Second Soap Making Class–Natural Soaps

Last night I had the most fun ever, at our second soap class. After starting last week with basic mould-and-pour using fancy moulds, tonight the shapes were more basic, but the soaps themselves were just wonderful, coloured and fragranced with natural materials.

We used the basic mould-and-pour soap bases we used last week – white and clear. For colour, instead of using synthetic colours, the teacher brought natural powders such as turmeric and cosmetic-grade clays in various colours. The fragrances were all natural too – essential oils and the natural scent of the various additives. She also brought along bags of different botanicals to add for colour and texture, such as tiny flowers, petals, wheatgerm, cinnamon sticks, and dried sliced orange. Everything looked so wonderfully natural and subtly coloured, and as for the smells! My hands continued to smell lovely for several hours afterwards! If none of the subsequent classes are as fun and fulfilling as last night’s, I shan’t mind – I think most of my own soap making from now on is going to be along natural lines.

Having M.E. I can be a bit sensitive to chemical smells, and last night I spent some time going through the two boxes of liquid fragrances the teacher brings – firstly the essential oils, and secondly the fragrance oils, which are synthetic. The latter did not appeal to me at all! They all smelt very artificial and unpleasant to me. However, the essential oils had no detrimental effect at all and with a few exceptions I loved them all. This gave me an idea of what to get for my own supplies.

At the end of the class we spent some time wrapping our soaps from our teacher’s big bag of goodies. I completed this process when I got home.

One of the soaps we made was orange soap. This was made from the transparent base, coloured with natural orange colouring (turmeric) and fragranced with orange essential oil – this smells totally gorgeous… When we turned them out of the moulds, we took a little melted soap base and dipped half a dried slice of orange in it and stuck it to the top of the soap.

Another soap we made was cinnamon and wheatgerm. This was made from the white base, coloured with natural powder colour, with the wheatgerm adding colour as well, and fragranced with cinnamon essential oil. The powder colours cannot just be added to the soap or they go lumpy. You have to put them in a small container and pour in a small amount of melted soap and make a paste, a bit like a roux in cooking, which is then returned to the soap. After pouring the soap into the mould we added a cinnamon stick to the top. The mould we used for this soap was round, with straight sides, so there was no “up” or “down,” which meant we could add any embellishment to the top after pouring. Normally the top of the finished soap is at the bottom of the mould, and if you put something in the bottom of the mould it tends to float to the surface, so the embellishments have to be added afterwards with a shaped mould.

As you can see, I finished the wrapping of this soap with some raffia. I love the choice of natural packaging for natural soaps!

Finally, my favourite soap of the evening. This was a seasonal one, and quite stunning – gold, frankincense and myrrh soap!

This was made from the white base and some people coloured theirs with natural powder colour; however, I followed the teacher’s lead and didn’t add any extra colour, but depended on the botanicals to give a subtle colour. We added frankincense essential oil for fragrance, and ground up myrrh gum, which still had a somewhat grainy appearance. I was intrigued to hear that the gum is supplied in small lumps called “tears” – considering that myrrh is symbolic of death, embalming and the tomb, this seemed appropriate. Finally, the gold… After the soaps had come out of the moulds, our teacher produced some 24 carat pure gold leaf, and we added flakes of this to the top of the soap using a soft brush. This is soooo beautiful… The soap also smells out of this world, and as it is not a specifically feminine fragrance, but more spicy and exotic, it would be suitable for a man, too.

Before I show you the photo of this soap, I will show you the process of making a decorative band which would do justice to this precious soap. At the class, I merely wrapped it in cellophane (necessary to protect the soap from the air and from fingerprints).

I looked in my “card strips” box to see if there were any offcuts that were suitable. I found a strip of Core’dinations “gemstones” in a soft gold colour, and put this through the Cuttlebug, using the Tim Holtz Alterations Texture Fades “Damask” embossing folder. First of all I tried highlighting the embossed parts with gold gilding wax but this didn’t show up as much as I’d hoped, so I painted it with burnt umber acrylic paint.

Adding a layer of iridescent medium just made it look too silvery, so I mixed some with some more burnt umber and painted this on, working it well into all the recesses in the embossing.

When it was dry, I squeezed a little metallic gold acrylic paint onto my craft sheet and picked it up on my brayer.

Rolling it carefully onto the embossed strip, I was able to apply gold to the highlights.

I decided it was a bit too wide, so I trimmed down the sides (keeping the narrow strips in my card strips box – never throw anything away lol!) and then matted and layered it onto a scrap of gold mirror card, which really finished it off.

After making a bow with my bow maker, I wrapped the band around the soap, added some of the same ribbon as the bow, and attached it with glue dots. This is the result.

I really think this packaging does justice to this beautiful soap. In the picture you can see the gold leaf reflecting the light. This has to be my absolute favourite soap ever! It is really special.

Here are the three soaps I made, wrapped and embellished ready to give away. I still need to make labels to stick on the back of the soaps.

I am definitely going to make more natural soaps. All of these are gorgeous, and there are so many more combinations to discover and experiment with. I have seen natural soap made in a large mould and then sliced once it was set – this gives a beautiful hand-made effect, and it looks gorgeous with lots of botanicals on the top! I have also seen this with different layers, which show across the slices. Clear soaps can have botanicals suspended inside so you can see them. The possibilities are endless!

Before we leave the subject of gold, frankincense and myrrh, when I told my hubby about the soap, he found something to show me – a little box which a friend had given him several years ago. I had never seen this before, and I was entranced.

The box itself is beautiful – made of thin wood, very plain.

It hides a secret within!

Some detail shots.

I think the design on the inside of the lid could be adapted to create a beautiful label for the soap. Pulling the little tabs inside the box removes the semi-circular covers, revealing this.

Between the purple tissue are sheets of gold leaf, and in the compartments, real frankincense and myrrh. Isn’t that just perfect?

Finally, yesterday I strained and bottled the lavender oil I have made. A couple of months or so ago, our neighbour from opposite was cutting back her lavender and gave us a huuuuge bunch, asking if I could do anything with it! I said that yes, I certainly could, and decided to make some infused oil with it. Making essential oils is a difficult process involving distillation and I didn’t feel up to that, but you can make wonderful fragrance oils by distilling things in oil and leaving them to steep for several weeks. I filled a jar with the flowers that I pulled off the stems, and then poured enough grapeseed oil into the jar so that it came up to the top. Grapeseed oil is very good for this because it has no smell of its own. It is a pleasant, pale green colour, and easily obtainable from the supermarket. Over the first week or so I stirred the mixture daily, and kept it for the whole time in the airing cupboard, covered with kitchen paper to let it breathe but to keep the dust out, and stirring occasionally, when I remembered. I strained it into bottles. The small bottles are blue glass (not particularly visible because the finished lavender oil is quite a dark green colour). I bought three with dropper tops to give away, and one with a pipette dropper for my own use. The bulk of the oil has gone into a larger brown bottle which had had some medicine in it. I made some labels, using a permanent black pen and colouring with distress inks (Milled Lavender – appropriately! – and Mowed Lawn).

This oil smells out of this world! I shall be using it to fragrance my soaps, and also the lotions and creams that I intend making.

Embossed Cards with Alcohol Ink Backgrounds

The second of two posts today.

Following on from my previous post, I have started making some more cards for my stash, which is now empty and quite panic-generating when I remember at the last minute that it’s someone’s birthday tomorrow! I have started collecting together matching/co-ordinating alcohol ink backgrounds and core’dinations papers embossed with the Cuttlebug. This is how far I’ve got today.

You can see the 6 x 6 pad of “Gemstones” Core’dinations on the left. They are quite pretty, with an iridescent surface with a weave finish, but they don’t respond well to sanding etc. as there isn’t enough difference between the surface and the core. They look very pretty embossed, though.

In this photo I have matched up different Core’dinations papers with the various alcohol ink backgrounds, and selected different embossing folders to use for each one, trying to find something appropriate for the colour scheme.

The Core’dinations papers after embossing and trimming, each laid on top of their respective alcohol ink backgrounds. The turquoise one at bottom left has already been made up into a card and sent off (see previous post).

In case you are interested, the embossing folders I used with my Cuttlebug are, from left to right, back row: Tim Holtz Alterations Texture Fades (THATF) – Damask (pink); THATF – Rays (yellow/green); Tim Holtz Alterations – Steampunk (all the Mixatives); TH Alterations – Pocket Watches (brown/yellow). Middle row: Stampin’ Up Mosaic Madness (turquoise); THATF – Retro Circles (brown and orange); Cuttlebug – Diamond Plate (black and white); THATF – Bricked (red and cream). Front: THATF – Regal Flourishes (purple, blue and gold).

There is a good selection here to make up into cards, and a couple of them at least (the Diamond Plate and the Steampunk ones, and possibly the Retro Circles one) will make suitable man cards.

A note about the Tim Holtz Texture Fades embossing folders. When I first got them, I noticed that, rather irritatingly, they are the other way round from other embossing folders – i.e. if you use them label-side-up, the will deboss rather than emboss the design. I have therefore written on the name labels I put on them, “Other side up” to remind me to put the card in upside down, so I don’t get caught out. Or so I thought. I used the Pocket Watches one today and… you’ve guessed it, all the numbers on the clock faces were back to front! Duh. Label now altered on that one! Examining it closely, I see that it is not like the other Tim Holtz ones (the Texture Fades ones) and it will actually emboss rather than deboss with the label on top. Something to watch out for when using different manufacturers’ embossing folders.

I have also noticed with the Tim Holtz ones (it may be a feature common to all Sizzix embossing folders, but I only have TH ones so I couldn’t say), that they emboss a bit deeper than some others, and I have experienced in the past that they can even cut through the paper or card. I read somewhere that you can spritz the paper lightly with water before embossing, which will soften the fibres somewhat, to prevent this happening.

Watch this space to see how these cards progress. I may not work on them straight away as I need to crack on with my Recycled Mini-Album and there are always urgent projects that crop up and interrupt the normal work flow!

Alcohol Ink Backgrounds and a Birthday Card

The first of two posts today.

I suddenly realised that it is my friend’s birthday tomorrow and I had no card made, and nothing left in my stash, so I pulled out all the stops to get one in the post tonight. I decided to take the opportunity of replenishing my card stash at the same time, and began by creating a collection of alcohol ink backgrounds. I shall be posting about the cards in due course.

Wanting to use recycled materials as much as possible, I found some A5 fliers about solar panels that we picked up at the County Show in the summer, prior to deciding which company to go with. They are plain white on the back, and quite shiny, so ideal for alcohol inks.

My collection of alcohol inks consists of some from Adirondack, including the four Mixatives (Gold, Silver, Copper and Pearl) and a set of Pinata alcohol inks. In the list of ingredients below, these will be indicated “A” and “P” accordingly. I cleared up the mess on my non-stick craft sheet with surgical spirit (rubbing alcohol) and kitchen paper. Horrible smell!

1. Clover, Stream and Pearl Mixative (all A):

2. Wild Plum (A), Sapphire Blue (P) and Gold Mixative (A):

3. Pitch Black (A), White (P) and Pearl Mixative (A):

4. Burro Brown and Sunbright Yellow and Lime Green (P) and Copper Mixative (A):

5. Chilli Pepper, Calabaza Orange and Sunbright Yellow (P) and Gold Mixative (A):

6. Wild Plum (A), White (P) and Pearl Mixative (A):

7. Burro Brown, Calabaza Orange, and a very little Sunbright Yellow (P), and Copper Mixative (A):

8. Sunbright Yellow and White (P), Wild Plum and Pearl Mixative (A); I also dropped a lot of Pearl Mixative onto the sheet at the end:

9. All the Mixatives (A): Gold, Silver, Copper and Pearl, with some Clear Extender (P):

10. Re-used felt applicator from #8 above, with the addition of some Clear Extender (P), and then plenty of Pearl Mixative (A) and White (P) dropped onto the sheet at the end. I added plenty of the white because the printing on the reverse was starting to show through a bit.

11. Re-used felt applicator from #6 above, with White and Clear Extender (P) and then Pearl Mixative (A) dropped onto the sheet at the end. I love these pale marbled-effect ones.

The whole collection of alcohol ink backgrounds. Quite a good collection to be going on with! Unfortunately, as usual, the shimmery and metallic effects don’t show up very well on the photos. I love those Mixatives, especially the pearl one.

Just before I finished, my hubby called me down to pay the builder who’s been working on our outhouse, and I admitted to feeling even more unsteady on my feet than usual – all those alcohol fumes had gone to my head and I felt distinctly woozy!! My hubby said to the builder, “There you are, you can charge what you like – in that state she’ll sign anything” lol lol!!! Until I stood up I hadn’t realised how much of the fumes I must have been breathing in! You definitely need adequate ventilation for this job, especially if you are doing a lot.

I think I’m feeling a bit hung over now…

Now for the birthday card. I chose the alcohol ink background #1 above, and a matching Core’dinations paper from the “Gemstones” range. This has been in my stash for years, along with some other Core’dinations papers, and I thought it high time I used them up. The “Gemstones” range has a lovely iridescent sheen to it, but it doesn’t respond very well to the usual treatments that work so well with these papers (sanding, tearing etc. to reveal the core) so I tend just to emboss it and leave it at that.

Being a skinflint and a cheapskate, I cut the middle out of the alcohol ink background layer so I wouldn’t waste any – you can waste acres of card over the years by not doing this, and covering it all up when matting and layering!! I embossed the Core’dinations sheet with the Stampin’ Up Mosaic Madness embossing folder, using my Cuttlebug, and attached some dark red rick-rack across the corner.

I chose some flowers that I’d made some time ago, out of my stash, and attached them with hot glue. Then I used the Stampin’ Up Mosaic Madness punch to punch out some shapes from the strip of alcohol ink background that I’d cut off the bottom, and stuck one of these down onto the embossed card, and the others onto some offcuts of Core’dinations paper (before embossing). There is a small piece of this inside the card as well. The punched out pieces had a line of Aged Mahogany distress ink added with the Ranger brush tip to give them a bit of definition. The “Happy Birthday” stamp was one I’ve had for years, and I have no idea where it came from or who manufactured it. I repeated the same stamp inside, and in both cases used Aged Mahogany distress ink to co-ordinate with the large flower and rick-rack. The smaller flowers were made from Penny Duncan’s Hibiscus cutting file. The base card was inked lightly with Peacock Feathers distress ink, and also on the back and inside, and I applied the same to the edges of the envelope. This card isn’t one of my best – I’m not entirely happy with the composition, but I was working under pressure to get it done in time and I finished with 10 minutes to spare before my hubby had to go out!

I’ll hope to do better with the others. Watch this space.

Village Craft Fair

Last Saturday there was a craft fair in our village church to celebrate the creativity of the local people and as a local fund-raiser. I was offered a table and readily agreed, and offered to do demonstrations throughout the day.

Some of the work on display was of a very high standard; for instance, the lady who had the table next to mine had only been painting for about a year, and was producing work such as this:

There was also someone who was exhibiting a wide range of items including miniature embroidered rugs for dolls’ houses, taken from original rug designs:

seen here with some of her exquisite silver spoons. She also worked with enamel on copper, and made silver and bead jewellery. I was particularly taken with her marine life jewellery.

Further acrylic paintings:

This artist also created fairies from hand-made felt, which you can see on the display on the left of her table.

A great display of beautiful quilts.

There are more photos of the show in my Photobucket album.

Here I am at my table, ready to start.

This is my display board. I am so grateful to my hubby for finding some pegboard panels for me – this turned out to be ideal for hanging my mirrors and prints, and it took the rest really well with Blue Tack.

As you can see, I tried to display as much variety as I could – my mixed media mirrors (for further details, click on “Mirrors” in the RH sidebar of my blog – there are several posts), ATCs (likewise), pages from my ongoing mixed media Fine Art Album project, some experimental pieces, small paintings, and prints of my zentangle art – I printed these on semi-gloss photographic paper and am very pleased with the quality, and the intensity of the colour.

As I worked on my demo pieces, lots of people came up to watch and to chat, and ask me about my work. On the far left of my table, beside the zentangle print, are the cards and coasters. As well as offering these black and white zentangle cards for sale, I also managed to make up nearly 2 dozen coloured ones. I shall be doing a separate post about these in due course.

Of all that I had on offer, I only managed to sell nine cards, unfortunately, but at least my work got some exposure, and I had great fun being creative all day, so it was worth it!

Now for some photos of the work I did during the day. Most of these were small in size so that I could demonstrate several different techniques, and as usual I worked on ATC-sized card much of the time, as any successful samples can then be used for actual ATCs, and anything not successful won’t break the bank because hardly anything has been used!

I started with a plain white ATC which I stamped with versamark, and heat-embossed with clear embossing powder. I then inked this with Walnut Stain Distress Ink, using my Inkylicious Ink Dusters, and finished it off with a bit more distressing round the edges with Vintage Photo DI. The stamp was Calligraphic Mat #4 from The Artistic Stamper. The embossing acts as a resist, showing the white card beneath the ink. On the second sample, I inked it first using Weathered Wood DI, then embossed with clear embossing powder, and inked again, this time with Bundled Sage, and finally a touch of Vintage Photo around the edges to distress it. This resulted in the resist showing the initial inking colour, in this case blue. This stamp is the Music background stamp, again from The Artistic Stamper.

You can see how through many layers of stamping and inking, many different and interesting effects can be created.

The next thing I demonstrated was rubbing the ink pad on my non-stick craft sheet, spritzing it with water and smooshing the card in this ink. For the first sample, I used a mixture of Wild Honey, Spiced Marmalade, Walnut Stain and Vintage Photo DIs. The quality of the card wasn’t that good for this technique, but I didn’t mind in the end that the initial smooshing came out quite blotchy; with the added stamping and extra ink, it just added to the general grunginess of the effect. To get a smoother effect, watercolour paper would be better as it stands up well to a soaking.

I stamped with gold embossing powder onto the background of the first piece, and in the second, used the stamp as a resist, as before. The stamp in the first sample is a flower head stamp from The Stamp Barn, and that in the second is from the Tim Holtz Ultimate Grunge Collection by Stampers Anonymous. This sample was first inked all over with Spiced Marmalade DI, stamped with clear embossing powder and then smooshed into Walnut Stain and Vintage Photo. To finish each of these samples, I spritzed them with a DIY glimmer mist made from Wild Honey Distress Re-inker, water and Perfect Pearls (Perfect Pearl colour), which has given an iridescent finish, and some nice blotches of a more intense effect.

The next sample was somewhat similar, but smooshed, stamped and inked repeatedly, building up the layers until I got the effect I wanted. In this case I used the Personal Impressions Pebbles background stamp with Versamark and clear embossing powder, and the Crafty Individuals large swirl stamp, also with Versamark and clear embossing powder, and finally with gold. This one was then sprinkled with water and blotted with some kitchen paper.

I did a quickie demo showing the effect of sanding Core’dinations paper – I had prepared a piece of Whitewash Core’dinations at home, embossing it with the Tim Holtz Texture Fades embossing folder “Cracked.” After sanding, I inked it with Dusty Concord DI, showing how the ink is intensified by the roughness of the sanded surface. To finish this one off, I rubbed on a little Treasure Gold in the central part, but it doesn’t show up too well on the photo.

I did a few examples with one of the stamps from the Stamp Attack JoZart Design fans collection, using Versamark onto black card and then adding dry Perfect Pearls in various colours with a soft brush. Once I had brushed off the excess I spritzed them lightly with water to activate the binding agent in the mica powder. These will be cut out and used as small tags, with the addition of some ribbon and a bit of bling.

My final sample was done with acrylics and stencils. I had intended to do several of these, but time was marching on, and I had other things to do as well.

For this, I laid my Increasing Circles stencil onto some heavy watercolour paper and painted on some gesso with a foam brush. After drying this with my heat gun, I proceeded to paint the surface roughly with alizarin crimson acrylic paint, placed the stencil back and rubbed with a baby wipe. This removed quite a bit of the paint from the gesso which acted as a resist, giving some interesting overlapping partial circles. I repeated the process with some ultramarine blue, and then stamped with scraps of extra large and extra small bubble wrap, using gesso. The effect was altogether too bright at this stage, so I made my favourite dulling-down acrylic glaze from a touch of Payne’s grey acrylic paint mixed with acrylic polymer, and after drying this, stamped with archival black ink using the ink-spatter stamp from the Tim Holtz Ultimate Grunge collection from Stampers Anonymous, and finally stamped with copper metallic acrylic paint using the circles stamp from the Bitty Grunge collection also from Stampers Anonymous. As always, using gesso and acrylics, I had to try and remember to clean the stencil, brushes and stamps immediately or it dries on very quickly and becomes impossible to remove. This is a bit of a bore, especially when one is on a creative roll and is desperate to get on to the next stage! (How nice it would be to have a flunky to do it for me, like the artists of old, who had apprentices to grind their paint for them!!)

This is a technique that you can just go on adding to, layer by layer, colour by colour, shape by shape, whatever you want, until you like it! The possibilities are endless. Here’s a detail shot.

I really like how the texture of the watercolour paper works with this background.

My second demonstration was making some paper flowers with Penny Duncan’s rose design cut file, somewhat adapted to give a more frilly edge to the petals. I deliberately made these quite large so that people could see what was going on. Here are the materials I used.

The pieces were drawn in Inkscape and cut out using Sheba, my Black Cat Cougar cutting machine. Distress Stains are the best method of colouring the petals and leaves, in my opinion. They are easy to apply, and you can build up the layers of colour to the intensity you desire. Once coloured and dried with the heat gun, each petal and leaf is hand-embossed onto a piece of fun foam, and then assembled using the hot glue gun. I ran a nib across the surface of a distress ink pad and drew the veins on the leaves. Here is the final result.

My final demo was intended to be zentangle drawing, and although I did do a bit, it was not enough to photograph – I will upload the finished drawing when I have done it. By the time I got started on that, the numbers of visitors to the show had thinned out considerably, and then people started clearing up, so I had to call it a day, as it took a very long time taking down my display and packing it all up ready to take home.

Valentine Card for my Hubby

Following on from yesterday’s post, I have now completed the card for my hubby for Valentine’s day, based on the digital layout I did last year, using Serif CraftArtist:

The first thing I did was to cut out the three layers of card with heart apertures, using Sheba, my Black Cat Cougar cutting machine. Since learning from Black Cat forum members that setting the blade higher results in better cuts, I cannot believe how much better Sheba is cutting, and how much less force I am needing. I am now setting the blade two CDs’ thickness above the media on the mat. Of course, the card I am using has proved itself to cut very well – I have used 3 colours from the Tim Holtz Distress Core’dinations stack, not because I want to avail myself of the benefits of Core’dinations paper, but because the colours were more or less what I wanted – Aged Mahogany, Victorian Velvet and Milled Lavender. The effect is slightly less mauve than the digital layout.

I printed out a background on some 100 gsm paper, from the same digikit that I did the layout from – “Valentine’s Day 2011,” and cut a small piece from that, which I stuck behind the aperture in the Aged Mahogany paper, which is the back layer. (I also printed out a sheet of this background on some heavier card to go on the back of the finished card, to counteract the weight on the front of the card, and to finish it off nicely.)

I cut out some small hearts from red cardstock that I had – from an online paper mill, unknown weight but cuts really well – I cut 3 different sizes, ranging from 3/4 in down to just under 1/2 in. Some of these would be stuck down, and others would float above the surface on narrow acetate strips.

I thought I was going to have to make some new flowers for this project, but I had four pink roses left from my mother’s 90th birthday card that I made last year, and also various odd flowers that I’d made at various times, and with the addition of a few leaves and some dark red and white feathers, these would provide the embellishment for the bottom of the card.

Here’s a mock-up of the card pieces and the flowers.

Assembling the card was interesting. I wanted a good, deep dimensional feel to this card, to follow through from the digital layout inspiration. I used a double thickness of double-sided foam tape between each of the layers, and when they were all stuck together, I ran some double-sided tape around the edges and adhered some narrow pink satin ribbon with pretty picot edges to cover the rather unsightly edges.

Before I stuck it all together, I stuck some of the small hearts onto the background paper in the central heart, and stuck the rest onto narrow acetate strips, which I then glued between the layers, using Scotch Quick-Dry adhesive – a wonderful new find, thanks to Lucy on the Black Cat forum – it really does dry quickly, and it gives a very good strong bond, too. (Can one ever have enough different types of glue? One needs so many different ones for all the different things one does!)

The flowers and feathers were stuck down using hot glue, which has to be my favourite glue for this sort of thing, as it gives a more or less instant, very strong bond, and really is the only thing for making, and sticking down, flowers.

I had some difficulty cutting the small scalloped heart with the word “hugs” in the centre, as there was really too much detail to cut very small without the detail blade for Sheba (which I haven’t yet got). In the end I made it 2 inches across, and then made a mat layer for it in gold mirror card to show off the cut better. (I have just learnt how to do nesting shapes in Inkscape!) This embellishment was finished off with a small bow to match that on the floral embellishment, and also a tiny charm I bought at the recent craft show.

Here is a picture of the main design of the card. It measures 6 inches square.

To mount this whole design, I matted it onto some dark red card, and created a narrow mat layer in gold mirror card, which in turn was glued down to the main card, also made of the same dark red card. As the finished card is 8 inches square, I had to make this of two pieces, but the join is round the back, and mostly covered by the back printed background piece, so it is not obvious.

Here is a picture of the finished card.

The following pictures show various close-up shots, showing the detail of the embellishments etc.

The last two photos show the ribbon covering the unsightly edges of the layered card and foam tape.

After all my misgivings about not being able to make my dear hubby a special card this year, I have managed it after all! He is so wonderful, and does so much for me, and I am so grateful to have him as my lifelong companion and soul-mate, and I wanted to make him something special to let him know how much I appreciate him. I hope he likes the result!