Leftover/Unused Die-cuts Become Something New

 

There are several unused die cut pieces that I keep handy in a container as well as an array of unfinished and unused embellishments. 

Since the majority of elements for the vintage truck and the camper (minus just a couple) were available in my stash, plus with the 4th of July only a few weeks away, I felt it called for some new summer holiday decor. 

The basic main, precut pieces were were painted either with red paint and blue paint.  All tires were painted black. The hub caps, the camper door and window were colored by rubbing them with silver Luster wax. The lower decorative strip on the camper is covered with metal tape.  

Once the truck and camper were constructed, a piece of styrofoam was cut to place into the open area of each piece.  Several star shapes were die cut from gold card stock. A toothpick was glued between two star shapes and they were used to fill the truck, along with several paper flags.  A large leftover rosette from an older project was glued to a popsicle stick and placed into the styrofoam inside the camper. The missing pieces were the hitch element, so I found a way to attach the ring element from the folio die to both the truck and camper.  A screw fits into the small end on the one on the back of the truck; while a small elastic band, attached to campper piece can be connected over the screw to hold the two larger pieces together.

Another photo view of the display, this time along with some of the other "leftover" and unfinished projects projects on the left side. Determined to get the one Pass Book and two wrapped journals finially completed this year to add to my red, white and blue decor items.  On 

On the right side is a near complete work in progress!  Inside the fabric covered book (Folio Journal Die) is another version of the shadow box frames.  Will share them all soon!

Happy Making to All!

Info & Tips for Creating with Shadowbox Frame Dies

 

Working with the newest release of dies by Eileen Hull for Sizzix has been a fun! Different from most of Eileen’s scoreboard dies, but still with loads of creative opportunities.

Thinlit dies vs. Steel rule

With this post I will share sample ideas and some learned tips since working with them, but not typical instructions and steps. As with anything new, be it ideas or tools, there is a "learning curve". That being said fit’s been enjoyable and a bit addictive working with the new dies. 

The important part to note is that they are constructed from heavy weight papers and not mat board.  I have been doing some experimenting with various types of papers to construct the frames and sure that more will continue.

The first project that I created with the frames were three graduated sized squares to hold dimensional arrangements.  The ideas for dimensional designs or arrangements are endless. Stay simple by matting photos into the frames for displaying in groups, or get creative with dimensional creations.  The basic frames were made from watercolor paper and then collaged with old dictionary pages. This process came with some learning and tips to share. 

Collaged Shadow Box Trio 

The next project was to use them to assemble a hinged, fold out photo display. This can be kept simple too with just photos or add a bit of dimension into the frames. More ideas using similar construction are in the works now.  

Embossed Accordian Frames

Hinged Accordian Frame

Inked frame components

Embossed, inked, shaded components

Decorative dividers for inserts 

While working with these thinlit dies and assembling the frames, I have learned a few tips that I would like to share. NOTE: We may all interpret directions slightly different, and find our very own methods that may differ somewhat from actual directions. Find what works for you! Remember the learning never stops!

I feel one of the first thing really needed when constructing the frames, of any size, should be to understand the weights of different papers.  I’ve used different weights, from 90# to 140# for most of the frames. These weights are considered heavy weight papers.  A few papers that would be good to use are:

Sizzix papers (approximately 90#)

Bazzill papers (approximately 100#)

Distress watercolor card stock (118#)

Distress heavy stock (110#)

Watercolor papers by various companies (90# to 140#) found at craft or art supply stores  

Links to a site that help explain the weights of papers: 

Found on Scrapbook.com website - YOUR GUIDE TO PAPER WEIGHTS

For the frames I have created so far, I have used papers from 65# to 140#. 

I have also experimented with thin paper board like white poster board sheets from craft stores and gift boxes and cereal/cracker boxes. Materials like this would probably be considered as extra heavy weight. I likely wouldn’t use anything heavier then the cereal boxes.  Of course if using such materials they would have to be covered by either painting, inks, mixed media finishes or with collaged papers. NOTE:   Another tip that may be helpful - if using something extra heavy - after cutting the four pieces, it may help the folding by going over the score lines again using a scoreboard and scoring tool. I found this step useful. 

Gesso covered frame from packaging

Frames from heavier packaging materials 

Thin poster board, covered with decorative paper

Frame from file folder

When using a paper with a patterned design, I have found it necessary to be aware of the direction of the design before cutting the four pieces needed to make the frames. An all over design can be cut without a worry. There are designs were we immediately know the pattern direction and others that may not be as easy to notice.  Here are some examples and how to cut the four frame pieces: 

Assorted patterned cardstock

Cardstock with all-over pattern

Obvious directional pattern paper

Directional print pattern paper

Another experiment was with embossing the papers before constructing the frames. Here again some experimenting took place.  I found better results when using embossing folders that are not the 3D, thicker folders.  It seemed to me that they distorted the paper pieces making them difficult to fold properly.  The folding lines do disappear from the deep embossing; you can replace them with a score board and bone folder.  Give it a try and see what results you may have. I cut the four pieces needed for the frames before embossing. Also the coloring  (by ink or paint) was added before the embossing.  NOTE: Highlights can be added after embossing if desired. Use inks, dry brush paint or metallic rubs.

Embossed frame pieces vs. plain

Difference of embossing folders

Again remember that frames may be made from plain papers or file folders or gift boxes/cereal boxes can be painted or use texture paints alone or with stencils to add design or texture to the frames. Collage with bits of thin papers and gel medium.  Gesso was added to any packaging with printed designs before decorating with any method desired. 

Frames made from various 85# cardstock

***The next thing that I will be experimenting with is making different size frames by slightly changing the measurements of the frame pieces. That can be accomplished by trimming from the straight edge of the four cut frame pieces. ***

STILL TO COME ... Two ideas still in the works will combine the Book Box die with a frame and the other will use the Folio Journal with two frames.

Book Box die with Shadow box frame insert

Folio Journal with two shadow box frames inside

Collage Frames x 3 + Accordion Shadow Box Frame

New Eileen Hull die release today!  New in more ways then the release date. These dies are all thinlit dies and along with the three sets of dies is a beautiful 3D embossing folder. 

I was excited to work have the opportunity to work with these new designs.  Once seeing the process  of constructing the frames, the challenge of the creative element of the making process went into affect.  Today I will share the set of three shadow box frames and an accordion-style three-dimensional display frame that can sit on any shelf.  At a later date the making process will be shared for these projects. 

As with other releases Eileen will have a “give away”. Details are as follows: 

GIVEAWAY: Comment on each participating designers blogs and during the live on Tuesday and let us know what you would create with these dies and you will be entered to win one of the items in the Chapter 2 release!

A trio of three-dimensionsal frames were made from heavy stock paper for both of the shadow box projects. I found that using a 120# watercolor paper worked well for both.  Each of the three square frames were collaged with torn dictionary pages and aged with inks before being given a clear coat of varnish.  Fill with any variety of embellishments to fill the frames. A ribbon hanger was added for hanging. Each is backed with a piece of burlap paper for a neat finish.

Video link from Eileen Hull Hub

Link to Eileen Hull Designs Blog

Another project to share with you is this accordian style three-dimensional frame I enjoyed creating. Made with three of small shadow box frames, they connect with hinges so the frames can  unfold and are decorated on both sides. It can sit nicely on a shelf or table.  

Large Journal - Book Box Mash Up

 

When your mind seems to always be thinking of ... hmm, what can I do to make this just a bit different!  What I love about Eileen's dies are the way they can be really versatile with a little rethinking.  The scoreboard dies especially lend themselves to many ideas because they can cut so many different types of materials. 

To make this stationary box, I combined the large full size journal with the components of the book box. It wasn't enough to just make it from mat board, it seems an idea struck to give it a "faux" wood look, but maybe see if a form of "real" wood could be used.  Then inspiration struck again ... why not combine a small amount of woodburning onto the wood veneer. 

****My inspiration for this box came from a project I created many years ago that I will share at the end of this post.****

Inside box finished with decorative paper and a fabric bottom.

• The process for combining each of the dies to create this type of box is not difficult but takes a little manipulation to  create two longer sides with the original box pieces. 
• By using the black mat board to construct the large journal and side strips for the box make a good foundation to work from. 
• Cut the full size large journal from black mat board, the front and back covers.
• Cut two of the longer sides pieces from the book box die (the piece that measures 6 1/4" long) from black mat board.
• Cut four of the shorter side pieces (the piece that measures 5" long) from black mat board.
• Two of the short side pieces will need to be connected to each other to form one long side of the box portion. 
• The same process will need to be repeated for the other longer side before connecting them to the other side pieces.  NOTE: These two connected sides should measure about 8 1/4".
• Lay the two pieces together, mark them to the 8 1/4" measurement and cut away the unneeded section.  
• Join them with masking tape on both sides of the mat board to hold together. If desired a little glue could be added between the cut before taping together.  
• These two longer sides may a little unsteady.  To help stabalize the box, cut a bottom from mat board to approximately 8 1/8" x 5 7/8".
• I covered this base with a piece of batting  (cut to exact size) and then black fabric. The fabric covered bottom is then glued into the box frame. 
• If desired, glue a cord of choice around the inside edge. 

• Decorative paper covers the inner covers, spine and inner box sides. 
• Cut two outside cover panels, a spine and side pieces from the thin wood veneer. Cut the covers and spine with the large journal die and Big Shot. 
• Cut sides with a metal ruler and X-acto knife on a cutting mat.  NOTE: Cut two 8 1/4" x 1 1/8"; cut two 6" x 1 1/8". 

• Stamp the images lightly onto the wood covers. 
• With wood burning tool, trace over stamped design. 
• Lightly mark dashes with a ruler and pencil on side pieces and around designs on the top and bottom. Wood burn the dashes. 
• Adhere the  covers, spine and side pieces of wood to the mat board. I used a combination of double-sided adhesive and glue (Beacon 3-in-1).  
• Place a heavy book on top and set aside to dry well.
• Lightly shaded all the edges with ink. Allow to dry.
• The finished stationary box can be coated with a clear matte varnish.
• Add a closure of choice if desired.

Bottom view of box with woodburned design

This wooden lap desk was the inspiration for the project above. This  lap desk was made about 20 years ago for a submission to a magazine. 

• Six different cards are created using sets of blank cards with matching envelopes.
• Decorative patterned papers with coordinating solid card stock are used or the face of each card.
• Die-cut the solid card stock with the snail mail thinlit.
• Trim the the printed papers about 1/4” larger on all sides for the first layer on the cards.
• Add a strip of ribbon if desired onto each die-cut piece of card stock. 
• Layer print paper then solid paper onto card front with adhesive tape.  
• Continue to decorate with die-cut felt flowers and paper leaves.
• Finish with a die-cut salutation. 

Materials

Full size journal #665589

Book box #665873

Black mat board

Thin wood veneer sheet

Decorative paper

Black fabric/batting

Cording

Wood burning tool

Double sided adhesive

Glue

Eileen Hull Designs Stamp images/ink

Masking tape

Button/black elastic

Cropadile/paper brads

Cards (6):

Snail Mail thinlit #665869

Various flower, leaves, salutation dies

Card / envelope sets 4 x 6

Decorative papers

Solid card stock

Felt

Glue

Ribbon

Fabric, Felt and Fiber Make

 A challenge was given for the projects on the blog this month ... using fabric, felt and fibers for a make!  My final result is here and I incorporated all I could in various ways.

The book began with the combining the materials with Eileen Hull's new Book Box die, but without the box pieces.  I felt that i would combine various fabrics for each layer of the book.  I will explain the process and the material chosen for the book.  NOTE: All materials used were sewable materials. The use of my sewing machine was part of the making process.  A list will be provided at the end of the post with the products used. 

I collected pieces from a variety of materials, such as green canvas, cotton prints, seersucker fabric, organza remnants, felt scraps, cotton candlewicking thread and vintage tatted trim. 

In the explanation for creating this project I will not include some visual steps but will describe the  process the best I can. Photos will be included for the purpose of layout and assembling the book.  ***Always read through the post and the steps given.***

The base for the book covers and spine begins with using a heavyweight interfacing cut with the book box die. These three pieces will become the base of the book. NOTE: A heavy canvas or a product like Kraftex can also be used. These type  of materials will make the book flexible and not as stiff as matboard and sewable. NOTE: If a sewing machine is not available the book can be constructed with by glueing with the correct type of glues for fabric.

Layout of covers and spine

Inside view of the stitched covers and spine

Outside view of the covers and green canvas spine stiched together 

• Cut a spine piece from the green canvas. 
• Layer the green canvas on top of the spine cut from the heavy interfacing. As in the photos, place the the pieces together to form the two covers and spine. They are overlapped about 1/4" and sticthed together with a zig-zag stick using a sewing machine. 

To create the outside fabic cover panels:

A light colored cotton print was used as the background for the "faux" quilt squares that are part of the front and  back covers. 

• The fabric is fused with a interfacing before die-cutting the two front panels. NOTE: Use a sewable fusible interfacing. This is a must any sewing by machine is to be done.  ***Some fusible interfacing can gum up the sewing machine needles causing problems.***   
• Die cut two covers from the fused fabric. 
• Do note remove the paper backing from the interfacing at this point.

To create the "faux" quilt squares: 

• Use six cotton fabric prints for the squares. 
• Fuse each fabric with the same type of interfacing before cutting the squares. 
• Die-cut four squares from each of the six fabrics. (Total of 24 squares) NOTE: I used the second largest square shape from Tim Holtz Stacked tiles, squares thinlit die set.  
• Arrange the square shapes onto the front and back covers, over the fabric background.
•  Space them as evenly as possible before pressing them in place with an iron. NOTE: There is approximately a 1/4" space between the squares and arond the outer edges. ***This measurement can be adjusted to fit all 12 squares on each of the cover faces, to your liking.***   
• Remove the paper backing from the squares. 
• Press them onto the background fabric. 
• Repeat for other cover. 
• The paper backing can now be removed from the pieces.
• With iron, press these onto the front and back inner layers of the book.
• Stitch by machine, using a straight stitch, between the fused squares, both vertical and horizontal on both covers.

 

Layout of front view, but before stitching it in place. 

This is an optional step:

NOTE: For the front cover some simple hand-stitching was added to the squares. Using candlewicking thread, (embrodiery floss can also be used) a large X design was stitched from corner to corner. The center was tacked down with two small stitched next to the center of the X.  ***This step should be done before stitching the panel down onto the heavy layer of the interfacing. Carefully remove the backing paper after the X stitches are added and pressed onto the front cover. 

Adding inside lining fabric:

Inside fabric lining for covers and spine

• Fuse a second fabric for lining the inside covers and spine of the book, using a fusible interfacing.  
• Cut two covers and one spine from this fused fabric.  
• Remove the paper backing from all three pieces. 
• Fuse them into place on the inside of the book. Begin with the spine piece and then the two cover pieces. NOTE: If desired, after ironing the fabric in place, the three layers could be stitched by sewing machine  around the outer edges of the covers by straight stitch or small zig-zag stitch to hold in place.      

Making embellishments for cover decor:

• Cut leaves from green felt.
• Cut flower centers from gold card stock.
• Cut several layers from organza fabric with thinlits dies.
• Create flowers from the organza cuts and add paper flower center.

Adding pocket folder and notebooks:

• Make folder inserts from decorative card stock, with or without side pockets.
• Cut 12 x 12 paper in half, score down center, score and fold over both sides to form narrow side pockets.
• Use purchased notebooks and cover the outside covers with coordinating papers OR create you own writing notebooks with signature covers.

Materials 

Eileen Hull book box die

Sizzix Big Shot machine

Tim Holtz stacked tile squares, thinlits 

Eileen Hull leaves die

Sizzix flower dies, thinlits 

Sizzix flower center dies, thinlits

Cotton fabrics, variety colors and prints

Canvas fabric

Coordinating cotton fabric

Felt, green

Organza fabric, pink, blue

Gold card stock 

Heavy weight interfacing, sewable

Fusible and sewable interfacing

Off-white candlewicking thread 

Embroidery needle

White decorative flowers

Vintage tatting trim

Fabric glue

Sewing machine

Iron

Cording

Decorative papers

Small note books

Glue

Double-sided tape

Make Unique One-Of-A-Kind Coverings With Gel Prints For Sizzix Die-cut Shapes

Original Phone Stand

Stand with phone

Original gel printed tapes

Time to share a fun technique!  The new Eileen Hull Phone Stand @Sizzix can be decorated in a number of ways. One of the samples I created was done with a technique using a gel press plate and clear adhesive material.  While playing around with one of the many ways to pull prints from a gel plate, I experimented with something a little different from the technique that uses clear packing tape.  With nothing wider in clear tape available then the 2” rolls, I thought to give clear contact paper a try.  I had two type in my possession, one clear and glossy and one clear with a matte finish. Why not give them both a try!

Cut strips from the roll of contact adhesive paper slightly wider then the width of the phone stand. Two strips should be enough to cover the phone stand.  

*** Through the photos, my hope is to show the steps taken when using this technique the best way I can. All gel prints are a series of layering designs on the plate but when using the tape or contact paper the images seem to make the layering more visable. This alone gives the pulled prints a different look. ***

To make the design on the gel plate use the steps that follow - 

NOTE: The most important thing to remember and do is to add the layers of design and WAIT for each application to dry COMPLETELY before moving on to adding more.

• Gather all materials before beginning. Set up an area for the gel plate with everything you may use within quick reach. NOTE: I use a smaller gel plate as a palette for any paints that will used be better applied then directly to the larger plate, such as brayering small areas, sponging areas of stencils, adding extra design elements in specific areas.

• Masks from die-cut designs are placed randomly onto the gel plate. NOTE: Masks are cut from waxed paper with the Eileen Hull Heart Mandala thinlit die.  On a small separate gel plate, apply some paint. With a small brayer, add paint randomly around the masks on plate. NOTE: I left some areas without the first color of paint. With a second color of paint, place some drops around the plate in open areas. Spread the drops with the brayer to mix slightly with the first color. Allow to dry; remove the masks from the plate. 

• The next layer uses designs from a variety of stencils and other colors of paint to build the design. Again, allow to dry before continuing with more layers if desired.

• The third layer is randomly stamping in different areas of the gel plate with word stamps or other images using an archival ink in black or neutral shade. NOTE: Some images were stamped with Oxide inks. Allow to dry well.

• The final layer is adding small elements for design purposes. I used the end of a wide plastic straw for circles and the tips (prongs) of a small cocktail fork for tiny dots.  Step away and let the paint dry well (30 to 40 minutes).

• Place the strips of clear contact adhesive over the gel plate. If any areas of the plate are uncovered, use strips of packing tape to cover the entire plate.  Press down the layers of clear adhesive to the plate well by hand or burnish it with the side of a bone folder. 

• Pull the tape/contact paper up from the gel plate. Pull slowly, if necessary place back down and burnish more if needed, (some bits of paint just may not come up with the tape, that’s OK).

***As with pulling prints from a gel plate with any materials you must be willing to except the images. ***

To finish the strips for using on projects -

• They can be layered onto paper surfaces of all types like old book pages,  by applying a coat of gel medium first to hold them in place. 

• For a more transparent look, brush the back side with mica powders before adhering to projects. 

• NOTE: the tape/contact paper will have only small sections that still keep its tackiness, but not really enough, making them strips lose much of the sticking ability.  Another way of adhering the pieces are needed. For the phone stand, double-sided adhesive tape was used. 

Gel printed strips are now ready to be cut and applied to the Eileen Hull Phone Stand die-cut shape. 

Materials 

Eileen Hull Phone Stand die

Eileen Hull Heart Mandala thinlit die

Sizzix Big Shot

Gel Press Plate

Brayer

Paints

Permanent ink pad

Stencils

Stamps

Sponge applicator 

Clear contact paper/Packing tape

Mica powder(s)

Brush

Double-side adhesive tape or Gel Medium