Hello everyone! Jane Bellante here. I am so grateful to be back with an art journaling tutorial. Have you ever struggled with getting crisp, layered effects when using stencils with pan pastels, sprays, and mica powder? If your designs smudge, lack contrast, or disappear into the background, I have the perfect technique for you.
In this tutorial, I’ll walk you through my step-by-step process for creating depth, dimension, and rich, layered effects with stencils on black paper. Then, you’ll see how I bring a steampunk bird to life with Color Bloom Sprays, Pan Pastels, mica powders, and embossing ink.
If you’ve ever felt frustrated while stenciling with mixed media, this method will change the way you create.
Let’s dive in!
Step 1: Creating a Dynamic Background with Color Bloom Sprays
I started with a black paper journal and my Color Bloom Sprays. These sprays are fantastic for building vibrant layers, especially on dark surfaces. I randomly sprayed three different colors, letting them overlap and blend naturally.
Don't stress about placement—just let yourself play! The organic blending creates the magic.
Once the page was fully covered, I dried the sprays with a heat tool. You can also let them air dry, but the heat tool helps move the colors around, creating unique textures.
Step 2: Layering with Pan Pastels for Depth
Next, I grabbed the Open Bare Wisteria Vine Mask and my Pan Pastels in magenta, gold, and a deep orange shade. These colors show up beautifully against the metallic spray background.
Using a makeup sponge, I carefully pressed the pastel through my stencil while holding it in place to prevent shifting. This step is where the real depth and texture begin to build.
Turn your stencil as you go to avoid a repetitive pattern. This creates a more organic look.
I kept layering and experimenting with color until I achieved a bold, dimensional effect.
Step 3: Adding a Steampunk Bird and Stencil Detail with Mica Powder
For the focal point, I used a fussy-cut steampunk bird printable.
Using Versamark embossing ink, I sponged the ink through the Circle Rays 6 Stencil, then brushed on mica powder for a brilliant metallic shine.
Mica powder sticks beautifully to embossing ink! This step adds a luminous glow that makes the design pop.
Once my steampunk bird was glued down with a UHU glue stick, I realized the mica powder transferred onto my fingers. To bring everything together, I sponged more Versamark ink directly onto the bird, then dusted on more mica powder for a cohesive look.
Step 4: Adding a Poem and Finishing Touches
To complete the spread, I created a small poem and printed it out. Once cut into strips, I auditioned different placements before gluing them down.
If you print text from your computer, it may look too stark against your page. To blend the poem into the design, I used Fossilized Amber Distress Ink with a small brush to tint the edges of the text strips.
As I worked, my fingers picked up some magenta Pan Pastel, which transferred to the poem strips—a happy accident that added an extra blended effect!
You can watch the whole step by step tutorial on YouTube right here:
Final Thoughts
This project was so much fun and an easy way to explore layering with multiple mediums. If you’ve been hesitant to experiment with stencils, mica powders, and pastels, I hope this inspires you to try them in your next spread!
Key Takeaways from this Tutorial:
✔️ Use Color Bloom Sprays to create a vibrant base on black paper
✔️ Layer Pan Pastels through stencils for rich texture and depth
✔️ Mica powder + embossing ink = a luminous metallic shine
✔️ Blend printed text into your page with Distress Inks
Hello Friends! Nicole back with another grungy paper tutorial, this one a bit bittersweet.
After three incredible years with the Creative Team, this is my final post. It has been a true honor to do what I love for StencilGirl®! I have met so many of YOU creatives who also love stencils, and there is nothing better than inspiring you to create and use those stencils!
This is not a forever goodbye. I'm looking forward to focussing my time on designing more stencils for StencilGirl® and sharing my creations, as always, over on Instagram and my YouTube channel. And, you never know when I might make a surprise appearance here!
With that, I wanted to leave you with one more grungy paper tutorial! I gathered a handful of 9x12 stencils that I haven't had a chance to play with along with my favorite Payne's gray and just played.
And, oh how I needed to play!
To begin, I always lightly gesso my papers. This helps add some integrity to older papers and allows the paint and water to move more easily on the page.
The process is quick, and it doesn't matter if entire page is perfectly covered. My process varies each time, but this session I was using up some gesso that I had turned over like ketchup to get the last bits out! I sprayed my papers with water and added gesso with my brush.
I’m using papers from an old ledger, but any papers will work! Old book pages are fun, too. Just make sure they aren't too thin and brittle. Ledgers aren’t always easy to find, so if you want to add that fun handwriting layer, you could always stamp or scribble all over paper before stenciling.
Creating the Papers
Once all the gessoed pages were dry, I started making my papers. The general process is the same each time, but I find that often I get a little more creative and adventurous as the playtime goes on. Oftentimes, I don't want to stop!
I simply use an applicator with paint through the stencil. Then, I add water + watered down paint and scruff up the stenciled image to distress it.
One thing I always keep in mind, is that I'm creating moments. It's not important to me that the entire paper is a work of art! I like to have variations on each page that I can use in different ways as needed for collage, backgrounds, journals, and more.
My first couple papers were simple, and then I changed it up a bit.
After adding the Payne's gray through the stencil, I traced around all the circle shapes with my stabilo all in graphite and black and then activated it with water. I put the paper aside and moved on, but when I was flipping through the papers at the end, I thought it needed something else. So, I added a bunch of walnut ink.
For this one, I tried to create an ombre effect, keeping the paint darker to the left and fading it to the right. When I was done stenciling, I added quite a bit of watered down paint to the left side and tilted the paper for drips.
Sometimes, I like to play with the stencil more than one way. For the first one I stenciled here and there with Payne's gray and then added raw umber to fill in the gaps. On the second paper, I used mostly raw umber and watered down Payne's gray for contrast.
My ledger papers are just a little more narrow than the stencils, which really isn't a problem most of the time. However, for this fun stencil with all the different shapes, it cut some of them off. I didn't let that bother me! Any image, even if partially stenciled, can find its way into collage!
I stenciled the first paper "as is" through the stencil. I used both Payne's gray and raw umber.
For the second one, I repeated some of my favorite shapes. In doing this, I fell in love with the image (and how I distressed it) of the 3 leaf-like shapes cut out from the rectangles. So, I played with that image on its own. I cannot wait to play with this more and add it to future artwork. Such a great discovery through my playtime!
If you've never played with Payne's gray + raw umber, I highly recommend you do! They create the most wonderful charcoal-black color when they mingle together.
Since this stencil has so many wonderful images, I decided to play with each one separately. In sticking with my purpose of playing with stencils I had not yet, I didn't use the chevron part as I had used that one previously on a journal page.
For the jelly-bean like shapes, I originally only stenciled them in Payne's gray on one side with the intention of using raw umber on the other...but then I ended up just layering both for more interest!
After the circle shapes were dry, I traced around them loosing with the stabilo all in graphite.
I just used Payne's gray in the cross-like shapes and added watered-down raw umber with it. I liked stenciling it in two different directions for completely different looks.
At this point, my water and sponges were getting a bit dingy, so I changed out the water and sponges to start fresh. I often change them out a couple times during my play sessions.
Since this stencil is so detailed, I kept the grungy play pretty simple, except instead of raw umber, I added walnut ink.
I cleaned off some of the extra puddles with a blank ledger sheet that I used for the next stencil.
For my final stencil, I played much like I did with the other patterned stencils above. I enjoyed making larger patterns with a couple of my favorites.
I also used walnut ink on this one, which creates a similar charcoal-black color like the raw umber when mingled with the Payne's gray.
Phew! That was a lot of amazing playtime, and I did not want to stop! I had so much fun making these papers and discovering amazing shapes and patterns in these stencils.
As I close out this blog and season, I just wanted to take a quick moment to thank you for all your kindness. I also want to thank the team at StencilGirl® for this amazing opportunity. It has been such a fun few years playing with these stencils.
Hi Everyone! I'm so excited and to be back on the blog today. Today's post is inspired by the work of Alabama Chanin Design Studio, where the use of reverse
applique is used extensively to create couture garments. Below are the items I made using this technique with paper, and below it is a glimpse of a reverse applique garment I'm currently working on that inspired me to try the technique with paper for today's post.
Here's the garment project that inspired me - which is not yet finished! I used my Japanese Influence stencil (L669) randomly placed and stenciled using acrylic paint (with a fabric additive) onto a brown tee shirt. I placed the same size and style of tee shirt in green beneath it and hand stitched them together around the edges of the stenciled images. Once stitched, most of the painted stenciled area is cut out, revealing the green fabric beneath. I just adore this textured and 3-D look! Why not use this idea with stenciled paper?!
So I did! Using
this idea, I created a couple of reverse applique bookcovers and tags but you could
create art
journal pages, embellishments and more, using this technique with paper
layers instead of fabric. I made a short video to give you an overview of the
process. More detailed written instructions follow the video below. I had a lot
of fun working with this idea - I hope you do too! (And by the way, before I forget...all of my stencils are on sale until March 25, 2025. Just use coupon code CS20 to get 20% off! Now back to the project!)
Materials:
Stencil
(I'm using my L669 Japanese Influence), preferably not highly
detailed, simple openings are easier to cut out
2 sheets of
solid
color paper
in contrasting colors, or
other painted papers Acrylic
paint or any other medium you desire in any color to contrast with
the papers
Exacto knife
Cutting mat
Glue
Bone
folder or other scoring tool (optional)
A book to cover
(optional) I
used an old diary that belonged to my daughter – only a few pages
in it were used!
Ruler
(optional)
Technique:
If
using a book, measure the height and width of the book adding an
extra 2”-4” on front and back for flaps to turn to the inside,
plus the width of the book spine.
Choose
two papers to fit the size of the
book as measured above. I chose a
painted paper for the top and a solid white for the backing.
Using
the book dimensions measured in step 1, mark the
fold lines for the flaps and the spine on the top paper. I used orange post-it stickies so that I could
lay out my stencil and avoid stenciling on the folds and spine.
(This prevents the reverse applique from wrapping around the edges,
which are hard to keep flat and can rip once the two sheets are glued together.)
Also, I cut my Japanese Influence stencil in half so I could arrange
it accordingly.
Using
a color that will contrast with the backing (or monochrome but
slightly different hue depending on the desired effect) stencil the
design on the paper and let dry.
Using
the exacto blade on the cutting mat, cut out inside the stenciled
areas leaving a small width of the stenciled color intact. If cuts are made that completely remove the stenciled area, the effect will be lost. Leave at least 1/8" of the stenciled design. Don't worry if the cuts don't exactly match the stenciled area, and feel free to leave really small areas that are hard to cut out.
Before cutting...
All cuts made!
Turn
the stenciled paper over and apply glue; place the cut-out stenciled paper on top of the backing
paper to glue it down. Trim excess backing paper if it doesn't match with the top paper, as necessary.
Place
the glued papers under a heavy book while glue dries.
After
the two layers have dried, set the book on it’s spine in the
center of the paper and from there score both sides of the spine and
flaps using a bone folder or other blunt tool. Using the score
lines, wrap the paper around the book. Conversely, set the book in
the center and simply wrap the cover around the front and back tucking the flaps to the inside.
You
can embellish the finished cover with a
title,doodles,
inked edges, etc, if desired. Or cut the stenciled areas apart and create a couple of tags...these can be used in many ways!
I hope you enjoyed this project! Be sure to check out my inventory of stencil designs at Stencilgirl Products and get 20% off between now and March 25 using code CS20. Until next time, happy stenciling!
