Aging paper with tea is a fun craft that's perfect if you're working on a vintage project. Whether you want to put your paper in a scrapbook, age a whole book, or make a prop for a play, it's easy to make your paper look like it's been around for years. For a more subtle look, you can drip tea onto the paper from tea bags, or you can soak the paper for a darker effect. Once you apply the tea, you can then either air-dry the paper or bake it in the oven for an even more vintage look.
Tip: Any type of tea will work, but black tea is a common option for this project. However, you might want to avoid using green tea or tea infused with red herbs, as this will produce a different color effect and the paper might not look aged.
Ben has been married for 47 years. He always managed the family's money. But since his stroke, Ben is not able to walk or talk. His wife, Shirley, feels overwhelmed. Of course, she's worried about Ben's health. But, on top of that, she has no idea what bills should be paid or when they are due.
Long before she fell, Louise put all her important papers in one place and told her son where to find them. She gave him the name of her lawyer, as well as a list of people he could contact at her bank, doctor's office, insurance company, and investment firm. She made sure he had copies of her Medicare and other health insurance cards. She made sure her son could access her checking account and safe deposit box at the bank. Louise made sure Medicare and her doctor had written permission to talk with her son about her health and insurance claims.
The process is straightforward, quick, and very affordable. Most likely you already have everything that you need at home to transform brand new paper into antiqued paper, which means you can get started right away. Happy creating!
You can let vintage paper air dry right on the cookie sheets. To speed up the drying process slightly, transfer the paper to a flat dish drying rack or cookie cooling rack. I put the cookie sheet right under the drying or cooling rack to catch any drips.
Let the paper dry completely between each layer. Similar to watercolor painting, there is an extent to how much medium the paper can soak up at one time. When you want a darker aesthetic, apply multiple brushed or sprayed layers.
You can speed up the drying process for making paper look old and produce a darker aesthetic with the same number of coats by drying paper in the oven or with a hair dryer or heat gun. I set my oven to 350 degrees and used the following baking times for the above pictured papers (as listed below, left to right).
Hair dryer and heat gun drying help aged paper dry flatter. I also flipped my paper periodically while using the hair dryer and heat gun, which I think helped with the flattening process. Oven and air dried paper tend to require flattening before they can be used for DIY projects. I just let my papers hang out under some heavy books for a couple of days, which helped considerably. You can also apply a light iron to flatten your aged paper quickly.
I create a lot of DIY crafts with sheet music printed on card stock, such as my just a note sheet music greeting cards. As such, some of the papers you see here are card stock. Not surprisingly, card stock rips a lot more easily when you crumple it. Take this factor into consideration when deciding how you want to age your paper.
The Age is a daily newspaper in Melbourne, Australia, that has been published since 1854. Owned and published by Nine Entertainment, The Age primarily serves Victoria, but copies also sell in Tasmania, the Australian Capital Territory and border regions of South Australia and southern New South Wales. It is delivered both in print and digital formats. The newspaper shares some articles with its sister newspaper the Sydney Morning Herald.
The Age is considered a newspaper of record for Australia, and has variously been known for its investigative reporting, with its journalists having won dozens of Walkley Awards, Australia's most prestigious journalism prize. As of March 2020[update], The Age had a monthly readership of 5.321 million.
Ebenezer Syme was elected to the Victorian Legislative Assembly shortly after buying The Age, and his brother David Syme soon came to dominate the paper, editorially and managerially. When Ebenezer died in 1860 David became editor-in-chief, a position he retained until his death in 1908, although a succession of editors did the day-to-day editorial work.
In 1882 The Age published an eight-part series written by journalist and future physician George E. Morrison, who had sailed, undercover, for the New Hebrides, while posing as crew of the brigantine slave ship, Lavinia, as it made cargo of Kanakas. By October the series was also being published in The Age's weekly companion magazine, the Leader. \"A Cruise in a Queensland Slaver. By a Medical Student\" was written in a tone of wonder, expressing \"only the mildest criticism\"; six months later, Morrison \"revised his original assessment\", describing details of the schooner's blackbirding operation, and sharply denouncing the slave trade in Queensland. His articles, letters to the editor, and newspaper's editorials, led to expanded government intervention.
In 1891, Syme bought out Ebenezer's heirs and McEwan's and became sole proprietor. He built up The Age into Victoria's leading newspaper. In circulation, it soon overtook its rivals The Herald and The Argus, and by 1890 it was selling 100,000 copies a day, making it one of the world's most successful newspapers.
David Syme's will prevented the sale of any equity in the paper during his sons' lifetimes, an arrangement designed to protect family control, but which had the unintended consequence of starving the paper of investment capital for 40 years.
The historian Sybil Nolan writes: \"Accounts of The Age in these years generally suggest that the paper was second-rate, outdated in both its outlook and appearance. Walker described a newspaper which had fallen asleep in the embrace of the Liberal Party; \"querulous\", \"doddery\" and \"turgid\" are some of the epithets applied by other journalists. It is inevitably criticised not only for its increasing conservatism, but for its failure to keep pace with innovations in layout and editorial technique so dramatically demonstrated in papers like The Sun News-Pictorial and The Herald.\"
In 1942, David Syme's last surviving son, Oswald, took over the paper, and began to modernise the paper's appearance and standards of news coverage, removing classified advertisements from the front page and introducing photographs long after other papers had done so.
In 1948, after realising the paper needed outside capital, Oswald persuaded the courts to overturn his father's will and floated David Syme and Co. as a public company, selling 400,000 worth of shares. This sale enabled a badly needed technical upgrade of the newspaper's antiquated production machinery, and defeated a takeover attempt by the Fairfax family, publishers of the Sydney Morning Herald.
Oswald Syme retired in 1964 and his grandson Ranald Macdonald was appointed managing director at the age of 26 and two years later he appointed Graham Perkin as editor; to ensure that the 36-year-old Perkin was free of board influence, Macdonald took on the role of editor-in-chief, a position he held until 1970. Together they radically changed the paper's format and shifted its editorial line from rather conservative liberalism to a new \"left liberalism\" characterised by attention to issues such as race, gender, the disabled and the environment, as well as opposition to White Australia and the death penalty.
It also became more supportive of the Australian Labor Party after years of having usually supported the Coalition. The Liberal Premier of Victoria, Henry Bolte, subsequently called The Age \"that pinko rag\" in a view conservatives have maintained ever since. Former editor Michael Gawenda in his book American Notebook wrote that the \"default position of most journalists at The Age was on the political Left.\" In 1966, the Syme family shareholders joined with Fairfax to create a 50/50 voting partnership which guaranteed editorial independence and forestalled takeover moves from newspaper proprietors in Australia and overseas. This lasted for 17 years, until Fairfax bought controlling interest in 1972.
Perkin's editorship coincided with Gough Whitlam's reforms of the Labor Party, and The Age became a key supporter of the Whitlam government, which came to power in 1972. Contrary to subsequent mythology, however, The Age was not an uncritical supporter of Whitlam, and played a leading role in exposing the Loans Affair, one of the scandals which contributed to the demise of the Whitlam government. It was one of many papers to call for Whitlam's resignation on 15 October 1975. Its editorial that day, \"Go now, go decently\", began, \"We will say it straight, and clear, and at once. The Whitlam Government has run its course.\" It would be Perkin's last editorial; he died the next day.
After Perkin's death, The Age returned to a more moderate liberal position. While it criticised Whitlam's dismissal later that year, it supported Malcolm Fraser's Liberal government in its early years. However, after 1980 it became increasingly critical and was a leading supporter of Bob Hawke's reforming government after 1983. But from the 1970s, the political influence of The Age, as with other broadsheet newspapers, derived less from what it said in its editorial columns (which relatively few people read) than from the opinions expressed by journalists, cartoonists, feature writers and guest columnists. The Age has always kept a stable of leading editorial cartoonists, notably Les Tanner, Bruce Petty, Ron Tandberg and Michael Leunig. 59ce067264