Techniques

With heat embossing, you stamp with ink that stays wet for a long time, sprinkle embossing powder over it and melt the powder with a heat tool into a raised, glossy design. A heat tool is a hot air gun made for crafting.

• Stamp with embossing ink or pigment ink.
• Sprinkle plenty of powder over the wet image.
• Tap the excess powder onto a folded sheet of paper and pour it back into the pot.
• Brush away stray grains with a dry little paintbrush.
• Let the heat tool warm up for a moment and hold it a few centimetres above the paper. Move it slowly and stop as soon as the powder turns glossy.

A hairdryer doesn't work well: it doesn't get hot enough and it blows the powder away.

Read also: Heat and dry embossing: how to add raised texture to your pages

Clear stamps on an acrylic block are the easiest for beginners. Clear stamps are see-through stamps made of photopolymer or silicone. You can see exactly where you're stamping, they're affordable and they take up little space.

Rubber stamps, unmounted or on wood, often give a slightly crisper image and last a very long time. They are more expensive, though, and heavier to store.

Start with a few versatile sets: short sentiments, simple shapes and a background stamp. Designs with clear lines work best.

Is a new clear stamp giving you a blotchy image? Rub the surface lightly with an eraser. This removes the smooth film so the ink grips better.

Read also: Stamping for beginners: how to get a crisp impression

Use a stamp positioner: it lets you place a second stamp or a second impression in exactly the same spot. That way the layers line up.

• Stamp the lightest colour first and let it dry, and only then the darkest.
• Fix the paper in place with a bit of tape so it doesn't shift.
• Place the paper in the corner of the positioner, stamp, remove the stamp and repeat with the next layer.
• Do a test print on scrap paper first to see whether the layers line up.
• For the bottom layer, use an ink that doesn't bleed, such as pigment ink or a well-dried dye ink.

You can hide a small gap between the layers with a thin line of ink or a stamped shadow.

Read also: Stamping for beginners: how to get a crisp impression

Choose wax beads or wax sticks in the colour you want, and a metal seal stamp. For post, use flexible wax.

• You melt wax beads in a little spoon over a tealight. This lets you control the amount well.
• You use wax sticks in a glue gun or with a wick. It's quick, but the wax easily gets too hot.
• Flexible wax is less likely to break and is meant for envelopes you send.
• A seal stamp has a metal head, usually brass, on a wooden or metal handle. Rubber and clear stamps warp in the heat.
• The size of the head determines how much wax you need. For a 2.5 cm head, a few beads are usually enough.

Start with a starter set with a few colours and one stamp.

You need ink that stays wet for a long time, so the powder sticks to it. That can be embossing ink or pigment ink.

• Embossing ink is clear or lightly tinted and dries very slowly. Pair it with coloured powder, such as white, gold or black.
• Pair coloured pigment ink with clear powder. The ink colour then gets a glossy, raised coating.
• Dye ink dries too quickly, so it's less suitable.

Want to emboss a handwritten title? There are embossing pens for that. Write a small section and sprinkle powder over the wet lines straight away, otherwise the ink will already have dried.

Read also: Heat and dry embossing: how to add raised texture to your pages

Dye ink soaks into the paper and dries quickly. Pigment ink sits on top and dries slowly. Distress ink is a type of dye ink that stays wet for a long time and is made for blending.

• Dye: transparent, crisp in detail and quick to dry. Some kinds fade or bleed with water. There are also waterproof versions.
• Pigment: thick, opaque and lightfast, and visible on dark paper. It dries poorly on coated or glossy paper. Embossing solves that.
• Distress: reacts to water, blends softly together and gives a weathered, vintage look.

So choose based on your paper and the effect you're after.

Read also: Which stamping ink to choose? Dye, pigment and distress explained

With heat embossing, you melt powder into a raised layer on top of the paper. With dry embossing, you shape the paper itself, without heat.

You dry emboss with an embossing folder in a die-cutting machine. You can also do it by hand: press the paper into the opening of a stencil with a stylus, on a light box.

Dry embossing works best on sturdy cardstock. Thin paper tears more easily. Lightly spritz the folder with water for deeper relief and less chance of tearing. Then rub ink over the raised areas to make the design stand out more.

Heat embossing works on cardstock, patterned paper and tags.

Read also: Heat and dry embossing: how to add raised texture to your pages

Scrape along the edge at an angle with a distressing tool or the open blade of a pair of scissors. This loosens the fibres and makes the edge ragged.

Then dab or sweep a little ink along the edge, for example brown or dark distress ink. Use a blending tool or carefully run the ink pad along the edge.

More variations:

• Tear the paper instead of cutting it, for a rough white core.
• Lightly sand the edge with fine sandpaper.
• Dampen the edge slightly and curl it with your finger.

Practise on an offcut first. Thin paper tears more easily than cardstock.

Read also: How to make paper look old with tea, coffee and ink

Gesso is an acrylic-based primer that prepares paper or another surface for paint and mixed media. The paper becomes less absorbent and a little sturdier, and paint sticks better and stays brighter.

You also use it to cover a busy or printed page, for example in a journal made from an old book. Over a background, it tones colours down a little.

There's white, black and clear gesso. Apply it thinly with a brush, palette knife or old bank card and let each layer dry. Black gesso over embellishments, with a little metallic paint or mica dry-brushed on top, brings out the texture beautifully.

Read also: Mixed media and gesso: getting started with paint, paste and layers

The wax isn't hard enough yet, or the stamp head has warmed up from repeated use. So wait longer before lifting the stamp, and lift it straight up.

What helps:

• Rest the stamp head on an ice pack between seals and wipe it dry before using it.
• Don't use too much wax. A thick pool stays soft for longer.
• After pouring, wait a few seconds before stamping.
• A very thin layer of release agent, such as silicone spray, can help.

Does a bit come away anyway? Let the seal cool completely. Clean the stamp head before making the next one.

Wipe the paper with an anti-static pouch before stamping. This removes the static charge and the grease from your fingers, which stray grains cling to.

A pouch like this is filled with a fine powder, often a natural clay. A dry duster works reasonably well too.

Also:

• Hold the paper by the edges.
• Tap off the excess powder thoroughly.
• Brush away stray grains with a fine, dry little paintbrush before you start heating.

Cornflour is often recommended. It does absorb skin oil, but whether it helps against static isn't clear.

Read also: Heat and dry embossing: how to add raised texture to your pages

In both cases, you've usually heated it for too long or too close. Overheated powder soaks into the paper fibres and goes flat and greasy instead of nicely domed.

• Keep moving the heat tool back and forth and stop on each spot as soon as the powder turns glossy.
• Keep a few centimetres away.
• Warm the paper briefly from underneath first, then finish from above. This prevents warping.
• Thicker paper warps less than thin paper.

Has it warped anyway? Once it has cooled, leave the sheet under a few heavy books overnight.

Read also: Heat and dry embossing: how to add raised texture to your pages

Start with clear, white and gold or silver. That covers most pages and cards.

After that, look at the grain size:

• Fine or extra fine powder is for detailed stamps, thin lines and small text.
• Regular powder suits most stamps.
• Coarse or extra thick powder gives a thick, glass-like layer, especially on larger areas or in several layers.

With white and metallic, finer powder gives a smoother layer with better coverage. There are also matte, glitter and two-tone powders. You can add those later once you know what you like.

Read also: Heat and dry embossing: how to add raised texture to your pages

Wash the clear stamp with lukewarm water and a little mild soap and let it air-dry. This removes dust, fluff and oil that reduce the cling.

• Touch the sticky side with your fingers as little as possible.
• Clean your acrylic block with soap and water too, because dirt on the block makes the stamp loosen.
• Don't rub hard, or you'll damage the surface. A soft cloth or your fingers will do.
• Once dry, put the stamp back on its backing sheet.
• Don't use alcohol or harsh cleaners, as they can make clear stamps cloudy and brittle.

If the stamp still won't stick after that, it's probably too old or has been used too often. If you like, fix it to the block with a piece of double-sided tape.

Read also: How to clean and store stamps so they last for years

Sort your stamps by theme, such as sentiments, flowers, animals and seasons. Then you know where to look.

• Put each set in its own pocket or folder and stamp the set on the front, so you can see what's inside.
• Keep a folder, box or binder for each theme.
• Keep a stamp book or index cards with impressions of all your stamps, in alphabetical order or by theme.
• Store the matching dies with the stamp set so it stays complete.
• Put a label with the name of the set on the spine or the box.

If you use some stamps more often, keep them within easy reach. The rest can go in the box.

Read also: How to clean and store stamps so they last for years

Use a little ink at a time, work in small circles and build up the colour slowly. Streaks usually come from too much ink or pressing too hard.

• Use a blending tool with foam or a soft blending brush.
• Tap the ink onto the foam and start off the edge of the paper. Then work inwards in circles.
• Start with the lightest colour and let the colours overlap a little.
• Smooth cardstock or watercolour paper blends more nicely than soft, fluffy paper.
• Want a crisp edge? Mask off an area with a sticky note or a stencil.

Work on a smooth, wipe-clean surface, such as a Teflon mat.

Read also: Distress ink and ink blending without blotches

Apply distress ink or water-based markers to the stamp, spritz it lightly with water and press it onto watercolour paper or thick white cardstock. The ink then flows freely, as if you'd painted with watercolours.

• Solid stamps work best. Outline designs are trickier.
• Use two or three colours and let them run into each other on the stamp.
• Spritz sparingly. With too much water, everything runs.
• Stamp again without adding ink for a softer second impression.

Want more definition? Once the image is dry, stamp a matching outline stamp over it with waterproof ink.

Read also: Distress ink and ink blending without blotches

Use thick paper made for wet techniques and work with little water. Thin paper expands when wet and dries unevenly.

• Choose watercolour or mixed media paper with a high gsm.
• Prime the paper with gesso first. It becomes sturdier and less absorbent.
• Let each layer dry before you carry on.
• Stick things down with dry adhesive, such as double-sided tape or a glue stick, instead of wet glue.
• Tape a loose sheet down all the way round onto a board before you start painting.

Has it buckled anyway? Leave it to dry under heavy books. Ironing on a low setting with a cloth in between can also help.

Read also: Paper that doesn't buckle with glue, paint and water

Mixed media means combining several materials and techniques on one page: paint, ink, paper, stamps, stencils, pastes and small objects. There are no fixed rules.

A simple order to start with:

• Prime sturdy paper or your journal page with gesso.
• Make a background with paint or ink.
• Stick a few layers of paper on top, such as old book pages or cuttings.
• Add texture with a stencil or stamp.
• Choose one focal point, such as a photo or image.
• Finish with a pen, shadowed edges or small details.

Practise on loose cards first. Then you'll feel braver about trying more.

Read also: Mixed media and gesso: getting started with paint, paste and layers

Fix the stencil down firmly and flat, and use little paint or ink. Liquid creeps under any opening that doesn't sit completely flush.

• Secure the stencil with masking tape, washi tape or repositionable spray adhesive.
• Dab the paint on with a sponge or blending tool, from the edge inwards. Don't swipe.
• Offload the excess onto a scrap of paper first.
• Spread thick paste over the stencil in one go with a palette knife, then lift it straight up.

Clean the stencil straight after use. Dried paint makes the surface uneven, and then it bleeds more easily next time.

Read also: Using stencils: ink, paint and paste without bleeding

Use only the top, printed layer of the napkin and stick it down with decoupage glue or diluted craft glue on a light background. A napkin is see-through, so on dark paper the design disappears.

• Remove the white layers and tear or cut out the design. A torn edge is less noticeable.
• If you like, prime the background with white gesso first.
• Spread glue on the paper, lay the napkin on top and smooth it out from the centre with a soft brush.
• If you like, work with a piece of cling film in between. The wet napkin is then less likely to tear.
• Finish with a thin layer of glue over the top.

Small creases are part of the look.

Read also: Napkin decoupage: how to stick it down without wrinkles

Stick paper to paper with a glue stick, white craft glue or gel medium. Gel medium is an acrylic medium that both glues and protects. Superglue, tacky glue and hot glue work poorly on paper.

For heavier pieces, such as buttons or chipboard, use thick craft glue or glue dots.

Once the collage is finished, you can seal it with a thin layer of gel medium or diluted white glue. Diluted glue is roughly one part glue to three parts water. This stops loose edges from lifting and helps new layers stick better.

The wetter you work, the more the paper buckles. So apply thin layers and let them dry well.

Read also: How to make a calm, natural-looking collage in your journal

Put one or two elements on foam tape or foam pads. This creates a real shadow and makes that element stand out. If you raise everything, the effect is lost.

• Raise the title, a small cluster or one embellishment. Usually leave the photo flat.
• Vary the heights: flat, thin foam and thick foam side by side gives more depth than everything at the same height.
• Stack flat layers too, such as a photo on a mat or several die cuts on top of each other.
• For larger pieces, put foam in the corners as well so they don't sag.

Watch the thickness in your album. Work that's too bulky presses against the page next to it.

Read also: Layers and depth on your scrapbook page

You need a block of soft carving rubber and a set of lino or stamp-carving gouges. Whatever you carve away won't print.

• Draw your design on paper with a soft pencil and rub it onto the rubber, drawing side down. That way it's automatically mirrored, which matters for text.
• Carve shallowly and always away from your hand.
• Start with the outline and then remove the larger areas.
• Is the design too fine? Make it a little bigger so you have more rubber to work with.
• Pull away loose bits of rubber with your fingers or cut them off.

Always do a test print before you judge. It often turns out better than the rubber suggests.

Choose the ink that suits the surface. On ribbon, kraft paper and wood, ordinary dye ink usually doesn't work well.

• Ribbon: use fabric ink or pigment ink, and let the image dry thoroughly. Smooth satin ribbon gives the crispest image. If you choose distress ink, the colour may run if the ribbon gets wet.
• Kraft paper: pigment ink or embossing ink with powder stands out best. Dye ink sinks into the brown paper.
• Wood: most pigment inks work well. Lightly sand rough wood so the image comes out crisper.

If you want to stamp on fabric, glass or metal, have a look at the questions about stamping ink. Try it on an offcut first.

Read also: Which stamping ink to choose? Dye, pigment and distress explained

Yes. Cut a shape out of sturdy, thin plastic or card. You can keep the inner piece too: that's your mask, for a silhouette instead of a filled shape.

Suitable materials:

• Acetate or other clear plastic sheets, such as an old plastic wallet or dividers.
• A sheet of paper run through the laminator.
• Thin card or cardstock. It's quick to make, but doesn't last as long with wet paint.

You can cut with a craft knife on a cutting mat, with a cutting machine or with dies in your die-cutting machine. Keep the little bridges in letters such as o and a intact, otherwise the centre falls out.

Read also: Using stencils: ink, paint and paste without bleeding

You can do it with gel medium and a laser print or photocopy. Inkjet ink usually doesn't release well. Always print text mirrored, because the image ends up reversed on your page.

• Spread an even layer of gel medium on the surface.
• Lay the print on it, printed side down, and rub it down firmly, without air bubbles.
• Let everything dry completely, ideally for a few hours.
• Wet the paper and gently rub it away with your finger until only the ink is left.

Rub gently, or bits will disappear. A weathered, uneven result is part of this technique.

With a sewing machine or by hand. The machine is quicker, but paper needs a few adjustments.

With a sewing machine:

• Choose a long stitch length. Short stitches perforate the paper so it tears.
• Sew slowly and hold layers in place with a glue stick instead of pins.
• Use a separate needle for paper, as paper blunts needles.
• Cut the threads long and stick them down on the back.

By hand, first pierce holes with an awl or needle, on a mouse mat or foam. Then sew with one or two strands of embroidery thread.

Draw short dashes with a fineliner or gel pen and prick a hole with a pin at the start and end of each dash. Those holes make the effect convincing.

• Use a ruler for straight lines.
• Straight stitch and zigzag stitch are the easiest and look the most natural.
• A white gel pen on dark paper looks a lot like real thread.
• For a round zigzag, place V-shaped stitches side by side around a circle.

You can also use stamps or dies with stitched lines. A tracing wheel makes a row of even holes in one go.