With any pattern combinations try to use: a mix of large and small scale prints, prints that vary in their density (i.e., how closely the motifs are placed), and colors that work together. You're not looking for a 50-50 balance, but, rather, one that goes by the "gallon-quart-pint" rule.

by Debbie Hodge

Since antiquity, patterns have been incorporated into tiles, linens, rugs, wallpaper, dishes, upholstery, clothing, and more. Pattern and texture are wonderful tools for adding interest to scrapbook pages, especially when they’re mixed well.

You’ll find patterned papers for scrapbooking in four types–and these same four types are prevalent in decorating. These are:

• floral,
• geometric
• motif, and
• pictorial

Floral Patterns

With floral patterns, the print contains–you got it: flowers!  Floral patterns come in a wide range of styles that work with many page topics. Four pages with floral prints follow. Notice how different the styling of the floral prints is on each. Notice, also, that three of the pages include two floral prints that contrast in color, scale, or density while still having commonalities in styling.

mix common styling with differences in scale

On “Oh Happy Day” I used two floral patterned papers. Their styling has a tropical feel and they work well with outdoor photos.

The background canvas includes large floral motifs in two tones placed in a seemingly random pattern. A large block of a red-on-white floral print backs up the photo. This print features a smaller motif placed in a repeating pattern. While the prints vary in color, scale, and density, they are united by the tropical flower motif in each.

"Oh Happy Day" by Debbie Hodge | Supplies: Collageables No. 04 and No 1, Thin Chip Alphabet: Red, Basic Paper Alphabet: Beige, Basic Paper Alphabet: Yellow, Coastal Element Pack, Flossy Stitches: Red, Journaling Strip Masks, Vintage Photo Frames No. 24 by Katie Pertiet; Summer Sunset Distressed Add-on Paper Pack, Glitter Thread Stitches by Lynn Grieveson

mix colorful florals with tone-on-tone florals

The floral prints on “H” are more formal and remind me of vintage wallpaper. In limited doses, they are great for at-home photos taken in the living room.

The motif on each is a small scale, but the print with yellows and greens is less densely placed that the blue-on-white backing it up. Ledger paper and a damask tone-on-tone print mix well with the eye-catching florals.

"H" by Debbie Hodge | Supplies: 7:30pm, 2:00pm by Amy Wolff; Retrospect 365, Retrospect 365 Tags, Medley Borders 1, Medley Borders 2 by QuirkyTwerp; Mellow by Lynne-Marie; Just Juicy by Lynn Grieveson; Brad Bonanza 3 by Pattie Knox; Flossy Stitches Brown by Katie Pertiet; Goldrush, Traveling Typewriter fonts

mix themed florals

The floral prints on “Fair Day” are bold and holiday-themed, and small blocks complete a blocked composition. One print includes vintage and realistically-styled poinsettias while the other print includes smaller and more playfully styled flowers.

"Fair Day" by Debbie Hodge | Supplies: Kitschy Christmas by Sahlin Studio and Jenn Barrette; Stitch Medley Borders by Quirky Twerp; Torn and Tattered Scallop Strips by Anna Aspnes

mix florals with abstract motifs

Florals will mix with any motif when you pay attention to color, scale, and density.

On “Embroider Me,” the title sits on a delicate floral print, and a band of a larger-scale abstract motif print spans the width of the page.

Embroider Me by Debbie Hodge | Supplies: Sweet Storytelling by Sahlin Studio; Flair Box 3, Popup Studio Brushes by Paula Kesselring; Antoinnette by Shannon Hegarty; Stitch Medley by Quirky Twerp; In Distress Spring by Lynn Grieveson; Etc by Polka Dot Pixels; Westchester by One Little Bird; Homespun Stitches by Kitschy Digitals; Storytelling Alpha 2 by Amanda Heimann; Just LInens 1 by Maplebrook Studio; Felix Titling, Jane Austen, Traveling Typewriter fonts

Geometric Patterns

Geometric patterns are based upon pure forms of the circle, rectangle, triangle and other basic shapes. Striped, checked, plaid, and polka dot prints are classic patterns that abound and are a part of many coordinated paper collections and are so

Blocked designs offer a great opportunity for using patterned paper. Several of the blocks on “Thanksgiving Moments” are filled with coordinating geometric prints including: circles filled with stripes, a multi-colored vertical stripe, and a tone-on-tone diagonal stripe. The result is a modern and bold page.

"Thanksgiving Moments" by Debbie Hodge | Supplies: Oak Tree by Sarah Gleason; Autumn Moon Elements by Sahlin Studios; Journey Back by Vinnie Pearce; Pea Olson font

geometrics are good “mixers”

Because geometrics are usually “meaning neutral,” they mix will with other prints.  On “Our Road” a tone-on-tone stripe patterned is layered with a formal floral print and a map print.

"Our Road" by Debbie Hodge | Supplies: Our Road by Debbie Hodge | Supplies: Photobooth Kit by Paislee Press; Hinge Pack by Katie Pertiet; Woodgrain Alpha, Color Set 2 Labels by Crystal Wilkerson; Stitched by Anna Borders Brown No 1 by Anna Aspnes; Westover Kit by One Little Bird; Krafted Leaves by Lynn Grieveson; Courier New font.

use geometrics to set tone and evoke mood

While stripes, dots, and checks may be meaning neutral, they are not tone-neutral. Consider how largish white dots on a bright color might look clean and lively, while small white dots on a jewel-toned dark color will look more formal.

The multi-colored pastel dots on the print on “Hello Sweet Boy” are playful and light, perfect for a page about a new baby.

"Hello Sweet Boy" by Debbie Hodge | Supplies: Stitched by Anna Cream, Art Palette Play Out, Multilayered Fotoblendz by Anna Aspnes; Between the Lines Alpha, Basic Paper Alpha Teal by Katie Pertiet; Pearl Borders by Pattie Knox; All About Me Kit by The Digichick Collaboration; Ripped and Stitched No 4, In Distress Textured Covers by Lynn Grieveson

use stripes to manipulate space and guide the eye

Vertical stripes will add energy and height (and a formal tone) while horizontal stripes guide the eye across the page horizontally and create a more restful tone.

The radiating (and widening) stripes on “Double-Nickel Birthday” give the page energy and guide the eye right into the page’s focal point photo.

"The Double-Nickel Birthday" by Debbie Hodge | Supplies: Lemonade Stand by Taylor Made; Artplay Palette Rockstar by Anna Aspnes; Fall Fun Kit, Vintage Photo Frames No 26 by Katie Pertiet; Epic Kit by One Little Bird, Biograffiti, Paislee Press; Warm October Kit by Lynn Grieveson; Messy Slab Alpha by Cathy Zielske; Kreased Transfers by Anna Aspnes; La Belle Vie Kit, Westover Kit by One Little Bird; Photobooth Kit by Paislee Press

Motif (representational)

In visual arts a motif refers to an image, often repeated but not necessarily. There are two types of motifs: representational and abstract. The image in a representational motif is something that you recognize from the world around you: shells, clouds, stars–even airplanes and words.

Use representational motifs to support page theme and to create overall unity on the page.

straight-forward meaning with representational motif

The sheet-music print on “Jazzed” is a great complement to a page of photos from a band concert. Using themed or obvious images can immediately cue the viewer to the page subject.

"Jazzed" by Debbie Hodge | Supplies: Krafty Canvas No 1, Words and Pictures Christmas, Pine Letter Box Brushes and Stamps, Vintage Frames No 1 by Katie Pertiet; December Dawn by Lauren Ried; Just Linens No 1 by Maplebrook Studios; Silver Glitter Alpha Number Set 1 by Anna Aspnes; Rustic Christmas by Fruit Loop Sally; Stitch Medley Borders by Quirky Twerp.

images can evoke abstract associations

I chose the airplane print on “Beauty of Life” to represent the idea of “flying high,” of being happy and moving forward.

"Beauty of Life" by Debbie Hodge | Supplies: Hello Beautiful Brushes and Stamps by Ali Edwards; Stitched by Anna White No. 01 Anna Aspnes; Boys Toys Paper Pack, Feeling Good Paper Pack by Jesse Edwards; Brad Bonanza No. 03: Digital Fasteners by Pattie Knox; Gator Crossing Solids Paper Pack, Lil Bit Tags, Be Buttoned: Harvest, Scallop Strip Masks by Katie Pertiet

 text prints are representational motifs

Because the photo on “Pre-Party” wasn’t obviously from Christmas time, I used a text print with Christmas words and motifs.

"Pre-Party" by Debbie Hodge | Supplies: Joyful by Cinzia, Edgers 2 by Amy Martin, Holly Plume Overlays 1 by Anna Aspnes; Glitter Thread Stitches, Glitter Thread Stitches 2 by Lynn Grieveson; Christmas Memories Element Pack by Katie Pertiet; Well Read Elements by Sugarplum Paperie

Motif (abstract)

Abstract motif designs are based on geometrically formed shapes, and they’ve been prevalent in carpets, tilework, and architecture for thousands of years.

While “Turn on the Lights” is a page with outdoor photos, the subject is a power outage. The background pattern is abstract motif that reminds me of home decor and that worked well with the chandelier embellishment. Notice the mix with a geometric striped print as accent.

"Turn on the Lights" by Debbie Hodge | Supplies: Stitched by Anna White No. 01 by Anna Aspnes; Winter Blues Paper Pack by Jesse Edwards; Home Handyman Element Set by Lynn Grieveson; Chance of Flurries: Glittered Tinsel Snowflakes, Epoxy Extravaganza: Everyday Things, Beaded Directives by Pattie Knox; Eilon Kit, Bling Alphabet: Silver by Michelle Martin; Adalicia Element Pack, Scallop Strip Masks, Classic Cardstock: Winter Park by Katie Pertiet

“Cookie Walk” includes just one patterned paper, an abstract motif resembling a pinwheel or the design you’d find on peppermint candies. Notice the patterns IN the photos: there’s the geometric pattern of the stained glass windows and the floral print of the tablecloths. The three different prints mix well.

"Cookie Walk" by Debbie Hodge | Supplies: Christmas Village Kit, Krafty Canvas no 1, Chipboard Alpha White by Katie Pertiet; Masana Script font

Pictorial (scenic)

Oh, how I remember rooms wallpapered with summer country scenes – in blues and whites. My parents’ bedroom and the dining room at my aunt and uncle’s home had such scenes.

The “pictorial” pattern is similar to the representational motif–but scenic.

In interior decorating these scenic papers and textiles can anchor a style to  a particular era and culture.

What about in scrapbooking? I have a large stack of patterned papers with retro images, beach scenes, maps and more that I’ve been collecting for many years. Can’t resist buying them. Can’t seem to use many of them.

On “We Love the Sunny Days of Summer” I used a pictorial print of a tropical beach in very small doses, peeking out from torn corners, to support page theme.

"Sunny Days of Summer" by Debbie Hodge | Supplies: Red Beach Kit, Totally Trashed and Windswept Paper Pack, Ashby Kit, Glitter Thread Stitches by Lynn Grieveson; Summer Rocks Brushes and Stamps by Ali Edwards; Artistry de Blanco Element Pack, Rimmed Framers No. 01, Flossy Stitches: White, Library Card Collection: Basics by Katie Pertiet; In the Swim Kit by Pattie Knox; Just Linens Paper Pack No. 01 by Maplebrook Studios

Use motifs as fun decorations, as cues to your subject, and even as triggers for associations that can be used to deepen meaning. At Masterful Scrabook Design scrapbook page designers Amber Ries, Melanie Grimes, Vee Jennings, Francine Clouden and Cindy Liebel share ideas and how-tos for making the most of motifs on your scrapbook pages. $12.50 gets you 5 webinars (with recordings), 40+ page pdf idea book, articles and more. Click here to subscribe and grab it before February 20th, when prices are going up.

Related posts:

1. What’s Your Motif? 10 Ideas for Using Timeless Patterns on Your Scrapbook Pages
2. The 4 Patterns that Make Mixing Scrapbook Papers a Snap
3. Basic supplies for digital scrapbooking

by Debbie Hodge

A successful scrapbook page captures the viewer’s attention, controls the eye’s movement, conveys information, and evokes emotion.

That first task–capturing the eye’s attention–is the work of making a focal point.

And how to you create a focal point? There are three approaches to making something stand out and catch the eye.

1. Create a focal point with appeal

A subject making eye contact, a stunning floral arrangement, or a must-touch embellishment are the kinds of elements that not only catch the eye but involve the viewer in other ways. They evoke emotion or engage the viewer’s desire to touch.

Celeste Smith has a 1-2-punch of appeal on “Same” with her subject smiling into the camera and a large, touchable flower clustered next to the photo.

Same by Celeste Smith (Masterful Scrapbook Design Focal Points Issue) | Supplies: Digital Supplies: Cool Beans Mixed Buttons, Minestrone Paper Pack, Harvest Felt Flower,Red Polkas Canvas Flowers,Calendar Journaling Sprouts on White - Digital Sprout Pack #1 - all from Jillibean Soup; Font: Another Typewriter

2. Create a focal point with contrast

Contrast is one of the biggest draws of the human eye. By using it properly, it is the most effective way to create a focal point. Contrasts are all about differences — and the bigger the differences, the more noticable and eye-catching. Try contrasts in color, size and values (i.e., lightness or darkness of an element).

The black and white portrait-oriented photo layered over a color version stands out against the color photo and the  tone-on-tone and cream-colored patterned papers.

1 More Time by Debbie Hodge | Supplies: Etc by Polka Dot Pixel; Krafty Cuts Leaves, Flossy Stitches Orange, Cold Spring Element Pack, Artistry Del Sol, Krafty Canvas No 1 by Katie Pertiet, Little Bits ALpha; Interlude by One Little Bird; The Daily Details by Digi Chick Collaborative; Metamorphosis by Leora Sanford; Ransom Words by Vicky Stegall; An Additional Very Small Alpha by Allison Pennington; Artplay Palette Chevron Sweet Baby by Anna Aspnes; Build Your Own Borders by Amy Wolff

The black alphas in the title on Kelly Purkey’s “The Beginning” contrast strongly with the light-colored background and immediately grab the eye. Their positioning at center and inside a frame of circles adds to their draw.

The Beginning by Kelly Purkey (Masterful Scrapbook Design Focal Points Issue) | Supplies: Cardstock - American Crafts; Patterned Paper - American Crafts, 7 Gypsies, Studio Calico, Little Yellow Bicycle; Stickers - American Crafts, Sassafras; Buttons - My Mind's Eye, Epiphany Crafts; Stamp - Studio Calico, K&Co; Embossing Powder - American Crafts; Pen - American Crafts; Punches - Fiskars

3. Create a focal point with structure

Another way of drawing the eye to a point is through structure. Specifically:

Line: The human eye (and mind) will follow the natural order of things. The eye will follow: a sequential pattern, the eyes of the people in your photos, a line of perspective, or implied motion in your photo.

White space: Using whitespace is one of the simplest ways to draw the eye to specific area of the page without use of visible elements. See Kelly’s “The Beginning” above. The generous white space surrounding the title contributes to its draw.

Balance: Symmetry can strengthen a focal point, forcing the viewer’s eye to the center. An asymmetrical design can soften or muddy focalization.

On this symmetrical composition, Dina Wakly has placed her photo at page center AND at the intersection of vertical and horizontal bands of patterned paper–cementing its position as page focal point.

My 3 Fellas by Dina Wakley (Masterful Scrapbook Design Canvas Issue) | Supplies: Supply list: Patterned paper: Jenni Bowlin Paint: Liquitex Cardstock: Bazzill Journaling Card: Jenni Bowlin Alphabet: Jenni Bowlin

Related posts:

1. Creating a focal point on scrapbook pages
2. Texture and Dimension on Scrapbook Pages
3. Four Ways to Use Neutral Colors on your Scrapbook Pages

Is your title adding value to the page? Content and design are the keys.

A successful scrapbook page captures the viewer’s attention, controls the eye’s movement, conveys information, and evokes emotion. The title is one of the tools you have for achieving these ends.

Just as every sentence in a story should either deepen character or advance the action, every item on your scrapbook page should be pulling its weight. Every element you add to a scrapbook page should either deepen meaning or advance visual design.

Are you using titles this way? Make sure you’re not just slapping a title on a page because you think you should. Not every page requires a title. Read on for 4 ways you can use titles to make your scrapbook pages better.

1. Use scrapbook page titles to cue subject

There are times when your focal point and or scrapbook page photos don’t immediately help the viewer understand what the page is about.

“10 Things in July” is a text-heavy page with a photo that represents just one part of the topic being covered. The title is what makes it clear from the get-go that this is a list of 10 things on my mind in July, 2011.

10 Things in July | Supplies: Just Linens No 1 by Maplebrook Studios; Flossy Stitches Yellow by Katie Pertiet; Shutterbug Collaboration by The Digi Chick Designers; Yesterday Alpha by Lynn Grieveson; Journey Back Collection, Apple of My Eye Collection by Vinnie Pearce; Artsy Fotoblendz No 1 by Anna Aspnes

2. Use scrapbook page titles to set tone

Both the content of your title as well as the materials and styling you use for rendering it can set page tone, which makes the page more immediately accessible to the viewer.

The title “Coconut Coalition” paired with photos of my sons and mom fooling around at the table and eating cake tells the viewer there’s a story here that goes beyond just eating cake. The brightly colored alphas and casual fonts help the viewer understand that the story is a fun one. The result? The viewer is more likely to enter into the page, its journaling, and photos to understand just what was going on.

Coconut Coalition by Debbie Hodge | Supplies: Artistry de Blanco Element Pack, Rubber Alphabet No. 02, Flossy Stitches: Green, Photo Corner Colors No. 02, Notebook Paper Pack No. 03, Oiselet Rouge Element Pack, Scallop Strip Masks, Doodled Block Alpha Brushes and Stamps, Pick Me Up Rub Ons, Labelled Journalers No. 02 by Katie Pertiet; Brad Bonanza No. 03: Digital Fasteners by Pattie Knox; Everyday Sentiment Strips Brushes and Stamps by Ali Edwards

3. Use scrapbook page titles as a path to deeper meaning

Great fiction tells us two stories: the story of the incidents at the surface and the deeper story of why these characters and their situation matters. Scrapbook pages can also tell two stories, and your title is one of the tools you have for getting at the deeper story.

“Here” is the story of a Thanksgiving gathering and of finding out friends are planning to move. It is also the story of why these characters living HERE in this place matters so to the narrator (me!). “Here” as a title, rather than “Thanskgiving 2011,” emphasizes where the real meaning is.

Here by Debbie Hodge | Supplies: The Daily Details by The Digi Chick Collaboration; Restoration by Gina Cabrera; Speech by Paula Kesselring; Flossy Stitches Brown, Journaling Strip Masks, Art Time Elements, In Words Brushes by Katie Pertiet; A Very Small Alpha by Allyson Pennington; Traveling Typewriter font

4. Use scrapbook page titles to strengthen visual design

A well rendered scrapbook page title contributes to the goals of catching and guiding the viewer’s eye in order to convey information and evoke emotions. Consider each of the 6 basic principles of visual design and see how to apply them with your titlework.

The title on “Finally Snow” immediately tells the viewer that there has been a wait for the snow featured on the page. The “snow” part of the title stands out because I’ve used the principles of contrast and emphasis to make sure it catches the eye. Repetitions of white at two other spots create a visual triangle that includes the title and creates flow through the page.

Finally Snow by Debbie Hodge | Supplies: 11:30am, 11:00am by Amy Wolff; Vintage Tickets by Quirky Twerp; Woodgrain Alpha by Crystal Wilkerson; Oh Joy by Paislee Press; Messy Slab ALpha by Cathy Zielske; Handcut Snowflakes by Valerie Wibbins; In the Loop 4 by One Little Bird; Words and Pictures Paper Pack, Woodsy Trees by Katie Pertiet

Related posts:

1. 10 ways to make a scrapbook page title
2. Roundup of Ideas and Tutorials for Scrapbook Page Titles
3. Place embellishments to support scrapbook page flow

Texture refers to the surface characteristics of a material. Is it rough or smooth? Plush or gritty? Dimension (or depth) refers to the measurable extent to which something lifts off the page. Real texture and dimension (as well as the illusion of texture and dimension) can be added to your scrapbook pages.

Texture is a powerful art element because it can quickly evoke memories and emotions. Both texture and dimension can be used to engage the viewer’s sense of touch.

Add real texture to your scrapbook pages

The materials you use on a paper scrapbook page, for example:  fabric, epoxy, lace, and textured cardstock, will add real physical texture.

Doris Sander‘s “9 Years” is full of real texture, including rough glitter, string, textured cardstock, and smooth pearls and buttons.

9 Years by Doris Sander (Masterful Scrapbook Design Canvas Issue) | Supplies: Supplies: patterned paper, buttons, chipboard elements by My Mind's Eye, Mist by Jenni Bowlin for Ranger, Stencil by The Crafter's Workshop, Journaling Spot by American Crafts, Alphabet by Jillibean Soup

Add visual texture (or the illusion of texture) to your scrapbook pages

Rough surfaces reflect light unevenly. Smooth textures reflect light evenly. Matte surfaces reflect soft, dull light. Shiny surfaces reflect bright light. Understanding this, artists create visual texture by working with reflections of light, color, and values. Because lighter values appear to be closer and darker values tend to recede, combinations of the two side-by-side create the illusion of texture.

On paper scrapbook pages, add visual texture with mists, certain patterned papers and digital effects. On digital scrapbook pages, many of the elements you’ll include are created with patterns of dark and light on a surface to provide the illusion of texture.

“Their Everyday” is a digital page with visual texture that comes from purchased products AND digital techniques I added. The glass center to the flower is a digital element made by Katie Pertiet that adds the illusion of glass. I add a bit of subtle texture with a Photoshop Style to create the embossed scallops (at top right) and firefly trail (behind the title).

Their Everyday by Debbie Hodge | Supplies: Chasing Fireflies Kit by Paislee Press; Before My Eyes Kit by Scrap Originals; Multi-layered Fotoblendz by Anna Aspnes; Oiselet Rouge Element Pack, Yellow Paper Alpha, Metal Alpha, Lil’ bits Alpha, Fall Fun Kit, Artistry de Blanco Element Pack by Katie Pertiet; Woodgrain Alpha by Crystal Wilkerson; Everyday Handdrawn Brushes by Ali Edwards; Wildflower Kit by Kathryn Wilson.

Add real dimension to your scrapbook pages

Layer, stack, curl, and pop-dot your elements to achieve actual depth on your page.

Michelle Clement added dimension to Happy Outside with several techniques. Michelle says, “I curled up the corners of background papers and photos with my fingers so the edges sit off of the page a bit (and sometimes I rough them up or fold bits of them). I pleated a paper strip, and used fabric and flair embellishments for both texture and dimension.”

Outside by Michelle Clement (Masterful Scrapbook Design Texture & Dimension issue) | Supplies: Patterned Paper, Stickers, ‘Thickers’ Letter Stickers, Patchems, Flair, Leaf Embellishments, and Journaling Spot by American Crafts. Walnut Ink. Acrylic Paint. Masking Tape. Sewing Machine. Embroidery Thread. Fine Tip Pen. Pencil.

 

Add visual dimension (or the illusion of dimension) to your scrapbook pages

Create the illusion of depth by manipulating shadows, light, scaling, overlaps, and perspective.

Jana Morton says, “”I like to distort or angle elements to play with perspective and make it appear as if these elements have dimension and are sitting right in front of the viewer.” She used Photoshop perspective and shadowing techniques to do this on “5 Years.” Click here for her tutorial on this effect.

Five Years by Jana Morton (Masterful Scrapbook Design Texture & Dimension issue) | Supplies: Anna Aspnes: ArtPlay Palette: Red, White and Blue, ArtPlay Palette Strawberry Preserve, Easy Torn Edges Layered Template No. 1, Heart LoopDaLoop Artstrokes No. 1. Maplebrook Studios: Jelly Alphabet No. 6. Katie Pertiet: Brushed Alphabet No. 3, Loosely Labeled Dates, Little Shores, Hinge Pack. Pattie Knox: Little Folded Ribbon Bits.

 

Add texture and dimension to evoke memories

Texture is a powerful art element because it can quickly evoke memories and emotions. Artists use both visual and physical textures to trigger your memories of previous texture experiences. This is a way for an artist to convey feelings about his or her subjects. What does velvet connote to you? Do worn wood, corduroy, or slate trigger memories?

May Flaum used an embossed cardstock as the base for “Travels.” She inked it to create a vintage feel. The literal texture as well as comfortable feeling it creates result in a cozy feeling for these special photos of her daughter on a trip taken years. ago. May says, “The paper clip, buttons, and ticket all have an antique feel to them. They add dimension and they have that feeling of travel: of bits and pieces remembered and saved. The aged metal of the heart embellishment, the baker’s twine, and penwork are details that support the theme of fondly remembered travels.”

Travels by May Flaum. Travels | Supplies: Cardstock by American Crafts, inks by Tim Holtz, die cut paper by Basic Grey, embellishments from Vintage Findings kit by Making Memories, large letter by K&Co.

Add texture and dimension to engage another sense

Texture is tactile: it appeals to our sense of touch. It is an essential design element for visual artists, because it engages another sense in addition to sight. When you can incorporate texture on your pages, you draw your viewer in on another level.

I loved being able to see the grain of the asphalt in the photos on “Rollin’.” When I look at the expanse of paved road, I recall the feel of asphalt passing beneath the skate wheels, as well as the sound the wheels make rolling over it.

Rollin' by Debbie Hodge | Supplies: Ransom Paper Pack by Vicki Stegall; Color 2 Labels by Crystal Wilkerson; Alpha and Number Set No 2 by Anna Aspnes; Junk Mail Alpha by Michelene Martin; Wonky Trims No 2 by Lauren Reid; La Belle Vie Kit by One Little Bird; Storyteller, Photobooth by Paislee Press; Ransom Journalers, Ransom Paper, Ransom Basics by Vicki Stegall; Just Juicy by Lynn Grieveson; From My Bookshelf No 4 by Katie Pertiet; Rock the Shadows Styles by Tracy Stroud.

Texture and dimension, whether real or visual, are important tools for conveying the meaning of your page as well as actively engaging the viewer.

Related posts:

1. 7 Ways to Add Texture and Dimension To Your Scrapbook Pages
2. Evoke a mood with your scrapbook pages
3. How to create focal points on scrapbook pages

Find ideas and how-tos for using patterned paper on your digital and paper scrapbook pages.

Blocks of patterned paper are used as accents on Fall Riding with the colors and motifs supporting, and even cuing, page subject. | "Fall Riding" by Debbie Hodge | Supplies: Krafty Cuts Leaves No 1, Krafty Canvas No 1, Fall Fun Element Pack, Banner Saftey Tags No 1, Scallop Strip Masks, Lifted Leaves No 1 by Katie Pertiet; Folded Ribbon Bits by Pattie Knox; Autumn Moon Ephemera by Sahlin Studio; Journey Back Elements by Vinnie Pearce; Wild Weekend, To The Woods, Glitter Thread Stitches by Lynn Grieveson; Westover by One Little Bird; Fall and Halloween Handdrawn words by Ali Edwards

4 ways to use patterned paper on scrapbook pages (Debbie Hodge) From background to accent, patterned paper is fun to work with and adds interest and even meaning to a page. See it at work on paper and digital pages.

10 Ideas for Using Timeless Patterns on Your Scrapbook Pages (Amy Kingsford) Start with fun facts and the history of patterns like dotted Swiss, paisley, gingham, houndstooth, and more. The bulk of this piece is 10 illustrated ideas for getting these patterns onto your scrapbook pages.

5 ways to make bold patterned paper work on your scrapbook pages (Dina Wakley) There’s nothing like the punch and wow-factor a bold and bright patterned paper gives a page. Dina says, “One thing I’ve learned over the years is how to make a bold piece of patterned paper work for you.” In this article she shares those ideas.

The 4 patterns that make mixing scrapbook papers a snap (Debbie Hodge) When it comes to mixing patterned papers on your scrapbook pages, there are a four patterns that mix easily with the wildest of motif and color combinations. These patterns are text, stripes, ledger/notebook, and dots. See them at work here.

12 Ideas for Using Patterned Paper Strips on your Scrapbook Pages (Doris Sander) One of Doris Sander’s favorite ways to work with patterned paper is to cut or tear the paper in strips.  See how many looks she gets with these strips – and understand why working with them never grows old.

6 Tips for Using Patterned Paper Backgrounds on your Scrapbook Pages (Debbie Hodge) Love patterned paper? While it can be tricky using a patterned paper as background, see these tips making sure your photos and story still shine.

Ideas for Scrapbooking with Dots and Stripes (Debbie Hodge) Dots and stripes are patterns that work on most pages. Understand these basic patterns, their variations and see them at work on scrapbook pages.

Patterned Paper is one of the focus topics at Masterful Scrapbook Design. Get ideas, inspiration, and instruction.

Guest teachers Wilna Furstenberg, Cindy Liebel, Emily Pitts, and Celeste Smith share their favorite approaches and creative ideas for using patterned paper on your scrapbook pages in 3+ hours of video and audio (ipad compatible) and 100+ pages of instruction and inspiration.

Click here for details.

Related posts:

1. Ideas for Scrapbooking with Patterned Paper: Dots and Stripes
2. 5 ways to make bold patterned paper work on your scrapbook pages
3. 4 Ways to Use Patterned Paper on Scrapbook Pages

Seeing the grain of the asphalt beneath rollerblading feet triggers memories of how the wheels feel moving over it as well as their sound, rolling down the road.

Texture refers to the surface characteristics of a material: is it rough or smooth, matte or shiny? Dimension refers to extent to which something lifts off the page. 

Adding texture and dimension to your scrapbook pages engages another sense in addition to sight: touch.

What’s more: texture can quickly evoke memories and emotions. Thus, you can convey feelings about your page subject with your texture choices. What does velvet connote to you? Do worn wood, corduroy, or slate trigger memories?

Seven ideas for adding texture and dimension to your paper and digital scrapbook pages follow.

1. Use bulky elements

Amy Kingsford advises: “Before passing on an element because you think it has no place on your page or because you think it’s too bulky–challenge yourself to look at a variety of everyday items with an open mind.  If it truly is too bulky, try cutting it in half, trimming it down, or devising some other plan to help you get it onto your page!” She’s incorporated silk flowers with lots of small petals lifting up off the page as well as pearl, resin, and ribbon embellishments on “Amber.”

Amber by Amy Kingsford | Supplies: JBS December Main Kit and Artisan Add-On.

Bulky items aren’t just for paper scrapbookers. With the right technique, you can get visual dimension on digital scrapbook pages. Peppermint Granberg says, “I really loved these 3-dimensional nautical elements so I let them shine by leaving the rest of the page flat. I set them off with deep drop shadows so they pop off the page, like little trinkets glued to the paper.”

Seasick by Peppermint Granberg | Supplies: Scrib Scrub by Vinnie Pearce

2. Use patterned papers that have texture

Visual texture is created by combinations of light and dark. There are patterned paper designs that can instantly add texture to a page, and the text print backing up Cindy Liebel’s page is one of those. Cindy says, “The type-print patterned paper I used for the background here is an all-time favorite of mine, and I love how it adds texture and interest.”

Images of You by Cindy Liebel | Supplies: Pattern Papers by Lily Bee Designs. Chipboard by Lily Bee Designs. Index Journaling Card by Lily Bee Designs. Jeweled Pin by Maya Road. White Flower by Maya Road. Banner Chipboard by Maya Road. Flowers & Circle Punches by EK Success

3. Capture visual texture in your photos

The three photos on my layout “Rollin’” show of my son rollerblading on our road. I refrained from zooming in tight on him when I cropped the photos, since the surface beneath your feet is an important part of any rollerblading experience. I liked how the yellow lines guided the eye through the three photos. But, more than that, I loved being able to see the grain of the asphalt. When I look at the expanse of paved road, I recall the feel of asphalt passing beneath the skate wheels from my own skating experiences, as well as the sound the wheels make rolling over it.

Rollin’ by Debbie Hodge | Ransom Paper Pack by Vicki Stegall; Color 2 Labels by Crystal Wilkerson; Alpha and Number Set No 2 by Anna Aspnes; Junk Mail Alpha by Michelene Martin; Wonky Trims No 2 by Lauren Reid; La Belle Vie Kit by One Little Bird; Storyteller, Photobooth by Paislee Press; Ransom Journalers, Ransom Paper, Ransom Basics by Vicki Stegall; Just Juicy by Lynn Grieveson; From My Bookshelf No 4 by Katie Pertiet; Rock the Shadows Styles by Tracy Stroud.

4. Use technique and textured mediums

May Flaum says, “This layout is 100% texture and dimension!” She began by adding mists to the background then crumpling it, sprinkling with embossing powder and heating from underneath to add metallic raised splatter.” See complete tutorial on May’s blog. “I used all kinds of inks, embossing, glitters, and other mediums to add texture, feel, and mood to this page. It’s one of my all-time favorites,” says May.

Pirate Love by May Flaum | Supplies: All paper and supplies are by Tim Holtz, except thread (DMC floss) and embossing powder (UTEE by Ranger)

5. Layer

Michelle Clement loves layering up all kinds of elements Her best tips for layering include:

• Try not to measure: just cut basic shapes to speed things up.
• Crumple paper edges in your hands to add texture.
• To make stickers more dimensional, stick them to plain white computer paper and cut them out; now adhere them and curl the edges up between your fingers, if needed.
• Sew some of the  bottom layers: it adds a lot of depth to see stitches peeking out.
• Don’t put adhesive right to the edge of an element if you want it to stick up a bit
• Foam dots are magical for adding dimension to everything!

Stroll by Michelle Clement | Supplies: Patterned Paper, Buttons, and Stickers by Sassafras Lass. Letter Stickers by Making Memories. Walnut Ink by Creek Bank Creations. Letter Stamps by Hero Arts. Embroidery Floss by DMC. Masking Tape. Acrylic Paint. Staples. Vintage Cards.

I made my digital page, “Just Love You,” inspired by Michelle’s approach to layering. I stacked up a variety of papers and elements to create a base for my photos — and I made sure to add realistic shadowing to everything.

Just Love You by Debbie Hodge | Supplies: Brad Bonanza 3, Brad Bonanza 2 by Pattie Knox; Epic Kit by One Little Bird, Biograffiti, Paislee Press; Airtime Kit by One Little Bird; Vintage Frames No 26, Collageables 6 by Katie Pertiet; Dripped Stains No 4, Artplay Palette Rockstar by Anna Aspnes; Duly Noted Kit (doily mask) by Leora Sanford; Photobooth Kit by Paislee Press; Rock the Shadows Styles by Tracy Stroud

6. Add light to create “space” between your layers

Jana Morton loves to layer elements on her digital scrapbook pages. “I also like to add ‘breathing room’ in between my layers,” says Jana, “by adding a burst of white brushwork. In the layout below, I used a large white brush and added brushwork behind the focal photo. Check out the difference between the before and after versions.

Paper scrapbookers can get this same effect with a bit of white paint.

"Before"

"After" Super Sweet by Jana Morton | Supplies: Classic Patterned Finest, Classic Cardstock: Finest Paper Pack, Vintage Photo Frames No. 18, Slide Reels No. 01, Dog Park Kit, Littlest Farmer, Stitched Journal Strips No. 03, Whimsy Words No. 06, Little Shores Kit, Tabbed Dates, Hinge Pack, Word Labels: Love, Yarn Swirls No. 03: Neutrals by Katie Pertiet; Stitched by Anna Borders No. 03 Spackle Textured No. 01 BrushSet, FotoGlows No. 04, ArtPlay Palette Mist, ArtPlay Palette Poppy by Anna Aspnes

7. Use tone-on-tone layering for an embossed (or debossed) effect

One of Cindy Liebel’s favorite ways to add texture and dimension to scrapbook pages is to layer elements of the same color. Cindy says, “These tone-on-tone effects create the illusion of embossing (when an area of your paper or cardstock is raised up in a shape). It’s a fun way to use cardstock and to play with a variety of colors.” On “Hand-Picked,” Cindy layered a piece of kraft from which rows of flowers had been cut. It sits atop a paper of the exact same color. Now the tone-on-tone layering creates a debossed (rather than embossed) effect.

Hand-picked by Cindy Liebel | Supplies: Flower punch by Martha Stewart, Work In Progress July 2011 Project Kit

Which of these layouts has you inspired? Add it to your pinterest boards for quick reference when you get ready to scrapbook.

 

These are a sampling of the layouts and ideas in Masterful Scrapbook Design Texture and Dimension issue which includes 40-page pdf seminar, 5 live webinars (with video and audio recordings for download), 7 focused articles, and 2 annotated galleries. Click here for more information.

 

 

Related posts:

1. Texture and Dimension on Scrapbook Pages
2. Four Ways to Use Neutral Colors on your Scrapbook Pages
3. 4 Ways to Use Patterned Paper on Scrapbook Pages

Pieced backgrounds are great ways to incorporate more papers and add interest to your canvas.

by Debbie Hodge

Your scrapbook page canvas is the base upon which you build your page.

You might use solid cardstock, patterned paper, a die-cut shape, a base altered with mediums like paint and ink, or – how about a pieced background?

Here are 4 ideas for starting your next scrapbook page with a pieced-paper canvas.

1. Classic pieced background

This is a classic pieced background format.

One-quarter to one-third of the page is filled with one paper; the remainder is filled with another; a narrow strip tops the area where they meet. The bands may run horizontally or vertically and sit to either side, top, or bottom.

This simple base lets you use more papers and add interest, yet is clean enough to support a busy cluster of elements as on “Silent Auction.”

 

 

 

“Silent Auction” presents photos, title, and several pieces of ephemera in a haphazard cluster mounted on a backdrop of kraft and gold-on-white patterned paper topped with a bold red strip.

“Silent Auction” by Debbie Hodge | Supplies: Holiday Cheer, Round Robin by Lynn Grieveson; In the Loop Frame, Making a List by One Little Bird; Kitschy Christmas by Jenn Barrette and Sahlin Studios; Another Very Small Alpha by Allison Pennington; Stitched by Anna Brown Borders No 1; Massana Script, Cardo fonts

2. Blocked background (OR “Crazy Quilt”)

This pieced background could be a sketch for a blocked page, with the individual blocks providing homes for photos, title, and journaling.

What if, though, instead of filling those blocks with your primary page elements, you filled them with papers, and then built a cluster of photos, title and journaling that you layered on top of this base?

Or . . . think of this design like a “crazy quilt,” and use it as an opportunity to use several patterned papers.

 

 

When making “Hodge,” I selected patterned papers with yellows (and I let in just a bit of pink). This unified the background and kept it from overwhelming the photos and foreground elements. If your elements are getting lost on the “quilt,” add a swath of paint or ink. I used a digital “fotoblendz” by Anna Aspnes and clipped white paper to it to give my cluster a subtle foundation and help it stand out.

“Hodge” by Debbie Hodge | Supplies: La Belle Vie, PageKraft by One Little Bird; French Summer by Lynn Grieveson; Artistry de Blanco Element Pack, Academic Sanded Alpha, Oiselet Rouge Element Pack, King Me by Katie Pertiet; Oak Tree by Sarah Gleason; Brad Bonanza 3 by Pattie Knox; Stitched by Anna Cream, Fotoblendz No 5 by Anna Aspnes; Treasured Moments by Sugarplum Paperie; Masanna Script font.

3. Big contrasts

Rather than blocky rectangles with height-to-width proportions much like those of your photos, try using longer (or taller) pieces. Here, an 8” wide piece spans most of the height of the page and is flanked by 1.5” and .5” vertical strips. A narrow horizontal band sits below the wide center piece and two of its flanking strips, allowing the narrowest strips to span the entire canvas.

It makes a great backdrop for a complex cluster of elements surrounded by generous white space. The pieced background is the white space, and it’s unexpected and interesting.

 

 

I mixed simple patterns with kraft for my background so that the foreground would remain the focus.

"Sick Day" by Debbie Hodge | Supplies: Star On Top by Amy Martin and One Little Bird; Making a List, PageKraft by One Little Bird; Brown Paper Packages by Krista Sahlin, Very Small Alpha by Allison Pennington; Designer Mixed, Cardo fonts

4. As middleman

Take that simple background in the first example and do something unexpected. Leave a narrow gutter instead of abutting the two pieces or topping them with a strip. Allow a margin or even bleed the grouping off one edge of the canvas.

With this approach, the pieced grouping is no longer your canvas base, but, rather, a foundation that comes between your canvas and your page elements.

 

 

 

The radiating stripes on the narrow band of patterned paper on “The Double-Nickel Birthday”  lead the eye into the grouping mounted on top of the pieced foundation.

“The Double-Nickel Birthday” by Debbie Hodge | Supplies: Lemonade Stand by Taylor Made; Artplay Palette Rockstar by Anna Aspnes; Fall Fun Kit, Vintage Photo Frames No 26 by Katie Pertiet; Epic Kit by One Little Bird, Biograffiti, Paislee Press; Warm October Kit by Lynn Grieveson; Messy Slab Alpha by Cathy Zielske; Kreased Transfers by Anna Aspnes; La Belle Vie Kit, Westover Kit by One Little Bird; Photobooth Kit by Paislee Press; Australian Flying Corps Stencil, Cardo fonts.

Has this inspired you to create a pieced background? Or are you already making pages with pieced backgrounds?

 

We’re studying the Scrapbook Page Canvas in detail at Masterful Scrapbook Design with paper and digital designers who have ideas and techniques to share.

Join today for ideas and techniques that will have you scrapbooking with a confident eye and a skilled hand. $12.50 gets you a 40-page pdf seminar, 5 live webinars (with recordings), 7 focused articles, and 2 annotated galleries. Click here for more information.

Related posts:

1. 7 Ideas for using ephemera on your scrapbook pages
2. 10 ideas for placing scrapbook journaling on your page
3. Details to lift: 5 ideas to try on your own scrapbook pages

Design elements are the basic building blocks of visual design. Design principles are rules you can use to combine those blocks.

Eight design elements that will go a long way toward making pleasing pages are:

• Space
• Line
• Shape
• Size
• Pattern
• Texture
• Value
• Color

A quick look at each of these follows. For more ideas and details, check out the Design Play issue of Masterful Scrapbook Design

Space

“Space” is where your page elements coexist. Space is where images and type “play” together. How well they play and how you achieve harmony among them is up to you.

Peppermint Granberg’s “Become” incorporates generous white space setting off the cluster of photo, elements, title, and journaling

S

Supplies: Supplies: Old Things by Vinnie Pearce; Urban Madness by Ida; Organic Artistry by FruitLoop Sally; Blissful Days by Julia Makotinsky; Traces of Print by Catrine Hallingstad.

Layout by Peppermint Granberg from Masterful Scrapbook Design “Texture and Dimension” issue.

Sharyn Tormanen uses the space of her Silly Bands 12″ x 12″ canvas differently, filling the canvas with a blocked design.

Layout by Sharyn Tormanen from Masterful Scrapbook Design “Smorgasbord” Issue.

Line

A line is the extension of a point and the most basic element of visual communication: we use lines to symbolize and record ideas. Lines can be straight, curved, thick, thin, vertical, horizontal, diagonal, solid or broken. The rendering of a line can imply a mood or tone. Soft and curving lines signal tranquility. Jagged diagonals evoke a more jarring tone.

See if you can find the lines in Emily Pitts’ “5 Things.” Her foundation includes vertically striped patterned paper, and the journaling is mounted with horizontal lines of string repeated down the page.

Supplies: Studio Calico State Fair

Layout by Emily Pitts from Masterful Scrapbook Design “Stash Busting” issue.

On “The Double Nickel Birthday,” Debbie Hodge used a band of paper with lines radiating from the bottom right corner. There are solid lines and dotted lines. The paper is positioned to guide the eye into her cluster of photo, journaling, and page elements.

Lemonade Stand by Taylor Made; Artplay Palette Rockstar by Anna Aspnes; Fall Fun Kit, Vintage Photo Frames No 26 by Katie Pertiet; Epic Kit by One Little Bird, Biograffiti, Paislee Press; Warm October Kit by Lynn Grieveson; Messy Slab Alpha by Cathy Zielske; Kreased Transfers by Anna Aspnes; La Belle Vie Kit, Westover Kit by One Little Bird; Photobooth Kit by Paislee Press; Rock the Shadows Styles by Tracy Stroud

Layout by Debbie Hodge from Masterful Scrapbook Design “Texture and Dimension” issue.

Shape

Understand that our minds recognize and make associations with familiar shapes. Squares are trusted shapes that connote stability, and circles–with their lack of a beginning or an end–are often thought to represent the eternal whole or the circle of life. Your canvas has a shape: probably square or rectangular, but die-cut papers in bracket and scallop shapes are possible canvas bases, too. Photos and blocks of type have shapes–again, frequently rectangular, but not necessarily.

Lynnette Penacho built a base of rectangles on “Toy Story Mania” that she’s topped with a cluster of familiar and boldly delineated shapes: rectangles, circles, and stars. Even the shape of the monkey is familiar to the many of us who played with this linking toy as a child.

Supplies: You've Got a Friend by MandaBean Font is DJB Lynnette by Darcy Baldwin

Layout by Lynnette Penacho from Masterful Scrapbook Design, “These Time” issue.

Size

Just how big will your photos (and other elements) be on the page? The more important question is: how big are your photos (and other elements) in relation to the other pieces of your design?

Size is a great tool for creating impact. This does not necessarily mean you need to use an oversized element. A very small element can also have power. The key is that there be a big difference in sizes. Don’t just make it “kind-of-sort-of” bigger (or smaller). Make it seriously, obviously bigger (or smaller).

You can use less drastic differences in size to incorporate variety. See how Cindy has used acrylic circles in several sizes to create the clusters of them “bubbling” from the photo. Without the variety of sizes this design wouldn’t have the appeal it does.

Supplies: Die-Cuts (Three Little Birds) by Lily Bee Designs, Rub-ons by Lily Bee Designs, Circle punch by Fiskars, Clear Acrylic Circles called Fragments by Tim Holtz, Swiss Dot Cardstock by Bazzill Basics

Layout by Cindy Liebel from Masterful Scrapbook Design “Texture and Dimension” issue.

Pattern

Patterns occur when elements are duplicated. The repeated ornament on wallpaper creates a pattern. The bullets preceding each item in a list create a pattern. A series of photos creates a pattern. Patterns create orderliness and familiarity. Patterns can guide the eye as it moves from one occurrence to the next. Patterns can define a line.

On “They Deserve a Lovely Life,” Kelly Purkey set up the expectation of a pattern (lines of circles) and then broke that pattern — which adds lots of interest to the page.

Supplies: Cardstock - American Crafts, Patterned paper - Studio Calico, Post-it - Studio Calico, Wood - Studio Calico, Stamps - Papertrey Ink, Ink - StazOn, Pen - American Crafts

Layout by Kelly Purkey from Masterful Scrapbook Design “These Times” issue.

Texture

Texture refers to the surface characteristics of a material. Is it rough or smooth? Plush or gritty? You can add real texture and/or the illusion of texture. Using lace, woodgrain, or fabric on a page adds real texture. Printed or digital elements that manipulate the patterns of dark and light on a surface provide the illusion of texture.

On “Cicadas,” Doris Sander used a strip of tulle, a fabric flower, stitching and textured cardstock to give the page touchable appeal. Her layering, used of deep elements (like the tulle) and the doily with its opening revealing lower layers add depth to the page.

Supplies: Jenni Bowlin Mercantile

Layout by Doris Sander from Masterful Scrapbook Design “Smorgasbord” issue.

Value

Value refers to the relative tones of light and dark. In between black and white there are a range of gray shades. Colors also have value. Use a range of values to create a sense of depth. Consider the shading on your subject’s face and the areas of light and dark that give it depth. Use value to emphasize or create a focal point: when you’ve got a light element on a dark background it will immediately stand out. Use similarities and differences in values to set tone, create overall unity, or add contrasts to a page.

Jana Morton used values ranging from quite light to very dark — all in a variety of browns and creams to give this monochromatic page texture and depth.

Supplies: Katie Pertiet: Enveloped Frames No. 1, Alandia Collection, Totally Tied Up, Dirty SunPrints Kit, Loosely Labeled Dates, Lil Bit Tags Anna Aspnes: Magic Sparkles, FotoGlows 4, ArtPlay Palette No. 4, ArtPlay Palette No. 2, Fruehling Element Set, Hipster Plume Korners N Edges No. 4, Say YES PageSet. Pattie Knox: Fasten Its! Lynn Grieveson: Worn Page Edges. Studio DD: White Element Cluster

Layout by Jana Morton from Masterful Scrapbook Design “Texture and Design” issue.

Color

Understanding and thinking about how you use color on your scrapbook pages is important because, when used well, color can do many things, including: evoking feelings and emotions, triggering symbolic connections, catching and leading the eye, organizing elements, and more.

 On “After Irene,” Debbie Hodge used the complementary colors orange and blue with bits of pink, green and yellow. The blue works well for her outdoor theme and the orange warms this summer page up. The contrasts give the page energy — just like the energy of the sea after a hurricane.

supplies: Summer Sunset Kit, Red Beach Kit, Just Juicy Kit by Lynn Grieveson; DIY Sticker Alphabet No. 02, Brad Bonanza No. 03: Digital Fasteners by Pattie Knox; Bread + Butter Elements: Oval Journal Tags by Ali Edwards; Tied Fasteners No. 04 by Katie Pertiet

Layout by Debbie Hodge

 

For a more in-depth look at design elements at work on scrapbook pages, grab the Design Play issue of Masterful Scrapbook Design.

 

 

Related posts:

1. How to use journaling strips to rock your scrapbook page design
2. Reworking a layout design | When being stuck in a groove is ok
3. Blurring the line between photo and canvas adds design oomph to your scrapbook pages

by Debbie Hodge

“In the groove” is a phrase we use when the work’s going well, when it’s moving forward in ways we like. The phrase comes from the concept of running accurately in a channel or a groove.

There is, however, another phrase with groove in it. “Stuck in the same old groove” is something we say when we’re repeating, like a broken record, not doing anything new or moving forward.

I’ve been both “stuck in a groove” and “in the groove” the last couple of weeks as I’ve reworked a design element over and over, each time with slightly different results—results I like.

Here’s an approach for finding your own groove with great results.

1. Find the groove

Set yourself a challenge to do something new. I began “We Love the Sunny Days of Summer” with the goal of making a page that had a cluster of photos and elements that left lots of white space around them and that had a patterned paper background.

When I was finished with the page, it was the background that I loved and wanted to work with on another page.

2. Understand the groove

When you’ve got a page with some element that you really love, it’s time to repeat it—and yet make it new. Rather than replicating what you like, break it down to its pieces and see how you can use them in a new way.

What was it about the background on the previous page that interested me and that appealed to me? It was the sense of two canvases – of a canvas on top of a canvas. It was also the unfamiliar, the things I hadn’t done before, the vertical band of paper on the left side, its size, how it abutted the patterned paper and bled off the side of the page.

3. Repeat

Understanding what it was that interested me about the background on the “The Sunny Days,” I began making “After Irene,” which is also a beach page and which also uses blues, browns, and reds.

See the similarities in the foundational papers: a large block of patterned paper sits to the right and a vertical band of highly contrasting paper sits to the left. The page has top and bottom margins that are similar to those on “Sunny Days.”

There are differences, too: The large block doesn’t bleed off the right edge and there is a half-inch gutter between it and the vertical band. The foreground elements fill a larger area of the canvas and spill off the larger block onto the vertical band. I’ve also added a horizontal strip to the foundational grouping.

supplies: Summer Sunset Kit, Red Beach Kit, Just Juicy Kit by Lynn Grieveson; DIY Sticker Alphabet No. 02, Brad Bonanza No. 03: Digital Fasteners by Pattie Knox; Bread + Butter Elements: Oval Journal Tags by Ali Edwards; Tied Fasteners No. 04 by Katie Pertiet

4. Repeat again and swap it up some more

When my youngest son loves something he says: “Again, again, again!” When you love some aspect of a design, do it yet again!

See the similarities and the differences on “For Love” to the previous page. The foundational pieces (which make my canvas within a canvas) are, again, three pieces of paper: a large, squarish block, a vertical band, and a horizontal strip. Now the vertical band is on the right side, and the entire group bleeds off the left side of the page.

Again, these are beach photos, and the colors are blues, reds, and browns.

supplies: Colbie Solids by Maplebrook Studios; Collageables No 4, Between the Lines Alpha 5 by Katie Pertiet; Summer Sunset Kit, Summer Sunset Distressed Papers by Lynn Grieveson; Spray Paint Brush, Vintage FotoKorners by Anna Aspnes; Taste of Morocco Kit by Sahlin Studios

5. Don’t stop now – go micro (or macro) with it

“Oh Happy Day” is yet another page with photos taken at the ocean and the colors of blue, red and brown.

This time the foundation, or “canvas-within-a-canvas” is a square piece of solid cardstock mounted in the center of the page. It’s within this area that I repeat elements from the previous pages: a square block of patterned paper and a vertical band back up my photo, title, and journaling. They are placed to the right within the brown square and bleed off the left edge.

supplies: Collageables No. 04 and No 1, Thin Chip Alphabet: Red, Basic Paper Alphabet: Beige, Basic Paper Alphabet: Yellow, Coastal Element Pack, Flossy Stitches: Red, Journaling Strip Masks, Vintage Photo Frames No. 24 by Katie Pertiet; Summer Sunset Distressed Add-on Paper Pack, Glitter Thread Stitches by Lynn Grieveson

What’s your groove?

Have you made a page you adore? Study it and see what it is that’s appealing to you and start grooving with it.

Are you in need of a page you adore? Set yourself the challenge of working with one or two design elements or principles and get scrapbooking.

 

Pages that result from play with design elements and principles are the focus of Masterful Scrapbook Design this month. Take a free peek.

 

 

 

 

Related posts:

1. Improve scrapbook page design with white space: 1 layout 3 ways
2. 3 ways to get scrapbook layout ideas and inspiration
3. Design Elements

Every page has its own story and its own set of page elements. Get them onto the canvas with 4 goals in mind.

by Debbie Hodge

A successful scrapbook page:

1. captures the viewer’s attention
2. controls the eye’s movement
3. conveys information, and
4. evokes emotion.

Each of these ends can be achieved in a variety of ways, all of which include getting your page elements (photos, journaling, title, and embellishments) onto the canvas using a knowledge of design principles and elements.

There’s no one way to make every page.

Come at scrapbook page design from a different angle

We talk a lot about scrapbook page design at Get It Scrapped. So much so that we came up with a big 12-lesson e-class called “Learn Scrapbook Design Principles.” Many of you have checked it out and told us how helpful it is for making well-designed scrapbook pages – and for understanding why a particular page design “clicks” while another may not.

We’ve taught you about design principles you can remember with the mnemonic ECBARF for Emphasis, Contrast, Balance, Alignment, Repetition, and Flow. But what about other design elements that you know play a role in the designing of a scrapbook page: elements like line and space and color and texture? If you’re running through the E-C-B-A-R-F repertoire, just when do you work those other elements in? And what order should everything go in? And is one more important than another?

The answer? It depends.

While there are some rules for good design that you can apply to the “art” of making great looking scrapbook pages, this isn’t a science and the rules aren’t exact or precise. Think instead about the 4 things a successful scrapbook page does, and then employ design principles and elements that will let you achieve these things.

1. Capture the viewer’s attention

Emphasis and contrast are the design principles to begin with when you’re vying for your viewer’s attention.

It is the engaging photos, with Amber’s son looking right into the lens, that not only capture my eye on “Nurse Dean” but also draw me in to look at the complete story. Amber has emphasized them with their size, their cropping, their placement, and their strong contrast with the background upon which they sit. Seen in combination with the title they make me want to know more and check out the rest of the page.

“Nurse Dean” by Amber Ries. Included in the “Digi Inspired by Paper” section of the Smorgasbord issue of Masterful Scrapbook Design.

2. Control the eye’s movement.

Once you’ve captured the eye, you need provide a guided tour through the page so that the viewer understands the story in the way you’d like it understood. Repetitions, Contrast, and Alignments will all help you build Flow on the page.

The starting place on “Jumping the Gun” is the closer-in shot of my son looking into the camera. It’s not just the cropping that makes it a starting point: it’s also the placement on the left side of a horizontal strip, and the embellishment and title accenting it. From there, the eye moves across the page toward the next spot of bright yellow, taking in the next photo, the title, and then the final photo with bare feet on snow. At that point, the viewer is ready to zoom in and read the bit of journaling on the small label.

“Jumping the Gun” by Debbie Hodge.

3. Convey information

Making scrapbook pages is all about leaving a record and telling stories. Your choice of photos, title, embellishments and the way in which you place them on the canvas should come together so that the viewer understands what’s being viewed and why it matters.

Lisa Dickinson uses every page element to tell the viewer what this page is about. With her emphasis on the photos of a mom with baby and then the title “She makes it look easy” we’re already understanding this is about a mom’s care of her child. Add in the joyful colors and embellishments and we’re guessing this care is happy and loving. The journaling tells us even more and we leave this page with a deeper understanding of the relationship of mom to child.

“She Makes it Look Easy” by Lisa Dickinson. Included in the Design Play issue of Masterful Scrapbook Design.

The title on “Finding Your Way . . . These Days” along with the larger photo of several people looking at their phones next to a street sign immediately cues the viewer that this is a story about getting somewhere. The eye begins at top left with the rhinstone and chipboard embellishment above the larger section of the title—and then over to the rest of the title, which tells you that this is not only about getting somewhere, but about the role technology plays in this effort. The journaling elaborates, revealing that technology isn’t always all it’s cracked up to be. Alignments and organizing white space make the presentation of multiple photos and journaling bits along with a longish title accessible to the viewer.

“Finding Your Way” by Debbie Hodge.

4. Evoke emotion

Why do we tell stories, create art, make scrapbook pages? The best records leave the viewer feeling something.

Dina Wakley’s “Oh my!” with its exploding design, bright colors, and exclamatory title backing up photos of her son hamming it up for the camera sure makes me feel something: happy!

“Oh My!” by Dina Wakley. Included in the “Style” section of the Smorgasbord issue of Masterful Scrapbook Design.

Start your scrapbook page with these four goals

The next time you make a page, stow your knowledge about design into your subconscious and bring these 4 goals to the forefront. Work to achieve them through the application of design principles to your particular page elements.

How do you reach a point where design principles are second nature? At Masterful Scrapbook Design we’re delving into the processes of 5 guest designers every month, sharing their layouts and notes on them as well as interviewing them on these topics. In September, $12.50 lets you study with paper scrapbookers Emily Pitts, Lisa Dickinson, and Vivian Masket and digital scrapbookers Kayleigh Wiles, Debbie Hodge, and Amy Mallory. The topic is “design play” and you’ll see how top designers use a knowledge of design principles to challenge themselves and get compositions you’ll love.

Related posts:

1. 3 design starters for 3-photo scrapbook pages
2. How to create focal points on scrapbook pages
3. How to study scrapbook pages by others to get ideas for your own pages