In this installment of the "Combining Patterned Paper" series, we will discuss advanced use of the Contrast Technique and Emphasis Technique through not only the patterns of the paper themselves, but in page design considerations overall.

"Combining Patterned Paper 155" and "Combining Patterned Paper 255" were written as "prerequisites" to this article.  Please read and understand both of these articles before proceeding to this section, as I will build on the rules discussed previously.

 

CONTRAST TECHNIQUE IN DESIGN

The concept of contrasting patterns in the design of the paper is not difficult, but it does require you to think on a different plane than you may be accustomed.  Take a step back and look at the overall page when you wish to employ this technique.  Sometimes you may be able to soften a bold paper by cutting the paper itself into curves, or you may be able to emphasize an angular line without making it overkill by using a softer pattern print.

The page following is a good, basic example of what I am talking about: the square and linear shapes used throughout this layout are very bold and striking, but to provide contrast, and direction to the eye as to the focal point of the page, I employed two circle-print papers.  Yes, there are stripes and dots on this page so the patterns themselves contrast, but the most prominent aspect of this page is in the contrast of the shape (that is, the shape the papers are cut into) to the pattern (the print existing on the paper).

Scissor Sisters
Prism
Basic Grey
Die Cuts With a View


My next page uses an extremely bold, striped paper -- one that was proving itself problematic until I realized that cutting the paper itself into a circle would provide the relief and contrast needed to make it a manageable print.  Polka dot papers and circle photos were used to fully establish the circle theme in contrast to the bold stripe.

Making Memories (Ave C patterned papers)
Light green cardstock


While the page above used cut circles to contrast a bold stripe print, the page below is the reverse: this page uses dots and swirly lines to contrast a bold, angular, layered page design.

Tapestry by C.R. Gibson (In the Swing papers)


This page uses the "scraps" of my original stripe-cut-to-a-circle paper.  Again, it works because a round title piece with its embellishments draw attention to that curved line.  Dotted papers and embellishments are also used to complement the circle idea.

Making Memories (Ave C - bold stripe)
Scissor Sisters (Script, Orange Texture)
Wild Asparagus (Frame, brown tag)
Kaleidoscope (Title)

 

EMPHASIS TECHNIQUE IN DESIGN

This second section will discuss advanced use of the Emphasis Technique in page design.  Using one shape, different sizes can go beyond different size polka-dot papers - you can cut shapes into the paper or embellishments that will emphasize a shape idea.  This is not cutting a curved line into a straight paper to provide contrast, as we discussed earlier.  Rather, this is emphasizing an existing pattern through its cut. 

On this altered easel, I emphasized a pattern idea by the shape I used for cutting the paper.  The circle/paisley paper is cut into a circle, while the diagonal plaid paper is cut into a strip positioned diagonally across the project.  The curved line paper is cut into a curved line shape.  The straight line paper, in this case a diagonal, is exploited to represent a diagonal line of diagonal paper.

Chatterbox (Scrapbook Wallpaper Papers)
Burgundy, Blue Cardstocks (www.thescrapbookstand.com)


The front of the altered easel is pictured here, and the same approach was taken by cutting the all-over-print, curved line paper into a circle in contrast to the blocky piece of diamond-print paper.  The patterned papers themselves are emphasized by being cut into shapes of the same category.

In my preceding articles I made it clear that stripes and plaid, as a rule, do not go together.  But I've also said that these are just guidelines, and sometimes you find something that does work, even though it seems to go "against the rules."  The following page is an example of a layout that uses both stripes and plaid with dots, but it is because of the overall page design that everything works together.  The plaid is the sparse, crisscross paper used as a mat, and perhaps surprisingly, is the foundational piece of this layout.  Because of its diagonal grain, the entire layout was designed on a diagonal grain: which is why the stripes work.  At first glance, you would say there are stripes and plaid together on a layout - how does that work?  On further examination you find that it is really diagonal plaid with patterns that happen to be stripes working to emphasize a diagonal line.  Similarly, the dots are also lined up in rows that only continue the diagonal theme: thus, I have classified this page as an Emphasis Technique in Design page.

White Cardstock
KI Memories (Colorful Chic Plaid paper)
SEI (Sporty Circles vellum)
Prism (Nautical Blue Dark Cardstock)
KI Memories (Ice Candy Icicles: Colorful Ice Dots)
Making Memories (Woven Ribbon: Chocolate)
Magic Mesh (Repositionable Fine Weave: Lemon Chiffon, Turquoise, Periwinkle, Burnt Orange, Cinnamon)


Finally, this page, courtesy of Ally (newmommy2scrap), provides another great example of Emphasis Technique in Design.  The large circle is cut from circle paper, while the striped paper is positioned horizontally in emphasis of the horizontal line of the water in the picture. 

Incidentally, you'll also notice the use of a plaid and stripe on the same page.  I think this particular combination works because of the use of the Emphasis Technique in the cuts of the papers: the linear styles are cut into linear shapes, while the circle paper is cut into a circle.  Were the circle paper cut into a linear shape, there wouldn't be enough balance.  Or, if Ally has also done lovely work of balancing pattern saturation and amount concerns, as discussed in "Combining Patterned Papers 255." 

 

A DISCUSSION ON BALANCE, PATTERN POTENCY, AND PATTERN AMOUNTS   

In 255, we discussed consideration of pattern "potency" and how much pattern to use at a time, with or without cardstock as a "dilutant."  The same guidelines apply when you are combining the shapes into which you have cut your various patterned papers.  I have selected a couple of layouts in illustration of this point.

The following page works on a circle theme.  All the papers and the photo have been cut into circles, and the transparency boasts a clear circle theme as well.  Notice how the two largest circles are cut from plain cardstock.  This helps balance the overall "potency" of the shapes on this page.  You'll also notice how the background paper is a "curve" type paper, which finalizes the establishment of this page as an Emphasis Technique in Design page.  However, the smaller circles were cut from prints that are on the soft side of the "line" category.  This is to provide just a touch of contrast, so the eye is not just completely overwhelmed by all the "curves."

FOOFALA (Patterned Papers)
Prism (Exclusives: Panna, Ciliegia cardstock)
Prism (Prismatics: Blush Red Light cardstock)
K & Company (Transparency Overlay)
FOOFALA (Pish Posh Punch Out Tags)


This next page is not as clear-cut as the others.  I nearly cut it from this tutorial, but in the end have opted to keep it.  I classify this one as an Emphasis Technique in Design page, because of the dots on the background, the circle photo, the circle Magic Mesh embellishments, and the circle charm.  I was purposely trying to emphasize the circles when I designed this page, but quickly realized that without "something" to tone down the circles, it was just going to cause nausea to look at the page.  I tried to remedy the situation by adding a linear print through the middle.

While the border does break up the circles, because I chose a print it makes for a very busy layout.  The reason I decided to include this page is to illustrate how very easy it is to tip the balance of pattern "potency" and "how many" patterns over the edge.  I think a solid line through the middle would have made this a page much easier on the eye.  When I was designing it, I thought that was too boring and wanted to be a little more daring.  Does it work in the end?  As always, it comes down to a matter of personal taste.

Pebbles Inc. (Baby Boy Circle/Stripe Paper)
Pebbles Inc. (Baby Boy Words/Blue Paper) Prism
(Prismatics Cardstock: White, Sunflowers Light, Twilight Light, Herbal Garden Light)
Magic Mesh (12x12 Fine Weave: Blue, Natural)

 

IN SUMMARY

Over the past few "Combining Patterned Paper" articles, we have discussed how to contrast opposite patterns, and we have discussed how to emphasize different sizes of the same pattern.  We have considered how "busy" a pattern is and how to balance it, and we have talked about how much of each pattern should be used at a time.  Now we have completed our look at advanced use of these techniques in the page design by cutting papers different ways to make a point: either by cutting a shape opposite to the design on the pattern, or by cutting a shape in the same category as the pattern.  Everything still boils down to a balance between varieties.

Review of Important Points:

The Basics:
- Contrast lines and curves
- Emphasize one shape in different sizes

The Next Steps:
- Consider broader varieties of line and curve category prints
- Consider how "potent" a pattern may be
- Consider how much pattern to use at a time
- Use cardstock or "less potent" patterns to dilute wild patterns
- Always maintain Balance

Advanced:
- Cut papers into shapes to either emphasize or contrast the existing print
- Expand use of pattern "potency" and "how much" pattern techniques in the cut of papers

You are now well on your way to fabulous pages designed free from fear of patterned paper! 

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