A 1911 cover from Life Magazine uses conventional margins to frame the cover art. In the 1930s Life Magazine moved to using photographs bleeding off three edges of the page.

by Debbie Hodge

A scrapbook page combines photos, text, and embellishments within the space of the page canvas.

Margins and mats can be used to “frame” your composition and add emphasis.  Frames are familiar. We’re accustomed to frames on artwork, windows, and even computer screens. You can use framing and matting to orient the viewer’s perspective of your scrapbook page.

Or you can do the unexpected and break out of the frame.

When you run an image off the page edge, the ground disappears and the image seems bigger. The image becomes a more active part of your design.

Take enlarged photos to the edge

This photo of the Lauterbrünnen Valley in the Swiss Alps is one of Emily Pitts‘ favorites from a family vacation and she gave it full impact by filling the right side of her two-page spread with it.

Emily worked also with the content of her photo to guide the eye. Notice how the sweep of the mountains from top right is continued over onto the left side where it meets journaling and titlework and then sweeps back up with the fussy-cut flowers.

Magical by Emily Pitts | Supplies: Cardstock: Bazzill; Patterned Papers: My Mind's Eye; Flowers: Sassafras; Alphabet: American Crafts; Embroidery Floss: DMC; Pen: Zig by Kuratake; Adhesive: Scotch Quick Dry Liquid Adhesive

Katrina Kennedy often bleeds enlarged photos off thee sides of the canvas when she scrapbooks. This already engaging photo of her son is made even more so by its size and the absence of constraining margins on three sides.

When your photos are such dominating pieces of a page, look to the content to guide the placement of other elements. Just as Emily used the sweep of the mountains to guide her embellishment placement in the layout above, Katrina’s journaling placement is guided by her photo: her journaling is left-aligned with the bright window in the photo above it.

While we’re talking about bleeding elements off edges: take a look at Katrina’s title. “Memories” bleeds off the photo edge. Part of it is missing, but the viewer’s mind fills in the missing parts.

Layout by Katrina Kennedy

Take blended photos to the edge

Anna Aspnes often makes her page base by blending and layering papers, digital elements and photos. Oversized photos that bleed off page edges add context as well as interest. The photos of her daughter at top left and bottom right of “Spring Crafts” show her engaged in sewing and are the perfect complement to the full photo of the completed project. Notice also how the cropping and placement of these photos guides the eye down into the and through the page.

Supplies: ArtPlay Palette Easter Bunny, SprayPaint No. 2, AnnaBlendz Artsy No. 2, FotoGlow Flowers No. 1, ThinStrips Masks No. 2

If you want to learn about blending photos, Jana Morton is the go-to teacher for this topic. On this layout she has scrapbooked the contradictions in how she lives her life with a blended photo of herself. The crop of the photo is especially dramatic showing only a little more than half of her face. Our mind fills in the rest, and her theme is well supported.

Katie Pertiet: Artistry d’ Amour, Sweet Cakes Kit, Classic Cardstock: Into the Night

Take embellishments to the edge

Any time a known shape bleeds off the edge, the viewer’s mind fills in the rest of the shape. The result of requiring this of the viewer is that they are more actively engaged. The page also is perceived to take up space off the canvas. Your page gains energy from the technique. Lisa Dickinson ran a band of circles across her page. They begin somewhere to the left of the page and end somewhere to the right.

Spring Break | supplies: cardstock (Bazzil Basics) + patterned paper (Webster's Pages, American Crafts, Jenni Bowlin Studio) + stamps, ink (Jenni Bowin Studio) + stickers (Sassafras Lass) + label (Studio Calcio) + die cuts (Pink Paislee) + tag (American Crafts) + circle cutter (Creative Memories) + buttons (Maya Road) + ribbon (May Arts) + border punch (Fiskars) + twine (Coats & Clark) + font (Ieicester)

While Katrina Kennedy bled her photo off three edges of the page above, you can still bleed off three edges even if you don’t have a big and powerful photo. Lynnette Penacho bleeds circle embellishments off top and bottom of June Faves, and she runs the journaling strips off the left edge — or is it that the journaling strips start somewhere to the left of the canvas? That’s the beauty of this technique. The page starts and ends somewhere off the canvas.

Supplies: Full Throttle by Fee Jardine, Blissful Stitches: Curves by Traci Reed, Alpha from Birthday Girl by Zoe Pearn, Teeny Type Alpha by Zoe Pearn (retired), Choose Happiness by Kristin Cronin-Barrow and Shawna Clingerman, Everyday Moments by Lauren Grier and Jenn Barrette, Pumpkin Parade by Heather Roselli, Font is DJB Lynnette by Darcy Baldwin

Take standard-sized photos to the edge

The photo size and crop on “Aspirations” is standard. I’ve placed it flush with page bottom to add a little punch to the design. I like the idea of my son’s photo rising up from beneath the canvas along with the cloud and hot air balloon embellishments. I’ve taken a similar approach to that of Lynnette: I’ve got bleeds on three sides of the canvas. Notice the saxophone at top right and the band of patterned paper at top.

Aspirations by Debbie Hodge | Supplies: Wesley by Ardent Sparrow; Sweet Storytellying by Sahlin Studio; IQ by Lynn-Marie and Studio 68; Vintage Ledger Journa Cards by Robyn Meierotto; Narrative by One Little Bird; Vintage Findings by Jen Allyson; Artplay Concerto by Anna Aspnes; Far Away From Here by Juliana Kneipp

Doris Sander uses traditional crops and vintage elements on “Happy Bird.” Her composition is based on a familiar two-column foundation. There is nothing traditional and boring about this page, though, and the bleeding off page edge of the photo at top left as well as the layered journaler at bottom left are unexpected and a part of what give this page its charm.

Happy Little Birdie by Doris Sander | Supplies: patterned paper, stickers, chipboard – Jenni Bowlin Studio, punch – Jenni Bowlin for Fiskars

What’s your approach to framing, margins, and bleeds?

When you incorporate visual flow into your scrapbook page design, you guide the viewer’s eye through it, ensuring they understand what’s important about the story you are telling.

The most common types of scrapbook page flow are visual triangle, z-flow, circular flow and diagonal flow.

Composing a photograph so that your subject is at a diagonal almost always makes a more compelling shot. The same principle can be applied to page design. In this article are 3 approaches to creating diagonal flow on the page.

Your best tools for creating flow on the page are shape, placement within space, contrasts, repetitions, and alignments. See how they work on these pages.

Two points on a line

The diagonal line of your flow does not need to be explicit. Set up at least two points along your diagonal that stand out and that the eye will connect to one another.

Beauty by Debbie Hodge | Supplies: ArtPlay Palette Genuine, ArtPlay Palette Easter Bunny, ArtPlay Palette Floralis, ArtPlay Palette Ex Libris ValueSet, ArtPlay Palette Find My Way ValueSet by Anna Aspnes; Faux Bois: Spring Paper Pack by Andrea Victoria; Oiselet Rouge Element Pack, Rimmed Framers No. 01, Vintage Photo Frames No. 24, Vintage Milk Caps No. 01, Wooden Flowers No. 01, Around Words Brushes and Stamps by Katie Pertiet; Fasten Its! No. 03 by Pattie Knox; Just Linens Paper Pack No. 01 by Maplebrook Studios.

Good Boys by Betsy Sammarco | Supplies: Patterned paper: American Crafts, Flair button: American Crafts, quotation brads: Around the Block (no longer manufactured), die cut cardstock: Bazzill

A diagonal swath

Arrange all of your elements in an organic cluster that stretches along the page’s diagonal

Zwischenstop by Amber Ries | Supplies: Kitty Designs: flight Collection; Anna Aspnes: ScriptTease Travel | LoopDaLoop Arrows | Big Wide World | dotted korners and edges | Find My Way; Paula Kesselring: art in the box

Shape

Memorial Day by Debbie Hodge | Supplies: Retrouvailles by One Little Bird and Vinnie Pearce; Rimmed Framers No 1, Academic Sanded Alpha by Katie Pertiet; Artplay Palette Rockstar by Anna Aspnes

Right triangles

When you’re working with a rectangular/square canvas and the bulk of your elements are arranged below (or above) a diagonal, they end up filling a triangular area.

Something Special by Debbie Hodge | Supplies: Retro Spring by Reverie Atelier; Ancienne Bold by Quirky Twerp; Rimmed Framers by Katie Pertiet; Scissored Hearts by Anna Aspnes; Whimsical Borderlines by Andrea Victoria; Kraft Party by Robyn Meierotto; Pressed Petals by Sahlin Studio; A Simple Mixup Alpha by isa Sisneros; Pacifico, Typenoksidi fonts

Smile by Doris Sander | Supplies: chipboard letters, foam stamp – Jenni Bowlin Studio, paint, ink – Jenni Bowlin for Ranger, stencil – The Crafter’s Workshop, chipboard elements, patterned paper – My Mind’s Eye, buttons - vintage

Create diagonal flow on your next page with one of these approaches:

• define two points on a line,
• arrange elements in a diagonal swath,
• compose within a right triangle.

by Debbie Hodge

The work of selecting and combining colors for scrapbook pages is much like the work of of employing design principles: it’s not a straightforward, step-by-step task. Rather, it’s one with points or questions to hold loosely in you mind and cycle through, revisiting until it looks right.

Here are three questions to consider and cycle through as you choose scrapbook page colors:

1. How many colors will you use?
2. How much contrast would you like to incorporate?
3. What will the dominant color be?

1. How many colors will you use?

There is no set answer to this except for: “It depends.” A good designer can pull off incorporating lots of colors, but it’s always riskier to use too many colors than too few.

Keep in mind:

• Using too many colors can make a confusing or chaotic layout that’s hard to take in and that may not show off your photos well.
• Using too few colors could be boring — but your photos will definitely have the opportunity to shine.
• You’ll want to choose 1 dominant color and use additional colors in lesser amounts.
• A monochromatic color scheme is good for setting tone with the associations people have with colors.
• A 2-color complementary color scheme will add energy to the page.
• An analogous color scheme with 2 or 3 colors is a low-contrast choice with built-in color harmony.
• If you’re planning to use more than 2 colors, start out with 3 to begin with. This gives you variety without overwhelming — and you can always add in an additional bold accent in another color as you get closer to the end of your design.

For this page of my son shooting at targets in the winter, I decided to use the green of his jacket and neutrals because of the subject and the setting.

I ended up adding bits of yellow for two reasons: 1) the small bit of yellow of the farm equipment in the photo would have otherwise been distracting, and 2) these spots create a visual triangle that guides the eye around the page.

Layout by Debbie Hodge | Supplies: Lemonade Stand by Robyn Meierotto; Flair Box 3 by Paula Kesselring; Lost World, Storytime, Gearhead by ViVa Artistry; Baker's Twine Asst, Vintage Charm Chipboard Stickers, Farm Fresh, Flossy Stitches by Katie Pertiet; Artplay Chevron Crazy Life by Anna Aspnes; Brad Bonanza by Pattie Knox; Uncharted by Krystal Hartley; Beffle Medium, Typendoski fonts.

Chemical Bonding by Audrey Neal | Supplies: Tiffany Tillman: Oh Joy Template No. 20, Design House Digital, Audrey Neal: Chemistry (papers, elements, word art), Design House Digital, Audrey Neal: Pinned (photo frame), Design House Digital, Gennifer Bursett: County Fair (stitches), Design House Digital, fonts: Just Another Stamped Font, Pea Sara Print, Bebas

2. How much contrast would you like to incorporate?

What are you hoping to achieve with the page you’re making? Do you want something vibrant and attention-grabbing or are you after a more tempered design. You’ll need some source of contrast on your page — and it doesn’t have to come from color, but using color to emphasize and create a hierarchy on your page is a great technique.

Doris Sander used pale pink and yellow against a white canvas on “Hot Pink.” They add just a bit of contrast. You can achieve color contrast with your choice of value as well as hue. Notice the darker values of the pink ribbon, single banner, and titlework. They catch the eye and guide it around the page.

Supplies - cardstock Bazzill, patterned paper Crate Paper, stencil The Crafter's Workshop, paint and ink Jenni Bowlin for Ranger, chipboard Crate Paper, foam stamp Jenni Bowlin Studio, chipboard alphas Jenni Bowlin Studio, seam binding tape Beaux Regards

Jewel tones of red and blue add lots of contrast to Lisa Dickinson‘s page about her children’s daily jumps on the trampoline. It’s a good choice for a high-energy subject.

Week Days by Lisa Dickinson | Supplies: cardstock (Bazzill Basics) + patterned paper, stamps (Jenni Bowlin Studio) ink (Versamark) +punch (Martha Stewart) + pen (American Crafts)

3. What will the dominant color be?

Do not use your colors in equal proportions. A good rule of thumb with three colors is to use a dominant color on about 60% of the page, a secondary color on about 30% of the page, and an accent color on about 10% of the page. This is also known as the gallon-quart-pint approach to color proportions.

The dominant color on Amy Kingsford‘s “A Sucker for the Classics” is pink, with blue being the secondary color and yellow the accent color.

A Sucker for The Classics by Amy Kingsford| Supplies: JBS Mercantile December Papercrafting Kit + Artisan Add-on.

Michelle Clement painted the edges of “Me + You” a bright yellow which is repeated on her journaler, splatters, and embellishments, making it the dominant color on the page. She’s added splatters and pieces of blue in a smaller amount, and, finally, just a few spots of pink make these well-balanced color choices.

Love Birds by Michelle Clement | Supplies: Cardstock by Bazzill. Patterned Paper, Letter Stickers, Fabric Brads, and Dimensional Flower Sticker by Sassafras Lass. Embroidery Floss by DMC. Letter Stamps by Hero Arts. Masking Tape. Acrylic Paint. Heart-Shaped Paper Doily. Staples.

The next time you’re figuring out which colors to use and in what quantities, keep these three questions in mind:

1. How many colors will you use?
2. How much contrast would you like to incorporate?
3. What will the dominant color be?

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

See the many lines leading to the centered focal point in this photo.

by Debbie Hodge

A focal point is the center of a design. It is the most important part (or parts) of a piece.

A scrapbook page benefits from having a focal point because Without some variation in emphasis among the elements on your page, everything takes on the same level of importance, and the viewer has to find some way into your page on their own.

You can create focal points on your scrapbook pages using any of these approaches alone or in combination with others:

1. contrast
2. appeal/engagement, and
3. structure.

In this article we show you ways to use that third technique–structure–to create a scrapbook page focal point.

1. Use line to create a focal point

The eye will follow

• lines,
• a sequential pattern,
• the eyes of the people in your photos, and
• even implied motion in your photo.

Use one or more of these to guide the eye to your focal point.

On “Mary Poppins,” Krista Sahlin has placed embellishments and papers to create two strong lines that intersect at her focal point photo. It’s not just these lines, though, that draw the eye. The eye-catching content of the photo, its placement at a “sweet spot” (rule of thirds), and the embellishments grounding it all contribute to make the photo the place the viewer starts when taking in this Disney scrapboook page.

Practically Perfect by Krista Sahlin | Supplies: Practically Perfect by Ju Kneipp and Sahlin Studio

2. Use white space to create a focal point

Using white space is one of the simplest ways to draw the eye to specific area of the page without use of visible elements. Especially when your page is quite full, white space can isolate, and thus emphasize, an element.

“Your Full Room” is a page with 11 photos. The white space surrounding the photo of a toy knight isn’t dramatic, but it’s enough to set the photo apart from the rest.

Layout by Debbie Hodge | Supplies: all from Designer Digitals (Lynn Grieveson, Katie Pertiet, Pattie Knox)

3. Use balance to create a focal point

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 Wakley 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

4. Use more than one technique

All of these “structural” approaches can be combined with one another and with the techniques of contrast and appeal to create strong focal points.

Of “Lucky,” Kelly Purkey said, “This is one of my favorite layouts, and it just came together so easily.” The focal point of the page is the circular photo placed at page center. A series of ever-larger circles frame the photo and lines radiate out, accented by stitches and airplanes. “I started with the background patterned paper,” says Kelly, “and let it inspire the design of the page, cropping my photo to a circle and placing it at page center. I worked my way out with other elements. Everything was added to reinforce the photo as focal point.”

Lucky by Kelly Purkey | Supplies: Cardstock - American Crafts. Patterned paper - Studio Calico, American Crafts. Stickers - My Mind's Eye, American Crafts. Buttons - Basic Grey. Pen - American Crafts. Punch - EK Success. Other - Thread

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

There are several layout configurations of combined elements that scrapbookers use again and again when making scrapbook pages (for example, blocked, clustered, and shaped). These foundations are used again and again because they work well for housing the most frequently encountered combinations of elements (1 to 5 photos with title and journaling) and they consistently yield well-designed pages.

The “band” is one of these foundations.

Using a horizontal or vertical band as the foundation for your elements simplifies the scrapbook process because it places a limit. Defining the area in which you’re going to work reduces the decisions you have to make about placement.

A clean vertical band foundation

All elements fit within the vertical band on “Cousins,” with embellishing strips running off the edges to break up the white space and add interest.

Cousins by Debbie Hodge | Supplies: Ginny Paper Pack, Ginny Solids, Just Linens 20 and 28 by Maplebrook Studios; Papercuts No 1, Oiselet Rouge Elements, Bakers Twine Asst 1 by Katie Pertiet; Border Medley by Quirky Twerp; Storytelling Alpha No 2 by Amanda Heimann; Spiced Jewels by Anna Aspnes; 2:30pm by Amy Wolff

A clean horizontal band foundation

All of Lynnette Penacho’s elements including three photos, journaling and a big title fit within a horizontal band on “25+1.” Lynnette likes using this composition and often stitches a square border or layers a square mat on the background canvas.

When you make a banded design like this, the edges of the bands offer opportunities for layering and adding interest. Lynnette has a “stamp” scalloped edge along bottom and top as well as a birthday banner spanning page width. On “Cousins (above), scallops and stitching are added to band edges.

Birthday by Lynnette Penacho (from MSD Canvas issue) | Supplies: Supplies: Birthday Boy by Zoe Pearn Border Basics: Squares by Libby Weifenbach Font is DJB Lynnette by Darcy Baldwin

A wide and centered band foundation

Doris Sander likes to shake things up. While we’ve all been learning that asymmetry is more visually interesting than symmetry (and, thus, placing our bands off center) she’s gone and centered her wide vertical band on “Every Rose has It’s Thorns” and then reinforced that symmetry with title and silhouette embellishment placement.

Still, though, the band serves the purpose of limiting her compositional area and offering edge layering opportunities.

Every Rose Has Its Thorns by Doris Sander (from MSD Embellishing issue) | Supplies: stickers, stamp, stencil, patterned paper – Jenni Bowlin, ink – Jenni Bowlin for Ranger, transparency – Hambley, rose – vintage, embroidery floss – DMC, punch – Martha Stewart, masking tape

A curving band foundation

Your band doesn’t have to be a solid rectangle. Tami Taylor misted and stamped a curving band across “Kyle.” It guides the eye in a soothing line that complements the music subject of her page.

Kyle by Tami Taylor | Supplies: Paper- Bazzill. Spray Inks - Tim Holtz. Stencils/Cardboard - Unknown. Alphas/Wordstrips/Diecut - Jeni Bowlin.

A band along the page edge

It’s not just the bold papers and big contrasts that energize this page by Jana Morton. It’s also the unexpected placement of photos — hanging from the top of the page in series atop a band of patterned paper. (See the step-by-steps Jana provides for making this page at EasyScrapbookPages.com)

Today by Jana Morton | Supplies: All Products Available at Designer Digitals. Maplebrook Studios: Layla Kit, Jelly Alphabet No. 21; Katie Perteit: Fineline Border Lines Brushes and Stamps No. 02, Classic Cardstock: Into the Night, Photo Clusters No. 16, Painted Edgers No. 04, Little Shores Kit; Mindy Teresawa: 100% Boy Stickers

A suggested band foundation

Your band doesn’t have to be explicity defined with straight edges. Amber Ries used layered transfers and brushwork to back up her elements in a horizontal band on “Driving Cars at Obi.”

Driving Cars at Obi by Amber Ries (from MSD Embellishing issue) | Supplies: Anna Aspnes: Artplay Palette Crazy Life | Artplay Palette Life = Love | Multimedia Keys | Canvas Textures No. 1 | White Paint | Punched Frames No. 1 | Original Fotoblendz Clipping Masks No. 14 | LoopDaLoop Arrows No. 02; Lauren Reid: Road to Nowhere | You're Moody | Pumpkin Butter; Fruitloop Sally: RoadTrip; Sahlin Studio: Vintage Carnival; Ida Scraps: Lullaby

Go outside the lines of your band foundation

You don’t have to stay within the confines of your band. Use it to define a foundation and overall shape for your composition and then “layer it up” as Paula Gilarde has done on “Why.” Her journaling creates a secondary band on the page — this one vertical and placed centered with her largest photo.

why? by Paula Gilarde (from MSD Typography issue) | Supplies: Stampin’ Up cardstock; Patterned papers: October Afternoon (floral, stripe), SEI (polka dot), Scenic Route (grid); Stamp: Imaginisce (bird), Studio Calico(faq); Sticker; Jenni Bowlin; Digital Frames: Katie Pertiet (Little Vintage Frames); SS Whimsy Font-journaling.

My “Uplifting uses a wide band to hold photos and journaling, but my embellishments, title, and additional journaling spill off top and bottom. These two “spill-off” points combine with the chipboard embellishment within the band to create a visual triangle.

Uplifting by Debbie Hodge | Supplies: Artplay Palette Concerto by Anna Apnes; Pippin by Lynn Grieveson; Rimmed Framers 1, King Me, Supersize Decorative Labels by Katie Pertiet; I Believe by Cinzia; Storyteller by ViVa Artistry; Reminisce by Leora Sanford; Amaze, Triumph Tippa fonts.

There you have it: the banded foundation is versatile and great way to get your photos and elements arranged quickly so that you can spend time telling the story with your journaling, color, styling, and embellishment choices.

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

Step-by-step

1. Select two photos: one a close-up and one a smaller context shot.

2. Enlarge close-up to 5″ x 7″.

3. Print 6 copies of the smaller photo at 1.5 “x 2″ each. If you’re printing your own photos, print the strip of them together.

4. Trim and mount 6.5″ x 12″ piece of subtly patterned paper about 1″ from the right edge of your canvas. This is the mat for the large photo.

5. Mount the strip of small photos along the left edge of this patterned paper mat.

6. Mount larger photo abutting the strip of smaller photos.

7. Place vintage label (or titlework)  and photo frame at bottom left corner of large photo. Embellish right behind this cluster with doily or other large embellishment. Stamping or brushwork is a possibility.

8. Embellish with a sprinkling of small embellishments (Betsy used punched blossoms). Place them in a downward diagonal flow from top left to bottom right. (See an example of downward diagonal flow with misting on 5 Liftable Ideas from 1 Scrapbook Page by Emily Pitts.)

Layout by Betsy Sammarco | Supplies: Patterned Paper: Pink Paislee and scrap, Chipboard Frame: Maya Road, Bling: Doodlebug Design, vintage label: flea market

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

Contrast in titles

Your title can not only contrast with the other elements on the scrapbook page — it can also have contrast between the parts that make it up.

You can add contrasts in color, typeface, size, dimension, styling and more. Take a look at five pages with high contrast titles.

1. Juxtapose freestyle script with traditional serif

On “Just Be,” Lisa Dickinson used a casual, handwriting-style for the word “just” and paired it with a solid, bold serif font for the word “be.”

Lisa says, “I love the juxtaposition of a loopy, freestyle script with a traditional serif font–or a sleek, san serif font mixed with an rustic, eroded typewriter font While the mix of font styles adds insterest and makes the title visually appealing, it also is used to represent the variety of emotions on this page. The script font reflects the free and happy feeling portrayed in the photos, while the more classic serif font conveys the more serious advice featured in the tag banner.”

Just Be by Lisa Dickinson | Supplies: Just Be by Lisa Dickinson | Supplies: cardstock (Bazzill Basics) + patterned paper (Webster's Pages - pink; Lily Bee Design - grey) + stamp, ink, label (Jenni Bowlin Studio) + tags, mist (Maya Road) + journal strips (Pink Paislee) + acrylic butterflies (John Allen) + fonts (Halo Handletter, Didot) + die cut machine (Silhouette by Quickutz) + pen (American Crafts)

2. Match typeface “personality” to word meaning

As I made “Fun AND Crafty” showing two sides of my mom, I used two typefaces that I feel convey each of those sides. The thick and loopy Pacifico is great for “fun” while an etched, multi-colored typeface goes with the idea of “crafty.” To draw even more attention to the titlework AND the differences I’m conveying, I used large glossy epoxy alphas for the word “and.”

Fun AND Crafty by Debbie Hodge | Supplies: Precocious, Ephemera Stacks by Krista Sahlin; Rimmed Framers, Doodle Do Frames No 2, Journaling Strips by Katie Pertiet; PuddleRounds Alpha by Amy Martin; Zoey by Amy Wolff; ATC Yellow, Splatter Graffiti Gypsy Spirit by Tangie Baxter; Child Play by Paula Kesselring

3. Pop AND soothe with dimensional contrast

The message of Kayleigh Wiles‘ page “Keep Calm” is exactly what the title says, and her titlework choices draw the eye and convey this message. There’s contrast in dimension, texture, size and tone between the thick and glossy epoxies and the flat font rendered in a shade of blue that’s just a bit darker blue than the canvas upon which it sits.

Keep Calm by Kayleigh Wiles | Supplies: Lucious Kit by Maplebrook Studios; Vintage Photo Frames No. 25, Basic Polka Dot Ribbons No. 01 and Tabbed Dates by Katie Pertiet; Hint at it No. 08 Brushes by Lynn Grieveson; Easy Curled Edges No. 01, LoopDaLoop Artstrokes No. 04 BrushSet, ArtPlay Palatte Special One & Seafoam by Anna Aspnes; Painted Christmas Words Brushes and Stamps by Ali Edwards

4. Deliver bigger punches with large-size contrasts

Emily Pitts used a whole “lotta” BIG in her titlework on “Happy Girls are the Prettiest.”

It not only grabs the eye, it shouts “happy” as a result of the colors and casual typefaces. Emily says, “I wanted a nice big alphabet so I hand-cut my own and paired them with tiny clips for “are the.”

Emily says, “You don’t have to be afraid of hand cutting letters; they don’t have to be perfect! I then backed each letter in a darker (or lighter) piece of cardstock so they’d have a bit of a border. This allowed them to stand out against the photo.”

Happy Girls by Emily Pitts | Supplies: Patterned Paper: Simple Stories, Chipboard: Maya Road, Embossing Powder: American Crafts, Ink: Tsukeniko, Mist: Maya Road, Ribbon: Maya Road, Pearls: KaiserCraft, Twine: Maya Road, Thread: Coats and Clark

5. Mix up fonts within one word

Anna Aspnes not only contrasted the words in her title here, she contrasted the letters within the word “good.”

Anna says, “Using multiple fonts in coordinating colors is one of my most favored titlework techniques. The key to successful implementation of this technique is to select complementary fonts that create balance. For example, pair your fonts so that an artsy scripted or handwritten font is balanced by a more simple serif font for example.”

“Two serif fonts can lack interest but two script fonts can overwhelm the eye. Combining one with the other often creates the perfect balance. I also like to mix fonts and sizes within a single word to create a focal point. The wordart is completed by selecting colors from my layout using the color picker. On this layout I also used Photoshop Transform tools  (Perspective and Warp) to manipulate the word “memories” to make it look as though it were printed on the envelope in the underlying image.

7 Good Birthday Memories by Anna Aspnes | Supplies: MultiFoto DoublePage Template No. 13, ArtPlay Palette WHPH, Straightline Stitched White No. 1

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

The Creative Process   |   Choosing Type   |   The History of Western Typefaces   |

Photography Cheat Sheet   |   15 Grammar Mistakes that Make You Look Foolish   |

The Psychology of Color   |   Color Quick Reference   |   Design Elements Quick Reference

The Creative Process

Check out the many paths, roadblocks, and sideroads you might run into on your way to making something creative – by Virus Comix. Source.

Source.

Choosing Type

Julian Hansen has created a flowchart of the choices you make when choosing fonts — and he added some humor into the process. Source.

Source.

A History of Western Typefaces

Mashable shared this extensive history for western typefaces–working in fun info about pop culture, technology and the web. Source.

Source

Grammar Goofs

Want to spiff up your journaling? Check out the 15 Grammar Goofs that Make You Look Silly compiled by Copyblogger. Source.

Source.

Photography Cheat Sheet

Are you going off auto, but still having trouble remembering just what your settings should be. Check out this cheat from Miguel Gantioqui. Source.

Source

Color Quick Reference

For a quick reference on color types, relationships, meanings, and terms, check out this infographic from Paper Leaf. Source.

Source

Psychology of Color

CertaPro Painters of Louisville have laid out how color evokes emotion and triggers your senses. While it’s framed for home decor choices, it works just as well for scrapbook page design color choices. Source.

Source.

Elements of Design Quick Reference

This is also from Paper Leaf, provided with the comments, “The purpose of the poster is not to teach you everything you need to know – that will never happen. What it’s meant to do is provide a quick overview of the elements of design; a refresher for those in the know, and a starting point for design newbies.” For more detail read the Get It Scrapped Design Elements primer. Source.

Source.

Once you understand layout design principles AND the basic parts of a scrapbook page, scrapbooking gets easier and more fun. 12 lessons cover this territory with hundreds of layouts to illustrate. Click here to get lesson 1 today -- and then new lessons every couple of days -- all at no cost.

This article appears in the March issue of Paper and Pixels alongside many more how-tos and ideas for paper and digital scrapbooking.

Creating white space: figure and ground

As you create a scrapbook page, you are:

1. telling a story or conveying your concept (or meaning or big idea)
2. by combining page elements (photos, journaling, title, and embellishments)
3. within SPACE (i.e., your scrapbook page canvas).

The combined elements create a “figure” (or scrapbook page foundation). That figure (or foundation) creates white space.

A figure is always seen in relation to what surrounds it (ground). The butterfly here is the figure, and our perception of it is influenced by the ground, or the blue sky. The open space to the left of the figure conveys a butterfly in flight, in motion and headed toward the white space.

When you look at the image of a vase below, there is ambiguity between the figure and the ground. Your eyes may go back and forth between seeing a vase on a black ground to seeing two faces in profile on a white ground.

Even a little bit of ambiguity with regard to figure and ground can add energy to a piece. We’re accustomed to the ground of a figure being passive and unremarkable. When you can carve white space with interest you can create tension and engage the viewer at a deeper level.

More about white space

White space on scrapbook pages is not always white. It can be any color –it can even be patterned paper. The term white space refers to an area devoid of photos, embellishments, journaling, and title.

White space provides a resting point for the eye and breathing room for the viewer taking in your photos and journaling.

White space has a shape that can be active or passive

When the shape of white space is symmetrical:

• It’s predictable.
• It’s less consequential (than a symmetrical shape would be) to how we perceive the elements in the design; if it’s noticed at all, it’s noticed as background.
• It’s passive.

When the shape of white space is asymmetrical:

• It’s dynamic.
• It’s unpredictable and requires active involvement from the viewer.
• It can make the parts on your page look great.

The scrapbook page foundation is the “figure” that creates white space

When you are scrapbooking, consider your combined elements to be the figure and your canvas to be the ground.

Understand that the shape of one defines the shape of the other.

The balance between figure and ground can bring energy and order to a page.

(mostly) symmetrical white space

The white space on “Beauty” is less dynamic than that on “Punch Bowl.” It is centered and regular. The bits of ribbon and paper beneath the photo and at diagonal corners break into it and add some interest.  I wanted a peaceful design, though, to support my subject.

Beauty by Debbie Hodge | Supplies: ArtPlay Palette Genuine, ArtPlay Palette Easter Bunny, ArtPlay Palette Floralis, ArtPlay Palette Ex Libris ValueSet, ArtPlay Palette Find My Way ValueSet by Anna Aspnes; Faux Bois: Spring Paper Pack by Andrea Victoria; Oiselet Rouge Element Pack, Rimmed Framers No. 01, Vintage Photo Frames No. 24, Vintage Milk Caps No. 01, Wooden Flowers No. 01, Around Words Brushes and Stamps by Katie Pertiet; Fasten Its! No. 03 by Pattie Knox; Just Linens Paper Pack No. 01 by Maplebrook Studios.

asymmetrical white space

The white space on “Punch Bowl” is asymmetrical. The grouping of photos, title, and embellishments create a diagonal cluster that shapes the surrounding white space.

Punch Bowl by Debbie Hodge | Supplies: Silver Glitter Alpha No 1, Distressed Toolset No 5, Dripped Stains No 5, Distressed Edge Overlays No 1 by Anna Aspnes; Just Linens 1 by Maplebrook Studios; Speech by Paula Kesselring; Between the Lines Alpha 5, Old Time Christmas No 2, Holiday Trim by Katie Pertiet; Fastenits 2 by Pattie Knox; 11:30am, 11am by Amy Wolff; Also A Very Small Alpha, An Additional Very Small Alpha by Allison Pennington; Restoration by Gina Cabrera; Vinnie Pearce Journey Back

5 scrapbook page foundations and the white space they create

There are several layout configurations of combined elements that scrapbookers use again and again when making scrapbook pages. We will call these “foundations.”

These foundations are used again and again because they work well for housing the most frequently encountered combinations of elements (1 to 5 photos with title and journaling) and they consistently yield well-designed pages.

Each of these foundations creates white space shape, and, as such, offers opportunities for setting tone and involving the viewer.

1. the grid and blocked foundations and white space

The grid and blocked designs provide homes for your page elements and, usually, extra spots for layering embellishments and papers. Every grid spot or block is like a small canvas to be layered and filled with elements that support your story and add charm.

The white space on a grid or blocked page is often in the shape of a uniform border around 4 sides of the foundation, thus it is usually a more passive kind of white space. Placing the grouping off center will create asymmetrically-shaped white space. Allowing elements to spill into the margins will interrupt the white space and add interest.

Lily: a grid foundation with symmetrical white space

The grid on “Lily” is “suggested” by rough pink brushwork over square masks that were removed. Photos fill 3 of the 9 grid blocks on “Lily.” The title and journaling each take a spot, also. The other spots are layered with embellishments.

The white space is symmetrical with interest added by the irregularities in the brushwork that defines the grid and the bits of embellishments that spill out into the margins.

Lily by Debbie Hodge | Supplies: French Summer by Lynn Grieveson; Restoration by Gina Cabrera; The Daily Details by The Digi Chick Designers; Art Play Palette 3, 4, 7, 10, floralis (brushes) by Anna Aspnes; Count Your Blessings by ViVa Artistry; Just Linens 1 by Maplebrook Studios

Braced: a blocked foundation with horizontally symmetrical white space

Braced by Debbie Hodge | Supplies: Sweet Nothings Alphabet by Lisa Sisneros; Gearhead, Lost in the Wild by ViVa Designs; Brackets No 1, Distressed Overlay No 2, Artplay Chevron Sweet Baby by Anna Aspnes; ArtyPants Architectural Digital Stamps; Believe in Love by Cinzia; That's Classic by Erica zaneCorben, Pea Olson fonts

The blocked design of “Braced” is casual, and, yet, the grouping is centered horizontally, and the white space is in the form of wide margins comprised of chevron print paper. The white space organizes the page but the real interest is provided by the elements grouped in the foundation. It’s not a design mistake to use a more passive kind of white space. Just understand this choice and be sure to get your interest included in other ways.

2. band foundations and white space

Using a horizontal or vertical band as the foundation for your elements simplifies the scrapbook process because it places a limit. Having a defined area to fill takes removes other choices and gets you to focus on including and emphasizing the important elements for your story.

You can affect the shape of the white space by creating equal (and symmetrical) borders or unequal (and asymmetrical) borders. Another way to alter the shape of the white space is to make your band with “jiggled” and layered element placements.

Bonfire: a vertical band foundation with asymmetrical white space

The white space on bonfire is asymmetrical, with one side wider than the other, yet, still, it’s controlled white space. The spilling of embellishments out into the borders adds interest.

Bonfire by Debbie Hodge | Supplies: North Pole Kit by Mari Koelgelenberg; Christmas Village Elements, Journaling Strip Masks, Ric Rac Basics, Flossy Stitches White by Katie Pertiet; Stitch Medly by Quirky Twerp; Kitschy Christmas by Sahlin Studio and Jenn Barrette

Merry Friends: horizontal band foundation with asymmetrical white space

While the band on “Bonfire” is defined by a strip of ledger paper upon which everything is place, the band on “Merry Friends” is defined by the grouping of elements and the alignments of them. The result is white space that feels less formal.

Elements sit well above and below the band on the right side, adding more energy to the white space. The strips at top right also shake up what could be a more formal composition.

Merry Friends by Debbie Hodge | Supplies: Dashing Papers, Dashing Trimmin's by Allison Pennington; Star On Top by One Little Bird and Amy Martin; Multimedia Elves No 1, Stitched by Anna White No 3, White Paint No 1 by Anna Aspnes; Rubber Wraps, Flossy Stitches Blue, Academic Sanded Alpha by Katie Pertiet

3. shaped cluster foundations and white space

Because many page elements are rectangular, grouping them in a clearly shaped (and often rectangular) cluster allows easy organization and layering. The placement of this cluster will define your white space. Center placement will yield symmetrical white space. The extent to which you go off vertical or horizontal center will yield increasingly asymmetrical white space.

Here: rectangular cluster with asymmetrical white space

Photos, title, journaling, and embellishments are mounted on a portrait-oriented, rectangular mat and placed flush with the right edge of the page. The resulting white space is a “U” of only 3 borders.

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. free-form cluster foundation and white space

If you love working with an “explosion” of elements and getting an artsy look, the free form cluster offers lots of room for creativity and variation.

Punch Bowl: free-form cluster foundation with asymmetrical white space

The white space on “Punch Bowl” is asymmetrical and energetic as befits a party page. The cluster of photos, title, and embellishments create an asymmetrical grouping that simultaneously shapes the surrounding white space.

Punch Bowl by Debbie Hodge | Supplies: Silver Glitter Alpha No 1, Distressed Toolset No 5, Dripped Stains No 5, Distressed Edge Overlays No 1 by Anna Aspnes; Just Linens 1 by Maplebrook Studios; Speech by Paula Kesselring; Between the Lines Alpha 5, Old Time Christmas No 2, Holiday Trim by Katie Pertiet; Fastenits 2 by Pattie Knox; 11:30am, 11am by Amy Wolff; Also A Very Small Alpha, An Additional Very Small Alpha by Allison Pennington; Restoration by Gina Cabrera; Vinnie Pearce Journey Back

5. multiple-cluster foundation and white space

Dynamically shaped white space running between clusters is unexpected and eye-catching.

Each cluster has foundational layers connecting elements to the canvas and shaping the white space around and between them.

Being Happy: multiple clusters with asymmetrical white space

“Being Happy” is a page with multiple “free-form” clusters. The largest photo sits on a digitally-blended vintage illustration and immediately catches the eye.

Three smaller photos  bleed off three different edges of the page. They each sit on small collages of ephemera, lace, and tags. Putting together this kind of a page is like putting together several small canvases, each with its own focal point flow and embellishments.

Just Being Happy by Debbie Hodge | Supplies: Sweater Weather, Wildflower, Interlude by One Little Bird; Chasing Fireflies by Paislee Press; Collageable No 2, Doodle Do Frames No 2, Paper Frames Kraft No 1, In Text Paper Pack, From my Bookshelf Blendables No 3 by Katie Pertiet; Ransom Words by Vicki Stegall; Thankful for You by Jenn Barrette; Duly Noted by Leora Sanford; Mellow by Lynn Marie; DIY Board Game by ViVa Artistry

Take a look at your favorite pages – by yourself and by others – and look at the shape of the white space on them. Is it symmetrical or asymmetrical? Does it add to the page or is it of a passive and assumed aspect of the design. If it is passive white space, where does the energy and interest come from.

Make your next page conscious of how your combined elements create the white space on the page, and, what’s more, how that helps you tell your story well.

“Straight-on” photos

Close to 100 percent of my scrapbook pages have photos placed like these on Spring Break: “straight-on.” The sides of the photos run parallel to the canvas sides (and the tops and bottoms run parallel to canvas top and bottom) — these parallel lines extend into the distance never to intersect.

Spring Fever by Debbie Hodge | Supplies: Varsity Collection by Jenni Bowlin; Scissored Chevron, Mod Grunge FotoBlendz, Artplay Chevron Girl Craze, Distressed Edges 9 by Anna Aspnes; She's a Doll by Vinnie Pearce; Bookworm by Little Butterfly Wings; Juan Carlos and Fifi by Creashens; Also a Very Small Alpha by Allyson Pennington; Bebas Neue, Century Gothic fonts

Tilted photos

In the interest of “shaking things up,” let’s study great-looking pages with tilted photos and see what makes them work–starting with Amy Kingsford’s “Hello 2012.”

If you remember your geometry, you know that somewhere out in the distance the two lines shown here (the one along photo side and the one along canvas side) will eventually intersect. In other words: her photos are tilted.

Hello 2012 by Amy Kingsford | Supplies: Life In Frames Template No. 2 by Kitty Designs, Metamorphosis by Leora Sanford, Big Dreams and Pocket Treasures Paper by HGD by Laurie Ann and Forget Me Not Art Play Palette by Anna Aspnes.

The first thing I notice about how she’s mounted her tilted photots is that they sit on a horizontal band of cardstock that is not tilted. The bottom edge of this band meets the side of the page to create a nice solid right angle. There is a familiar stability beneath the tipsy photos.

Stability behind the tilts

It seems many of my favorite scrapbookers understand that tilted photos need some sort of un-tilted stability alongside (or beneath them).

Lisa Dickinson’s “She Makes It Look Easy” presents two tilted photos on a grid of 4 “straight-on” rectangles.

Easy by Lisa Dickinson (Masterful Scrapbook Design Design Play) | supplies: cardstock (Bazzill Basics) + patterned paper, chipboard shapes, stickers (Lily Bee Design) + chipboard letters (Basic Grey) + punches (EK Success, Creative Memories) + twine (Bazzill Basics) + misc. buttons + Courier font + machine stitching

Emily Pitts included two tilted photos on “Our Daily Bread.” Her stabilizing (or “straight-on”) elements are the center photo and the block of journaling beneath the photo grouping.

Our Daily Bread by Emily Pitts (Masterful Scrapbook Design Canvas) | Supplies: Supplies: Cardstock: American Crafts. Patterned papers: My Mind’s Eye and We R Memory Keepers. Alphabet: Basic Grey. Ink: Ranger. Stickers: Jenni Bowlin. Die cut: Sassafras. Brad: American Crafts. Pen: Micron. Thread: Coats and Clark.

Check out “Hello Lego” by Tiffany Tillman.

Her photos are tilted; she’s used paper cut with acutely and obtusely angled corners; her embellishments are sprinkled like little legos. Beneath and alongside all of this “cattywampus” placement, though, are several parallel and perpindicular lines. The teal mat, the border lines, the buildings, the edge of the journaling block, and the baseline of her title work all add a “squared” stability to the page.

Hello Lego by Tiffany Tillman (Masterful Scrapbook Design Typography) | Supplies: Digital Goodies: Creator by One Little Bird Designs. Page Template: Stuffy no. 1 by Simply Tiffany Studios.

What about my favorite “artsy” scrapbookers, though? How do they create stability? On this page by Anna Aspnes, I discover that she’s arrange three photos in a block — all of them aligned with one another — and then tilted the entire block of photos. So we’re still finding an underlying order.

Sugar by Anna Aspnes (Masterful Scrapbook Design Canvas) | Supplies: Burned Paperie, DifferentStrokes No. 5, WordTransfer Frames No. 1, Sumer WordTransfers No. 1, FotoGlows No. 3, Dotted LoopDaLoops No. 1

When I sat down to make my own page with a tilted photo, I began with a “free-form” cluster. As the page progressed, though, there was no shaking the feeling that I needed non-tilted and stable elements: the journaler rising above the photo and the top edge of the floral scallop were the first “straight-on” elements I added. I’d planned to use the red floral print as my background, but, in the course of moving things around beneath my tilted photo, I discovered that it made a better “shelf” along the bottom two-thirds of the page–and I had my solid base for a tilted photo.

Living Large by Debbie Hodge | Supplies: Homespun Papers, Homespun Journaling Cards, Soda Water Papers by Jenni Bowlin; Relocate by ViVa Artistry; Bakers' Twine 2 Katie Pertiet; Architectural Brushes by Artypants; Mod Grunge Fotoblendz, White Paint, Scissored Hearts 2, Scissored Scallops, Artplay Chevron Girl Craze by Anna Aspnes; Flair Box 3 by Paula Kesselring; Expedition by Lynn Grieveson; Key to My Heart by Sahlin Studio; Lavanderia, Rockwell fonts

What about you? Do you do any “tilting” –of photos or other elements–on your pages? How do you make your tilts work?