Ocean Of Light: I really use up lots of time going through the different permutations when it comes to layer blending modes, but boy does it pay off. This paper on the bottom ended up perfectly conveying the swirling depths of the ocean, and I blended it easily with the top photo layer by using a layer mask on the photo and a fat, sheer brush to ease the transition from the dark sand into the paper.
Credits: All Designer Digitals, Katie Pertiet: Stacked Photo Clusters No. 2 for the frame, and a beautiful paper blended into the bottom from the Surf Shak Paper Pack. Do you see the giant Japanese crab lurking in there? Those things are impressive--photo is from a trip to the Oregon Coast Aquarium. Font: Last Words. Journaling reads:
"There is the ocean of light
Shimmering sunset paths of lilac and gold,
Foam green curls and jolt of white;
Even in a storm there are still
Twenty shades of gray scattered across
That moment where sky and water meet.
And there is the ocean of the deep.
I had nightmares when we first moved here.
I dreamt of inky depths and deaf blindness;
Of monsters half tooth, half hunger;
I sensed lurkers in every puddle and pool.
You cringed at the constant growl of waves;
I protected us cautiously, wary of the tide.
Now, I have learned to hear its echoes
Rushing in long waves through my blood;
Still, at night when I hear that startling
Crack of a wave collapsing at high tide,
I fear I have conjured up some vast creature
Scuttling in from the cold black waters
Headed straight for me."
Thought At Work: The color in this photo is really vivid and lovely, but wasn't quite congruent with the reflective look on his face, so I opted to desaturate it, then change the Hue/Saturation back to "colorize" and picked a color that didn't make him look sickly or alien. =) I've also really gotten into the softened black and white: duplicate the image, and use a fairly heavy gaussian blur on the lower image (I used about 4.5). Then, either use overlay, soft light, or screen on the upper layer and watch the image lighten and soften!
Credits: All Designer Digitals. Lynn Grieveson's Essentials paper for the background; everything else by Katie Pertiet. Patterned paper and stitching from the Botanical Fusion kit, tag from Lil Bit Tags, flower from Crumpled Flowers (and from the 30 minute chat), twill from Shell Collectors No 4 kit, leafy branch from From My Porch Brushes, tiny birdie from the Little One Layered Template, and title alpha from Grimey Alpha. Font: butterbrotpapier. Journaling reads: "Whether you're speculating about the life path of a star or what might happen if two black holes were to collide, or you're pondering how to construct your latest architectural invention--usually involving trains in some fashion--you get this look: a completely intent yet faraway stare that only tangentially comes near to conveying to us what neuronal storms are firing away in that precious little head of yours."
Sand Golf: I love this transparent alpha by Erica Hernandez at 2Peas--you can really add dimension and meaning to your layout without sacrificing real estate. The stitching leading the eye around the spiral of images is hopefully suggestive, without being over-powering...
Credits: All 2Peas. Background paper by Kate Teague (Paint It), and stitching linking the photos also by here (Worn Out kit). Alpha by Erica Hernandez (Vibe freebie). Font: butterbrotpapier (what would I do without that font, sheesh!).
Journaling reads: "We went for a lovely hike around Cape Perpetua, and you decided the beach needed a channel connecting all the little puddles -- a "sewer system." But I swear it looked like you were playing golf -- especially with Daddy's cap on!"
Scale: Uh, this took a while. =) Lots of blending, clipping...
Credits: All Designer Digitals. Background paper by Katie Pertiet (Naturally Krafty). Splotches are combinations of Anna Aspnes's Floral Art No. 2 or Foto Blendz Clipping Masks No. 10 clipped to papers by Lynn Grieveson (Essential Bases, Kiwiana) or Anna Aspnes (Something Springy). Also by Anna Aspnes are a page border (Something Springy) and a corner swirl (Hipster Plumes Korners N Edges No 2). Katie Pertiet also provided an overlay shell design (Beachy Clusters), as well as stitching holes (Stitching Hole Borders) and stitches (Once Upon A Time kit). Bottom edge border graphic by Mary Ann Wise (Natural Borders), and finally, the page edges are by Lynn Grieveson (Worn Page Edges). Fonts: Monika Italic and 1942 Report. Journaling reads:
"We stand on one side of the bay,
looking into the deep horizon,
lost in the sky, anchored unsteadily
to the side of the cliff. We feel so
small.
And we look down
and witness this amazing snail,
snuggled under a crevasse,
busy foraging in his own, tiny world.
The snail, the lighthouse, the waves:
all sublime, no matter their
relative size."
PS: Just looking over my post to make sure everything came through all right, I was struck in the last layout at the similarity between the capital S of "scale", and the foam on the wave above it. I just LOVE these subconscious synchronicities!!!
