Artist Lynn Giunta is a cut-paperguru, a mentor to many, and an artistic hero to all of us here at Think.Make.Share. We sat down with her to get the inside scoop on her latest Gold Crown collection and the art of being Lynn.
Coffee or tea? Always coffee…and if you’d like to go for one right now, that would be great.
Sweet or salty? Always sweet. But sometimes salty.
I’ve been at Hallmark…since the day I stepped out of college 31 years ago.
If I weren’t a Lettering Artist, I’d be…working in a bookstore. (Still surrounded by letters and words, but in a different way.)
Favorite tool or medium: It’s a tie between brush-and-ink and scissors-and-paper.
Best color (in the crayon box): Right now, neon pink.
Ideal way to feed your brain/soul/creative spirit: SHOPPING!!!! I love finding great gifts for friends, interesting different clothes that I have to have, and jewelry.
Current trend obsession: Pattern. Both to design with and to wear.
Favorite Hallmark product to date: My artist collection. You don’t get to work on such a big-statement group of cards very often, and I feel really proud of how it looks.
Most delightful thing about working for Hallmark: Easiest question ever—the people.
There are few things lovelier than the whorls, spirals and intertwining veins of rich color that characterize marbled paper, and with marble’s recent resurgence, we can’t help being a little obsessed. When Hallmark Signature reached out for help curating a couture collection of marble designs for their effortless aesthetic, it became an opportunity no Hallmarker could resist: to make our own.
Marbleizing is a process in which you float paint pigments on top of a chemical medium, called a “size,” and then use a pre-treated, absorbent piece of paper or fabric to pick up those floating pigments. Every piece of marbled paper is different because of the organic way the pigment floats and can be manipulated across the size. Most of the work of marbling is in the set up, but once you’re ready to go it’s an easy task to pull sheet after sheet of striking swirls.
Here’s how to create your own marbled paper: Remember that you are using chemicals, so please work with care, keep your workspace clean, follow directions carefully and dispose of used materials responsibly. When using ammonia, always store it away from any products containing bleach.
To prepare you:
To prepare the paper:
Watercolor Paper, or any other absorbent stock
2 tbs Alum (Alum is a mordant, which helps the paper absorb the pigment)
2 cups warm water
Mark the back of every sheet of paper with a small pencil mark, to keep track of which side you are preparing. After mixing the alum and water, use a wide brush or spray bottle to apply a light layer of mordant to the front of your paper. The paper will absorb the solution. Allow the paper to dry completely for about an hour and, if necessary, iron on a low setting to flatten it.
A rectangular pan with sides that are at least 2½” tall and will fit your sheets of paper (Disposable aluminum cake pans from the grocery store work well)
Methocel must be prepared at least 30 minutes before you begin marbleizing, so it can sit in the pan long enough for any bubbles to pop. It’s a good idea to mix your size while waiting for your paper to dry.
In a large bowl, add ammonia to water and then add Methocel, whisking constantly. Avoid whisking so aggressively that you make bubbles, or you’ll have to wait longer for them to settle out. You will see the mixture begin to thicken to a syrupy consistency. Fill the pan with 1½” to 2” of size and allow to rest for a half hour. If there are still bubbles on top of the size, gently drag a piece of plain newsprint across the top to smooth out the surface.
For the pigment:
Toothpicks or skewers
Cardboard Strips (cut to the width of your pan)
Pan full of water or sink for rinsing paper
Optional:Synthetic dispersant (If you don’t have dispersant, a few drops of odorless, fragranceless dish detergent in 2 cups of water will have a similar effect)
Thin your acrylic paints with water until they are runny, about the consistency of half-and-half. Using a small brush, pick up pigment and gently drip paint onto the size, without bringing the brush into contact with the surface. You can drip paint in dots next to each other, or layer colors in concentric circles by dripping colors on top of each other. Drop as much or as little pigment as you’d like; now is the time to get a feel for the process and experiment. Once you have your colors floating on the surface, use a toothpick or skewer to guide the pigment into shapes and swirls. You can also drip diluted dispersant onto the size, which drives the pigment away from wherever it touches. Be gentle while you’re creating your design; you don’t want the pigment to sink to the bottom.
If your pigment is sinking, it may need to be thinned more. You can also try dry-mixing a small amount of diluted dispersant into your pigment. If you can’t get a pigment to float at all, it might be best to try a different color. Some specialty stores sell pigment that has already been diluted specifically for marbling.
Pro tip: You can slide toothpicks or skewers between a piece of cardboard to create a comb that will pull pigment uniformly through the size to create an arch pattern.
Once you’re satisfied with your marble, pick up a piece of paper by the top corners, making sure the treated side is facing away from you. Lay your paper on top of the pigment, letting the treated side hit the surface from the bottom to the top to keep from trapping air bubbles under the paper. The paper will float on top of the size. Gently smooth out the paper to ensure you’ve gotten the most coverage, but don’t push hard enough to submerge the paper. After a few seconds, lift your paper off the sizing and immediately rinse the excess off the surface. The paper will have already absorbed the pigment, so don’t worry about accidentally washing it off. Hang finished pieces or lay on pieces of newsprint to dry.
Once you clear the excess pigment off the surface of the size with newsprint, you can add new pigment and pull more marbles. As long as you have a clean surface to work with and enough sizing to float paper on, you can continue to marble. The size will keep for three to four days without refrigeration in a closed container (and a few days longer in the fridge) but discard any size that looks or smells moldy. The size has a nasty habit of clogging drains, so pour the excess into a container before discarding.
With a little preparation (and a bit of clean up), there’s a world of kaleidoscopic possibility at your fingertips!
Hallmark Union Hill Studio photo stylist Erin M. gets crafty with our new Hallmark Gold Crown store bags. We love her clever repurposing! Luminaries are such a great way to add charm both indoors and out.
October is Breast Cancer Awareness Month, so we’re honoring everyone affected by this disease (and their family and friends) with October’s digital wallpapers. All pretty in pink, these mark-making images were made during an in-house workshop with artist Ashley Goldberg, one of our creative heroes. Download one (or all) of them to remind you of the heroes in your own life.
Download ABSTRACT I desktop wallpaper by Hallmark designer Ashlee S.
Download ABSTRACT II desktop wallpaper by Hallmark illustrator Jeanne R.
Download ABSTRACT III desktop wallpaper by Hallmark illustrator Craig L.
Download ABSTRACT IV desktop wallpaper by Hallmark designer Heather V.
Want more? “Shop” our entire desktop wallpaper archive here! And don’t forget to share your favorites with us on Instagram (@think.make.share). We’d love to see where you’re taking your wallpapers!
Andy has been behind so many of our most charming posts here at Think.Make.Share. The talented photo stylist has taught us how to make affordable floral arrangements and have let us into his gorgeous home. Today, he’s talking about the (currently very hip) art of macramé.
I was a really weird kid for a lot of reasons, but perhaps my strangest attribute was I loved macramé. Not with a love like you might love rainbows and kitten, but with a passionate, all-consuming, crazy love for the ancient knot-tying art form favored by art-student stoners, Birkenstock and flannel clad sisters, and decoupage drop outs who wanted to find another way to express their wild side.
This love affair began when I was in the sixth grade. The year was 1970. My parents were good friends with a woman who was the head of the textiles department at the Kansas City Art Institute; her name was Joy. One day Joy came over to our house to watch a football game with my parents, and she brought some jute with her. I sat by Joy on our black naugahyde and chrome couch during the game, and she patiently showed me how to tie a half-hitch and a square knot and how to create variations of those basic macramé knots.
That night after Joy left, after the crock-pot with Velveta-Rotel dip had been cleaned up, and after my parents turned off the television, I carefully took my macramé sampler to my room and hung my masterpiece on my bulletin board. I laid in my bottom bunk twin bed that night and sleep would not come; I was filled with a passion. I had fallen in love with the craft that dare not speak its name…
Months later, to fine-tune my knotting skills, I enrolled in a macramé class at a local library. It was late summer, a few weeks before I was to start the 8th grade. As was usually the case, whenever I went to any macramé event it was all women. This class was no different. I spent the afternoon knotting and chatting with my newly formed adult female friends. We exchanged recipes for Jello 123 and Kraft Shake n’ Bake. We then moved to discussing the latest shenanigans of the soap opera As the World Turns. It was a grand afternoon, and I was on a macramé and lady-gossip high as I skipped out of my macramé safe haven. But as I turned the corner, I literally ran straight into the meanest bully in my junior high. What in the world was the meanest kid in school doing in a library, in the summer? Is nothing sacred?
I was about to be pummeled in the non-fiction section of the Oak Park public library.
I picked up my tangled ball of jute, beads and dowel rods, and, in the butchest way I could, ran out of the library, all the way home. (I hope I wasn’t screaming; I’ve blocked that part out.) When I got home, I slammed the front door behind me and leaned against the door trying to catch my breath… as my mom announced with great sobriety and concern that we would be moving in a few weeks and that we would have to attend new schools.
She hoped the news wouldn’t be too devastating for me. Having a flair for the dramatic, I fell to the floor, clasped my hands and yelled, “Thank you Jesus!” My brother rolled his eyes and walked away, my mom backed out of the room, slowly went back to her Tuna Helper and tried to figure out what had just happened.
From that point on, my days and evenings were filled with my chubby little fingers knotting anything I could get my hands on—even my dad’s extension cords were not safe. I started selling macramé belts to friends in my new Jr. High school, I started selling wall hangings in local shops and galleries, and I started entering juried shows. As I entered high school, I was even approached by an artist rep who wanted to take my work to galleries in other cities, and I started a relationship with a big architectural firm in Kansas City. I was on macramé fire!
You may be thinking that at this point I would get big-head from my macramé notoriety and fame. Now, mind you, I was going to a small rural school in a farming community where driving a Camaro or a Chevy pickup was about the fastest way to be cool. I rode the bus.
My creative, non-judgmental, unconditionally loving parents not only entertained this passion of mine, they celebrated it, encouraged it and made me feel like a macramé rock star. My dad made business cards for me and helped me lug these giant wall hangings from art show to art show. My mom drove me over 30 miles a week to take weaving lessons in a neighboring town. They would do anything to support this passion of mine, even though it was decidedly different than my dad’s all-American jock endeavors in high school and my mom’s studious pursuits.
Then the 1980s rolled around, and macramé died. I don’t mean a slow painful, dramatic death. I mean the clock hit midnight on New Years Eve of 1979, and macramé was dead. There was a silent agreement that everyone would put down their macramé mid-knot as the ’70s ended. Macramé was dropped like you drop a cheating boyfriend or girlfriend, never to acknowledge them again. It seemed my crafty lady friends had all moved on to hot-gluing yards of lace to straw hats that became decorative elements for suburban front doors across the country.
I only tell you all of this because there is something miraculous happening: Macramé is coming back! People are actually interested in it again…
…for real! My old flame and I are being reunited! Who says you can’t go back? The old square knot and half-hitch fly from my fingers just like they did, gulp, 40 years ago.
Every kid has natural interests and abilities, and they are all of value, even if that interest is something as seemingly goofy as macramé. Thank you to the adults who give kids freedom to find those skills, nurture them and honor them.
We are all better for it.
Several Hallmark creative folk joined me the other day for a macramé workshop. I smiled the entire day, knowing that these co-workers were interested in this ’70s art form. Justin Timberlake may have brought sexy back, but I brought macramé back (at least to a few Hallmarkers)!
The morning was spent learning the basic knots, and then after lunch, the workshop participants started working on their own macramé bracelets, plant hangers and wall hangings.
Minimal supplies are required. Scissors, rubber bands, beads, the material you choose to knot with, mounting rods and creativity are the only things you need.
Basic two macramé knots are the square knot and the half hitch. Once you have those down, you can do anything!
Lindsay, Tobe and Nicole learn how to tie the basic knots.
Betsy, who is a Hallmark photo stylist extraordinaire, gathered beautiful objects to incorporate into her two wall hangings.
Frayed and knotted ends added distinct personality to Betsy’s macramé pieces.
Something as simple as a half square knot repeated over and over can make a simple but beautiful bracelet.
Hannah was a real macramé show-off by incorporating a complete half-hitch circle and color in her wall hanging.
Nicole updated the classic ’70s plant hanger by incorporating a graphic white pot for her plant and a glass orb for decoration. Nicole also took the time to hand-paint beads so they would have a lustrous look. What a freak! (I mean that in the greatest way!)
Lindsay created a really sophisticated and beautiful macramé wall hanging that consisted entirely of the half hitch knot. Lindsay incorporated copper tubing into her piece as well. Trés elegante!
And, finally there was Jen, Trends guru at Hallmark. I now refer to her as the macramé whisperer. The baton has been passed. Watch the video in Instagram at @think.make.share, and you will see what I mean. Jen used a large-sized paper cord that is often used in upholstery work. You can order most of this type of material through Amazon.
Every participant did a stunning job, and it was pretty amazing that there were several finished pieces that were completed in only four hours.
So get your fingers limbered up and find some jute, welt cord, baling twine or any other kind of string and start knotting.
And the next time someone asks you what you’re into these days, stand tall, stand proud and say it loud…