or vinyl siding, those horizontal lines can provide a handy journaling spot right on the photo. Simply pose the child to one side of your frame so you have some lovely white space there.

Teenagers can still have first day photos! I know mine gave me serious eye rolls every year after they finished middle school. But I still made them stand there for 10 seconds while I snapped off a quick photo. One way to make it less onerous for them is to print out some little signs on plain paper for them to hold up, using hashtags (let them choose for even more cooperation) like #senior, #backtoschool, #lamephotoday or #almostdone. Tater Tots and Jello has a nice collection of printables all ready for you. Oh, and let them decide how they pose.

Telling stories is what it’s about! Especially for the really little ones, that first day of school is going to be exhausting. They’ve gotten up earlier than they have in weeks, they’ve had a lot of overwhelming new experiences and met a ridiculous number of new people. So you might want to get a photo of them as they arrive home, looking tired and out-of-sorts. One idea I particularly like is the t-shirt one: buy an oversized t-shirt in your little one’s favourite colour (at the moment, ’cause we all know that’s going to change!) then have “Class of [graduation year]” printed on the front. Each year, take a photo of them wearing it. It’ll perfectly chronicle their growth and development and eliminate the conundrum of “what to wear”. Another way to capture that changeling changing is to take a first day photo AND a last day photo for each year. Oh, before I forget, I saw a brilliant idea yesterday. Print out LAST year’s first day photo as an 8×10, frame it in a dollar store frame and have your child hold it in front of them. Perfect record of them as they grow!

These tips can be applied to other occasions as well with just a little thought and very little money. Look online for free printables. They’re everywhere and for every possible event. I’m looking forward to seeing all the back-to-school layouts that I know will be filling up the Gallery any day now!

Anatomy of a Well-Composed Layout

Last week’s tutorial about stacking papers brought this comment from Franghurst: “I found this article very useful.  I have never stacked a paper digitally and I now feel comfortable enough to give it a try.  It’s great when you give us a brand new idea about doing something but I must admit, I like the articles when you go back to the basics.  It’s fun to be reminded how to do things that you learned about a while back.” Of course, that got me thinking. And thinking some more. Today we’re going to go right back the most basic aspect of scrapbooking: composition!

When I look at the layouts in the Gallery, there are layouts that snag my attention right away. I think you know what I mean. There are some things these really fabulous layouts have in common: they’re well-composed. It might not be obvious what makes them catch the eye, so let’s talk about the six basic components of composition. These are focal point, leading lines, balance, rule of thirds, white space and movement.

Focal point: Usually the purpose of a layout is to showcase a photo, or photos. So typically they will be the focal point. But not always. Sometimes the scrapper wants the focus on the story it’s telling, and sometimes the focus is on some other aspect of the layout. This piece by shawnbear is definitely focused on the large photo. She has used several tools from the composition list to achieve her goal.

The size of the photo is the first tool; the rays of paper and the column of elements does the rest.

Leading lines: What exactly are leading lines? They are whatever linear aspects of a layout that lead the eye right to the focal point. Like shawnbear‘s papers. This layout by gwalters goes even deeper into leading lines because they’re both in the main photo AND the layout.

The wire of the fence draws the eye to his face. with one eye framed by them. The chevrons lead the eye to her title. And the concentric paper squares emphasize the converging lines of the layout quite neatly.

Balance: There are lots of ways to create balance in our layouts. The goal is to have areas of equal weight. Flissy61 has done just that.

She’s got the large blended photo balanced by the trio of smaller photos at the bottom. Let’s talk about those small photos for a second. Notice how she has a photo of just the sculpture and a photo of just her daughter, flanking a photo of both. Bingo! Balance. Then she’s used repetition to add more balance to the image with the two vines and the pennants.

Rule of Thirds: This is something I discussed in a previous tutorial on taking better photos. The “Rule of Thirds” means imaginarily dividing your image into thirds, both horizontally and vertically, then placing any (or all!) intersection of those imaginary lines over a focal point. lmtroch has done that in her layout below.

Do you see it? (My lines might be a little off… I eyeballed them.)

White space: This isn’t a literal thing… more of an uncrowded area of the layout where the eye can go to rest. Jill is a master at the use of white space – literally in this layout!

I think white space is a vastly underused tool. But see how effective it is to have these two large areas of just paper.

And last is Movement. By this I mean the way the layout guides the eye around to take in all its components. becky_a makes it look easy.

It really doesn’t matter where you start with this layout, your eye is moved around the whole thing perfectly. Here again, the placement of her photos is key; they all are facing the centre of the layout – harmonious and very pleasing. The bubbles act as a vector to move the viewer, as does the piece of string. And the three little flower clusters keep things on track.

Okay. There you have the factors that create strong compositions. I invite you take a good look at each of these layouts and see if you can pick out each of the “rules” in them. You might also take a critical look at the templates you really like and analyze what makes them attractive to you. I bet you’ll find at least a couple of ways to fit them into the “rules”!

Anatomy of a Paper Stack

I don’t often give a lot of thought to the process of creating layouts, but a comment I received from becky_a on a layout I prepared for Katie of Just So Scrappy and Ooh La La Scraps with her August Buffet collection Live Life started me thinking about it. The two layouts I created for this collection were a little unusual for me, because I didn’t use templates for either of them. (I just couldn’t find one that I liked enough!) The layout becky_a commented on is this one:

… and this is what she said: “I love stacked papers like this and I have the most difficult time making them look right, lol. You make it look so easy.” I had to go look at the layout because I wasn’t sure what she meant! And then I thought maybe it might be worth talking about.

There are no rules for paper stacking. None. It’s pretty much a free-for-all! You can use whatever papers you like, mixing patterns and colours, shapes and angles to suit your whims. Let’s talk first about choosing papers. I’ve always struggled with boldly-patterned paper. They don’t often work with my style of scrapping, but using them in a paper stack like this is one way I can feel comfortable using them. As you can see, that black and white patterned paper is pretty bold! But it’s black and white, so it can work with pretty much anything. I like the paper closest to the photos and elements and largest by area to be relatively neutral, so it doesn’t draw the eye away from the meat-and-potatoes part of the layout. If I’m not planning on journaling ON that paper, patterns can work. I also like to mix up scale. A bold paper needs to be balanced by some smaller patterns or solids. But that doesn’t mean you CAN’T use another bold pattern, because you can resize to so it works well with  your other papers and what you’re doing with them. This is pretty much how I approach paper stacking all the time, whether or not I’m using a template; I like to contrast bright with neutral, bold with subtle, pattern with solid and to have some visible difference between them. But that’s how JAN stacks papers. I’ve seen lots of fabulous stacked-paper layouts where the scrapper has used a monochrome palette, mixed lots of patterns together or only used solids, so as I said, no rules!

Let’s look at this layout, also with the same collection and sans template. I use the Marquee tool and Inverse (Select>Inverse or CTRL/CMD>Shift>I) to cut my random shapes. To make concentric circles or ovals, I make a copy of the first oval then use the Select>Modify>Decrease path, typing in a pixel count to make the new oval smaller. Clip a paper to it and move on.

(My daughter and sister might not like to know I’ve called them both weird people. Or maybe they’d take it as a compliment. IDK!) When talking about colours, I often pull colour from my photographs. OR… I go for contrast. Here, the photo is pretty neutral, so the red, orange, purple and green from the kit all work together. You can see that I’ve mixed in some ovals and rectangles, some pennants and the square background papers. I’m going to tell you how I do those backgrounds, which might be news to those still learning digi-scrapping but is probably old hat to the more experienced in the group.

First step is to choose your papers. Then open a new 12×12 (or your favourite dimensions) canvas on your workspace. Decide which paper will be your main background, the one you want right under your elements and photo(s). Decide on the order of your other papers, keeping in mind the aesthetics of the layout as a whole. I usually use 3 papers for these stacked backgrounds because, as my dear friend Sandy Scott likes to remind me, 3 is an aesthetically pleasing number. You can drop them all onto your layout, turning visibility off to the topmost ones so you can see what you’re doing as you climb the stack. Or you can add them one at a time. Whatever suits your workflow. I’m showing them all piled on at once and in the screenshot after this one, you’ll see that the topmost paper is invisible.

To make a visually pleasing rotated stack, you’ll want to make the upper papers a bit smaller than the background paper. (Or not. Remember, no rules!) The easiest way to do it is to click on one of the corner “handles” on the bounding box, then either pull that handle in toward the centre, or take the quick-and-lazy route and type a number into that box I’ve shown you here. That keeps the papers centered one on top of the other. Just make sure you’ve got the Constrain Proportions box checked so it shrinks the paper in both horizontal and vertical planes.

Then rotate that second piece of paper. The Pivot point selected is the centre one – the default. The angle will be half of the percentage by which you’ve shrunk your paper, unless you want your corners to extend off the page. There are two spots where you can see the angle you’re rotating to, the black pop-up box and down in the Tool panel. I usually just eye-ball it.

I like to keep the papers in a rotated stack, other than the actual background, all the same size. It’s obviously not required, it’s just my OCD-ness. Shrinking the paper is done in exactly the same manner.

Then I tip the next/top paper in the opposite direction, to about the same angle. And that’s all there is to it! Shadow those babies up and you’re ready to move along.

The second example is even more straightforward.

When you’re doing this kind of stack, if you want a symmetrical border of the background paper visible, make sure your Pivot point is in the centre. It’s important! Typing a number into one of the dimension boxes – either one is fine, as long as you’re Constrained – is quick.

But if your Pivot point is in the lower right corner, for example, when you type in your number, this is what will happen. It’s not necessarily a bad thing, because there are ways it can make your workflow more streamlined if you want to work from a corner out. (You can tell this screenshot was an after-thought. Sorry!)

Here, you can see what decreasing the paper size by 5% for the first one and 5% MORE for the second one will look like. You can use any amount you like; if you want a wider border of your very bottom paper, go with a bigger drop. If you want one border wider than another, choose a smaller or larger decrease. A nice solid paper with a narrow gap looks really good. Oh, and you CAN use a decimal in that box. You don’t have to go with whole numbers.

All of these tips can be applied to any stack of papers you might contemplate, either as part of a template or freehand. Give it a shot becky_a, you’re probably underestimating yourself a LOT!

Can We Talk?

Today I’d like to take a baby step outside my comfort zone and talk about journaling. I struggle with it. I don’t love it. I’m VERY uncomfortable with it. But I know it’s an important part of memory-keeping, so I work at it. I know some of you are shaking your heads, because you’ve read my tutorials and you know how wordy I am. 😉 But somehow, I hate to put all those words onto my layouts.

So let’s deconstruct journaling a little. Why is it important? Well, first of all, the viewer isn’t necessarily going to know who is in the photos, what they’re doing, when it occurred, why they’re together or where it happened. Basic journalism 101. Some of these factors aren’t important every time, but for a scrapbooking layout to be meaningful, at least a couple of them should be included. A date and a location might be all that’s needed. For other layouts, like heritage layouts using very old family photos, more detail isn’t only needed, it’s what makes the layout special. Take this one for example.

I’ve put all the pertinent details in there. Now when others see it, they know a little about this boy. What it doesn’t say is why this layout is important to me, how Kenneth is connected to me… it’s lacking context. But if I tell you it’s part of a family history scrapbook, where I’ll include an extensive, multi-generation family tree, then it might not matter. (Kenneth is currently part of a genealogical mystery my cousin Lynne and I are trying to solve. He’s my first cousin twice removed while Lynne is one generation closer to him; he may have been “born on the wrong side of the blanket”. Now to prove it!)

Another aspect of journaling that matters is format. My personal dislike of narrative journaling is reflected in many of my layouts by its absence. But to other scrappers, narrative works. They’re able to tell a complete story within their page, filled with detail… and my deepest admiration! When I try to do that, it sounds stilted and boring. Here’s a glimpse into Katherine Woodin‘s life; her pages are always filled with day-to-day events and are like a pictorial diary.

Others use narrative journaling to process difficult events, as Biancka did here. That takes GUTS, ladies!!

So how can I inject some context into my layouts without resorting to my brand of stiff, boring, wordy text? Oh there are SO many ways!

Quotes are a good way of both illuminating the layout and grounding the subject matter. If I can find a quote that says what I want to say much more eloquently than I can, I’ll take it! Here’s an example.

Song lyrics are, in my mind, PERFECT for journaling! When I heard this song for the first time, this girl instantly came to mind. Then the perfect photo (by Erin Wallis Photography) came into my hands. Meant to be?

Word art can help tell a story very effectively. This layout is part of my Ireland collection and will be bookended by other layouts related to the Famine to provide more context.

This layout has more detail to flesh out the story.

Let’s not forget journal cards. They’re a combination of word art and sentiment, which can be very useful. Even if they’re just a spot to put your journaling, they can be just what your layout needs. I know I don’t use them as often as I should. For this layout I used a card that had space for me to put my own words, and I used a quote from my daughter. It says it all!

What about word strips? I LOVE them! They can take on the whole job of telling your story; it’s just a matter of finding ones that work. If you have a sense of humour, you can use word strips that actually relate to something else, but communicate your message effectively. In this example, the word strips I used came from a 2014 July Buffet kit from Ponytails, who no longer is a member of the GingerScraps family. They’re Canadian slang terms: Double Double is a shorthand Tim Horton’s coffee order, Beauty is a synonym of fantastic and Eh! is a pure Canadianism. But they made sense with my photo.

What creative journaling methods do you use? Help a girl out here!

Pick Your Pivot Point

Today’s tutorial is a quickie – short, sweet and very much to the point. The PIVOT POINT that is! I’d seen a tutorial at another site that was compiled by the talented Yobeth Puckett, and I filed it away to examine more closely another time. Yesterday, I dragged it out and tried to make sense of it. Unsuccessfully. At first. Because I was overthinking it. But believe you me, this is going to be a boon to all of us because it’s going to speed up our scrapping and reduce frustration by a lot. I know I’m going to incorporate it into my workflow, starting today.

So you know how sometimes you’re using a template and you decide you really want the stripes on your paper to run diagonally instead of horizontally. So you drag and drop your paper onto your template, then you rotate it to the desired angle. But it looks like my screenshot – the paper isn’t covering the whole paper shape mask you’re planning to clip it to. Then you nudge the paper until it covers the shape. Many steps. But…

Have you paid any attention to the controls the Move tool provides? I know I didn’t. But I’m never going to ignore them again. See that little box made up of dots? It’s a POWERFUL thing. Notice that the central dot is selected.

That gray dot signifies the Pivot Point around which the object rotates. So if I left the centre dot selected, the paper would spin on centre. But if I MOVE the selection to another one of those dots, it changes the Pivot Point!

See? By moving the Pivot Point to the middle of the right side, then rotating my paper on THAT point, the shape is completely covered! To quickly get the exact angle I want on the pattern, I typed in a numeric in the Angle box rather than try to hit a moving target.

Then all I had to do was clip the paper to the shape. As you already know, I use keyboard shortcuts rather than click on a tab, drag the cursor down an options list then click on the one I want. Quick clipping is achieved by CTRL/CMD>G for versions prior to 14 and CTRL/CMD>ALT>G for versions 14 and up.

Sweet! Now I know a shortcut for rotating a paper. But what about something that isn’t symmetrical, like this piece of ribbon. I want the knot to sit on top of the bow’s knot, but I want the ribbon to be at about a 30° angle to the bow. How can it be rotated around a different Pivot Point? Is it even a thing??

Here’s what usually happens. I rotate the ribbon. Then I have to nudge it until the two knots line up. Not the end of the world, but boy, it would be nice to be able to do it even more quickly and easily. Work Smart Not Hard is my mantra after all!

The actual Pivot Point is at the centre of the bounding box around the ribbon, but I want it on the knot. I tried using the tool’s command box but it was a colossal fail. None of the options was right.

This is what happened when I selected the upper left corner of the box. Better, but not what I want.

This is the part where I struggled with Yobeth’s tutorial. I was really overthinking it, trying to drag the Pivot Point to where I wanted it while holding down the ALT key. But all I had to do was hold the ALT key down and CLICK on the spot where I wanted the Pivot Point to go.

It really IS that simple!!!!

I can think of so many ways to use this trick. One that immediately jumped to mind is for rotating photos to match the angle of photo spots on templates. It’ll save so much nudging, I’m not even kidding!

Now I’m ready to create my layout for the Storytelling Challenge. My examples here were set up using some of the items I’m going to use from LouCee Creations‘ Shampoodle and Setter kit. It should be finished and in the Gallery by the time this tut goes live. See you all next week!

Even Sketchier Still!

I know, I know… I’ve already shown you more than one way to turn a photo into a sketch. But I haven’t shown you THIS way, which is the easiest and most interesting method I’ve learned to date. And it’s a GUIDED EDIT in PSE 2019 (Amazon Prime Day – $59!) so you know it’s going to be a cinch. Well, it can be as easy or complicated as you make it. I tried this Edit on several photos before deciding that for the sake of expedience, I’d go with the photo below.

This Partial Sketch Edit is reached via Guided>Fun Edits. Right there in the middle!

The Control Panel looks like this and completely leads you through the process. I’m going to show you the results of each of the four options so you can see how it looks and lets you imagine how you could use it.

I’m going to move top to bottom and left to right with the options, starting with the Pencil Sketch. This photo is divided horizontally so it’s not going to be a lot of work to make my selection. The selection portion is the most difficult and time-consuming part of the process. (Just a reminder… the Cancel button takes you right back to Square One, literally, so don’t click it unless you WANT to start all over.)

One thing I discovered right off the bat is that the effect appears as the selection is made. You can see it as it changes. I’m showing a selection made with a fairly small brush at 100% Opacity but there’s nothing that says you can’t do whatever you like. If you’re adept at selection, you can use a bigger brush; don’t forget that you can toggle back and forth between Adding to your selection and Subtracting from it. That means you can remove areas from your selection that you don’t want to convert to a sketch while you go. The Undo (CTRL/CMD>Z) command will take you back a single step if you find too much of the photo is selected with one click.

So, in the Pencil Sketch mode at 100%, there’s not a lot of detail visible in the lake. The mountains are well-defined but that’s about all. The clouds are so important to the overall composition so let’s find them.

Ah, there they are! To my eyes, this looks like it’s part sketch and part watercolour. After the Opacity is where you want it, if there’s any fine-tuning your selection needs to give you the look you want, you can click on the Detail Brush and fix it up.

The refining I did isn’t really obvious, and there wasn’t a lot needed.

The best sketch effects blend gently into the photo, and PSE makes that as simple as moving a slider over to the right. Watch as you slide so you know when to stop.

The software developers at Adobe are really upping their game. This Edit also includes a Flip Effect option. So you can turn the part of the photo you DIDN’T select into the sketch and the sketch part back to a photo just with one click.

The second option is a Colored Pencil Sketch. I didn’t know if it would look substantially different from the Pencil Sketch version once I adjusted the Opacity, so let’s take a look.

There definitely is a hint of colour in the lake this time.

With a little tweaking I’ve got this.

And with the edge between photo and sketch softened…

Before I use the Flip Effect button, let’s look at the Pencil and Colored Pencil side by side. Remember there’s a 20% difference in Opacity between them. There is a difference, but I’m not convinced the software is why.

Okay, here’s the Flipped Colored Pencil version.

This one has a lot of promise. How will an Old Photo sketch effect look?

Ah! Very cool!! For reasons I haven’t divined, I had trouble making my selection for this one to exclude the little spit of land at the centre-right of the photo. So after a number of failed attempts to duplicate the selection used in the previous versions, I just let PSE have its way.

See how the mood is SO different with this version? I can’t wait to try it on some of my real old photos.

I really like the way this one looks.

Flipped, maybe not so much. But I do love all the texture.

What will Old Paper do that Old Photo didn’t?

There is a noticeable difference; those creases are awesome!

Dropping the Opacity to about 45% (yeah, too quick on the PrtScr finger!) looks like this. Still moody, but not quite as stormy.

Flipped is pretty. I can’t pick just one!

I can see any (or all) of these printed and framed. Or on a greeting card. Or surrounded by beautiful elements on a layout. So many ways to use this!! I hope you’ll give it a try and let me know how you like it.