Saturday, April 26, 2014

A Thought for Sunday, April 27, 2014

  "God does not command that we do great things, only little things with great love." -- Mother Teresa

Having Fun with Miniature Paintings

Several years ago I bought an assortment of small Stampbord pieces. The largest was 2x2 inches and the smallest was 1x1 inches. A third size included in this assortment was 1 inch x 2 inches.

Stampbord is made by Ampersand. It's basically a clay type surface over hardboard. Stampbord doesn't warp so it's great for mixed media techniques.

I've been using the two smaller sizes to make pendants for my new mosaic jewelry collection. But rather than using the 2x2" pieces for jewelry, I've been turning them into miniature paintings. Here's one that's still a work in progress:

A tiny abstract displayed on a miniature easel from Michaels
This painting was created first on acid free artists tissue paper, which I then cut out and adhered to the Stampbord with soft gel. Once the gel dried, I continued to tweak my Lilliputian creation using fluid acrylics and a 1/8 inch wide nylon brush until I was satisfied with it.

After I took this photo I decided to paint the border surrounding the artwork black. I really liked the blue border but it didn't completely cover the pencil marks at the edges where I had marked off the paper's dimensions. Carbon black, however, does a great job of covering up unwanted marks. So as of today the border is black!

I signed it on the back rather than the front. It was easier to place my signature on the back where there was more room. Tomorrow I'll seal it and varnish it and call it done.

Creating the art on a separate piece of paper first, then adhering it to the Stampbord, made the painting process easier. The Stampbord's clay surface grabs paint and makes blending fast-drying acrylics somewhat tricky. Working on a separate piece of paper eliminates that problem.

I've got plenty more 2x2 inch Stampbords to turn into into miniature paintings. They're so much fun to do; already I'm dreaming up ideas to try with them.

Miniature paintings make terrific gifts. People really seem to enjoy having an original piece of art that takes up hardly any room and brings a touch of color to a desk or table top. Their small size carries an equally small price tag (mine are $45 including the miniature easel) making this art readily accessible to everyone!

Text and image ©2014 Lynn Edwards

Friday, April 25, 2014

Three Easy Ways to Promote Yourself Using Business Cards

With all the talk these days about promoting your work through social media, it's easy to overlook some easy, low tech methods of self-promotion that are available to everyone. All that's required is a supply of business cards. Below are three simple but effective ways to get your name out there:

1. When you dine out at a restaurant, leave your business card on the table along with the tip. If the service was especially good, jot an appreciative note on the card. "Great service! Thank you!" is a nice way to convey your compliments. Receiving praise is rare for many people; it's a nice way to brighten another person's day while acquainting them with your product or service.

2. Include your business card in all written correspondence. Tuck a card into the envelope when paying bills or submitting forms or applications by snail mail. You may not know the recipient personally, but they'll be made aware of what you have to offer with this simple strategy.

3. Ask any service providers you patronize, such as your barber, hairdresser, auto mechanic, veterinarian, etc. if you can leave some business cards with them. Often they will be glad to pass them on to their other clients. One good turn deserves another; doing the same for them engenders goodwill, and both of you will benefit.

©2014 Lynn Edwards

Tuesday, April 22, 2014

A Front Door Do-over: Before and After

Yesterday's post discussed my failed attempt to pick a color for the front door of our house when we had it repainted a couple of years ago. What was on the color chip turned out to be worlds apart from the color it turned out to be when painted on the door. I detested it. It was a gaudy, raspberry-hued magenta that clashed with everything. It simply had to go!

The magenta door readied for its makeover

The new color is Mirage Lake by Sherwin Williams. It's actually slightly more green and more muted than it looks here. I still need to remove that trace of magenta at the bottom edge, but I'm much happier with color now.
So, which color looks better? Would you have ditched the magenta? If so, what color would you have chosen to replace it? Tell me what you think. Just click on the Comments/No Comments link below to share your views!

©2014 Lynn Edwards

Monday, April 21, 2014

A Color Scheme Gone Awry: Repainting the Front Door

When we had our house painted a couple of years ago, we chose a pale blue green (the color of sea glass) for the body of the house; a deep, dark blue green (almost black) for the shutters, and crisp white for the trim. I wanted the front door to stand out, so I sifted through dozens and dozens of paint chips trying to find just the right color. Then I bought sample bottles, painted poster boards with my candidate colors, looked at them propped against the door in every lighting condition from morning until night, and STILL guessed wrong! Goes to show even someone who works with colors all the time can misjudge on occasion.

The infamous magenta door, taped off and ready for a do-over.

Color shock

What I thought was going to be a rich, dark mulberry -- when applied -- turned out to be an obnoxious bright magenta. Not remotely close to what I'd had in mind! It looked nothing like the color on the chip. The magenta clashed with the other colors and made the front of the house look like a circus wagon.

The painters finished up the job a couple of days before Thanksgiving. By then the weather had turned sharply colder and they were racing the clock to complete the exterior before falling temperatures made painting impossible. The front door had been the last thing on their to-do list. So the magenta stayed. I was mortified.

The following spring we were immersed in other projects. Summer came and went. Fall flew by. Then winter. In short, I never got around to repainting the front door, though it made me cringe every time I looked at it.

Better the second time around?

Now it's spring again. And I'm determined the magenta has got to go. Now. Yesterday I washed down the door and taped off the hardware to ready it for repainting. A brand new quart of paint awaits. Will this new color be the right one? Will it look good with the rest of the colors on the house? Or will it be just as garish as that god-awful magenta? Once I start painting, I'll have answers. Then I'll post a photo to get your take on it.Whether I've made a good choice this time remains to be seen. Like Forrest Gump said, it's like a box of chocolates. You never know what you're going to get!

©2014 Lynn Edwards

Sunday, April 20, 2014

A Thought for Sunday, April 20

"The aim of art is to represent not the outward appearance of things, but their inward significance." -- Aristotle

Friday, April 18, 2014

Losing Chardonnay

This week we lost one of our fur children. Chardonnay, our big yellow tabby, lost his valiant battle with kidney disease. We knew it was coming, but that didn't make his loss any easier to accept. He was with us for almost 19 years -- a long, happy life.

It seems so strange to not hear him wailing loudly for his breakfast in the mornings. And to not see him peering through the French doors as we pull into the driveway. It's not until they're gone that you realize how large a role a beloved pet plays in your life. They stake out a claim not only on your couch but also in your heart. They're a part of you, day in and day out. And so when they leave us, we grieve deeply. It's their absence, the emptiness of the chair they always napped in, the silent kitchen in the morning, that reminds us just how much they filled up our lives. And fill our lives he did, in so many ways. He could be funny, maddening, irresistible, amazing and demanding. But most of all, he will always be unforgettable.

Rest gently, sweet Chardonnay.

©2014 Lynn Edwards

Monday, April 14, 2014

A Folk Pottery Find in the North Georgia Mountains

Tucked away in our state's beautiful mountains is a gem of a museum. For those interested in Southern arts and culture, the Folk Pottery Museum of Northeast Georgia is a must-see. It showcases the work of North Georgia potters whose handcrafted wares allowed people to prepare, preserve and store foods and beverages in the era before refrigeration. Back then, pottery was essential for survival. 

After refrigerators became commonplace, many of their pieces began to be acquired by collectors.When the Smithsonian Institution focused its attention on the work and processes of White County potter Lanier Meaders, he became internationally known. The attention paid to Lanier and to other potters in the Meaders family by the Smithsonian raised their work and that of others in the region to folk art status.

The Folk Pottery Museum of Northeast Georgia in Sautee, near Helen.

My husband and I have an especially keen interest in this museum. He's related to the Meaders family and Lanier Meaders, who made utilitarian wares along with his renowned "face jugs." Lanier's face jugs feature grinning or grimacing characters, often with "teeth" made from porcelain clay. For Lanier, creating these grotesque pieces was simply a fun diversion from the more serious side of the pottery business. He was amused but puzzled when people began stopping at his small pottery operation in White County seeking to buy something so "ugly," as he described them.

When a documentary film on the Meaders family's work and processes was released by the Smithsonian in 1976 at a special event held at the Library of Congress, it cast the attention of the cultural world on this plain-spoken man and his family. It also transformed a humble household commodity, along with the quirky face jugs, into highly collectible art.

Lanier had clay in his blood, so to speak, but didn't take up the profession until he was in his 50's. His father Cheever was an accomplished potter with a well-established business supplying general stores, hardware stores, and gift shops. Several uncles and other family members were also skilled potters; Lanier's mother Arie took up pottery making at 60 and became widely known for her highly decorative designs. Lanier didn't have children, but members of his extended Meaders family produce pottery to this day, with multiple generations still shaping clay by hand.

Naturally, their works occupy much of the Folk Pottery Museum's display space, along with those of many other well known North Georgia pottery families including the Dorseys, the Hewells and the Fergusons. The museum's collection features an amazing number of pieces from the earliest periods right up to contemporary works. Each has its own story and provides a fascinating glimpse into the social, geological and economic aspects of our state's history.

The museum's Suzanne Reese-Johnston offers a warm welcome to visitors. Suzanne herself is an established potter with an extensive knowledge of the craft and its history. The painting behind her, by Clarkesville, Ga. artist Linda Anderson, depicts a typical early pottery operation in this mountain region.

A display of pitchers, bowls and crocks prior to glazing and firing. The photo is of Lanier Meaders working in his White County pottery shop. It was originally published in the book "Brothers in Clay: The Story of Georgia Folk Pottery" by John A. Burrison.(University of Georgia Press).

This kiln looks life sized here, but it's actually an exquisitely constructed model in a glass case.

Face jugs by Lanier Meaders. He marveled that anyone would find these whimsical creations, which he described as "ugly," appealing enough to buy. Demand for them was high: he produced and sold several thousand of them over the course of his career.
This massive specimen greets visitors in the reception area.
Natural wood and lots of glass give the museum a rustic yet comfortable atmosphere.

My hubby with a toothy friend
This trip was a wonderful experience. We learned a lot as we immersed ourselves in pottery appreciation. We also admired the beautiful views surrounding the museum of rolling green pastures and dazzling dogwoods at the peak of bloom. Secondary stops at Shapiro's Gallery and the Old Sautee Store offered fine handicrafts and unusual gift items. At Suzanne's suggestion we had lunch at a tiny restaurant adjacent to the Store. The vegetable panini sandwiches we ordered were absolutely delicious! There was more to see in Sautee Nacoochee, and we would have liked to tour the studios on the Folk Potters Trail as well, but we were running out of time. As we headed for home, we vowed to return there soon and are happily looking forward to it.

©2014 Lynn Edwards

Sunday, April 13, 2014

Watch Out! Cookies Can Cause Problems!

If you've been trying unsuccessfully to leave comments here on my blog, there's good news. The problem is now fixed! It seems the difficulties had something to do with cookies. If your system was set up to block cookies, you were blocked from being able to comment. Techo-Luddite that I am, I had no idea this was happening. Then a friend told me she had been trying repeatedly to leave comments with no luck. It was good she made me aware of the problem, but I was thoroughly puzzled as to why this was occurring. So I went looking for answers.

After much investigation, I finally found an inquiry in Blogger's Help Center that sounded like what was happening here. The solution offered was this: go into Settings, then into Posts and Comments. Under Comments, go into Comment Location and change it to Full Page. So I did, and now it appears all is (finally) well.

If you've been inconvenienced and frustrated by this glitch, you have my sincere apologies. Hopefully the problem is now behind us, and you can comment to your heart's content. I look forward to hearing from you.

©2014 Lynn Edwards

A Thought for Sunday, April 13

"Working in the moment" is a dance of doing and looking, creating and appraising, affirming the self and criticizing the self. It's the artist saying in one breath, "I am god" and saying in the next breath, "Am I ever human!" -- Eric Maisel, Ph.D., Fearless Creating: A Step by Step Guide to Starting and Completing Your Work of Art

Friday, April 11, 2014

Poetic Justice, Black Cars and Big Cats

This post doesn't discuss art or jewelry making but it does address something many of us have experienced: a maniacal driver who's putting everyone else on the road in great danger. How many times have we witnessed outrageous behavior behind the wheel and thought, "Where are the police when you need them?"

Well, today I saw one of these supremely selfish, uncaring drivers get exactly what he deserved. (And no, he did not wrap himself around a phone pole.) Let me tell you, it was really sweet. There actually IS some justice in the world.

Hubs and I were coming back from the mountains, where we had enjoyed a most delightful visit to a very special museum. (I'll tell you all about this museum in my post on Monday.) We were driving home on Georgia Highway 20, a very busy highway, exceptionally busy on this late Friday afternoon. There was a mile long string of cars behind me as well as in front of me, all basically observing the posted speed limit of 45mph, give or take 5mph.

As we proceeded westbound, I glanced in my side mirror. To my shock and disbelief, I saw a motorcycle coming up on my left -- in the TURN lane -- traveling at an incredibly high rate of speed.

Now, if you are not familiar with turn lanes, they're an extra lane that's to be used only for turning, not traveling in. They're clearly marked as such so there is no mistaking their purpose. This motorcyclist clearly did not give a flip that he was traveling like a bat out of hell in a restricted lane. Nor that he was moving at better than twice as fast as the speed limit and the rest of the traffic. He, obviously, was far more important and special than anyone else. He blew past us all like we were standing still.

And then -- from out of nowhere -- there appeared a low profile solid black car with a strip of low profile  lights on top. It was in the oncoming lane, but suddenly and with almost animal-like agility braked, performed a well-practiced U turn over the median markers and went flying after Mr. Hotshot. Truly, it was a thing of beauty to behold. That sleek new patrol car looked like a black lynx going after a ground squirrel. You could almost hear collective shrieks of approval from every other driver on the road.

As we cruised past a gas station on the left, there was the motorcyclist at the pump. And pulled snug up right behind him was the Georgia State Patrol car, blue lights flashing merrily. Eat, big cat, eat!

©2014 Lynn Edwards

Wednesday, April 9, 2014

A Must-Have Book for Artistic Inspiration

Ideas for paintings and other art endeavors are all around us. Our familiar environments are rich with possibilities -- objects, colors, textures, patterns, and so forth -- but sometimes the problem is, they're so familiar we don't notice them anymore.

Books and articles on finding inspiration often suggest taking a camera to remote, less familiar locations to capture things that could prompt ideas for your art. This is a great way to go about rousing a sleeping Muse, but what if you're housebound? What if you don't own a camera? Aren't there any other ways?

There's a book that can help you if you're struggling to come up with ideas. It's 210 Imaginative Ideas for Painting: How to Find and Keep Your Inspiration by Marjorie Sarnat. If you can't find any ideas to work from in Sarnat's book, you might want to take up another line of work.

This author has thought of and describes almost every possible thing, condition, or scenario under the sun that could serve as a basis for inspiration. Do you paint still lifes? How about depicting a piece of fruit splattered with drips of colorful paint? If you work in collage, how about collaging one of those small poseable mannequins sold in art supply stores? Or painting a room's interior as seen through an empty goblet? Ideas for realistic and figurative work abound in the pages of this book.

Practitioners of non-objective art aren't neglected, either. Just two examples: homing in on a few square inches of old, worn out denim to use its faded markings as a compositional aid for creating an abstract piece. Or using unexpected surfaces and unusual shapes such as pieces of 2x4 lumber as supports for abstract, primitive or folk art works. There are many, many more.

Sarnat also provides a great many helpful insights on such topics as working in series, developing a signature style, creating a sense of mystery in your work, and determining what makes subjects "worthy" to name just a few.

I had no idea when I downloaded this book to my Kindle what an amazing resource it would be. I now view it as a studio essential. Get a copy and you may find you now have too many exciting concepts to choose from!

©2014 Lynn Edwards

Sunday, April 6, 2014

A Thought for Sunday

"Refuse to allow yourself to have low expectations about what you're capable of creating. As Michelangelo suggested, the greater danger is not that your hopes are too high and you fail to reach them; it's that they're too low and you do." -- Dr. Wayne Dyer in 10 Secrets for Success and Inner Peace

Saturday, April 5, 2014

I've Been Liberated!

Manually cutting teeny tiny pieces of paper, some no wider than an eighth of an inch, is a v-e-r-y time consuming chore. But it's unavoidable when these microscopic bits form the basis for my latest designs, a limited edition collection of mosaic themed jewelry. After hours bent over my worktable with scissors in hand, suffering hand cramps and eye strain, I kept thinking there has to be a better way.

And lo, it turns out there is! I vaguely remembered seeing a collage once in which a square "window" had been made on one of the papers. The description had said something about a paper punch being used to to create the opening. Hmmmm.....With a perfectly square piece of paper I could easily mark off tiny strips from it with precision, then cut them easily with a scissors. So off I went to Michaels, where I snagged a manual paper punch for $6 --- 40 percent off the regular $10 price with a coupon. It makes 1 1/2 inch square paper "tiles."

Let the fun begin! Brought it back to the studio and started punching papers like there was no tomorrow. Hand painted deli papers, stained tissue papers, origami papers, found pages from old catalogs ... the punch turned out dozens perfectly proportioned little "tiles" in just minutes. OMG I thought I'd died and gone to heaven! (I can hear you scrapbookers chortling and rolling on the floor laughing your heads off at my ignorance. You've probably been using these devices since the last Ice Age but this fantastic little gadget is totally new to me!)

Anyway, now a huge pile of little paper squares in all different colors and patterns is sitting on my worktable. It's a heady feeling. Oh, the many, many possibilities! When I look at the mosaic beads I've been making, like the one below, I begin to realize just how much this tool is going to revolutionize my work process.

Without a punch, a bead like this takes me two hours to make. It demands endless measuring to cut each paper strip as straight as possible with a scissors. The punch does away with the most tedious and difficult part, which is cutting the small starter "tiles" with absolutely precise 90 degree angles so all subsequent cuts made from them are straight. Even though I've been using a plastic square to measure, the extremely small scale made it very difficult to get it right. The square would shift slightly or I'd fail to keep the marking pencil pressed firmly against its edge. This resulted in many a do-over. And made it one heckuva slow, inefficient way to make the beads. But now all that has been eliminated. So break open the champagne! Release the balloons! Let's celebrate liberation from drudgery! Let's toast whoever invented the paper punch! Whoo-hoo!!! 

Text and image ©2014 Lynn Edwards

Friday, April 4, 2014

Nine More Essential Books for Collage and Mixed Media Artists

In yesterday's post I listed six books I'd enthusiastically recommend to anyone wanting to become a better mixed media or collage artist. Tonight, as promised, I'm posting the rest of my favorites list. The nine titles below, like those already mentioned, are outstanding resources. I keep a copy of each in my studio and I refer to them often. In their pages I find creative inspiration, an endless supply of techniques to experiment with, and plenty of eye candy to uplift me whenever I need a creative boost. So here goes:

Painting with Mixed Media by Paula Guhin and Geri Greenman
Image Art Workshop by Paula Guhin
Mixed Emulsions: Altered Art Techniques for Photographic Imagery by Angela Cartwright
Creative Paint Workshop for Mixed Media Artists: Experimental Techniques for Composition, Layering, Texture, Imagery and Encaustic by Ann Baldwin
Flavor for Mixed Media: A Feast of Techniques for Texture, Color and Layers by Mary Beth Shaw
Celebrate Your Creative Self by Mary Todd Beam
Wabi-Sabi Art Workshop: Mixed Media Techniques for Embracing Imperfection and Celebrating Happy Accidents by Serena Barton
Creative Mixed Media: Paint, Print, Stitch, Stamp, Embellish by Sherrill Kahn
Masters: Collage -- Major Works by Leading Artists curated by Randel Plowman

There are many other excellent art books out there, with new titles being introduced almost daily. Those I've mentioned are my reliable go-to's, a cherished library of knowledge I consult often. They'd be what I'd grab first if my house was burning down. (I've actually removed them to the safety of the basement when tornadoes threatened.) You probably have some you feel the same way about. What books do you treasure and why do you value them? Let us hear from you. Good books deserve to be read and information about them shared!

©2014 Lynn Edwards

Thursday, April 3, 2014

Six Essential Books for Collage and Mixed Media Artists

In yesterday's blog I mentioned collage artist and workshop instructor Jane Davies and how helpful I have found her books. This led to the idea that you might find a list of good books on collage and mixed media helpful. With so many titles out there, perhaps my list of favorites will help you make your choices. Here are six books I refer to time and again. They're in no particular order:

Collage Techniques: A Guide for Artists and Illustrators by Gerald Brommer
Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium by Nancy Reyner
Surface Treatment Workshop by Darlene Olivia McElroy and Sandra Duran-Wilson
Image Transfer Workshop: Mixed Media Techniques for Successful Transfers by Darlene Olivia McElroy and Sandra Duran-Wilson
Collage Journeys: A Practical Guide to Creating Personal Artwork by Jane Davies
Creative Collage Techniques - Nita Leland and Virginia Lee Williams

The above titles aren't the only ones I'd recommend. In my next post I'll be listing several more. If you have additional suggestions, I'd love to hear from you.

©2014 Lynn Edwards

Wednesday, April 2, 2014

Painting Collage Papers: A Resource to Jumpstart Your Art

Today was the day I customarily paint with my good friend Kathy. After we finished working on our respective projects (she painted a lovely abstract and I worked on my collaged mosaic pendants) we watched a DVD. Today's choice was "Scribble Collage With Handpainted Paper" by Jane Davies, from Creative Catalyst Productions.

Creative Catalyst produces videos that are top notch quality, and I've been a longtime fan of Jane Davies' work. (I highly recommend Jane's books. If you're into collage, or want to be into collage, they're an  invaluable resource.)  It was a real treat to watch Jane demonstrate her processes for making collage papers on this video. It was loaded with techniques for creating gorgeous collage papers. I came away from it resolving to include more time for making 2D fine art. And with my brain spinning with all kinds of creative ideas thanks to Jane!

Making jewelry has become a major obsession but I do not want to neglect the part of me that enjoys expressing myself on canvas.So tomorrow will be a day devoted to making more collage papers. My collage stash is running low.....time to replenish it! I can hardly wait to get out to my studio to paint!

©2014 Lynn Edwards

Tuesday, April 1, 2014

How to Paint Papers to Make Glitzy Beads

This is one of my favorite ways to make beads with an abundance of bling. It's adapted from a technique developed by Mary Todd Beam, whose artwork I've always admired. To give you an idea of the possibilities it holds for bead making, here's a photo of a choker I made recently, using her technique as the basis and then taking her process a step further:

The three large beads were painted using Mary Todd Beam's scraping technique. For these large beads I used blue, purple and green paint. Iridescent seed beads, gold plated spacers, metallic gold paint and four AB crystals provide the bling

A closeup of the center bead:

So, are you ready to try your hand at making beads like this? It's easy. Here's what you'll need:

Blue painter's tape (optional, but it helps keep the paper from sliding around)

Plain white paper such as photocopy paper or card stock. Here I used deli paper from Sam's Club.

Fluid acrylic paints. I used three transparent staining colors: Golden Paint's Quinacridone Nickel Azo Gold, Quinacridone Magenta and Pthalo Turquoise. Opaque colors can also be used but the effect is quite different. Just make sure your three colors result in pleasing hues when blended. You don't want mud!

For the "bling," you'll need a metallic acrylic paint. I used Iridescent Gold but Iridescent Silver or other metallic color will work too.

A scrap piece of bubble wrap

A wide flat brush or 1 inch wide foam brush to apply paint to the bubble wrap

A scraping tool such as an old credit card

A large piece of scrap paper for wiping off excess paint

Plastic sheeting, kraft paper, or white plastic garbage bag to protect your work surface. This process can be messy!

Important: Have everything assembled and ready before you start painting. Be prepared to work FAST.

Ready? Here's what you do:

1.Tape down your paper.

2. Apply your first color in a series of drips and dots about an inch down from the top edge. Here I'm using Quinacridone Nickel Azo Gold.

I apply Quinacridone Nickel Azo Gold first.
 3. Now do the same with the second color.

Next I apply Pthalo Turquoise.

4. Add the third color.

My third color is Quinacridone Magenta.
For this group of beads I wanted a striped effect, so I've applied the colors in a single line. If you'd like to mix them up a little, place additional drops of color randomly on the rest of the paper. Or drizzle on thin lines of paint, Jackson Pollock-style. Each method yields a uniquely interesting look.

5. Starting at one end of the line of paint, and holding your plastic credit card at approximately a 20 degree angle, drag the card once from the top of the paper to the bottom. Do not make multiple passes over the same are. Wipe off the excess paint on the scrap paper.

Use a smooth, steady motion to drag the paint.
6. Repeat on the rest of the paper. You should end up with something that looks like this:

7. Allow to dry thoroughly. Meanwhile, add more tape to the edges of the paper to secure it for the next step.

8. Put some metallic paint on your palette. With the brush, apply the metallic paint to one side of the bubble wrap. Immediately press the wet bubble wrap gently but firmly onto a section of the painted paper.

9. Repeat until the surface is covered with the bubble wrap design. Don't worry if areas of the metallic paint merge and blend or if the coverage is incomplete in spots; it just adds to the charm.

10. Allow to dry thoroughly. Your paper is now ready to become a gorgeous set of beads!

If you have any questions I'll be happy to answer them. Just submit them under Comments.

Text and images ©2014 Lynn Edwards