Collage in Color Preview

8/4/2019 Collage in Color Preview

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color Volume 1

A brayer is a multipurpose tool that looks similar to a paint roller.

Brayers are great for printmaking, painting, paper crafts, and muchmore. Using a brayer ensures consistent results when inking, gluing,

printing, and painting.

There are rubber, acrylic, and sponge brayers available in a number of

different sizes and handle shapes. The type and size you use depends

on what you are using it for. Be sure to choose one that is comfortable

in your hand.

getting to know yourBRAYERBY BARBARA DELANEY

types

Hard rubber brayersfeature

a high-quality rubber rollerand are perfect for embossing,

inking stamps, and gluing.

filling in stencils with paint

or ink. Elastic bands or otherelements can be wrapped or

adhered to the roller to create

1

2


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g p , g g

color Volume 1

care and cleaning

Because a brayer can be used with so many different

materials, it is especially important to clean it after each

use.

Clean the roller and handle before the paint (ink, etc.)

dries. It will be much easier to clean.

Many brayers have removable rollers (Figure 4). If

yours is removable, take the roller out for easier

cleaning.

Most brayers can be cleaned with water, but check

with the ink or paint manufacturer before doing so.

If you use products that cannot be removed with

water, check with the manufacturer before using anyspecial cleaning products.

Use a paper towel or an alcohol-free baby wipe

(so that you dont dry out the roller surface) as a

temporary fix if you cant clean the brayer well right

away.

Pay special attention to the ends of the roller as ink/

paint may build up there. Dont ever use a sharp tool to scrape paint from the

roller as you can easily damage the surface of most

4

Snap in the

acrylic brayer.


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VIDEO

VAULTenter


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TapeTransferCollagewithJulieFei-FanBalzer

NewspaperTransfer

withJeanniePalmerMoore

Image Transfers on Metalwith Robin Dudley Howes

Welcome to video vault,where we keep cool tutorials underlock and key. Just watch and learn. In this issue were bringing you some awesometransfer techniques: metal transfers, newspaper transfers onto organza, and a

collage tape transfer. Are you up to the challenge?


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NewspaperTransfer




Watch Julie Fei-Fan Balzer make a tape

transfer collage.


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NewspaperTransfer



NewspaperTransfer


See Jeannie Palmer Moore demonstrate how

to transfer newspaper onto organza.


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NewspaperTransfer




Watch Robin Dudley Howes make image

transfers onto metals.


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BY HELEN SHAFER GARCIA

Ive always loved the look and

feel of textures, especiallytextures that have an aged,

patina, antique look. There

is something wonderful

about non-perfect marks, the

subtleties of random pattern,

and liquefied hues that flow

into each other. Handprinted

watercolor monotypes give us

the expression of intriguing

texture. I took traditional

printmaking in college, and

quickly decided that traditional

printmaking methods involved

too much prep, too many rules,

watercolor

MONOPRINT for collage


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Rives BFK paper,

heavyweight (280gsm)

Water

Containers for water

(Youll need 2: 1 for

soaking papers, 1 small

one for the soap/water

mixture.)

Dishwashing soap, clear

Acrylic sheets (I use

Plexiglas or frosted

Mylar.)

Paintbrushes, including a

wide, flat brush

Drawing paper

Make the plate

1. Choose the amount of paper

you want to use for printing and

cut or tear the papers to size. The

papers should be the same size as

the acrylic sheet you use.

2. Soak the paper in water for at

least a half hour.

3. While the paper is soaking

in the water, mix the dish soapand the water in a 2:1 mix in the

other container. Keep in mind

that you need enough soap and

water mixture to cover the acrylic

printing plate.

4. Paint the acrylic sheet

(printing plate) surface with the

soap mixture using the wide flat

brush. The soap will release thewatercolor pigment that will

be painted onto the surface

later. Allow the plate to dry

completely.

5. Draw out your design on a

sheet of paper that is at least 1

(on each side) smaller than your

acrylic printing surface and place

your drawing under the printingplate.

6. Use your drawing as a guide

and paint directly onto the dry

soap surface of the printing plate

with watercolors.

Finished collage on monoprint.

WATCH LEARN


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Rives BFK paper,

heavyweight (280gsm)

Water

Containers for water

(Youll need 2: 1 for

soaking papers, 1 small

one for the soap/water

mixture.)

Dishwashing soap, clear

Acrylic sheets (I use

Plexiglas or frosted

Mylar.)

Paintbrushes, including a

wide, flat brush

Drawing paper

Make the plate

1. Choose the amount of paper

you want to use for printing and

cut or tear the papers to size. The

papers should be the same size as

the acrylic sheet you use.

2. Soak the paper in water for at

least a half hour.

3. While the paper is soaking

in the water, mix the dish soapand the water in a 2:1 mix in the

other container. Keep in mind

that you need enough soap and

water mixture to cover the acrylic

printing plate.

4. Paint the acrylic sheet

(printing plate) surface with the

soap mixture using the wide flat

brush. The soap will release thewatercolor pigment that will

be painted onto the surface

later. Allow the plate to dry

completely.

5. Draw out your design on a

sheet of paper that is at least 1

(on each side) smaller than your

acrylic printing surface and place

your drawing under the printingplate.

6. Use your drawing as a guide

and paint directly onto the dry

soap surface of the printing plate

with watercolors.

Finished collage on monoprint.

To save time, I like to prepare

more than 1 printing plate

at a time. You can also usea hair dryer to speed up the

drying process, if desired.

WATCH LEARN


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7. Use water-soluble crayons to

add details, drawing into the wet

watercolor surface or into dryareas. Allow the paint and crayon

to dry.

Printing

1. When you are ready to print,

take 1 sheet of paper out of the

water at a time and place on a dry

towel to absorb the extra water.

The paper should have a damp,

non-shiny surface.

2. Carefully place the Rives

paper over the top of the dried

watercolor printing plate. Being

careful not to shift the paper, use

the baren or a wooden spoon and,

gently rub over the back of the

paper to transfer the image.3. Lift a corner of the paper

to check that the image has

transferred. If the image has fully

transferred, pull the print by

lifting the paper off of the plate in

one gesture. If the image has not

fully transferred, continue to rub

it with the spoon or baren until it

has. Allow to dry.4. If enough watercolor remains

on the printing plate, a second

print or ghost print may be

pulled following the steps 13.

Plate ready for printing.

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PlatePreparation

Adding Color Pulling a Print

Adding theBackground

WATCH LEARN


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to dry.

Printing






non-shiny surface.



















The first pull off the plate is numbered

as 1/1 at the bottom left of the

monotype.

color

PlatePreparation



WATCH LEARN


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to dry.

Printing






non-shiny surface.



















The second pull off the plate is called a

ghost print and is the remnant of the

previous paint left on the plate.

color

PlatePreparation



WATCH LEARN


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Embellishing and collage

I start out with watercolor washes in sections of

my monoprint that I want to enhance. After thewashes are dry, I start my collage process. I like

to use my own hand-carved stamp images for

collage. I print on white or off-white rice paper

with solvent-based ink pads and then paint

watercolor tints onto the stamped image after

the stamp ink has dried. This allows the color

on the stamped rice paper to blend with the

monotype colors. These small images are great

for interest and layering. Acrylic soft gel workswell to glue the images to the monotype.

I also add bits of handmade decorative papers

for interest. Thin bits of ephemera papers also

work well as long as the monotype textures

show through the layers in some areas.


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Embellishing and collage

I start out with watercolor washes in sections of

my monoprint that I want to enhance. After thewashes are dry, I start my collage process. I like

to use my own hand-carved stamp images for

collage. I print on white or off-white rice paper

with solvent-based ink pads and then paint

watercolor tints onto the stamped image after

the stamp ink has dried. This allows the color

on the stamped rice paper to blend with the

monotype colors. These small images are great

for interest and layering. Acrylic soft gel workswell to glue the images to the monotype.

I also add bits of handmade decorative papers

for interest. Thin bits of ephemera papers also

work well as long as the monotype textures

show through the layers in some areas.

After printing, adding collageto the monotype offers instant

gratification. Bright colors, lines,

and shapes pop with little effort.

The trick is not to go overboard

and end up covering all of the

nuances of the underlying

monotype.


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Read about it

Plate Preparation

Caption

Frost Leaves II

color

PlatePreparation



WATCH LEARN


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Frost Leaves

Read about it

Adding Color

Caption

color

PlatePreparation



WATCH LEARN


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Peace Artichoke

Read about it

Adding the Background

Caption

color

PlatePreparation



WATCH LEARN


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Read about it

Life is a Dream

Pulling a Print

Caption

color

PlatePreparation



WATCH LEARN


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Torn-PaperPaintings

BY WANDA EDWARDS

I tried to explore

collage, but never found

satisfaction in the

traditional style of cutting

images and putting them

together. It just never

clicked for me. That is,until I realized that I could

create images using papers

as my paint, resulting in

Having been a watercolorartist for years, I

suddenly developedan urge for more depth

and texture.

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Part of the challenge of this process

is in finding just the right pieces

to add to the work for the viewer

to find. Papers with tiny almost

unseen images, text that is partof the story of the piece, and even

personal paper bits can be added. So

much depth can be created through

layering. The viewer takes in the

image as a whole and then moves

into the piece to see the multitude of

layers that actually create the image.

Most of my subject matter comes

from the coastal New England areawhere I live. I am minutes away

from the ocean and my home sits

by a lovely little pond, so it is no

wonder that beaches, fish, coastal

birds, and summer nostalgia are all

part of what I create. My watercolor

background draws me to a mostly

light and airy palette.

Much of my work is created

outdoors on warm sunny days when

I take all of my rice papers, book

pages, and sheet music outside

with my paints to create the colored

papers I need for my work. I also

make some handmade papers as

well so that I have a wide range of

textures.

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CollagePaintingStep-by-step

1. Paint the entire surface of the

canvas with the main body color. I

also paint the sides of the canvas

with this color.

2. Once the initial color is dry,

create a pencil sketch of your

chosen subject on your canvas.

This gives you placement for the

foreground and background.

Step 1

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel

Medium for my glue.)

Varnish (I use Liquitex

Matte Varnish.)

Papers: pre-painted rice

papers, book pages, found

and purchased papers,

Washi papers, handmade

papers, etc.

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also paint the sides of the canvaswith this color.






Step 2

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel



Matte Varnish.)





papers, etc.

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Step 3

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel



Matte Varnish.)





papers, etc.

color

l


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Step 4

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel



Matte Varnish.)





papers, etc.

color

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Step 5

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel



Matte Varnish.)





papers, etc.

color

l


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Step 6

Stretched canvas

Acrylic paints

Paintbrush

Pencil

Gel medium (I use

Liquitex matte Gel



Matte Varnish.)





papers, etc.

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3. Start tearing and placing

papers to create the background.

I start with the sky. For this part I

normally look for imagery and text

that relate to the subject.

Apply the papers with gel medium,

spreading it both under and over

the papers as you apply them.

Make sure there are no air bubbles.

4. Brush on a light wash of the

same acrylic color you used to

initially cover the canvas. This

unifies the papers and pushesthem further into the background.

5. Using acrylics, paint the

subject onto the canvas. Keep it

simple, with few details, since it

is mainly to create a road map for

the application of the papers, and

to help establish the lights and

darks and color variations. Allow

the paint to dry.

note:This will look very different once

its covered in bits of papers, so dont

worry about creating a work of art at

this stage.

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Torn-paper paintings

Watch Wandas time-lapsed video of her torn-paper process.

6. Apply the papers. As with

traditional painting, work from

the background to the foreground.This also makes it easier to

overlap some of the papers as you

work forward.

Let your finished piece dry for a

day or two, and then brush on a

thin coat (or two) of matte varnish

to strengthen and protect the

piece.

Watch how you tear your papers.

When you tear some papers it

leaves a white edge. Tearing these

papers in the opposite direction will

reduce this. When tearing a piece

for a curved area I tear in the arc ofthe curve. I plan the placement of

text and design around my tearing

as well.

tearing tip

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color

BY JENN MASON

If I had to pick any job in

the world other than the

one I have now, Id be a

color namer. I just lovecolors. Have you been to

the paint department at

the hardware store lately?

Its like color heaven! It

takes all of my willpower

to keep me from leavingthe store with 200 paint

swatches.

Complem

enta

rycolors [ Select a color to see

its complement]

View All

Primary Colors

Secondary Colors

color

l


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color

BY JENN MASON










swatches.

Complem

enta


its complement]

View All

Primary Colors

Secondary Colors

color

l


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color

BY JENN MASON










swatches.

Complem

enta


its complement]

View All

Primary Colors

Secondary Colors

color

l


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color

BY JENN MASON










swatches.

Complem

enta


its complement]

View All

Primary Colors

Secondary Colors

Red-GreenCompleme

nt

color

l


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color

BY JENN MASON




color namer. I just love

colors. Have you been to






swatches.

Complem

enta


its complement]

View All

Primary Colors

Secondary Colors

Orange-BlueComplement

color

l


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color

BY JENN MASON




color namer. I just love

colors. Have you been to






swatches.

Complem

enta


its complement]

View All

Primary Colors

Secondary Colors

Yellow

-Purple

Comp

lement

color

lo


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Veiled Woman By Becky Anzelone

(orange-blue)

Complementary colors are the

colors just opposite each other on

the color wheel. They can be tricky

to use together. When used in the

right proportions they produce

a lovely vividness of color, butmixing them together in paint

form can make mud.

The basic complementary color

sets are red and green, blue and

orange, and yellow and purple.

You can use these colors as is,

or tweak their saturation to get

infinite combinations. Using red

and green together, a piece of

art can immediately take on a

Christmas tone, but if you shift

your colors to pink (a shade of red)

and spring green, you get a classiccombination that doesnt make

you think of sleigh bells.

Another great use for

complementary colors is to

help make other colors in your

composition pop. If you had a

collage with mostly lemon-yellow

A red and green complement is not limited to a traditional holiday theme,try varying the colors with the use of white or black.

color

lor


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(orange-blue)







form can make mud.


















In any color complement, there is a wide range of possibilties to explore.This combination shows a reddish-orange paired with aqua blue.

color

olor


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(orange-blue)







form can make mud.


















In this yellow-purple complement, the yellow takes the form ofa deep ochre, and the purple hints at blue-black.

color

olor


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tones, adding just a touch of deep purple in the

shadows or to the focal point of your piece can

magically make the yellow come alive.

The images in this article are provided by

our Facebook fansand past contributors to

C P S.

We All Have Stories

to Tell by Loretta

Benedetto Marvel

(red-orange and

blue-green)

Florescense by Karen Isaacson

(orange and blue)

colorCOMPLEMENTS

gallery

color


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Cross Perforated

Metals by Abby

Glassenberg

(red and green)

Untitled by Magaly

Ohika (dark red and

olive green)

Fly By Seth Apter (orange and blue)

colorCOMPLEMENTS

gallery

color


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Our Lady of Perpetual Debt II by

Dae Rebec Sanchez (red/coral andlight green)

Piterskoie Okno by Natalya Aikens

(lavender and yellow )

colorCOMPLEMENTS

gallery

color


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I love using paint, paper,and oil pastels together

when making collage art.

Birds on Buntings

BY MANDY RUSSELL

Throw in a little modeling

paste and you have the

perfect combination of art

ingredients! The modeling

paste and paint layers

combined create an

overall aged and imperfect

look while giving these

chunky pieces quite a bit

of texture.

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1. Use sandpaper to quickly

remove any splinters or rough

edges on the wood pieces. Then

prime the front and all 4 sides

with gesso. Let dry completely.

2. Using the credit card, spread

the modeling paste over the

primed front and sides of the

wood, as if you were frosting

a cake. While the paste is still

wet, very lightly rake the short

edge of the card over the front

side of the wood in a top-to-

bottom direction, repeating this

motion every inch or so across

the entire front of the piece. The

goal is to create irregular, top-

to-bottom line-like peaks while

smoothing out any major globs

of modeling paste. (Figure 1)

3. Repeat for each of the sides

except rake in a right-to-left

direction. Let the paste dry

completely.

4. Make a wash by mixing

1 part brown paint to 3 parts

water. Using the foam brush,

paint the wash over the front

and sides of the wood covering

the modeling paste completely.

Let dry.(Figure 2)

Sandpaper

Gesso, one tub

Modeling paste, one

946 ml tub is enough

for 14 pieces

(I used Liquitex

modeling paste.)

Decorative papers,a variety to share

Acrylic paint, brown,

one 4 oz. tube

Water

Container for mixing

paint

Solvent ink pad,black, to share

(I used Sta_

zOn

jet black.)

Cotton Swabs, one

small box to share

Light blue and/or aqua

acrylic paint, two or

three 4 oz. bottles

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1. Use sandpaper to quickly

remove any splinters or rough

edges on the wood pieces. Then

prime the front and all 4 sides

with gesso. Let dry completely.

2. Using the credit card, spread

the modeling paste over the

primed front and sides of the

wood, as if you were frosting

a cake. While the paste is still

wet, very lightly rake the short

edge of the card over the front

side of the wood in a top-to-

bottom direction, repeating this

motion every inch or so across

the entire front of the piece. The

goal is to create irregular, top-

to-bottom line-like peaks while

smoothing out any major globs

of modeling paste. (Figure 1)

3. Repeat for each of the sides

except rake in a right-to-left

direction. Let the paste dry

completely.

4. Make a wash by mixing

1 part brown paint to 3 parts

water. Using the foam brush,

paint the wash over the front

and sides of the wood covering

the modeling paste completely.

Let dry. (Figure 2)

Sandpaper

Gesso, one tub

Modeling paste, one

946 ml tub is enough

for 14 pieces

(I used Liquitex

modeling paste.)

Decorative papers,a variety to share

Acrylic paint, brown,

one 4 oz. tube

Water

Container for mixing

paint

Solvent ink pad,black, to share

(I used Sta_

zOn

jet black.)

Cotton Swabs, one

small box to share

Light blue and/or aqua

acrylic paint, two or

three 4 oz. bottles

To eliminate some wait time at the art party, I suggest

Step One be completed beforehand, that way partygoers

can start by rolling up their sleeves and frosting their piece

with the modeling paste.

While you are waiting

for the paste to dry, its a

good time to work on yourbunting. Place the decorative

papers in the middle of the

work table for your guests

to choose from. Cut out an

uneven number of triangles

for the bunting, I usually

use 59 triangles, measuring

about 114" top to bottom and

approximately 1" wide at thebase.

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5. While your wash is drying,

choose the birds you want to add

to your line, from the selection

provided (last page of this article)or

draw your own, and cut them out

using sharp scissors. Take eachbird, one at a time, and place it,

front-side down, on the black ink

pad. Tap all over the cutout with

a cotton swab until the paper

is saturated with ink. Carefully

remove the bird from the ink pad

and let it dry thoroughly.

6. Pour a few big puddles of the

light blue or aqua paint onto thefront of the wood piece. Using

only the credit card (no brushes

allowed!), spread the paint all over

the front and sides, working it

into any crevices. Then, using light

pressure and the short edge of the

credit card, smooth out the paint

in a top-to-bottom direction across

the front of the piece, wiping offthe excess paint from the credit

card as you go. You will see the

brown under-paint pop through the

blue paint along any raised areas.

Repeat for the 4 sides, working in a

right-to-left direction. Let dry. Once

the blue paint has dried, the collage

fun begins!

Waiting for your paint to dry is a great time to break for snacks.

Make this up beforehand, or give each person a

cup and some ingredients, and let them create

their own!

Fruit & Cake TrifleIngredients

Serves 12

5 cups cut-up fresh fruit

such as berries, peaches,

nectarines, and/or mangoes

cup sugar

1 cup water

2 Sara Lee frozen pound

cakes (thawed), cut into

1 cubes

Cool Whip, or can of

whipped cream

Directions

1. Place the cut-up fruit

in a medium-sized mixingbowl. Add the sugar and

water and stir well.

Let it sit for 20

minutes.

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7. Choose an oil pastel and

draw the sagging line for the

buntingacross the front of the

wood. Begin just under the top-leftcorner and swoop down, almost

touching the midline center, and

then swoop up again, almost to the

top-right corner.

8. Following the line from left

to right, apply slight pressure

with your pointer finger or a

cotton swab and smudge the line,

smoothing out any little bits ofoil pastel along the way, and then

smudge upwards, in short little

motions, all along the line.

9. Place the bunting triangles

along the line you just made,

beginning with a triangle in the

very center. You may need to

trim the edges of the triangles a

bit or adjust their placement tofind the most visually appealing

arrangement. Keep in mind that

you want to be able to see some

of the smudged line above the

triangles.

colo

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7. Choose an oil pastel and

draw the sagging line for the

buntingacross the front of the

wood. Begin just under the top-leftcorner and swoop down, almost

touching the midline center, and

then swoop up again, almost to the

top-right corner.

8. Following the line from left

to right, apply slight pressure

with your pointer finger or a

cotton swab and smudge the line,

smoothing out any little bits ofoil pastel along the way, and then

smudge upwards, in short little

motions, all along the line.

9. Place the bunting triangles

along the line you just made,

beginning with a triangle in the

very center. You may need to

trim the edges of the triangles a

bit or adjust their placement tofind the most visually appealing

arrangement. Keep in mind that

you want to be able to see some

of the smudged line above the

triangles.

If drawing the line freehand makes

you uncomfortable, use painters tape

to map out the line beforehand.

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10. When you are satisfied with

the look of your bunting, use

Mod Podge and a foam brush

to adhere the triangles to thefront of the wood piece. Always

start in the center and work

outwards, remembering to cover

each triangle with Mod Podge

immediately after sticking it down.

Make sure to cover the oil pastel

line with the Mod Podge as well.

Let dry. (Figure 3)

11. Use the Souffle pen, or anotherdimensional pen, to draw a thin

line along the bunting, barely

touching the tops of the triangles.

12. Place the birds on the

bunting (download the PDF on the

right), playing around with their

arrangement until you like what

you see, then adhere the birds with

the Mod Podge using the foambrush. Cover the entire front and

sides of the wood with the Mod

Podge to seal it, and then let it dry.

13. Paint the back of the piece and

let it dry. I used brown for this.Use a ruler to center the sawtooth

hanger on the back of the wood,

1" down from the top, and nail it

in place. Dont forget to sign your

name with the permanent

marker.

Download theinvitation

Download theBird Illustration

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10. When you are satisfied with

the look of your bunting, use

Mod Podge and a foam brush

to adhere the triangles to thefront of the wood piece. Always

start in the center and work

outwards, remembering to cover

each triangle with Mod Podge

immediately after sticking it down.

Make sure to cover the oil pastel

line with the Mod Podge as well.

Let dry. (Figure 3)

11. Use the Souffle pen, or anotherdimensional pen, to draw a thin

line along the bunting, barely

touching the tops of the triangles.

12. Place the birds on the

bunting (download the PDF on the

right), playing around with their

arrangement until you like what

you see, then adhere the birds with

the Mod Podge using the foambrush. Cover the entire front and

sides of the wood with the Mod

Podge to seal it, and then let it dry.

13. Paint the back of the piece and

let it dry. I used brown for this.Use a ruler to center the sawtooth

hanger on the back of the wood,

1" down from the top, and nail it

in place. Dont forget to sign your

name with the permanent

marker.

Download theinvitation

Download theBird Illustration

c

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