Simply Ida – my express scrapping recipe

 I need some place to jot down my note and I think if I put into my blog it’s easy for me to refer back. I edited the Simply Ida and here it is.

My express scrapping recipe “Simply Ida”
1.    I start with photo, what story I want to share. Most of the time I scrap about our daily life and things that matter. Sometimes I like to show my feeling.
2.    From the photo I write down the journal, I used picasa and journal direct into it. Sometimes during this stage I choose the title but sometimes I wait till I'm ready to scrap.
3.    How many photos to use? Open the favorite scrapbook sketch site & choose the sketch that showing no. of photos I wanted to scrap.
4.    Choose a color combo from the photo or color wheel. Choose up to 4 colors.(do checkout some site offer the color combo)
5.    Print the photo and gather the background paper and embellishment according to color choose in step 4, this is the kit. For temporary storage keep inside 12x12 file/album or just use paperclip to bind them together.
6.    The page is ready to scrap………………


The key is don’t wasting too much time thinking. I wasted 2 days to create only 3 layouts without proper plan and with this plan + time allocate I manage to scrap 12 layouts in 5 ½ hours. (average 30 minutes per lo)


This formula works for me and I do hope it can benefit others too…..
happy scrapping!

edited - if someone interested about this and want to put into you blog just let me know, I'll provide the html.if not its okay, we have different way to scrap. Love to know how is your flow....

Simply Ida

NSD is over…..can’t wait for another online crop.
I made total 15 layouts for this NSD. Personal record is yesterday when I make 12 layout within 5 ½ hours. I have to think fast and limit 30 minutes for each layout. With this formula I can do it again for next time. I called it “Simply  Ida” scrap formula. (haha)

1. photos (what story/expression you want to tell)
2. journaling
3. sketch
4. color combo
5. make a kits (choose pp & embellishment base on color combo, sketch & story to tell)
6. I keep inside 12x12 album until I ready to scrap.

My process during 2010 NSD ( I devoted one day for this)
List down challenge to do
Print photo
Choose color & sketch
And at night I sit down in front of TV and fill in the album with photo + pp + embellishment
Next day I just scrap whatever inside the folder one by one and limit myself 30 minutes each. Sometimes I made lo for 15minutes.
After finish the lo I snap the picture and keep the finish.
When all the lo’s finish I upload the pictures and begin to submit into the challenge site.
Now clean up the scraproom (which I didn’t because I need to working today…so my scraproom in a huge mess but I feel so satisfy with the result)

Fundamental Principles of Design

by Ali & Linen from 2peas

FUNDAMENTAL PRINCIPLES (by Thomas Rubick, Graphic Design I, Lane Community College 2001) The fundamental principles of design are important for two reasons. One, they can help us create aesthetically pleasing compositions and two, they can help us create designs that enhance the messages we are communicating. Below are definitions of key terms. The illustrations are intended to demonstrate the principle but they represent only a few of the possible solutions

• DESIGN PRINCIPLES BALANCE: An optical equilibrium between all parts of a design.
• COMPOSITION: A putting together of parts to make a whole. Just as there are rules to language, there are rules to composition. Here are some of them:

1. Avoid placing elements dead center on the page.

2. Symmetry tends to promote stability.

3. Diagonals are more active than horizontals.

4. Proximity creates tension.

5. Sameness is frequently boring.

6. Regularity creates rhythm.

7. Contrast exaggerates effect.

8. Placement in corners creates awkward tension.

9. Equal amounts of figure and ground confuse the eye.

• CONTRAST: The use of polarities of size, shape, tone, color, texture or direction to create interest and meaning. Contrast clarifies and heightens the existing effect. It is used to draw attention to an area and to provide stability and clarity.
• DIRECTION: In Western cultures, left-to-right movement is considered progressive, easy and natural. Right-to-left movement is considered difficult and backwards. Similarly, the right is often considered *good* and the left, *bad.*
• ECONOMY: The principle of using no more than necessary in a composition. As Einstein wrote, "Everything should be made as simple as possible, but not simpler."
• EMPHASIS: The creation of a dominant focal point in the composition. Such elements attract attention and establish the beginning of a visual hierarchy.
• FIGURE/GROUND: The relationship between a mark on a page (the figure or positive area) and its background (the ground or negative area). It is important to understand that the negative areas in a composition are very important, sometimes even more so than the positive ones.
• FORMAL BALANCE: (Also known as symmetrical balance) The use of elements of equal visual weight on both sides of a central vertical axis.
• HARMONY: A pleasant and compatible relationship between the parts of a composition. Harmony is established by using design elements with common attributes (color, shape, texture, etc.)
• HIERARCHY: The presentation of various elements in such a way that it is clear which is the most important, the next most important, and so on. Hierarchy can be established through position, form, contrast, color etc.
• INFORMAL BALANCE: (Also known as asymmetrical balance.) Balance achieved by careful consideration of visual weights and space in a composition. Principles for achieving formal balance include:

1. A large shape in one corner is balanced by a smaller one in the opposite corner.

2. *White space* itself has visual weight and can affect the balance.

• MOVEMENT: The sequence or path the eye takes through the composition. In Western cultures, a left-to-right, top-to-bottom movement is the most natural. Movement also follows the visual hierarchy established on the page. Confused movement can scare a viewer away from the design. Other advice concerning movement:

1. Good movement starts with a strong focal point.

2. Good movement keeps the eye within the frame of the design.

3. Avoid movement that crisscrosses back and forth.

• ORIENTATION: In design, different orientations convey different messages. A horizontal shape or frame signals stability. A vertical orientation can be inspiring, elegant or uplifting. Diagonals seem more dynamic and energetic.
• PROPORTION: (Or ratio.) The relationship, sometimes conveyed in mathematical terms, between the elements in a design or between the height and width of the page itself. 1. Certain proportions (such as 1:1) are considered uninteresting. 2. Proportions in the 1:1.5 to 2 range have traditionally been considered most pleasing. 3. Pushing the proportions further, however, can create interesting contrasts.
• TENSION: Visual tension is dynamic opposition of formal elements. The opposite of harmony, it often involves the compression of space and/or the use of diagonals.
• UNITY: The arrangement of the parts of a composition into a whole. It often includes careful attention to hierarchy, rhythm and balance. Methods of establishing unity include:

1. Overlapping

2. Use of an underlying grid stucture

3. An odd, rather than even, number of shapes in the design (3 and 5 especially)

• VECTOR: An element in the composition that serves as a directional signal for the viewer, telling him or her where to look. Often this is an arrow-like shape. Other times it can be the direction a person is looking or facing.

VISUAL WEIGHT: Elements on a page will differ in how much they attract the eye depending on their (1) tone, (2) shape, (3) texture, (4) color, and (5) position.

A very good article from AEzine...

.......and I love to share it with all my readers (if u haven't visit her blog please do so and I promise you wont regret) http://aliedwards.typepad.com/

capture life + create art issue twenty five
November 21, 2007

Greetings!
What projects are on your creative list this holiday season? Are you overwhelmed already? There seems to be a fine balance between enjoying the opportunities for creativity and totally going overboard and ending up exhausted and frustrated. Read below for my top five tips for holiday craft sanity. Also, check out what holiday crafts I have been up to by following the links to the right. Also in this issue, my new book came out this past month and I have been receiving some great comments and questions through email. This week I want to take some time and address a few of these in an extended question + answer section. Enjoy, Ali

AE TOP 5 TIPS for Holiday Craft Sanity

1. Plan ahead + don't try to do it all at once. Most of the projects I have been working on for the holidays have been put together in a series of simple steps. Break the steps down into manageable tasks. Step one is always planning ahead - this includes making a supply list. Step two may be making a trip to your local craft store for supplies or shopping online. Step three is beginning the project. Often times I will do one thing each day - such as painting - and then the next night I will tackle the next piece of the project. Don't feel like you need to do it all in one sitting or all on one day - stretching it out a bit makes it manageable and lends a certain creative festivity to the season.

2. Gather up all your holiday supplies and store them together. In general I store products by manufacturer with the exception of my Christmas supplies. Christmas supplies are stored all together in a separate container that makes them easily accessible from year to year and when I find myself in the mood to create with my holiday stash.

3. Dedicate a small area to holiday crafts. Whether this is a corner in your bedroom, your dining room, or a corner of your scrapbooking room, clear out a little area just for holiday crafts. A designated space makes it easy to pop over there, do a little of this and a little of that, and then move on to other things you have going on at home. If you have little kids running around you may want to consider some sort of storage that allows for easy in and out (so you can store it quickly and safely away from little fingers if necessary). Right now I am using a portion of my dining room table and a corner of my dining room floor (supplies are kept in baskets on the floor and in a chest of drawers that sits in our dining room).

4. Don't try to do everything. Seriously. Pick a couple projects you want to put together and go for it but don't feel like you have to do every cool thing you see online or in magazines. If you see something you like, print it out or rip it out and add it to a holiday inspiration notebook (love Molly Irwin's example here). Do as much as you feel like and no more. When you feel like you are getting overwhelmed or going overboard, take a step back and a look at your overall holiday experience and priorities.

5. Make sure to enjoy the season. This time of year only comes around once - don't miss it by being too busy making stuff. Enjoy it. Savor it. If you don't feel like doing any crafty stuff then don't - and feel absolutely no guilt. Just because you are creative doesn't mean you have to make homemade gifts for everyone in your neighborhood. Focus on what this season means to you and your family rather than being bound to other expectations.

Tracing your family history

Why bother? Here is something written by an author unknown to me that kind of says it all:-


Why do we research our Family History?
We are the chosen. My feeling is that in each family there is one who seems called to find the ancestors. To put flesh on their bones and make them live again. To tell the family story and to feel that somehow those who went before know and approve. To me, doing genealogy is not a cold gathering of facts but, instead, breathing life into all who have gone before. We are the storytellers of the tribe. All tribes have one. We have been called as if it were in our genes. Those who have gone beforecry out to us; Tell our story. So, we do.


In finding them, we somehow find ourselves. How many graves have I stood before now and cried? I have lost count. How many times have Itold my ancestors, "You have a wonderful family; you would be proud of us."?How many times have I walked up to a grave and felt somehow there was lovethere for me? I cannot say.


It goes beyond just documenting the facts. It goes to who I am, andwhy I do the things I do. It goes to seeing a cemetery about to be lostforever to weeds and indifference, and saying I can't let this happen. The bones here are bones of my bone and flesh of my flesh. It goes to doingsomething about it. It goes to pride in what our ancestors were able to accomplish. How they contributed to what we are today. It goes to respecting their hardships and losses, their never giving in or giving up, theirresoluteness to go on and build a life for their family. It goes to deep pride thatthey fought to make and keep us a nation. It goes to a deep and immense understanding that they were doing it for us, that we might be born who we are, that we might remember them. So we do.


With love and caring and scribing each fact of their existence,because we are them and they are us. I tell the story of my family. It is up to that one called in the next generation, to answer the call and take their place in the long line of family storytellers. That is why I do my family genealogy, and that is what call those, young and old, to step up and put flesh on the bones.

Article - Choosing The Right Glue

Found this article from www.scrapbookmemoriestv.com and love to share it.

CHOOSING THE RIGHT GLUE CAN BE A STICKY MATTER
By Diane Newman of Beacon Adhesives

Having the right tool for any project is very important for its successful completion. Glue is a key tool used for creating many different types of craft projects. Using the wrong glue can result in a project that won’t stick together at all, falls apart later, or ruins the materials, causing frustration as well as wasting time and money.

However there are endless choices which can be very confusing. Should you use a white or tacky glue, water or solvent based, instant glue or glue gun, rubber cement or paste? Add to those choices acrylics and pressure-sensitive adhesives.

SURFACES

One of the first things to consider when choosing a glue is the types of surfaces that are being bonded together. Basically, there are three different types of surfaces to consider when selecting a glue.

Non-porous – This type of surface is generally slick and shiny and does not absorb moisture. Glass, metal, acrylic, plastic, varnished wood, polymer clay, and glossy paper are examples of non-porous surfaces.

Semi-porous – Certain treated woods, coated papers and fabrics, and fun foam are examples of semi-porous surfaces that do not absorb moisture evenly or quickly.

Porous – Most papers, fabrics, untreated woods, plaster, and some clays absorb moisture fast and evenly, making it relatively easy for glue to adhere.


TYPES OF GLUE

Glues have been used for thousands of years and originally were made from natural materials such as plant starches and fibers; from the hide, horns and bones of animals, and even from egg white and cheese! Over the centuries, glues have become much more high-tech and sophisticated and now are made from many synthetic as well as traditional materials.

Here is a list with a brief description of each of the more common glues available.

Mucilage is made from potato starch, gum Arabic or fish scales. It still is used mostly on paper and gives a weak, quick-drying bond that can become brittle and discolored over time. It is also sensitive to moisture and temperature. The bond it creates is not long-lasting.

Paste is what you use in school. It is made from plant starches or fibers ( corn, rice, and wheat) or from methyl cellulose. Paste has a high water content and is not very stable in temperature extremes. It can be used on most papers and for making papier mache and as a binder. It should only be applied to paper that can tolerate a high water content.

Rubber cement is made from latex harvested from the rubber tree. It is a medium strength glue that is solvent-based, highly flammable and very flexible. It will not wrinkle paper and is easy to remove. It cannot be used to bond wood or other structural materials.

White glue is a quite versatile and used extensively in arts and crafts. It was developed in the 1940s and is also known as polyvinyl acetate (PVA). White glue forms a medium bond and cannot hold heavy objects or anything intended for outdoor use. White glues vary in flexibility, but most have a high water content, dry clear and can be removed with water while still wet.

Clear glues include glue sticks, photo, and envelope glues and basting glues. They are water-based, non-toxic synthetics designed for porous surfaces. They do not discolor or become brittle during time, maintain good flexibility and are not as susceptible to humidity although they generally are water-reversible. If applied in a thin coat, they will not wrinkle or show through paper and frequently are used for bonding vellum and glossy photo papers.

Tacky glues are thicker, stronger, and stickier than white glues. They dry clear and are suitable to use on porous, semi-porous, and non-porous surfaces. They are not particularly good for outdoor use since sunlight, heat, and cold will weaken them. It is important to test tacky glues on paper before using them on a project because these glues vary in strength and viscosity. Tacky glues are used extensively in craft applications because of their versatility.

Acrylic-based glues contain acrylic polymers and remain flexible. They are not affected by heat or humidity. Many are resistant to ultraviolet rays, dry clear, and maintain an extended open time so that surfaces can be repositioned if necessary. They are water-resistant but not waterproof for outdoor use. Some acrylics may soak or show through papers, especially vellum and tissue.

Pressure-sensitive adhesives (PSA) offer many different types to choose from including tapes, film, dots, die-cuts, mounting corners, and stickers. They also are used in laminating machines. PSAs can be used for many applications with a wide variety of materials. PSAs often are acid-free, Ph neutral, and suitable for use with photos, albums, scrapbooks, and other memory crafts.

Glue guns work by melting a glue stick in an insulated heating element until the glue flows freely from the nozzle. Glue guns are available with many different temperature settings and can be either plug-in or cordless. Glue sticks are composed of polymer and resin and are non-toxic. Selecting the right temperature glue gun is very important because high temperatures can damage certain materials. Always use caution when handling glue guns to prevent burns. They should never be used by children.

Solvent-based glues usually are much stronger and more permanent than other adhesives. They set and dry quickly. Most of these powerful glues are flexible and many are waterproof. Solvent-based adhesives are difficult to remove once dried although dry cleaning sometimes will remove glue from clothing. They work well on hard-to-bond surfaces such as glass, metal, vinyl, plexiglass, etc. and often are used for filling gaps because of their strength and flexibility. Most are flammable, contain toxic substance, and should be kept away from children.

Instant glues, also know as cyanoacrylates, are super-fast bonding but have a very short open time. They are applied drop by drop on dry surfaces and have a very limited shelf life once opened. They must be used with caution because they are almost impossible to remove and even can bond to skin. Instant glues are quite strong but are not suitable for use on some plastics, foam, and fabrics. Avoid using where the glue will be exposed to moisture. They also have a tendency to lose strength over time.

Epoxies provide the strongest bond of any adhesive type. They are usually composed of two parts-a resin and an activator or hardener that must be mixed together in the correct ratio before applying. After curing epoxies can withstand even the heat of a dishwasher. They also can be painted, sanded, and drilled. Many are clear and colorless but have a tendency to yellow over a long time period.

TIPS FOR APPLYING GLUE

1. ALWAYS carefully read the manufacturers directions.

2. Test first. Use scrap materials to see if the glue will work well on the surface you will be bonding.

3. Work in a well-ventilated area, particularly when working with solvent-based or flammable glues.

4. Protect your skin when working with super-strong or solvent-based glues to prevent allergic reactions or gluing skin together. Rubber gloves work well.

5. Cover your work surface. Some glues can remove veneer and stains from furniture. Good work surface protectors are wax paper, coated freezer wrap, aluminum foil, plain paper (newsprint may smear), a plastic tablecloth or use an old shower curtain for a drop sheet.

6. Be sure the surface is clean, dry, and free of dust and oil before applying glue.

7. Use an appropriate applicator depending on either the type of adhesive being used or the surface properties. Tip pens, brushes, plastic spatulas, craft sticks, syringes, Yorker bottle tops, wood skewers, tweezers, toothpicks, and rubber brayers can be used.

8. Less is more for most glue applications. If too much glues is used, it will ooze when any pressure is applied, take much longer to dry, and actually not hold as well since it will over-saturate the surface and be unable to penetrate.

9. You may need to use more than one type of glue on a project if you are attempting to bond extremely different surfaces together. Many professional craft designers often will use two or three different glues then constructing a project.

10. Most glues have a limited shelf life—the period of time in which they will remain strong. If you use a glue that’s too old or has gotten thick or discolored your project may fall apart quickly.

11. Clean up while the glue is still wet. Keep paper towels or baby wipes on hand. Clean applicators before storing.

12. Allow glue enough time to dry. There is a difference between a glue’s “grab” and its dry time. Basically, grab is how well glue holds onto the surface right away, while dry time actually is how long it takes to bond the surfaces together permanently. Even though a glue may grab quickly, it may need many more hours to dry thoroughly. Slick surfaces are harder to hold and thy may need extra dry time. Washable glues should be given a t least a week to dry before washing.

13. Store glue out of temperature extremes and away from direct sunlight. Be sure glue is covered properly to prevent evaporation and discoloration.

Try these books to learn more about adhesives and how to use them:

The Complete Guide to Glues & Adhesives by Nancy Ward & Tammy Young and The Crafter’s Guide to Glue by Tammy Young. They also contain excellent tips and great projects. Information from the books is included in this article.