I'm Annette Husband. I live in the hot humid Northern Territory of Australia in a little town called Humpty Doo. I'm married to my soul mate Grant who is so supportive of mychosen craft. He allows me time for creating and praises my efforts, though I am sure he doesn't "get" a lot of what I make. I have three teenage children and work evening shifts as a nurse. To relax I have always done crafts and think I have probably tried most at some stage of my life.

I began my journey into stamping and paper crafts in 1991. I started by wanting to learn about stamping and embossing. Initially, I only made a few cards once or twice a year as access to classes and supplies where I live were limited, as was my time. After my youngest child went to school in 1995, I had more time to be creative before work and got more involved in stamping. We finally got a computer in 2001 and I attended my first stamp convention. Here I found a whole world of like-minded souls, did many classes and had access to so many shops my head spun. People also told me about groups on-line for stampers, as well, and when I got home I joined many of these.

Over time my abilities expanded and I went from making cards to making construction type cards, ATC's and interactive cards, which I have submitted and had published in craft magazines here in Australia. Other work has been published in the Pipe Dreamink "Opulent Opals" book. I'm a shy person, yet thru the internet and in magazines etc. I could share my work and passion with others. I discovered I had a knack with using items in ways others had never thought of and people were interested in that. This is probably due to my locality, lack of close-by stamping supplies and my "what if?" brain attitude. It led me on all sorts of arty adventures.

Now I make altered items, do canvas work and all sorts of things. Currently I adore image transfers of all kinds, using Opals embossing enamels, making unusual built up backgrounds, learning to draw and paint and playing with Angelina Fusible Film or Fantasy Film and Opals. I am a design team member for Pipe Dreamink who is the creator of Opals embossing enamels.

My creative journey continues. I have a blog to share things with people. You are welcome to drop by and see. Here is the link http://goannafive.blogspot.com/.

Cheers!
Annette Husband
aka Annette In Oz

Two Heart Canvas
By: Annette Husband 

Supplies:
Stamps:
Two entwined hearts (After Midnight Art Stamps)
"Imagine" & "Create" and "Wonder" (Chapel Road) 
Building A Mystery plate architecture element (Green Pepper Press)
"Impulse" (Company unknown)
Papers:
8" x 10" (25.3 x 25.4 cm) primed artist canvas
Pink and blue Angelina Fusible Film, 6" x 8" approx. (15 x 20 cm approx.)
Page from an old street directory
4.75" x 5.75" (12 x 14.5 cm) piece of heat resistant clear overhead transparency
Scraps of white tissue paper
Printed quote on white computer paper using a toner or Laser printer:

"People are like stained glass windows. They sparkle and shine when the sun is out but when the darkness sets in, their true beauty is only revealed if there is a light from within", by Elizabeth Kubler Ross

Several sheets of non stick baking parchment.
Ink, Embossing powders and Paint:
Staz-On Jet Black ink pad (Tsukineko)
Brilliance Graphite Black ink pad (Tsukineko) 
659 Metallic Pearl White acrylic paint (Folk Art)
Franklin and Abalone Opals Embossing Enamel (Pipe Dreamink)
Quinacridone Nickel Azo Gold (Golden)
Micaceous Iron Oxide (Golden)
Jo Sonja matt fluid acrylics:
     White Gesso
     Pale Gold
     Magenta
     Pacific Blue
Other:
Cuttlebug and various embossing folders of your choice (Provo Craft)
Clothes Iron set on a high heat setting with no water in it and the steam tuned off
Faux Lead Lighting adhesive strips (Gallery Glass)
Gel Medium (Golden)
Masking tape
Texture paste in a tube (Jo Sonja)
Glue Gun and clear slow-melt Hot Glue
Old micro beads
Gold glitter
Broken Asian coin
Paris clock charm (After Midnight)
Royal Coat 2051 clear dimensional magic (Plaid)
Thin red Fun Foam (Unknown)
Black polymer clay (Sculpey) and a craft dedicated oven
2" (5cm) face mould (Unknown)
Scrap white decorative border paper trim (German)
1 piece 4.75" x 5.75" (12 x 14.5 cm) piece of shimmery sheer purple fabric (eg; Organza)
Inkjet printer printed  Tuscan Rose Vintage Image of lady onto a 2.5" x 4.5" (6.5 x 11.5 cm) piece of white Satin that has been treated with InkjetSet solution first (if you have a colour Laser printer the material does not need to be treated first)
1 piece Dressing gauze Cut to 5.5" x 8" (14 x 20.3 cm)
1 Metal hinge and metal decorative closure
4- Metal brads
Fine sandpaper
2-Strings of gold seed beads
8-9 Strings of multi coloured metallic beads
10 small Fabric Roses
15 - .75" (approx 2 cm) plastic leaves
Super glue
1- small strong Magnet
Sketch and Wash graphite pencil (General)
Black matt board
Pink self adhesive Rhinestones (Kaiser)
Mini quilt iron (Clover)
PVA glue
Awl
Post-it note paper
Permanent Black maker
Gold thread and a beading needle
Ruler
Scissors
Heat gun
Craft knife and mat

Directions:

1. Adhere the old street directory page to the canvas with gel medium and leave it to dry. (photo1a) Place various length strips of masking tape on the adhered page going in all sorts of directions. Burnish with the back of a spoon and then quickly peel the masking tape off to distress the paper.  (photo 1b) Water down some Quinacridone Nickel Azo gold acrylic paint and use it to paint a light wash over the distressed paper and leave it to dry. Paint on a thick layer of white gesso all around the top of the canvas close to the sides, but slightly covering the edges of the distressed paper. You are aiming to make the paper edges more seamless. Hit it with the heat gun to make a small bubbly texture effect. Use a second coat if needed. When completely dry, paint over the gesso areas and sides of the canvas with Pale Gold metallic acrylic paint. Water down some Pale Gold metallic paint and use it to paint a light wash over the distressed paper and leave it to dry. (photo 1c)



photo 1a



photo 1b



Photo 1c

2. Use the graphite sketch and wash pencil to make a brick pattern in various spots on the canvas at least .5" in from the edges. (photo 2a) Squeeze out the texture paste thinly along both edges of all the marked brick lines. Use an awl to straighten the lines and flatten any thick areas. Leave this to dry. Paint over the dry texture paste areas with Pale Gold metallic acrylic paint. When dry, over-paint the texture paste areas with Quinacridone Nickel Azo gold acrylic paint. (photo 2b) This gives a beautiful shimmery rust colour look to the bricks.


Photo 2a


Photo 2b

3. Stamp the two hearts onto the centre of the overhead transparency with Staz-On black ink and then onto a Post-it note. Trim around the Post-it stamped image. (photo 3a) Use this as template and trace around it on a piece of pink Angelina fusible film. (photo 3b) Cut around the traced hearts  .125" (2-3 mm) from the marked traced heart lines to allow for shrinkage of the fusible film when it is heated. Turn iron on and leave to heat to the desired setting. Place two 4.5" (11.3cm) strips of blue Angelina fusible film side by side on baking parchment so the long sides overlap in the centre about .5" (1.3cm). Place the fusible film hearts in centre of the two strips and then more baking parchment on top.  Briefly, and gently, iron over the heart and fusible film seams so they adhere to each other. Peel up the top layer of baking parchment and sprinkle on some Opals Franklin embossing enamel all over the fusible film. (photo 3c) Place another sheet of baking parchment on top. Iron baking parchment, Opals, and fusible film sandwich until the Opals melt. Leave the baking parchment on top till the Opals are cooled and then gently peel it off.



Photo 3a



Photo 3b



Photo 3c

4. Lay down the stamped transparency onto the cooled fusible film and Opals so that the hearts line up. Place baking parchment back down on top and iron again. (photo 4a) The Opals will re-melt and when cool will be attached to the transparency. You now have a stained glass looking window with two hearts in the centre. (photo 4b) Leave the iron on as it is still needed. Trim any fusible film Opals to the transparency edges as needed. Turn the window over on the baking parchment so heart side is facing down. Squirt on dimensional magic all over the back of the window and use your finger or a paint brush to spread it out so it completely covers it. Leave this to thoroughly dry.



Photo 4a



 Photo 4b 

5. Turn the window back to the front. Apply the faux Lead lighting adhesive strips around the hearts and along all edges of your window. (photo 5a) Use a ruler and a permanent marker to measure and mark a dot at the middle point, just inside the lead lighting strips on the edges of the window top, bottom and both sides. Apply the faux Lead lighting adhesive strips from each dot to the edges of the hearts and cut to fit. Hold the right side of the metal hinge at the left middle edge of the window and use permanent marker to make a dot where the holes will be punched in the window so the hinge can be attached with brads. Repeat with the metal closure at the right middle edge. Punch out the holes at the pre marked dots with a small hole punch. Lightly sand the hinge, closure and four brads. Paint them all with Micaceous Iron Oxide paint. When dry attach the hinge to the middle left edge of the window with two brads and the closure to middle right edge with the remaining two brads. (Photos 5b and 5c show how window appears on white and black backgrounds.)



Photo 5a



Photo 5b on a white background



Photo 5c on a black background

6. Spread the dressing gauze out on baking parchment. (photo 6a) Mix pearl white and pacific blue paint together and paint it all over the gauze. Leave it to dry. Place the sheer shimmery fabric on baking parchment. Sprinkle Opals Abalone all over the top. (photo 6b) Place another sheet of baking parchment on top and iron over this till the Opals melt. Leave the baking parchment on top until it has cooled before peeling it up. (photo 6c) Run this thru the Cuttlebug in various directions using a different embossing folder each time.  (photo 6d) If the piece to be embossed is overhanging you can gently fold the overhang over the top of the embossing folder and feed it thru carefully. Trim at edges so it measures 4.75" x 5.75" (12 x 14.5 cm).



Photo 6a



Photo 6b



Photo 6c



Photo 6d

7. Cut around the inkjet printed vintage lady image and glue her to the bottom centre of the Cuttlebug embossed Opal fabric with gel medium. Use the pacific blue paint and paint around the edge of the lady to highlight her. Attach pink self adhesive rhinestones around the head area. Cut off a 1.5" x 4.75" (approx 4 cm x 12 cm) strip of the painted gauze. Fray one long edge by pulling a few length- wise threads out. Glue the gauze to the bottom edge of the Cuttlebug embossed Opal fabric with gel medium. Stamp all four words on white tissue paper with Brilliance graphite black ink. Dry and heat set the ink with the heat gun. Water down a small amount of PVA glue and use this to adhere "wonder", "imagine" and "create" words onto the Cuttlebug embossed Opal fabric collage. Use the photo as a guide to placement. Paint German scrap border with a mix of pearl white and magenta and when dry adhere it around the collage with gel medium.



8. Glue the remaining large piece of painted gauze diagonally across the canvas with gel medium. Align the stained glass window over the Cuttlebug embossed Opals fabric collage. Use super glue to glue the left hand part of the hinge under the collage. Glue the collage to the canvas with gel medium. Glue a small magnet at the rear of the canvas with super glue beneath where the closure is at the front so the window stays closed till opened. Mix pearl white and magenta paint with some water and paint this over the quote. Leave it to dry and then adhere it to black mat board with gel medium. Cut out each word of the quote and glue in place on the window, behind the window and on the collage using gel medium. Use the photos as a guide to placement.
9. Heat the fun foam with the heat gun till it looks shiny and then quickly stamp onto the surface with the architecture element stamp, pressing firmly. Mix some pearl white and magenta paint and dry brush this over the stamped fun foam. Press black softened Sculpey into the face mould and then gently release it face up onto baking parchment. Bake as per manufactures instructions in a craft dedicated oven. When cool dry brush parts of the face with metallic gold paint. Squeeze out a large blob of melted hot glue from the glue gun onto baking parchment and press the face on top so some glue will bulge out around the face. Quickly sprinkle on micro gold beads and gold glitter. Then press in the broken coin and the Paris clock charm over that on one side. Leave to set. Glue the face to the top of the stamped fun foam with more melted glue and then glue this to the canvas, above the stained glass window with gel medium.
10. Cut seven (7) 4.5" (11.5 cm) strips of blue Angelina fusible film. Lay one strip on baking parchment and sprinkle on some Opals Franklin embossing enamel over the fusible film. Place another sheet of baking parchment on top. Iron as before and leave the baking parchment on top till the Opals are cooled and then gently peel it off. Repeat this with the other strips. Turn on the Clover quilt iron to heat to its highest setting. Cut one Opals fusible film strip into a crown shape and adhere it in place behind the Sculpey head with dimensional magic. Cut ''impulse" stamped tissue word so it just reads "imp"  and glue this to the crown with watered down PVA glue. (photo 10a) Cut another Opals fusible film strip into loose wavy on one side .5" (10.4 cm approx) wide strips.  Using the quilt iron gradually iron these wavy strips to the edge of the canvas all the way around and overlapping sections as you go. (photo 10b) The quilt iron remelts the Opals which acts like a glue to help adhere the strips to the canvas.  Use leftover bits of Opals fusible film cut off from the stained glass window and go around the canvas edges again ironing those down as well. (photo 10c)



Photo 10a



Photo 10b



Photo 10c

11. Run the five remaining strips thru the Cuttlebug using a different embossing folder each time. Cut each of the four (4) embossed strips into 1.5" (3.8 cm) wide strips.  Then cut each of these into various sized angular bits that are wider on one edge then the other. Do this by holding the strip lengthways and cutting diagonally across but slightly angle the scissors up and then move down an inch or so cut diagonally across but slightly point the scissors downward. Continue cutting along the strip in this manner varying the length between cuts to create odd angular shapes. (photo 11a) Glue an embossed angular piece to the side of the canvas with gel medium aligning the edges. Then use an alternate patterned embossed cut angular piece that aligns to the glued angular piece and glue that in place. Continue this on all sides of the canvas to make a mosaic effect all around the sides. (photo 11b)



Photo 11a



Photo 11b

12. Leave the gold seed beads on the string. Lightly sketch where you want the seed bead vine to go on the bricks of the canvas. (photo 12a) Working from the bottom place a dot of super glue at the lower edge and lay the first part of the strung beads on that going in an upward direction.  (photo 12b) When it is firmly stuck, squeeze dimensional magic along the sketch mark and lay more seed beads on the string into that. (I found it easiest to do a section to a bend on one side and while that dried do a section on the other side. ) Continue till you have your seed bead vine to the desired length. Glue the last few beads in place on the canvas with super glue and trim any string close to the first and last beads.



Photo 12a

13. Thread the beading needle with gold thread and knot the end. Bring needle from behind the canvas to the front near a section of vine. Thread on four metallic seed beads and bring needle over the vine and back thru the canvas to the rear. Bring needle back to the front again close too but just behind the last bead. Pull the needle and thread thru the last seed bead and into the hole on a plastic leaf then down and thru the canvas to the back again. (photo 13a) Move up to another section of vine this time come up from behind on the other side of the vine and repeat the process again so you have a leaf going left then right. Continue till the end of the vine varying the length between each leaf placement as you go. Glue a fabric flower between the leaves with super glue. (photo 13b) Use the photo as a guide if needed.



Photo 13a



Photo 13b

14. Lay a string of metallic seed beads on baking parchment on your craft mat and knot the string ends. Push a small push pin into the baking parchment and mat. Slip the knotted strung seed beads over this so the pin acts like an anchor. Twist the string so you have a woven looking thick string of beads. Hold it firmly stretched taught on the desk and push another pin thru the last twist into the mat below so it won't unravel. Run dimensional magic all along the twist and leave it to dry. (photo 14a) Repeat this with another three strands. When dry release the push pins and glue in place around the front of the canvas edges and along the side corners with super glue. Cut as needed with scissors. Lastly glue remaining metallic seed bead strings along all side edges.

Photo 14a

 Views of the Canvas Window:

Front view of window when closed

View of the back side of the window

Open the window and this is what you see!