Image : http://www.flickr.com

In 2003, online dating statistics showed that nearly 40 million Americans have used dating services online, with 20 million people logging on at least on the site each month. 48% of unmarried men and 53% of single women profiles navigation to find "someone special". The average amount spent by consumers was $ 239 per year. Statistics Online Dating show that in the first half of 2003 alone, an enormous $ 214 million was spent by consumers onservices provided by an array of different companies. The company flourished, and Online Dating Research estimated that by 2008, online dating business would grow from 642 million to 900 million by 2011.

Data from online dating has shown that 31% of Americans knew someone who had used a dating site. With 40% of the pool dating America's using these services, success rates were high. Surveys have shown that 72% of womenthe use of these services found romance, while 52% of online daters found their boy and connection. The survey also shows that 33% of these people have managed to convert the online dating experience into a real date, with an average of 40% of those finding a serious, long-term relationship or at least a close friendship . This led to an estimated 120,000 marriages a year that has resulted from the use of dating sites online. Companies like EHarmony claim to have an average of90 users who married every day.

In 2005 the industry recorded a decline. Statistics online dating in February this year showed that 33% fewer users have been visiting these sites. The cost has also changed, not the benefit of consumers, though. Average, men spent $ 100 to $ 150 per month while women spent 50 dollars per month and offer businesses a gross income of nearly 500 million dollars this year.

Over the next two years, the average cost has fallen giving consumers a unique opportunity to once again find love. Match.com says that over 200,000 of their users have succeeded in finding a soul mate last year. While statistics online dating has been difficult in recent years, the success rate appears to remain fairly stable. For those who are tired of the bar scene, or bumping shopping carts at grocery stores, online dating could be a new avenue to try. Its worth a photo, and there to lose? The line> Statistics dating back to give the industry a well known name, and if things do not quite like a fairy tale, its okay. We need not worry about the tears of a dramatic end to the statistics of online dating show that 48% of online relationships that turn sour are terminated by e-mail!

Here is another variation on the gold round circle with diamonds:

Colored Pencil and Gouache Gold and Diamond Stud Earring Rendering by Joana Miranda

Tomorrow is the darkest day of the year and the first official day of winter.   What better way to brighten this coming week than a a five-day series of starry snowflake jewelry brooches?  This project has an additional twist; each of the brooches has been designed in a different jewelry style, everything from
Art Nouveau to Retro to Americana.   Come back tomorrow to begin learning what sets each period’s style apart from the next, and to add a little light to your day.

Another quick post of a piece I finished a few weeks ago…. It is a very large (my lack of measuring tape is absurd) acrylic and vellum paper on a mirror.

There is a small story about this one.

I had this fantastically beautiful dream about a month or so ago… I was running along a perfectly blue pond with red flowers and brush flying in the wind. When the pond ended, I jumped into the air and flew – transforming into a crane.

Anyways, this work is born from that vision. I hope you enjoy!

P.S. I also updated my “About” page and added the following self-portrait. I did it years ago but… kinda suits my personality:

Mixed Media Self-Portrait

Colored Pencil and Gouache Art Deco Inspired Earring Rendering by Joana Miranda

Tonight when I sat down to do this rendering, I fully intended to do a really quick design.  I started with my shape templates and quickly laid out the hexagon and rectangle.  The two shapes combined looked very Art Deco to me, so I decided to follow this design vein.  As I started filling in the diamonds and faceted onyx, I was bothered by a lack of balance.  After I had finished the rendering, I couldn’t leave it and went back and added the pear-shape faceted emerald drop.

Time stands still for me when I design and paint.  Since this is one of the only times during the day when I’m happy to sit still and my mind is quiet, I see these designs as a form of meditation, as well a chance to further my design and rendering techniques.  These designs are my own way, too, to offer a daily gift to my readers and maybe bring a tiny bit of beauty into both our worlds.

A simple border of pen sprays with a few touches of gold can be an effective, elegant frame for an illustration whether it is drawn in pen and ink, a grisaille style, or painted in color.

Raised gesso gilding, ink on vellum (c) A. Lucas 2009

This type of border is often used in illuminated manuscripts to enhance an illustration or set it apart from blocks of text.

I use this type of border most often for my own work, particularly for a painted miniature with just a few words of text.

Here are a few examples from the British Library Catalogue of Illuminated Manuscripts:

Harley 1319  f. 12 – ivy leaves, pen sprays, painting
Lansdowne 1179  f. 4v – ivy leaves, pen sprays, drawing
Yates Thompson 10  ff. 12v-13 – ivy leaves, painting

Drawing the Border

What you need:

• pencil
• eraser
• graph paper about 4 square/inch (refer to the Calligraphy Resources page)
• fine point pigment pen (Pigma Micron, Staedtler Mars Professional, etc.)
• a gold leafing pen, gold gel pen (or something similar), or gold gouache
• final copy paper (e.g. 90 lb Hot Press Watercolor paper)

Gold pens, gold gouache and pigment pens

We’ll be using just a few, simple basic shapes – a leaf and two variations of a hook:

Basic shapes - leaf and hooks

The leaf is a simple oval shape with a little inked-in detail at the edges.  The hooks are similar except one terminates in an open circle, and the second one has a filled-in circle.

Step 1:

First we’ll layout the design on graph paper with pencil and then transfer it over to the final copy paper.

Draw a box about 3-5/8″ x 2-1/4″.  Draw a second box about 1/8″ inside the second box.

Step 1: Drawing the border box

Step 2:

Draw a few stems with leaves attached around the outside border box – you can make these as simple or complex as you like!  Note that I’ve combined 3 simple leaf shapes to make a “flower” at the corners.

Step 2 - Drawing the stems with leaves

Step 3:

Add a few “open hook” shapes to fill in the spaces.

Step 3 - Adding open hook shapes

Step 4:

Draw a few, smaller “closed hook” pen sprays around the leaves and open hooks.

Step 4 - Drawing the closed hook pen sprays

Step 5:

Transfer your drawing to the final copy paper.  It’s usually a good idea to complete the gold areas before inking in the lines, or just inking in all the lines except around the gold leaves – this might depend on what you are using for gold – genuine gold leaf, solvent-based gold paint, gold gouache, gold gel pen, etc.

Test your gold on a scrap of your final project paper first to determine if you should ink the lines around the gold first or ink the lines after the gold is applied.  Note that solvent-based gold paint (such as the leafing pen) might leak into the paper fibers, so it might be best to ink the lines after the gold is dry.

Step 5: Transfer to final copy paper and apply gold to leaves

Finish inking the border adding the leaf details.

These are a couple of examples using a gold gel pen and a gold leafing pen:

Gold Gel Pen

The gel pen is quite easy to use and produces a nice, soft gold effect.

Krylon 18k Gold Leafing Pen

The gold leafing pen produces a very nice, shiny gold effect.  It’s a little more difficult to use than the gel pen because of the flat shape of the tip (which also makes it great for lettering), and the solvent wants to soak into the paper fibers but it gives a more “authentic” look of gold.

Now that your border is complete, you can paint or draw an illustration inside!

Tag #7 was pretty basic.  I did the simple mask of using the post it note as I didn’t have any of the masking sheets that Tim used.  I used Pearl paint instead of the Snowcap and I used my Winter Swirl flourish from Hot Off the Press…

Day #8 I really enjoyed doing.  I didn’t have the music stamp so I downloaded a music sheet from the internet and printed it out on my vellum.  I loved making it look like parchment by heating it with a heat tool.  It feel so cool.  I didn’t have the same light stamp as Tim so I used the free one I got from Inkadinkado which is close.  Added some holly with bling  and just one of Tim’s regular keys.  The flourish is again from the HOTP winter swirls set.

Day #9

A lot of improvisation on this one.  I used the photos that Tim had on the site for this tag and printed them off on photo paper.  I didn’t have the filmstrip so I drew my own on transparency.  I think it worked out well enough.  I printed out the words on the computer and then inked with with some distress ink in walnut.  The number charms were from my stash and I just attached them with some brads.  I didn’t have the background stamp that Tim used so I just used some I had from a Daisy D’s travel set that kinda worked just as well.

Day #10

This was a quick and easy tag.  I just used some tinfoil and ran it through my Cuttlebug using a Christmas folder from last year.  I colored it with my Copics and used my mini stapler to add the dimension.  I outlined it in black sharpie just to give it a little more dimension as well.

Pencil and Gouache Diamond and Pearl Drop Earring Rendering by Joana Miranda

Today’s rendering, done with graphite, black colored pencil and white gouache paint on vellum paper, is a simple design.  However, I think the organic placement of the marquise diamonds in the cluster portion of the earring give what is a more classic design a modern and unique twist.

Over the next three days, I’ll be posting the design process from start to finish for what has been my most involved rendering project to date.  The holiday is a nice time for family and surprises, and this latest project has elements of both.  Stay tuned!

Figure drawing, originally uploaded by Ritaflo.

I was experimenting with Vellum, a new iPhone App. There are only three “brushes” you can use, Ink, Graphite and Scratch. I like the Graphite “brush” because as the lines get thicker it looks more like charcoal. The app is very limited though because it doesn’t have an “undo” function, so you have to use the “Scratch” brush to erase.

The Calligraphy Pen blog had it’s first “birthday” on December 8, and I want to thank everyone for their encouragement, support and kind comments over the past year.

I hope these posts have been informative and inspirational to those who love the art of calligraphy as much as I do, just as it has been inspiring to me to watch my little calligraphy blog grow from that one, lonely view in December 2008 to over 30,000.

In the spirit of “looking back”, I recently found a “stash” of my early work.  It’s always fun to look at early work as it’s a visual documentation of one’s learning process and progress – and it’s always encouraging to see that practice really works!

Sometimes it can be a little intimidating moving from just practicing lettering forms and painting to working on a complete, final project – but go ahead – jump right in!  Nothing should be considered a “failure” or “waste” because one can always learn not only what works, but just as important, what doesn’t work, or what might work better the next time.

Here are a couple of pages from my very first, complete illuminated manuscript book, “Legends” on genuine vellum and bound with a beautiful, thin leather:

"Legends", A. Lucas Gold/Palladium leaf on raised gesso, patent gold, shell gold, ink and dry pigments on vellum

This is also a “sneak preview” of the next border post I’m working on, so get yourself a nice, gold gel pen, gold leafing pen or a tube of gold gouache!

Once again, a big thank you to everyone who has taken the time to read the posts and comment on my little calligraphy blog!

When my husband suggested today that I design some jewelry around a “holly” theme,  what instantly came to mind was images of Santa sweaters and Walgreens’ jingle-bell earrings.  So, I decided to overcome my resistance and embrace the challenge.  I’ve actually come up with two holly-inspired designs, but you’ll have to wait until tomorrow to see Variation #2…

As usual, I started by sketching in my sketch book.  From here I transferred the design I liked to vellum:

Pencil on Vellum - Holly Brooch Design by Joana Miranda

Then I rubbed the back of the vellum with silver pencil, placed the vellum right-side-up on a piece of black Canson art paper, and traced over the design again to transfer the lines to the black paper:

Silver Pencil on Black Paper - Holly Brooch Design by Joana Miranda

It is hard to imagine that the above line drawing could come to life with just a little watercolor paint, but here is the finished rendering:

Watercolor and Gouache Platinum, Diamond, and Ruby Cabochon Holly Brooch Rendering by Joana Miranda

Meet Nick. Nice guy. Enjoys sports. Needs a fuckin’ haircut.

Isn’t this sketch AWESOME!!!? This is my first time participating in this awesome challenge!

My card:

{Thanks}

Materials:

• PTI Cardstock and vellum
• Anna Griffin Darcy Paper
• Kaisercraft Rhinestones
• Staz-on Ink
• CTMH stamps

Colored Pencil and Gouache Resin and Silver Cuff link Rendering by Joana Miranda

This design is a spin-off on a pair of cuff  links from my Convergence Line of jewelry.  I’ve substituted colored resin for the hematite and I think it is equally as effective.  Look for these to be emerging from my shop very soon!

]]> http://atalentfordesign.wordpress.com/2009/11/16/a-design-a-day-day-59/ Tue, 17 Nov 2009 04:31:08 +0000 joanasjewelry http://atalentfordesign.wordpress.com/2009/11/16/a-design-a-day-day-59/

I’ll admit that I struggled tonight with my design a day project.  For quite some time I’ve been mulling over creating a jewelry piece which involves words.  I’m wary of falling into the inherent kitsch trap that such “sentimental” jewelry often provides.   Although I felt like I was making some headway tonight, my more interesting ideas for this project are still very much in the “chicken-scratch” stage.  So for tonight,  I’ve gone back into my design archives to post this series of line drawings and final pendant rendering (an enlarged version of the final pendant rendering follows at the bottom of this post):

Preliminary pencil drawings and final pencil and gouache pendant rendering by Joana Miranda

Pencil and Gouache Rutilated Quartz and Silver Pendant Rendering by Joana Miranda

I am working on some butterfly/moth + flower images this week, this is the one closest to being finished.

I’ve been experimenting with encaustic and layers of vellum and paper, I love how the vellum resists ink, gathering it up, making the image even more translucent. The ones that turned out best had pale colours and a limited palette.

Time is limited because I’m getting a lot of small pieces ready for a show, so back to the bugs…

What is Vellum?

This word has multiple meanings in the paper industry, but most commonly refers to translucent paper.  Vellum paper is often used as an overlay due to its transparency. Available in various weights, vellum can be as light as tissue paper or as heavy as cardstock. It’s important to note that its translucency depends upon the opacity, or darkness, of the color and the weight of the sheet. Simply put, a pastel pink vellum will be much more translucent than a royal blue vellum.

• 17# Vellum: Extremely light-weight vellum, comparable to a tissue paper.

• 24#–30# Vellum: The most common of vellum weights with each weight slightly heavier than the last (comparable to a 24#-60# text weight paper). Mid-weight vellum will run through a printer and is perfect for overlays, wrapping around votives, etc.

• 40# Vellum: This vellum is comparable to cardstock in weight. It is less translucent than lighter weight velum and needs to scored before folding.

• 48# Vellum: Same characteristics as 40# vellum though even heavier. Due to its weight it has almost a plastic-like feel.

For more detailed information on paper weights and how they’re calculated visit Paper 101: Paper Weight Info

Colored Pencil and Gouache Earring Rendering on Vellum Paper by Joana Miranda

My husband’s and my flight back from La Guardia airport today was one of those magical everything-is-going-right  events.  The flight boarded and left on time, the sky was cloudless with the sun reflecting warm, golden and then orange off of the various rivers and lakes we passed, there wasn’t a spot of turbulence the entire flight, the landing was smooth, our luggage was going around the belt as we reached baggage claim, and, although we mistakenly missed the correct parking shuttle, the next one came almost as soon as we had discovered our mistake.

Why am I bothering to write about this?  Because, life so often seems to consist of one stressful event followed by the next.  Sometimes I (and maybe others?) forget to really appreciate when things happen go smoothly.

I do often think that I’d like to be more in a state of flow with everything that happens to me, whether it be good or bad.  I’m realizing that part of being in a state of flow is just being…something that I’m certainly not good at doing.  My quest to create and surround myself by beauty is maybe an attempt to get closer to that state, since I find that when I am creating I feel most at peace.

Today’s rendering was sketched 35,000 feet above the earth.  Here is the finished rendering done in colored pencil and gouache on vellum.

I’ll update this as I do more, and republish.

Watercolor and Gouache Silver, Lucite Flower and Gemstone Earring Rendering by Joana Miranda

Even though I am designing or rendering every day, I still find that I need to refer to my rendering technique books and design class notes to tackle difficulties along the way (please visit my blog post Browse My Jewelry Library to find links for these excellent books).  If you are a designer interested in improving your renderings, please read on for some tips.  If not, then just enjoy the design above, know that I want to present you something beautiful here every day, and come back tomorrow to see what I post!

Some tips for designers:

• Designing initially on vellum paper really makes life easier.  You can trace one precise design element and transfer it to different parts of your drawing to save time.  In the drawing above, I drew just one flower petal, then traced and transferred it to make the other 4 flower petals.
• Black paper makes watercolor designs really pop;  however, it is easier to make silver metal come to life on blue paper since the transparency of the white gouache base paint picks up the blue hue of the paper and creates a less pasty, more realistic silver hue.
• Darkest shadows look most convincing when they are painted near the edge of a surface, but not right on the edge.
• Always work with a small test piece of paper of the same type that you are painting on.  Like this you can test your brush strokes, the wetness of the paint, fineness of the paint brush, opacity of the paint, etc., before you risk making a mistake on your actual artwork. (I keep these test pieces of paper and reuse them until there are no more free spots of paper on which to test a brush stroke.)
• Have a paper towel on hand to wipe off beads of water/paint from your paintbrush as you work.  You don’t want these accidentally falling on your artwork.
• Use an artist’s stump (a stump is merely a rolled-up strip of soft paper with a conical-shaped point – make your own or purchase one at an art supply store) dipped in graphite shavings to create the illusion of depth and shadows on your artwork.  I find the shading subtleties possible with a stump easier to manage than attempting something similar with watercolor.
• Breathe as you work (don’t hold your breath.)  Refocus your eyes on a point at a much farther distance every 20 minutes or so to prevent eye strain.
• Watch visual artists at work in other media.  I’ve really enjoyed watching Bob Ross on public TV.   While I’m not usually crazy about the final result, his technique is always interesting and informative, and his lovely manner is soothing and inspiring at the same time.
• Keep all of your art work even if you think you’ve created a flop.  We learn most from our mistakes and it is nice (with a little perspective) to look back and see progress.

I hope to be able to post some how-to rendering videos soon.  Please keep stopping by to visit me here.  If you have any rendering technique questions, please contact me.  I’ll do my best to answer them, or at the very best, will point you to references that will help.

After what feels like an eternity away from my precious laptop (which was ungracious enough to have a massive hard drive failure on me for no apparent reason), I return with probably one of the best things that has happened to me in quite some time: a trip to UC Berkeley’s Bancroft Library for a viewing of some illuminated books of hours.

For a detailed explanation of what a Book of Hours is, I’ll let the good folks at Wikipedia do the majority of the grunt work. What I will say however, is that they are old (15th Century), usually very small, and very pretty. (Note: The pictures were taken with my phone, so bear with the low resolution. There was someone there with a professional camera, so hopefully those will be available at some point.)

I arrived at the Bancroft Library at 2:30 or so (very early, as usual) and, aside from what appeared to be the usual gang of college-goers studying on the low wall out front, thought I was more or less alone. But once the group leader (a bearded fellow standing in for the original leader because she had an emergency baby shower to attend to in Los Angeles) arrived and checked everyone in I realized that all the would-be studiers were actually fellow SJSU attendees and there for the tour. We mulled about out front for some time, much to the dismay of those actually seeking to use the library facilities, and blocked paths and caused a general mild inconvenience for everyone around us. No bags were to be admitted so everyone’s purses (out of 27 attendees, there were only 4 men present, of which I was one) were locked up in lockers and we were guided upstairs by a man with the most wicked combover I have ever seen. And that man is Tony Bliss: smoker, special collections librarian, and book purchaser extraordinaire.
Mr. Bliss led us into a board room with an abysmally long table in order to view a small group of five books. The first was a very large replica of one of the most famous books of hours. The name of that book, I unfortunately didn’t jot down because I knew there weren’t bags allowed and I was too lazy to carry a pad of paper. We were told that the original is housed… somewhere in France (damn my laziness!) but is not viewable by the public because the light is making the ink fade. If you go there now, you’ll see a replica like this which is exactly like the one we saw. Very disappointing, but necessary for preservation’s sake.
Next was pulled a rather smaller item: an unfinished book of hours in French and Latin, printed on vellum in iron gall ink. This piece was interesting because due to its being unfinished, the line drawings were visible and they are amazingly intricate. Seriously cool.
Then we were shown a 1450s Dutch book written in East Middle Dutch which had been unbound to protect it from the horrid felt binding it had been put in. We were told it was done by a gifted amateur because though the drawings are well done, it’s not laid out properly and looks kinda sloppy at times. Mr. Bliss also told us of the problems with meddling book binders cutting into images through carelessness.
Then came another French book (so popular these were in France) from Paris which was commissioned for an anonymous lady who was actually drawn into the book with the obligatory angels, doves, and the Virgin Mary.
Then came a printed version of a book of hours. The layout was kept largely the same, but was printed with a etched metal, even though they call it a “woodcut”. Mr. Bliss maintains that it can’t be so detailed and be carved in wood. “Have you ever tried to carve a circle against the grain in a block of wood?”
Then, the Pièce de résistance: a book bound by one of the first two book binders in England. It has these neat little fabric dividers which were kept in because “they weren’t doing any harm”. The pictures are wicked detailed and you seriously cannot touch unless you happen to be this guy. It was donated by a lady… whose name I, naturally, forgot. But its named after her and is one of their most famous pieces. So if you have a really good reason for peeking at it, you can. Though Mr. Bliss will probably grille you until you run out of sweat as to why you want to see it. I just wish I had gotten closer. So amazing.
Then we got a small Added Bonus! We got to see their printing room where they unleash the horrors of movable type and produce fancy printed replicas of books in the library’s collection for credit. They use their own fancy Berkeley-Specific typeface for the job and use both British and American models of 18th Century printing presses. Though if you look closely through my blurry picture of the American press, you’ll notice it says “20th Century” on it, so I have my doubts as to its authenticity. But what do I know? They’re made out of cast iron. They’re heavy. They’re dirty. And completely amazing.
Yes, it was fun in the Bancroft. To be able to browse would be a surreal experience considering they have the largest collection of Papyrus scraps in the entire Western Hemisphere. Not to mention more extremely aged (some even Medieval) books from France, England, Italy, and Spain. Given the chance to study–no, to even protect these kinds of relics of bibliographic history, that is my ideal job.

Yes, I am basically saying I want to be a crazy combed-over old guy in a library somewhere who doesn’t meet people except for occasions like this. IDONTCARE. Totally worth it.

Oo la la, it's French.

Recently, Stampin’ Up! began offering French and Spanish versions of certain sets. 

Since my elder niece has been studing French, I decided to get En Ovale instead of Only Ovals.  After all, what doesn’t sound just a little bit better in French?

Here’s another ATC I made for Barb’s swap at the Stampin’ Addicts Convention 2009 Meet & Greet.

I really like how the vellum layer mutes the vivid Razzleberry Lemonade DSP. . .

and the two different ways of applying Dazzling Diamonds (glue and tape) add a lot of sparkle!

RECIPE

Ink: Rich Razzleberry

Paper: Rich Razzleberry; Crushed Curry; Razzleberry Lemonade DSP; vellum paper

Stamps: En Ovale

Etc.: Punches (scallop oval, large oval, scallop edge, Boho Blossoms); Tombow mono-multi; Dazzling Diamonds; Stampin’ Dimensionals

InkPaperStamps

quick easy cute fun: projects for papercrafters.

Colored Pencil and Gouache Pendant Rendering by Joana Miranda Featuring Designer-Cut Morganite (2nd Variation)

Here is the 2nd variation I did on the designer-cut morganite by John Dyer.   Like yesterday’s design, this one is done with colored pencils and gouache on vellum.

Colored Pencil and Gouache Pendant Rendering on Vellum Paper by Joana Miranda

Today’s colored pencil and gouache pendant rendering is also an “oldie but goodie”.  I did this one shortly after coming home from attending the GIA Quick Design Lab in NY in March 2006.  Vellum paper is very useful for doing quick renderings.  Vellum’s semi-transparent nature not only allows you to do handy overlays (to show different design options without having to create a whole new rendering), but also makes for great scans since the light from the scanner illuminates metal, diamonds and gemstones from beneath and adds life to them.  In addition, with vellum, if you go with a light hand and are careful, you can lift off any gouache mistakes you might have made with an exacto knife.

]]> http://frillions.wordpress.com/2009/10/03/its-a-girl/ Sat, 03 Oct 2009 17:20:11 +0000 frillions http://frillions.wordpress.com/2009/10/03/its-a-girl/

Yes, I do have a girl but most of you probably already knew that.

But while I get ready for the craft fair in November, I’m trying to anticipate what some of the folks might want. As you can imagine: baby, wedding, holidays, birthdays… at the top of the list.

So here is a little altered frame I created for a new baby girl. I had a blast creating this, imagining my little princess, oh so many years ago. (Wish you could see me making that puddin’ face with my lips stuck out. Sorry, no one here to photograph it right now. You’ll just have to imagine.)

The most delightful part was airbrushing the very subtle images on the bottom of the frame. I used Spellbinders™ Impressabilities® template to mask off parts of the frame and simply airbrushed over it with RV11 “Pink” Copic Sketch marker. Ooh, la, la!

I love the soft and elegant images. Now check out the top. I cut Spellbinders™ Lattice Borderability® out of pink vellum and airbrushed through the die template to get the pink swirls. Then I layered the two metal embellishments.

So, if anyone knows someone with a new baby girl…be sure to let them know about the craft fair…lol

Important Stuff: White Exclusives cardstock (Prism), PVA Glue (Lineco), S4-218 Lattice Borderabilities®, I2-1009 Flourish, Wizard™ (Spellbinders™), RV11 Pink Sketch Marker (Copic), Pink fibers (Kreinik), Glue Dots
Other Stuff: Pink striped ribbon, 4×6″ wood frame (Michael’s)

Enjoy the rest of your weekend, Eli