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Théâtre de L'Amour
Project & Instructions by
Jessica Rich
Let’s make one thing clear - I’m not much of a
“follow the directions” kind of person.
I don’t sew (too deliberate), I don’t cook with recipes (too
rigid), and I certainly don’t follow any set of instructions to the
letter (it’s a good thing I don’t work on nuclear reactors).
With that said, it’s easy to understand why I went into this
project with a rather cavalier attitude.
And it shows.
There are places where I certainly did things a bit out of order.
I think this is a good opportunity to learn from my mistakes
(a very loose term) and do things in a better order.
After all, this is art, and contrary to what a cranky 12th
grade art teacher once told me, there are no real “mistakes”.

First problem: I painted last.
Maybe it seems obvious to you, but in my zeal to turn my
ideas into reality, I got a little overexcited.
As a result, you’ll see places where the paint doesn’t run
right up to the edges of the fabric, or maybe it ran over a bit.
Oops. Note to
self: Paint first.

I love Lumiere.
It has a wonderful consistency.
Viscous and sheer, it applies straight out of the bottle in a
manner that allows you to still see what lies beneath.
With a couple of coats you’ll see complete coverage, or you
can further thin it out to create beautiful, shimmering washes that
age and antique.
The
true first step in this was applying paper to the outside.
I chose a 7 Gypsies pattern (Latium
#19202) that reminds me of old wallpaper.
I tore the edges in a haphazard way and applied it to the
case with Uhu’s All Purpose Twist & Glue.
I painted over everything, including the hardware, with a 1”
sponge brush and I intentionally left the strokes random and
visible.


I never knew what scene I was going to depict.
My art is often a mishmash of whatever bits and leftovers I
cull from the piles at Joggles, or whatever I can swipe without
Barbara giving me dirty looks.
I knew I loved the newer 7 Gypsies papers, so that was
one of the first things I swiped (not a dirty look, but maybe a
raised eyebrow). The
background is St. Martin (#19228) and the stage floor is
Boulogne
(#19222), both more old wallpaper patterns.
It’s hard to see unless you peer up into the stage, but the ceiling is taken from Sandra Evertson’s Fanciful Paper Projects.
I think her work is wonderfully inspiring and was thrilled to
use some of her elements.
The Man in the Moon was taken from the same book.
He was mounted on cardstock to make sure he didn’t wilt in
the New England
summer humidity. I
found the Eiffel
Tower
on a sheet of Tim Holtz cardstock (#0737).
The rest of the paper elements (like the little naked cherub
above) were taken from various ATC
Paper Pads (Love, Weddings and Winged Things). I foresee a
dirty look coming.

As for all the fabric and trims, those are mostly culled from the
piles.
I did, however, want to ensure the stage curtains had that
regal, luxurious look.
As a consequence, I did swipe a fat quarter of AEE Silk Velvet
(flat-out evil eye for that one).
I used Sobo Glue to affix it and the rest of the trims.
If you can’t find a color of the velvet that you love, lots
of other fabrics will provide a luxe texture: Dupioni Silk (yum!), Crinkle
Organza, or Metallic Crinkle Organza, even Deer Suede or Craft
Velour. The curtain
tiebacks are Joggles Tussy Mussies in Wild Iris.
For the most part, I recommend working from the
back of the stage toward the front.
In another over-enthusiastic move, I hung the curtains
prior to adding in the Eiffel Tower
and the landscape. You
can do it; it’s just that you have to fight with the curtains.
What it will do is ensure that you don’t spend time placing
elements where you’ll never see them off to the side.
So, it’s a trade-off, and you’ll have to choose your poison.
One thing I do recommend doing very near the start is adding
the fibers that hold the case open at a 90° angle.
Without it, there’s nothing to keep the case from opening
flat. Adding those
sooner rather than later means you can easily cover them later on.
Mine are made from a fiber included in the Joggles Truffles
Assortments (Peacock).

On the exterior, the wording is from some lettering in my personal
stash (yes, I have one, its not all Joggles remnants), but any
lettering will do the trick.
As my scene is set in
France, I chose to translate the
title of the theatre into French, “Théâtre de L’Amour” or Theater of
Love. I had some trouble
getting the Uhu to adhere well over the Lumiere.
You may have better luck with a product such a Perfect Paper
Adhesive, which is intended of use in decoupage and mixed media
applications. The last step
was to wash the lettering and the other exterior paper elements in a
thinned out solution of Lumiere in Metallic Rust (#549).
It antiqued them just a bit, as well as adding a light
shimmer.
Its not perfect, but I’m still
happy
with my results. Art is
a lifelong learning process and you can’t get better until you
start. I've taken away
a better knowledge about the process I should use (in spite of my
abundant enthusiasm), and I hope that you will, too.
Go create and learn!
Materials:
I'd love to hear what you think.
Contact me with questions or comments at
jessica@joggles.com
Copyright © 2007Jessica Rich. May not be copied or used
without written permission.
Questions? Comments? Please email
barbara@joggles.com
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