To Autumn

This project was inspired by Jennie's October Challenge at 'AVintage Journey' - Crazy for Autumn Colour.

I love Autumn and in a short space of time I had sketches for six possible projects. However, if you’re anything like me, creativity doesn’t like being governed by plans and I ended up doing something completely different.

As a child we were forced to learn the Keats poem – To Autumn by rote and it immediately sprung to mind. I have attached a link here if you’re curious or should you wish to use it yourself but the words reminded me of my morning journey to school. We live quite high up and the valley is often shrouded in mists; I love the colours and effects this time of year creates. I love the effect encaustics creates and felt it would be a perfect way to reproduce the light effects I’ve described above. However, it isn’t cheap to start out so I chose to try out various ways using beeswax, soya wax, pan pastels and gelatos - the results were varied

Faux Encaustic Panel

To begin with I stamped my Autumn tree by Crafty Individuals (CI-209) using black Archival Ink onto Ranger Glossy Cardstock, the stuff used for alcohol inks. My thinking was it needed to be sealed in some way and normal cardstock with gesso didn’t work quite as well. I then used Olive, Venetian Orange and Vermillion Archival ink to stamp the impression of autumn leaves using a distressed effect stamp.

It was then time to add the wax which was melted using the Ranger Melt Pot. I tried beeswax but it’s colour didn’t work as well as Soya Wax, which was a truly neutral colour. You could experiment with beeswax and different pastel colours.

Heat the wax gently and apply to the cardstock using a bristle brush. Make sure you don’t use a synthetic brush as it will melt. Apply in strokes, covering the entire surface. The wax then needs to be fused to the surface using a heat tool. I prefer the Ranger Heat It tool as it’s quite gentle and doesn’t blow the wax everywhere. This needs to be repeated approximately three time, fusing in between layers. If you spritz the final fused layer of wax with water it creates an interesting pitted effect to the surface. 

Allow the panel to cool naturally and the wax to solidify before moving onto the next stage I began applying colour gently using pan pastels - Phthalo Blue Tint, Phthalo Blue, Chrome Ox Green Tint, Bright Yellow Green Shade, Orange, Hansa Yellow and a little Permanent Red. Once I had added the sky, grass and the impression of autumn leaves, I chose to add Paynes Grey, Burnt Sienna and Burnt Sienna Shade to the outsides of the panel and used a cotton wool pad to drag the colour across the wax. This created a misty effect but also grazed the top layer of wax which created an interesting texture as the pastel was caught in the wax. You can also use gelatos and Ranger distress crayons to gently add colour until you’re satisfied. It may take a few layers. Finally, I brushed Cosmic Shimmer Pearlescent Mica Powder in over the top before sealing with fixative.

Experimental finding: At this stage you can spritz with mica sprays and powders. If you add an additional layer of wax after the mica powders they will dance in the wet and create some amazing effects but it is difficult to govern how it will turn out – no good for the controllers amongst us.

Book Preparation

With the panel completed it was time to work on the frame and I chose to use an old board book, given to my son on his first birthday and discarded and he got older. I drew a frame on the first page and used a craft knife and metal rule to cut the middle out. Working on all the pages except the front cover, first page, back page and back cover. Carefully continue to remove the middle of the pages to match the first frame drawn. Accuracy is essential if it is to have the desired effect but small errors can be rectified later.

Glue all the pages together using a strong wet glue. If possible use clamps or large bulldog clips to hold the pages together while the glue sets. It may be necessary to glue them in small groups to ensure they are well adhered. Use a nail file or sandpaper to file the frame edges to make sure they are smooth and all identical. Remove any dust and use household filler to cover any mistakes made when cutting.

Cut panels of book paper to cover the frame depth and cover using matter medium. Add white and cream paint to cover and take back to revel some text using a wet wipe. Apply gathered twigs, walnut stain and espresso distress inks to the edges to give an aged look. I also applied the distressed stamp for additional age. Seal the surface with matte medium and leave to dry. Add Decoart Media Crackle Glaze in random areas and leave it to dry naturally before adding more a brown distress ink to the crack, wipe the surface to remove excess ink. Paint the outside edges of the book pages in white and cream acrylic paint

Textile cover

Taking the book, I drew around the covers and spine in one piece to create a template. This was transferred onto a Rangers Inkssentials Natural Sticky Backed Canvas panel. Turn the panel over and mark the spine, front and back covers onto the paper backing. Cut a further panel from natural canvas fabric, the same size as the front cover. I also cut a slightly larger panel from gold coloured organza; any fabric would work, this was simply in my stash.

Now. make a strong cup of tea for this next stage. It isn’t to drink but to colour the canvas cover and the front panel. Paint the tea onto the canvas cover and set aside to dry. To create the handmade textile panel, I tore squares of white tissue paper and attached them randomly to the canvas panel using textile medium. Make sure you seal it well and leave it to dry. (Sorry I forgot to take pictures of this stage

I cut a length of woven cotton tape and another of lace and using the sewing machine I attached them to the outside cover in line with the spine markings -leave the paper backing in place as a stabiliser. Now the canvas front panel is dry you can colour it using the remaining tea. Apply several layers until the colour is as you’d like it. Once it has dried thoroughly, stamp random leaves (Creative Expressions Leaves, Trees and Flowers Stamps) using archival ink in Sepia, Vermillion and Olive. Distress the edges and ink using Gathered Twigs, Ground Espresso and Walnut Stain Distress Ink before finishing with a spritz of Ranger Perfect Pearls Mists in Cappuccino. The panel will retain the feeling of canvas due to the use of textile medium but can be inked and handled as paper.

I have a large stash of vintage trims, lace and fabrics. I found an old upholstery trim in antique gold which fitted with my plan perfectly. I layered the organza, upholstery trim and canvas leaf panel onto the canvas book cover and stitched them altogether using the sewing machine. Be careful to follow the guide drawn on the opposite side to ensure it fits the book when completed.

Cut a square of brown card and distressed the edges before attaching a slightly smaller panel of hessian. These were stitched to the centre of the panel, again using the sewing machine.

Embellishments

Take an A4 piece of Ranger Manila Inkssentials Cardstock and a mixture of autumnal coloured distress inks and apply directly to a craft mat. Spritz liberally with water and place the cardstock onto the colour. Swish through and dry with a heat tool. Repeat as necessary. Add additional colour with blending tool if desired and once happy with the colour apply Ranger Perfect Pearls in Bronze and Mandarin.

Take the cardstock and die cut using the Tim Holtz Fall Foliage Thinlits Dies, repeat using all the cardstock. Ink the edges of the leaves using a mixture of Gathered Twigs, Ground and Walnut Stain distress inks to give an autumnal look. Set aside.

The image on the front cover is another Crafty Individuals Tree, stamped using black archival onto Ranger Manila Cardstock. The edges of the cardstock were inked using Gathered Twigs Distress Ink with a hint of a script stamp in the same colour. This image was then placed behind a Ranger Inkssentials Clear Glass Memory Glass Slide and placed inside a Memory Frame in Antique Copper, size 2inx2in. I cut the ring away using wire snips, simply as I wasn’t using it to suspend the frame.

Assemblage
Now all the corresponding parts have been completed, it is time to assemble the book. To start with, apply a strong wet glue to the spine of the book. Remove the adhesive canvas backing and offer it up to the book, lining the markings up to ensure a good fit. It is advisable to work in stages as it is a large panel to try and handle in one go. Snip the overhanging canvas and tuck inside the spine to hide the raw edges and create a tidy finish. Next apply the same strong wet glue to the back cover and remove the adhesive backing and smooth over using an old credit card or metal spoon. Again, snip the overhanging edges and tuck around the book back page. Repeat for the front cover.

Take a length of rusty copper wire and add beads before twisting around the spine. Ensure any sharp edges are tucked safely inside the spine, out of sight. 

Next add the card and hessian panel to the front cover using strong adhesive. Place the Memory fame on top before arranging the leaves around the outside. Finish with a small pine cone, acorn or other seed head depending upon availability. The cover is now complete.

Print off a verse of the Keats poem and place behind acetate and secure to the inside of the front cover. Using strong glue, stick down the first page to create a frame.

Finally, secure your faux encaustic panel on the back page, glue the frame down with more strong glue. Arrange more of your leaf die cuts to the bottom of the frame to give the impression of looking through trees to your misty autumnal scene.

I hope you have enjoyed this tutorial? If so please leave a comment.