Loose-Leaf Journal Pages Holder

The idea of what constitutes a book has always fascinated me. Now that I’m doing loose-leaf journal pages, the ease of work has made me think of books in a new way. For a long time, I had trouble thinking of wire-bound journals as real books. Then I realized that wire-bound books allowed for more freedom than bound books, and did both.

Earth-rise from Mars. Poured acrylic on Arches Cover and watercolor pencils on watercolor paper

Working on loose-leaf pages allows you to work on several at once, without having to put wax paper between bound pages. You can also turn the page to keep the angle right, without working on a pile of other pages. And the binding becomes a metaphor for the attachment you have to the pages and how much you use them. You bind the books with attention.

Yes, loose-leaf pages could go out of order, but that’s why you put dates on them. And then you can put them in any order–all your red pages, all the collages, in date order, just happy pages, just serious ones. It’s a wonderful freedom.

So this weekend, I indulged in two of my favorite studio pursuits: poured acrylics and making covers for journal page collections. I’d already made the Monsoon Papers last week, conveniently enough. You’d almost think I planned these things.

Poured acrylic and paper mosaic. © Quinn McDonald, 2013. All rights reserved.

Poured acrylics are simple. Or complicated if you want. I push mine a little harder. First I put down some PVA glue  (on deli or freezer paper) that dries clear, then instead of acrlyics, I use inks and acrylic glaze, stir them with the back of a paintbrush (or Starbucks stirrer, being careful not to lick the stirrer, again), and let it dry. Here in Phoenix that takes a day or so. Your results may well take a week. Once dry, you peel them off and put them on journal pages.

I like the effect of a paper mosaic with its rigid edges softened by a poured acrylic in the same colors.

Then, the folder to keep them in. Monsoon Papers, again, because it can look like leather or vintage metal. I’ve been pleased with the new technique that gives really deep, rich colors.

Here’s the folder front. I decided to sew this one and use variegated thread.

Monsoon papers, machine sewing. Folder, © Quinn McDonald

Here’s the folder open:

Folder, open showing loose-leaf journal pages.

The folder holds about a dozen loose-leaf pages sewn this way. It can easily be made to hold more by adding a gusset.

And finally, the back:

Back of folder

I made another one with hand-stitching, and a slightly different closure. I love the effect of a group of them. And the fact that I can use them to carry the pages around without bending the corners.

--Quinn McDonald is working on upcoming workshops. She’s solving problems as she goes along.

Poured Acrylics for Art Journals

Poured acrylics are exactly what they sound like–add acrylic paints to acrylic medium and pour or spread them onto a canvas. Some artists add water to the paint and spread it to create a blended background.

I tried a variety of mediums (gel, fluid, and glaze) and two different substrates, freezer paper and watercolor paper. The freezer paper allows the release of the poured acrylics and makes them usable in collage.

Experimenting with acrylics takes some time, but the results are worth it. Here are some results I came up with.

Poured acrylics mixed with gel medium on watercolor paper. ©Quinn McDonald 2012, all rights reserved.

Acrylics mixed with heavy-bodied gel medium on watercolor paper. This dries the fastest, but the results are a little more controlled than I like. I prefer the smooth surface of fluid medium.

Acrlic and gel medium poured onto freezer paper. ©Quinn McDonald, 2012, all rights reserved.

If you pour the same mixture on parchment or freezer paper, the acrylic will dry and can be peeled off. The front and back look completely different. This is the same color mix as above, but the colors that sank are different than the ones that were on top.

Acrylic paint and ink mixed with fluid medium and opal/gold glaze. ©Quinn McDonald, all rights reserved, 2012

Mixing ink (green and mallard blue)  and paint (Payne’s gray) with a mixture of fluid glaze and gold/opal glaze gives amazing results. Fluid glaze is designed to retard the drying of acrylics, and it does. This piece took 24 hours to dry.

Swirled and controlled colors. © Quinn McDonald, all rights reserved, 2012

Acrylics (Payne’s gray, vermillion, cobalt blue) dropped onto fluid acrylic and then treated like the surface of marbled paper or cake decoration. In the corner is a blend of metallic copper acrylic, and quinadcricone burnt orange swirled together in flue acrylic.

Inks on fluid acrlic and gold glaze © Quinn McDonald, all rights reserved, 2012

First, put down about a tablespoon of fluid acrylic and spiral a teaspoon (approximately) of gold/opal glaze (Golden’s) through it. Spray inks (I used Tattered Angels Shimmer mist) onto surface, wait 30 seconds, and tilt mixture, being careful to keep the ink on top of the fluid medium.

Can be peeled off parchment or freezer paper. © Quinn McDonald, all rights reserved, 2012

Payne’s gray, opaque white ink, Graphite Shimmer Mist, swirled on top of fluid acrylic. Once dry, these acrylics can be peeled off the freezer paper and used in collage. Use self-leveling medium to create a thin skin.

—Quinn McDonald is experimenting with inks. There’s something to be said for that. She’s a creativity coach and art journaler.