Thank you R.J. I hope it helps. I know using my templates as a stitching guide has made sewing in my signatures so much easier. I've only tried it on soft (fabric) cover journals, but there is no reason it wouldn't work on hard covers as well.
Your pages are GORGEOUS! Absolutely GORGEOUS! I saved the backing off book contact paper for my faux sellotape. Made it into a booklet and I have a variety of sizes and colours to choose from.
Thank you R.J. you are so sweet, but I think so too! That is an awesome idea and perfect. I've got my craft sheets rolled up and stored in an empty paper towel tube. It helps to keep control of my tape. Any short bits and scraps I stick on the front of my collage folders (these are by colour) so easy to find the colour I want. I love your alternative idea.
Your pages look absolutely amazing! 💯🎉😊 How does the oxidation feel on the photo paper? Does any of it come off if you add water? When I added oxide inks onto photo paper through stencils, I wiped some of the oxidation off, underneath the colours are really bright and smooth. I am not saying that you should do anything g like that, I was just wondering since my printables are on library copy paper, so I didn't want to use the oxide inks on them ad they wouldn't be waterproof. I hopeI am making sense to you😂🤔🙋♀️💛
Aww shucks Tanja, thank you. The oxidation itself feels quite chalky and its a weird cross between feeling incredibly smooth and silky and almost having a texture that catches your skin as you rub your finger across the paper. Like when your skin is a little dry because you've been in air conditioning. Yes, yes, yes, the colours underneath the oxidation are so vivid its almost like a colour overload. It's like the difference between printing in draft quality and photo quality, but bump that up another level again, and then you've got the pigment colour under the oxidation. I have patches of both on my photo papers - the oxidation and the straight pigment. It's really hard to explain the intensity of the colour or the variety. It's totally amazing, and I definitely think you should experiment with library printing or not. I think it would still work.
Great tip about sewing in signatures, thank you! 👏🏻👏🏻👏🏻
Thank you R.J. I hope it helps. I know using my templates as a stitching guide has made sewing in my signatures so much easier. I've only tried it on soft (fabric) cover journals, but there is no reason it wouldn't work on hard covers as well.
thank you.
🙋♀️👍💓🇺🇸
Your pages are GORGEOUS! Absolutely GORGEOUS!
I saved the backing off book contact paper for my faux sellotape. Made it into a booklet and I have a variety of sizes and colours to choose from.
Thank you R.J. you are so sweet, but I think so too!
That is an awesome idea and perfect. I've got my craft sheets rolled up and stored in an empty paper towel tube. It helps to keep control of my tape. Any short bits and scraps I stick on the front of my collage folders (these are by colour) so easy to find the colour I want. I love your alternative idea.
Your pages look absolutely amazing! 💯🎉😊 How does the oxidation feel on the photo paper? Does any of it come off if you add water? When I added oxide inks onto photo paper through stencils, I wiped some of the oxidation off, underneath the colours are really bright and smooth. I am not saying that you should do anything g like that, I was just wondering since my printables are on library copy paper, so I didn't want to use the oxide inks on them ad they wouldn't be waterproof. I hopeI am making sense to you😂🤔🙋♀️💛
Aww shucks Tanja, thank you. The oxidation itself feels quite chalky and its a weird cross between feeling incredibly smooth and silky and almost having a texture that catches your skin as you rub your finger across the paper. Like when your skin is a little dry because you've been in air conditioning.
Yes, yes, yes, the colours underneath the oxidation are so vivid its almost like a colour overload. It's like the difference between printing in draft quality and photo quality, but bump that up another level again, and then you've got the pigment colour under the oxidation.
I have patches of both on my photo papers - the oxidation and the straight pigment. It's really hard to explain the intensity of the colour or the variety. It's totally amazing, and I definitely think you should experiment with library printing or not. I think it would still work.