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1 collage to order:
create with words 3
objects of my desire:
making sewn paper
collage collections
susan black
w
a substrate, apply gel medium, Projects and information are for inspiration and
personal use only. Interweave Press is not responsible
hat is collage art? A and then paint over it. The magic for any liability arising from errors, omissions, or
whole lot of fun! At happens when you swipe away mistakes contained in this eBook, and readers should
proceed cautiously, especially with respect to technical
the most basic level, some of the paint to reveal the information.
you can make a collage with paper, collage designs below. © F+W Media, Inc. All rights reserved. F+W Media
glue, and a substrate like a canvas grants permission for any or all pages in this eBook to
With How to Make a Collage: 4 Free be copied for personal use.
or watercolor paper. But once you
Mixed-Media Collage Techniques,
expand your supplies to include
you’ll learn how to use a variety of
other media like paint, stitching,
materials and approaches you can
photos, and marking tools—the
use to make similar collage projects
sky’s the limit.
or mix and match to create your Where mixed -media
In How to Make a Collage: 4 Free own.
Mixed-Media Collage Techniques,
Warmly,
artists come to play
you’ll discover four different
approaches to collage from expert
mixed-media artists.
In “Collage to Order: Create with
Words,” Susan Black shows how Cate Prato
to play with paper and typography Online Editor,
to make a collage that captures Cloth Paper Scissors Today
a favorite sentiment or a special
name.
Nicole Paisley Martensen uses a
variety of mixed-media collage
techniques and transparent fabric
layers to blend spontaneity and
technical construction in “The
Elements of Collage: Putting it All
Together.” clothpaperscissors.com
collage to order
create with words
How to Make a Collage: 4 Free Mixed Media Collage Techniques clothpaperscissors.com
©F+W Media, Inc. 3
m at e r i a l s
• Watercolor paper (I prefer
hot-press, bright white watercolor
paper.)
by susan black • Pencil
a
• Eraser
s a former graphic designer, I’ve always had a big love for typography
• Tracing paper
and for using words to communicate visually and creatively. Add to • Tape
that love a big pile of vintage books, a few old atlases, a stack of decorative • Decorative papers: sheet music,
patterned, colored, etc.
paper, a shoebox of tissue paper in vivid colors, scraps of wrapping paper,
• Watercolors
postage stamps, some paint and drawing pens, ink, scissors, glue, a passion
• Paintbrushes, detail
for collage, and “poof” my own typographic mixed-media style began to • Craft knife
emerge. • Cutting mat
• Scissors
I love combining typography with works perfectly to capture a favorite • Glue (I like to use Zig® glue pens
pattern and paper and then drawing and/ inspirational sentiment, a line from a and gel medium.)
or painting on top. This piece “Call for poem, a child’s name for easy wall art, a • Drawing pen, fine
Art” was commissioned for Cloth Paper special date, and just about anything else • Gouache or acrylic ink, black
Scissors magazine, but this technique you can think of. optional
• Light box
commission notes: If you’ve ever • Scanner/copier
considered working on commission pieces,
follow along to get a few tips on the
process.
directions
note: I use a small, tabletop light box and
have found it to be an indispensable tool.
If you don’t have a light box you can use a
window and lightly trace your final design
onto the top layer of watercolor paper so
you’ll have an indication for positioning
the letters.
Figure 4
Figure 7
the
• Silk habotai, white or ivory, at least
elements
24" × 36"
• Freezer paper
• Iron
of
it all
• Masking tape
collage
• Liquid acrylic paints and/or
together
watered-down latex house paint
(Golden Artist Colors® liquid acrylics
in Titan Buff and Payne’s Gray are
m
some of my staples.)
• Paintbrushes: 11/2" and 3"
y art making often begins with a morning dog walk. The hills behind
housepainter’s brushes, 1/2" and 1"
my home are crisscrossed with trails through oak woodland, alongside flat artist’s brushes, and a thin liner
seasonal creeks and wildflower meadows, and this is often the most contemplative brush for details
part of my day. While walking, I feel my way through my next piece of art, assembling • Computer, scanner, and inkjet printer
layers in my mind, choosing and discarding images and textures that are back home in
• Photographs and paper ephemera
my studio. I think it’s this formative time, this simmering and mental sorting, that allows
• Photo transfer paper for inkjet
printers
for my ultimate goal of thinking about nothing and working intrinsically when I’m
• Photocopier, toner-based
making the actual piece of art. • Fabric scraps: silk organza, silk
dupioni, kimono fabric, vintage
Collage by its very nature can be viewed The panels shown in this article linens (no synthetics)
as anti-Zen. First, there is clutter. My are free‑hanging silk panels that I
• Fusible web (I used Pellon® 805
studio is a veritable whirlwind of bits layered with transferred images, paint, WonderUnder®.)
and scraps. Second, there are many ways transparent organza, and other fabrics. • Digital camera
to collage. It’s an art form that presents The large scale of my work helps to
• Parchment paper
endless and overwhelming possibilities, provide space for the energy and rawness
• Blender pen (I use a Chartpak®
sometimes with the nullifying I try to impart in each piece. colorless blender pen.)
(terrifying) question of how do I choose?
Movement and expressiveness are • Rubber gloves
And third, there are the multiple media.
extremely important in my art. I use big • Bone folder
In my own work I use a number of
sweeping strokes while painting and let • Spray bottle with water
different media, often all in one piece.
paint drip down the length of the panel, • Paint palette
What I look for in making collage is often spraying the paint with water, • Spray paint
how to pull these elements together smudging and spattering it. I enjoy the • China markers (black and white), oil
to tell a story or evoke an atmosphere contrast of the delicate nature of the pastels, and/or an ebony pencil or
or emotion, to create coherence out of silk fabric with the gritty treatment of soft graphite pencil
dissonance. I’m trying to replicate how distressing the surface. • Krylon® workable fixative
the mind works when we latch onto • Hanging hardware
Using the following steps, think of how
a thought and bounce around in that optional
to translate a sensory experience into a
moment, when the process becomes • Gesso, transparent (I use Winsor &
visual one, and how to find spontaneity
more important than the subject. Newton™ brand.)
in technical construction.
• Sewing machine or needle and
thread
by nicole paisley martensen
assembling
collage elements
Take a few moments to prepare and
collect the elements for your collage.
Using a mixture of inkjet photo transfers
and solvent transfers (see “Solvent Image
Transfers” on the last page) adds to the
textural quality and depth of your piece.
favorite
“Buildanark” • 51" × 29"
sources for
directions collage
preparing materials
your canvas • Flea markets and antique stores
1. Iron sheets of freezer paper • Vintage goods sold on etsy.com
(shiny-side down) onto the silk habotai
until you’ve covered one • Urban streets and sidewalks
side completely. • y own photos. I always walk
M
2. Tape the corners of the silk, with a camera to photograph
paper-side down, to the ironing textures in nature or peeling
surface with masking tape. This paint in the city.
creates a temporary substrate for • he bottom of my purse
T
working on your panel. (receipts, ticket stubs, etc.)
creating the
composition
1. Lay your panel on your work surface.
Begin laying out your transfers and
fabric scraps. Overlap and obscure
some layers, and let some of the
transfers and fabrics run off the edges
of the panel. Use the entire space, or
leave large areas of negative space.
This is often an energetic process for
me as I tend to move pieces around
a lot and try new compositional
“You are My Death Camas” • 45" × 31" schemes.
e ven as a child, I was a collector. For years I kept rocks, feathers, and
Cracker Jack® prizes safely hoarded in a potato chip can. That can is
now gone, but the urge to hang onto treasures is not. I’m still a collector. But
Flea markets and antique shops are
filled with these items. But instead of
spending money and causing clutter
with the real objects, I decided to
nowadays my treasures are the people in my life and the little things that bring create my own treasure collections
me joy every day: eyeglasses, scissors, and silverware. Eyeglasses are a new using sewn paper collage. This object-
making technique is straightforward and
treasure for me, as I now need them in order to read, apply mascara, and see
requires supplies that you will probably
my children’s faces when we hug. To me, eyeglasses are a reminder to seek already have on hand. So, what are you
clarity and look at things in different ways. Scissors remind me of my mom, waiting for? Gather up your paper scraps
who spent countless hours cutting and sewing the majority of my childhood and take a trip into the flea market of
your memory and imagination. What
wardrobe. I use scissors in all my art making and I love the way they bridge my
treasures will you uncover?
past with my current creative life. And silverware holds memories of fellowship
with family and friends. It reminds me to be grateful for the treasure of food,
from decadent cherry cheesecake to a simple and sustaining bowl of rice. Adapted from
Cloth Paper Scissors®
September/October 2012
directions m at e r i a l s
• Stretched canvas, canvas board,
preparing the or illustration board (cut to
desired size)
background • Paper scraps, a variety of colors and
1. Select papers that will provide a patterns
subtle, yet interesting background. • Paintbrushes, small and medium
The objects will be the focus. • Gel medium, matte (I use
Liquitex®.)
2. Cut or tear the papers into strips.
• Pencil and scrap paper
3. Using a medium-sized paintbrush, • Paper, 100-lb. paper (I use
apply gel medium to the back of the Bristol paper.)
paper strips and then layer them over • Scissors
the entire surface of the substrate. • Sewing machine with black
Allow some pieces of paper to hang thread
off the edges. These can be trimmed • Acrylic paint, black
when dry. Set aside to dry for at least • Paper towels
an hour. Overnight is best. • Plastic bag or plastic wrap
approximately the same size
creating the objects as your finished piece
• Clear finish spray (I used Krylon®
1. Draw a basic outline of the object
Low Odor Finish.)
you have chosen. Remember to keep
optional
it simple. The goal is representation,
• Scanner and printer
not exact replica! (Figure 1)
• Acrylic paints, assorted colors
2. Cut out your drawing and trace at • Embellishments: buttons, metal
least 3–5 copies of the image onto fasteners, etc.
the 100-lb. paper. You can also use a • Awl
scanner and printer for this process.
(Figure 1)
Figure 2
choosing
papers
• Choose a variety of shades and
patterns within each color
choice. As the papers are layered,
this diversity creates rich texture.
ideas
6. Finish with a coat of the clear
other 3. Place a plastic bag or plastic wrap on spray.
top of the piece. Place heavy books texterial.blogspot.com
• Create a mix of objects related to
a specific theme, such as sewing
supplies, sports equipment, or
kitchen utensils.
m at e r i a l s
• Substrate: canvas, wood, or a
reverse
picture frame (I chose a
12" × 12" gallery-wrapped canvas.)
• Decorative papers (I like to use
collage
brightly colored scrapbook paper
with bold patterns like Cosmo
Cricket™ brand.)
• Scissors
painting
• Paintbrush, 3/4" flat
• Acrylic gel medium (I use Golden
Artist Colors® Regular Gel Gloss.)
• Heavy-body acrylic paint
(I used Golden Artist Colors burnt
umber and cobalt.) a bright spot
• Cotton swabs
• Paper towels
on a winter day
• Gel pen, white (I use Sakura® Gelly
Roll®.)
Figure 1
directions
2. Paint a generous layer of acrylic
gel medium onto the surface of the
substrate and add papers to create a
create the colorful collage. Don’t overthink this
background part too much. Just be sure that the
papers overlap so that you will end
1. Cut the decorative papers into varying
up with a textured background. Add
sizes of squares and rectangles. Blues
more gel medium where the papers
and greens go beautifully together,
overlap.
but other color combinations work
just as well. tip: I often use the end of my paintbrush
to smooth down any paper that has a
bubble of gel medium under it.
Figure 2
Figure 4
Figure 3