DIY Stationery: Stamped Indigo Envelope and Card

One afternoon I started puttering with combining the stamps, especially the smaller ones, in Gwen Lafluer's Paper Artsy sets. I've always loved the crisp, clean look of indigo and white, which is a beautiful combination seen in the fabrics and paper arts of many cultures, such as the designs of Japanese shibori, batiks of Indonesia, and stitch resist fabrics of Africa. 

My early art training is as a textile designer, so it is natural for me to look for and create repeating patterns. I was especially drawn to the small diamond design. I took some good quality, smooth white paper, my cobalt blue Archival stamp pad, some acrylic blocks, and started stamping.

First I just tested them randomly on paper. As I found combinations I liked, I started making full sheets of designs. For this project, I used stamps from the Tribal Faces and Motifs sets.

Using only an indigo-colored ink pad and crisp white paper, I experimented with combining different stamps and creating patterns.

 

Above are some of my favorite stamp combinations.

They looked so pretty I was reluctant to cut them up, but I knew I could always make more. I decided to make an envelope out of one.

The easiest way is to take an envelope you already have, carefully take it apart, and flatten it out. Then you can use it as a template, placing it on the paper and tracing around it. But, I wanted to see exactly where the shape would be, and make sure that it wasn't crooked. So, I traced the envelope shape on parchment paper, then laid that on my stamped paper, traced around, and cut out the new envelope shape.

I deconstructed and traced an old envelope to create the new envelope.

After the envelope is cut, you just fold carefully (it helps if you use a bone folder to create crisp creases) and add a dab of glue where the sides join the back.

Using a bone folder gives a crisp, flat fold.

For the card, I used a folded 5" x 8" plain white index card. (I buy them in bulk at my local stationery store.) I carefully cut pieces that I liked with my tiny scissors until I found a combination that worked well with the envelope. 

I'm not a perfect stamper, so I like using colors that are easy to touch up: I had a fine point marker that was just the right shade of blue to fill in any small gaps, and I used white acrylic paint and a white Posca pen to cover any small smudges.

Here's some shots of the arrangements I puttered with before deciding on the final card.

The final touch was running the edges of the card along the cobalt blue stamp pad to give it a finished look. Now, the question is...WHO should I mail it to...?

Native Feathers

When I saw the February 2021 StencilClub set, designed by Gwen Lafluer, I was immediately drawn to the medium-size stencil--the feathers! Combined with the symbol designs on the small club set stencil, they brought Native American images to mind. I thought of dream catchers, pow-wows, circle dances, drums, ribbon shirts, and sacred rituals. 

However, I was concerned about cultural appropriation--as a person whose ancestors were European, I didn't want create an image that was inappropriate and whitewashed, and I did my best to work from a position of cultural respect.

Before beginning the painting, I did a quick black and white design in my art journal.

I started by stenciling the feathers and symbols on deli paper, cutting them, and arranging them in my sketchbook until I got an arrangement I liked.

I found a strong piece of chipboard, and began the background. I chose earthtones, and applied the paints in a drybrush technique learned in a Seth Apter workshop.

Starting with a piece of chipboard (recycled from the back of a watercolor paper pad) I painted earthtone colors with a drybrush technique.

 My idea was to stencil horses (I used Norman and Running Horse by Lanie Frick) on the background to give an idea of ancient cave wall paintings.

White horses were gently stenciled on the painted background, then softened with sepia ink to give an aged look.

To create the face of the woman, I used a stencil called The One by Karen Johnson. I drew in the lines of her shoulders and clothing.

Black Archival ink was used to stencil the face and feathers.

After all the stencils were in place, I added paint accents with red and turquoise, darkened some of the horses with sepia ink, and added paints to the face. 

The top of the painting looked a little empty, so I added circles from Gwen's stencil and stamp.

The final accent was the circles: circle is an important element of Native American culture. I used three circles as accents in the painting: one from the small club stencil, and another from Gwen's PaperArtsy stamp set. I stenciled and stamped them on tissue paper so that I could play with their arrangement. Once I decided on the circle placement, I gently tore the paper and glued them in place, using heavy gloss gel under and over the paper.

Many people envision Native people living a life that looks like a Ralph Lauren ad: rooms full of beautiful rugs and wall hangings, handmade furniture, and people decked out in stunning turquoise jewelry and suede blouses. The reality is that the US has a shameful history of hundreds of years of mistreatment of Native people, a trail of broken treaties, and that many are among the poorest and sickest people in the country.

I hope this painting communicates my deep respect for Native culture, and my hope that others can begin to embrace their ancient teachings and practice of living in harmony with Mother Earth and at the same time, work to alleviate poverty and illness rampant on reservations.