Collage Lab

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 Collage Lab
experiments,
investigations,
and exploratory
projects BEE SHAY

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 Introduction 6
Contents
Overview 8

3
Gesso

UNIT
LAB 9 Building Layers 32
LAB 10 Adding Tints and Color 34
LAB 11 Sanding Back 36
LAB 12 Overprinting 38

1 4
Building the Foundation Color
UNIT

UNIT
LAB 1 Basic Gesso Surface 12 LAB 13 Basic Theory 42
LAB 2 Basic Paper Surface 14 LAB 14 Emotional Impact 44
LAB 3 Diffusing Imagery 16 LAB 15 The Personal Palette 46
LAB 4 Washes 18 LAB 16 Shadow and Light 48

Surface Design

5
LAB 17 Carving Personal Images 52
UNIT

LAB 18 Masks and Stencils 54

LAB 19 Stamping and Mark Making 56
LAB 20 Making Personal Tools 58
LAB 21 Glazing 60

2 6
Texture Line and Form
UNIT

UNIT
LAB 5 Corrugated Substrate 22 LAB 22 Basic Geometry 64
LAB 6 Organics 24 LAB 23 Take a Line for a Walk 66
LAB 7 Fabrics 26 LAB 24 Found in Nature 68
LAB 8 Paper 28 LAB 25 Connecting the Dots 70

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 Papers

7 11
Visual Dictionary
LAB 26 Traditional 74

UNIT
UNIT
LAB 45 From the Heart 120
LAB 27 Handmade 76
LAB 46 Drawing on Experience 122
LAB 28 Commercial 78
LAB 47 Borrowed Words 124
LAB 29 Reclaimed 80
LAB 48 Vintage Documents 126
LAB 30 Specialty 82

8
Paper Play

UNIT
LAB 31 Cutting 86
LAB 32 Tearing 88
LAB 33 Punching 90
LAB 34 Burning 92

Mediums

9 12
LAB 35 Gel Medium 96
Unification and Composition
UNIT

UNIT
LAB 49 Palette 130
LAB 36 Mat Mediums 98
LAB 50 Content 132
LAB 37 Adhering 100
LAB 51 Good, Bad, and Just Not Right 134
LAB 38 Paints 102
LAB 52 Finishes 136
LAB 39 Inks 104

Imagery

10
LAB 40 Photos 108
UNIT

LAB 41 Drawings 110

LAB 42 Brayer Play 112
LAB 43 Borrowed 114
LAB 44 Drawing Over 116

Gallery 138
Contributors 142
Resources 143
About the Author 144
Acknowledgments 144

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 Introduction JOURNEYS BEGIN IN MANY WAYS. My initial experience with collage be-
gan in 1995 at the end of an artistic dry spell. As they say in sailing, I was “in irons.” In
short, I was going nowhere fast creatively and my quality of life was directly affected.
A new attitude was needed to restore the spirit. As a teacher I felt that I had nothing
new to offer my students, and that translated to not teaching, which in and of itself
was detrimental to my work. My students have always infused me, given me energy
and drive; without them, it was more difficult to surface.
Old habits die hard, and I found myself fighting those original skill sets that had
been my vocation for so long in a struggle to learn new ways to express my artistic self.
By giving the hands new things to play with, it didn’t take long to understand that just
getting my hands moving started the dialogue between them and my heart. It was up
to me to get my head out of the way.
Soon I discovered that exploration and experimentation in my journals was the
ticket. Before long the flood of creative work found me staying up through the wee
hours of the morning in the quiet of my home, children nestled in their beds with
no one to interrupt the flow. The desire to make things, anything, became insatiable.
Every possible minute was spent playing, exploring, learning, succeeding, and not
succeeding. Not liking to use the word failure, I draw on a quote from Thomas Edison
when he was asked about his many attempts to invent the lightbulb. He remarked, “If
I find ten thousand ways something won’t work, I haven’t failed. I am not discouraged,

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 because every wrong attempt discarded is another step for- come away from this experience with the understanding that
ward.” These words couldn’t be more applicable to the cre- it’s not about the product, it’s about the dance.
ative process. Now is the time to open the pages, gather your tools, and
This book is about getting your hands moving and getting begin to explore, experiment, and enjoy the process of learn-
your head out of the way. By following a set of simple steps ing new. Go forward artfully.
that are not restrictive, without ties to any particular out-
come, you will teach yourself what works best for you, and
what doesn’t work for you at all. Most importantly, you will

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 Overview COLLAGE LAB IS STRUCTURED to encourage the building of a visual
vocabulary by working through the fifty-two labs comprising the twelve units. Each
lab can be experienced on an independent basis. Once the basic vocabulary has been
learned, the ability to create a well-executed, cohesive, and interesting collage will
have been attained.
There are a few basics about using this book that will be helpful. First, each unit
contains four or five labs that are all structured in the same format. You will find the
following in each of the labs:
• Materials
• Instructions
• Play and Experiment
• Food for Thought
MATERIALS contains the supply list for completing the lab. INSTRUCTIONS are the
basic steps for working through a process. PLAY AND EXPERIMENT shows options
and variations to explore. Finally, FOOD FOR THOUGHT encourages evaluation of
the work just completed. It is a time to make note of things of interest, what worked,
what didn’t, personal preferences and materials used, and which results they yielded.
Write on the back of the work or on a separate page; make notes on anything that
will enable you to remember down the road what was learned from working through
these labs.

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 Seeing, doing, learning is the key to keeping the knowl-
edge and information that has been acquired along the way
through experience and will build a useful and very personal
reference guide for years to come.
Consider keeping a journal of your labs. As work pro-
gresses through the labs, place it in the journal to create
a personal reference volume. Include what works for you,
what doesn’t, notes about materials and methods, sources,
and literal examples of the work to refer back to. When
completed it will be as individual as the person creating it.
The use of a commercially available blank journal is fine,
or you can construct one to use for a more personal and Artist: Fred B. Mullett
unique reference book. When filing your labs, consider
filing in the order that they are presented in the book. enable you to move forward and create work that is filled
Although the labs are independent, they are laid out in a with texture, color, and meaning. Of course, you may very
beginning-to-end fashion that makes chronological sense well end up with results that you are thrilled with, and those
when viewed overall and might make it easier to refer back are the pieces you may choose to hang, frame, or share.
to in the future. Good luck and enjoy the process. Let me hear from you
The labs are independent of one another and do not need about what is working and what is not. Remember always: it
to be worked in any specific order. Pick and choose what is is not about the product, it’s about the dance.
appealing when time and inclination are available. Set aside
a few hours of uninterrupted time to really focus. Adding
new ideas and experimentation to the Play and Experiment
portion is heartily encouraged.
Lastly, but definitely not least, enjoy the experience. Do
not think of this as work; think of it as a creative challenge,
an expedition. It is with experimentation and focus that new
and innovative ideas spring. There are no mistakes, only
results. There are no judgments, just personal preferences.
No one is going to grade the work or critique it or even see
it unless you willingly ask anyone to, so don’t. This is for you
and your eyes only and meant not to be great works of art or
beautiful projects but rather the visual vocabulary that will

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 1
Building the

Foundation
IT DOESN’T MAKE SENSE to ice the cake before it is baked
or put the roof on a house until the sides are closed in. The same holds
true for collage work. Achieving depth is one of the major keys to a suc-
cessful collage. Even when the final product appears simplistic, build-
ing a rich and complex substrate on which the composition sits will
allow the focal pieces to command attention. The resulting visual com-
munication is basic and intriguing all at the same time. The dichotomy

UNIT
is what creates interest without hitting the viewer over the head.
This unit provides a quick overview and introduction to four basic
surfaces on which to build your collage: gesso, paper, imagery, and
washed substrates. They are by no means the only ways to start but are
a good representation of the fundamentals and will aid in expanding
your visual toolbox.
There is lots of room for exploration and experimentation, so feel
free to follow any path of curiosity that gets sparked . . . that’s what
this is all about.

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 Artist: Lynne Perrella

11

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 LAB
1 Basic
Gesso Surface
Materials

LEARNING OBJECTIVE: To become familiar with using gesso as a textural medium for creating
interest on the collage substrate.

• watercolor paper (inexpensive

140 lb. cold press) for substrate
• gesso
• small jar of acrylic craft paint
(light color)
• brush (at least 1" [2.5 cm]-wide)
• sponge (sea sponge and/or
household sponge)
• plastic wrap
• graining comb (or lid from plastic INSTRUCTIONS
container cut with pinking shears)
• corks, bottle caps, small scraps of STEP 1: Tint the gesso with craft paint to make it easier to see while you learn.
wood, rubber stamps or anything STEP 2: Lay a thick layer of gesso over the watercolor paper.
three-dimensional that can make an
STEP 3: Wait a minute or two for the gesso to set up and get a little tacky.
impression or mark in the gesso
STEP 4: Using the suggestions on page 13, create foundations of texture in various ways.
STEP 5: Allow to dry.

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 Play and Experiment
EXAMPLE 1: Lay down a layer of tinted gesso. When dry, lay down a 1 2 3

second layer tinted a different color and pull a graining comb through the
gesso to create textures and reveal substrate.
EXAMPLE 2: Pull a graining comb through gesso to create just textures.

EXAMPLE 3: Lay down a heavy layer of tinted gesso. On another

substrate, lay down another layer of tinted gesso of a different color. Put
both pieces of substrate together, then pull apart.
EXAMPLE 4: Sponge gesso onto substrate to create peaks and valleys.

EXAMPLE 5: Using masking tape, cover areas of the substrate, then apply
layer of gesso and let dry. Remove tape.
EXAMPLE 6: Print with carved stamp, rubber stamp, or household object
using gesso. Apply gesso to surface of carving, stamp, or object, using a
4 5 6
sponge for best results.
EXAMPLE 7: Lay down a layer of sponged, tinted gesso. Using a different
tinted gesso, sponge bold geometric shapes.
EXAMPLE 8: Lay down a layer of gesso and write in it with the wrong end
of a paintbrush to reveal substrate.
EXAMPLE 9: Press, swirl, and scrape with miscellaneous household
objects into gesso.

7 8 9
FOOD FOR THOUGHT
• How does the gesso change once dried?
• What happens when subsequent coats of gesso are applied to a dried
texture surface?
• What worked best?
• What was difficult?
• List ten other common household objects that could make
impressions.

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 LAB

2 Basic
Paper Surface
Materials

• watercolor paper (inexpensive LEARNING OBJECTIVE: To become familiar with the use of paper as a surface foundation.
140 lb. cold press)
• matte medium (matte or glossy)
• brush (at least 1" [2.5 cm]-wide)
• text-weight paper
• tissue paper
• construction paper
• cardstock
• newspaper
• magazines or catalogs
• scrap paper of any sort

INSTRUCTIONS
STEP 1: Prepare papers, using the Play and Experiment suggestions.

STEP 2: Apply papers to watercolor paper, using matte medium as an adhesive.

STEP 3: When completed, final coat surface with matte medium.

STEP 4: Create at least ten pieces of foundation texture.

STEP 5: Allow to dry.

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 Play and Experiment
ROW 1: Tear long and short strips of
paper the same width but different
lengths to use together. Make grids or
stripes or tear into small pieces and
scatter.
ROW 2: Lay down a thick layer of
1
matte medium and, while still damp,
apply tissue paper and bunch it up to
create wrinkles.
ROW 3: Cut or punch paper into
shapes for application. Use both the
positive and negative forms together
and separately.

FOOD FOR THOUGHT

2
• Take note of how different papers
take varied amounts of matte medium
to stay flat.
• How does glossy paper differ from
matte paper in resulting texture?
• Is thicker paper more difficult to work
with than thinner paper such as
tissue?
• Which papers are you most
comfortable with?
• Which papers were most difficult to
work with?
3
• Which papers surprised you with their
final appearance? Why?

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 LAB
3 Diffusing
Imagery
Materials

• watercolor paper (inexpensive LEARNING OBJECTIVE: To use imagery as a background by distorting and diffusing its impact.
140 lb. cold press)
• gesso
• matte medium
• 1" (2.5 cm)-wide flat synthetic
brushes
• vintage papers, copies or imagery
you wish to work with at least as
large as your watercolor paper
• small jars for mixing gesso wash
and rinsing brushes
• very-fine-grit wet and dry sandpaper

FOOD FOR THOUGHT

• Which kind of imagery was easiest to work with? • Does the effect of the glossy verses matte paper make a
• Did the copy bleed? If so, note which one(s). difference in the end result?

• Does black-and-white or color diffuse more readily? • What other kinds of imagery might work?

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 INSTRUCTIONS
STEP 1: Using matte medium, adhere imagery to watercolor paper. (See A.)

STEP 2: Mix a light wash of gesso and water (40/60) and brush over image. If paper
is glossy (such as a magazine or photo), you will have to sand it lightly first to allow
adhesion of the gesso. Let dry. (See B.)
STEP 3: Wash two or more times with light gesso wash until imagery is no longer
A
obvious and let dry. (See C.)

Play and Experiment

• Repeat steps 2 and 3, but spray
gesso instead of brushing (see
example at right).
• Use a color laser photocopy.
• Use a black-and-white laser
B
photocopy.
• Use an ink-jet copy.
• Use an image from a magazine.
• Use a real photograph.
• Use an old map.
• Use a page from an old book,
telephone book, or newspaper.

ŠThe samples to the right show the

diffusing process on a piece of antique
ledger paper.

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 LAB

4 Washes
Materials

• watercolor paper (inexpensive LEARNING OBJECTIVE: To become familiar with creating various washes and their effects.
140 lb. cold press)
• gesso
INSTRUCTIONS
• small, damp sponge
• flat synthetic brushes STEP 1: Using water and ink, make several different strength and color variation washes in jars.

• ink STEP 2: Repeat step 1 with water and acrylic paint.

• acrylic or craft paint STEP 3: Brush or spray various washes over prepared surfaces (such as those suggested in unit
1 lab 1: Basic Gesso Surface, page 13) or just over watercolor paper if preferred. The effects of
• several small jars with lids for
the washes will be more evident if your surface is already textured. Using commercially available
mixing washes
textured paper is an option for a quick and easy exercise. Paintable wallpaper from your local
• small spray bottle or craft mister home center comes in a variety of textures and designs and would be an excellent choice for this
• masking tape exercise.

FOOD FOR THOUGHT

• Which effects yielded most consistent
Play and Experiment
results? EXAMPLE 1: After wash has dried, add second layer of the same color in some but not all areas.
• Which do you prefer, ink or paint? Why? EXAMPLE 2: Apply layer of wash when dry, add second layer of different color in some but not
• Did mixing paint and ink add more interest all areas.
or make the piece muddy? EXAMPLE 3: After wash has dried, spray a second layer of different color over entire surface.
• Did lifting the ink work? EXAMPLE 4: Using a dampened sponge, lift areas of wash, taking advantage of the substrate
• Does paint lift? texture.
• Does ink lift more precisely when paint EXAMPLE 5: Apply a sprayed wash to dried wash surface with different color.
wash is applied first? EXAMPLE 6: Apply a sprayed wash to a dried wash surface and then “buff” with a soft rag.
• Did the paper buckle? What could be done EXAMPLE 7: Apply a sprayed wash to dried surface, using a deeper shade of the same color.
to prevent this in the future?
EXAMPLE 8: Apply a sprayed wash to dried surface with the same color.
EXAMPLE 9: Mix layers of ink and paint when applying; start with paint wash, let dry, and then
apply ink wash.

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 1 2 3

4 5 6

7 8 9

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 20
Texture
THERE ARE THOUSANDS of ways to enhance a collage with
texture. The following labs are meant as an introduction or a jumping-
off point. Rather than trying to control the outcome, allow the materi-
als and methods to direct the work. Liken the process to a child’s play-
ing with finger paints; feel the textures in the materials and the results
will follow.
The key to success here is not being afraid to fail. If failure is viewed
as an opportunity, then the goal to acquire knowledge has been
reached.
Be brave, be bold, try anything and everything.

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2
UNIT

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 Artist: Misty Mawn

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 LAB

5 Corrugated
Substrates
Materials

• two pieces of corrugated cardboard LEARNING OBJECTIVE: To incorporate textured recyclables as a background to create depth
box (approximately 12" x 16" and interest.
[30.5 x 40.6 cm])
• gesso
INSTRUCTIONS
• craft knife
• 1" (2.5 cm)-wide chip brush STEP 1: Tear the pieces of card board box into eight pieces that are roughly 6" x 8" (15.2 x
• stencil brush 20.3 cm).

• acrylic paint STEP 2: Try the following techniques for texture on the boards:

• simple stencil such as a circle • On two pieces, score strips into the top layer and then tear strips of the cardboard surface
or square away from the corrugated middle section along the length or width. (See A.)

• walnut or other dark ink • On two pieces, make circles to cut away a specific design, exposing the corrugated middle
section. (See B.)
• On two pieces, use various sharp or dull objects to poke holes and tear the cardboard
Book created using corrugated cardboard, surface, exposing the corrugated middle section. (See C.)
paint, and wax
• On two pieces, pull the cardboard surface partially away from the corrugated middle section
on about 50 percent of the surface. Tear freely without trying to control the direction. (See D.)
STEP 3: Apply gesso to four of your eight pieces and let dry.

A B C D

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 1 2 3 4

Play and Experiment

On all pieces, both with and without gesso, try the following:
EXAMPLE 1: Paint with full-strength paint in a dark color, then dry-brush to highlight top areas.

EXAMPLE 2: Paint with a wash of a dark color, then dry-brush to highlight top areas with same
color full strength.
EXAMPLE 3: Paint with full-strength light color. Let dry. Wash with a dark color.
EXAMPLE 4: Paint with full-strength light color and wash with dark ink.

Torn cardboard collage

FOOD FOR THOUGHT

• Compare the pieces with and without gesso.
• How does a dark highlight differ in effect from a light highlight?
• Would this technique work as a nonsubstrate element? How?
• What are ten ways to change the surface of the corrugated cardboard to create different effects?
• Was ample space left to continue the work?
• How can something be planned to give it meaning without having it appear contrived?

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 LAB
6 Organics
Materials

• sand LEARNING OBJECTIVE: To open the door to the possibilities of organic media from the kitchen
• dried and pressed plant material or garden.
(herbs work well)
• small whole grains
• feathers
• 1" (2.5 cm)-wide chip brush
• stencil brush
• matte medium
• gesso
• mat board or chipboard cut into
3" x 4" (7.6 x 10.2 cm) pieces
• acrylic paint

3-D collaged shadowbox created from

both paper and organic materials A B C

INSTRUCTIONS
STEP 1: Cover board with matte medium.

STEP 2: Sprinkle wet board with sand and shake to cover evenly to edges. (See A.)

STEP 3: Repeat with dried herbs and then with small whole grains. (See B and C.)
STEP 4: Allow to dry, then apply two or three coats of gesso.

STEP 5: Using dried and pressed plant material or feathers and matte medium, create boards
that have an allover effect and boards that have just one focal element, referring to examples
for ideas.

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 Play and Experiment

1 2 3

FOOD FOR THOUGHT

EXAMPLE 1: Apply two coats of dark acrylic paint. Highlight the organic material by
dry-brushing a light color on high points. • Which materials are you likely to use again? Why?
EXAMPLE 2: Try adding an organic texture to a collage in process rather than as a • Name ten other organic materials to experiment with.
substrate or background.
• Does gesso hamper or minimize the effect? Can this
EXAMPLE 3: Mix sand with matte medium in small, disposable container and trowel be helpful?
onto surface, forming peaks and valleys. Coat with paint, let dry, and dry-brush metallic
• Using matte medium allows the natural material to
paint over high points.
have more visual impact than just texture. Is this an
advantage or a disadvantage?

TEXTURE 25

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 LAB
7 Fabrics
Materials

LEARNING OBJECTIVE: To become familiar with the application of and uses for various
common fabrics for creating texture.

• burlap
A B
• linen
• muslin
• wool
• 1" (2.5 cm)-wide chip brush
• stencil brush
• heavy gel medium
• gesso
• mat board or chipboard cut into C D
3" x 4" (7.6 x 10.2 cm) pieces
• acrylic paint
• ink

INSTRUCTIONS
STEP 1: Tear and cut various fabrics into small application, working quickly as matte medium STEP 4: Apply fabric to board as a total
pieces for use on the 3" x 4" (7.6 x 10.2 cm) has a short open time. background, wrinkling fabric in some places
boards. STEP 3: Apply fabric to board as a total
but not others. (See C.)
STEP 2: Using gel medium, brush both sides background, keeping fabric flat. (See A and B.) STEP 5: Apply fabric to board as a focal point.
of the fabric and surface of the board for (See D.)

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 1 2

3 4

FOOD FOR THOUGHT

Play and Experiment • Compare a fabric background to a paper texture
EXAMPLE 1: Apply gesso to fabric background completely and wash with background. Does one have more merit than the
acrylic paint. other, or is it situation-dependent?

EXAMPLE 2: Apply gesso to fabric background in some areas but not others • Take a field trip to a fabric store and get inspired.
and wash with ink. • Think of five other ways to use fabric in a collage.
EXAMPLE 3: Wash fabric with ink wash only.

EXAMPLE 4: Coat fabric with dark acrylic paint and dry-brush light color over
raised portions only.

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 LAB
8 Paper
Materials

• cardstock • mat board or chipboard LEARNING OBJECTIVE:

• tissue paper cut into 3" x 4" (7.6 x To gain new perspectives
10.2 cm) pieces on the use of paper as a
• 1" (2.5 cm)-wide chip substrate, a background or
brush • acrylic paint
focal point, and for texture.
• stencil brush • craft punches

• matte medium • scissors

• gesso • craft knife

Various textures with gesso and ink wash

Image diffused with tissue

paper, then drawn over with
pen and tinted

FOOD FOR THOUGHT

• Make a list of all the papers used in this lab. Sort them in order of
preference during this experience. Think about why.
• Look around your work space and find ten more types of paper to try in
the future.
• Did any of the papers bleed?
• What papers would you never use again? Why?
• What attributes will you look for when choosing papers to work with in
the future?

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 Play and Experiment
STEP 1: Apply paper to board as a border.

STEP 2: Apply paper to board as an all-over

background.
STEP 3: Apply paper to board as a raised
surface to work on. 1 2

STEP 4: Apply tissue paper to board as a

total background, wrinkling it up as you go.
STEP 5: Apply gesso to paper background,
let dry, then wash with ink.
STEP 6: Paint surface with dark acrylic paint
and dry-brush with light color.
STEP 7: Wash surface with ink only, no
gesso fi rst.
3 4
STEP 8: Apply gesso to surface and wash
with acrylic paint.

5 6

7 8

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 30
Gesso
GESSO IS ONE of the most versatile mediums available. It can be
used to seal a porous substrate, and it can give you a workable surface
where one didn’t exist. It can provide texture, color, diffusion, oblit-
eration, cohesiveness, relief layers, and even adhesion.
This is but a short walk into the attributes of gesso. I reach for gesso
at least once a day. It’s a staple in the studio just as much as milk is in
the refrigerator.
Learn its uses, play with it at every opportunity, and sing its praises,
for where would we be without it?

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 LAB
9 Building
Layers
Materials

LEARNING OBJECTIVE: To experiment with gesso in building layers and adding dimension
to two-dimensional works.

Background substrate of wrinkled tissue and gesso, ink wash. Frog punched
from watercolored paper with trowled gesso and paint wash.

• gesso
• 1" (2.5 cm)-wide chip brush
• old credit card
• stencil or piece of cardstock and
craft punch
• mat board or chipboard cut into
3" x 4" (7.6 x 10.2 cm) pieces
• acrylic paint
• freezer paper

FOOD FOR THOUGHT

• List ten specific ideas for using gesso in a
collage.
• List ten alternative tools for working with the
gesso to create texture.
• What other mediums could you use in a
similar way?

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 INSTRUCTIONS
STEP 1: Apply layer of gesso to all of the boards in different ways as STEP 3: Create a stencil (or use an available one) using a piece of
suggested below. cardstock and a craft punch. A circle or square will work just fine. Once
STEP 2: Spoon gesso into freezer paper. Using credit card, trowel the stencil is made, lay it on top of board and apply gesso through
gesso onto surface of a board, leaving lines and marks much in the opening again by using the credit card to trowel the gesso through the
same manner that stucco or plaster is applied. (See A.) opening. Let set up a few minutes before removing the stencil. (See
B and C.)

A B C

Play and Experiment

Using examples from the Instructions,
apply coat of acrylic paint. Wash with ink
or acrylic paint of different color to “pop”
texture. (See D, E, and F.)

D E F

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 10 Tints Color
LAB
Adding and
Materials

• gesso LEARNING OBJECTIVE: To explore methods for tinting gesso using ink and chalk.

• acrylic paint
• ink
• tube watercolor
• 1" (2.5 cm)-wide chip brush
• palette knife or tongue depressor
• small containers for mixing (clear
works better, but anything will do)
• clean water
• mat board or chipboard cut into
3" x 4" (7.6 x 10.2 cm) pieces
• pencil or pen that will mark on the
board clearly

FOOD FOR THOUGHT

• How much colorant does it take to make a
Play and Experiment
strongly tinted gesso? • Try combining paint and ink mixtures.
• Is it better to add gesso to colorant or • Try combining paint and pastel mixtures.
colorant to gesso? Why?
• Apply one color and type; let dry. Now apply second coat over top with different color and
allow some of original to come through or scrape away part of second coat.

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 75% 75% EQUAL PARTS 75% EQUAL PARTS
EQUAL PARTS

STRAIGHT
50% 50% NO GESSO 50%
STRAIGHT
STRAIGHT
NO GESSO
NO GESSO

TUBE
WATER CRAFT
COLOR ACRYLIC
PAINT PAINT INK

25% 25% 25%

INSTRUCTIONS
STEP 1: Spoon small amount of gesso into mixing container. STEP 5: Repeat a fourth time. (See example equal parts.)

STEP 2: Starting with the first container, add a little watercolor paint STEP 6: Put a sample of straight paint for comparison on the board.
and mix thoroughly. Brush a little of the mixture onto the board, making a (See example straight no gesso.)
“sample.” Mark the sample with ratio of gesso to paint. (See example 25%.) STEP 7: Begin a new board. This time, repeat above process,
STEP 3: Add more paint and mix again. Repeat sample and make using acrylic paint in place of watercolor paint.
notation. (See example 50%.) STEP 8: Begin a new board. This time, repeat above process,
STEP 4: Repeat a third time. (See example 75%.) using inks.

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 11
LAB
Sanding Back
Materials

• gesso LEARNING OBJECTIVE: To explore methods for deconstructing images

• mat board or chipboard cut into 3" x 4" using gesso and sandpaper as primary medium.
(7.6 x 10.2 cm) pieces
• 1" (2.5 cm)-wide chip brush
• lightweight dry and wet sandpaper
• images (copies, black-and-white or color,
magazine clippings, etc.)
• matte medium

FOOD FOR THOUGHT

• Does this method work well for a piece in process? Why or
why not? When would it and when wouldn’t it?
• Which works better, dry or wet sanding? Why?
• List ten types of images to try again with in the future.
• List five other mediums to use in place of gesso for this
method.

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 INSTRUCTIONS
STEP 1: Prepare boards: Cut to fit and adhere an
image or copy (or use a collage already in process) to
boards, using matte medium. Allow to dry.
STEP 2: Coat boards with gesso to varying degrees.
All boards should have imagery showing through to A
some extent—some more, some less. (See A, B,
and C.)
STEP 3: Once dry, choose a board and begin to sand
back the gesso to reveal the imagery underneath.
STEP 4: Repeat until all boards have been sanded.

STEP 5: Make sure to try both dry and wet sandpaper

and mark the boards accordingly.

Play and Experiment B

EXAMPLE 1: Cover just a portion of the entire board

to create “mystery” area or a place where you could
add another image or text.
EXAMPLE 2: Sand back selected areas to focus on
the image and blur just the background.
EXAMPLE 3: Try coating an image completely with
a gesso wash so that it is mostly obliterated and then
sand it back to create age and wear.

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 12 Overprinting
LAB
Materials

• gesso LEARNING OBJECTIVE: To discover diverse ways of using tinted gesso for overprinting.
• household sponge cut into
small pieces
• mat board cut into 3" x 4"
(7.6 x 10.2 cm) pieces
• images (copies, black-and-white
or color, magazine clippings, etc.)
• matte medium
• chip brush
• things to print with (stamps,
household objects, etc.)
• clean water

INSTRUCTIONS
STEP 1: Cut boards to fit and adhere an image or copy (or use a collage already in process
that has hit the scrap pile) to boards using matte medium. Allow to dry.
STEP 2: Apply gesso to printing surface, referring to examples for guidance and ideas.

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 1 2

3 4

FOOD FOR THOUGHT

Play and Experiment • How does the printed image or word accentuate the
EXAMPLE 1: Sponge tinted gesso in contrasting color over edges of work. underlying imagery?
EXAMPLE 2: Use a combination of sponging and printing with a rubber stamp. • List ten items visually available at this moment that
could be used to print with.
EXAMPLE 3: Apply a wash of tinted gesso over a small piece of the imagery to set
it apart. • Pull out previous work and think about how using
overprinting could have enhanced the piece. Make
EXAMPLE 4: Create a light wash of tinted gesso and diffuse entire image to push
notes and try it again.
it back.

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 40
Color
AT SOME POINT DURING our education we have all
been introduced to color theory, but a little review and color
calisthenics once in awhile never hurts anyone.
The following labs should be viewed as a reintroduction to
the basics. Starting with a basic color wheel to create a common
ground for the exploration to continue, the labs will move on to
more specific areas of the effects of color.
Color is one of the major contributors in a collage. It can set
the mood, create an impact, relax the viewer, or excite the viewer.
Color choices are based on many concepts but largely chosen
to specifically communicate an idea or thought from creator to
viewer. Consider this exploration into the wonderful world of
color a step back into the past and forward into the work.

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 13 Theory
LAB
Basic
Materials

• one piece of inexpensive watercolor LEARNING OBJECTIVE: To become familiar with or revisit the
paper 7" x 7" (17.8 x 17.8 cm) basics of color theory and how color affects the work, and to
• one piece of inexpensive watercolor create a color wheel and color chips to build the visual toolbox.
paper cut into twelve 3" x 4"
(7.6 x 10.2 cm) rectangles
• red, blue, and yellow acrylic or INSTRUCTIONS
watercolor paint
STEP 1: Using the compass, draw a circle on the piece of
• small paintbrush watercolor paper.
• clean water STEP 2: Find the center and carefully divide the circle into
• pencil quarters, using the ruler.
• compass STEP 3: Divide the quarters again using the protractor so that
the circle contains twelve “slices” in total. Think of the twelve
• protractor
sections as if they were hours on a clock and paint as follows:
• ruler From twelve to one paint yellow. From four to five paint red. From
eight to nine paint blue. These are your primary colors.
STEP 4: Begin to mix the secondary colors (colors formed by
mixing two primary colors). They will be green (equal parts yellow
and blue), orange (equal parts yellow and red), and violet (equal
parts blue and red). Paint as follows: Green is painted from ten to
eleven, orange is painted from two to three, and violet is painted
from six to seven.
STEP 5: Begin to mix the tertiary colors (colors formed by mixing
a primary color with a secondary color). Mix equal parts of the
two colors and paint as follows: Red and orange to make red-
orange and paint from three to four. Yellow and orange to make
yellow-orange and paint from one to two. Red and violet to make
red-violet and paint from five to six. Violet and blue to make blue-
violet and paint from seven to eight. Blue and green to make
blue-green and paint from nine to ten. Green and yellow to make
green-yellow and paint from eleven to twelve.

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 FOOD FOR THOUGHT
Play and Experiment • Compare the color chips and the effect of the surrounding colors.
• Using the 3" x 4" (7.6 x 10.2 cm) pieces, begin to explore the color Take note of which combinations push the focus color back and
relationships by first drawing small squares in the center of your which ones make it pop.
piece. Paint four of the squares blue. • Think about ways to use this in your work.
• Paint the surrounding area of each one as follows: one with black,
one with white, and the two with the other two primary colors. (See
examples above.)
• Repeat with yellow.
• Repeat with red.

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 14 Impact
LAB
Emotional
Materials

• inexpensive watercolor paper LEARNING OBJECTIVE: To explore the effects of color on emotional senses.
(140 lb. cold press or anything
available)
• magazines with colorful photos
• small paintbrush
Play and Experiment
• clean water • With the hot color wheel in visual range, write a list of words that come to mind for at least
• compass three minutes. Don’t think too much, don’t force it, just feel it and write it.

• protractor • Repeat with the cool color wheel.

• pencil
• ruler
Here, both photos show the same basic imagery, but the backgrounds on
• glue stick which they sit clearly state a different message. On the left, the background
uses a complementary color that calms down the hot colors of the drinks
and makes the viewer feel enticed by its refreshing qualities. In contrast, the
photo on the right uses the same colors in the background to excite the
viewer and send a completely different message.

FOOD FOR THOUGHT

• Examine the word lists generated by the
automatic writing and compare it to the
notes taken while the wheels were being
created.
• Identify the emotions connected to the
colors and make notes on your wheels
for future reference.

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 INSTRUCTIONS
STEP 1: Cull through magazines and pull out photos with
hot colors. Don’t think too much—just tear and make a pile.
STEP 2: Using the template (see left), cut out pie
shapes of color. They do not have to be solid color, just
predominately the colors you are looking for.
STEP 3: Create a color wheel using only hot colors
(yellows, oranges, and reds) out of your pie shapes.
STEP 4: While you are working on the color wheel, make
notes about how you are feeling as you are working with
the colors.
STEP 5: Repeat and make a cool color wheel (blues,
greens, and violets).

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 15 Palette
LAB
The Personal
Materials

• inexpensive watercolor paper LEARNING OBJECTIVE: To find personal preferences in color while working.
(140 lb. cold press or anything
available)
• magazines with colorful photos
• scissors
• glue stick
• pencil

FOOD FOR THOUGHT

• Identify the colors you are most comfortable
working with.
• Identify those colors that you tend to avoid.
• Give thought to your favorite colors and
create your “dream palette.” Make notes on
why you lean towards those colors.
• Give thought to the colors you shy away
from and make notes on why you avoid
them and why you shouldn’t.
• What was the single most important thing
you learned about your color choices?

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 INSTRUCTIONS
STEP 1: Cull through the
magazines and tear out photos
with colors that appeal to you. Do
not think hard about choices; if
you like the color, tear it out and
make a pile.
STEP 2: Make a pile of
watercolor paper rectangles for
the base of the color chips.
STEP 3: Using the glue stick,
glue the chip bases to the backs
of the photos and trim.
STEP 4: Punch holes at the top
(you can even add eyelets to aid
in longevity) and keep the color
chips handy for inspiration.
STEP 5: Do this exercise
now and again and add to the
grouping.

Play and Experiment

• Create a list of the colors regularly used in your work. • Create a list of the colors used to decorate the personal spaces in
• Compare with the completed color chips. home, office, and studio.

• Create a list of the colors that draw your eye in the work of others. • Identify the six colors that come up most frequently on these lists.

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 16 Shadow Light
LAB
and
Materials

• inexpensive watercolor paper LEARNING OBJECTIVE: To practice scales and reinforce value and hue definitions, and to help
(140 lb. cold press or anything the artist understand the nature of value concerning color by removing the hue and working only
available) with the value.
• black acrylic paint
• white acrylic paint
• one primary color of acrylic paint
• small paintbrush
• clean water
• pencil
• compass
• ruler

INSTRUCTIONS
STEP 1: Create a value bar as follows: STEP 7: Divide remaining gray mix into two parts.

STEP 2: Draw a 7" (17.8 cm)-wide x 2" (5.1 cm)-tall rectangle on the STEP 8: On the white side, mix equal parts of gray mix and white,
watercolor paper. and paint in segment directly to the left of the gray mix in center.
STEP 3: Divide the rectangle into seven equal segments. STEP 9: Using gray-white mix, add equal parts white to lighten once
more and paint in last open segment on left.
STEP 4: Paint the rectangle on the far right black.
STEP 10: Repeat steps for black side of value bar.
STEP 5: Paint the rectangle on the far left white.
STEP 6: Mix equal parts of black and white and paint the middle
segment the resulting gray.

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 FOOD FOR THOUGHT
Play and Experiment • What values are dulled by white? Black?
• Choose a primary color and create a hue bar with primary and white, and then • What values are pumped up by white? Black?
repeat one with primary color and black.
• Think about how changing the value of a color impacts
• Choose a secondary color and create a hue bar with secondary and white, and then the viewer and the concept the work is trying to
repeat with secondary color and black. convey.
• Choose a tertiary color and create a hue bar with tertiary and white, and then repeat • How does changing the value of a hue affect
with tertiary color and black. communication?
• Draw a simple image such as an apple or a pear and use only black and white and
shades of gray to paint in only the values of what the eye sees.

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 5
Surface

Design
SURFACE DESIGN introduces depth and character to work by
using a wide range of techniques: printing, patterns, stencils, masks,
stamps, and more. One of the most important aspects of surface
design is that it offers ways to make your designs more personal.
Whether you are carving images, creating stencils or masks, or mark
making, you are putting yourself immediately but not obviously into
the work.

UNIT

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 17 Images
LAB
Carving Personal
Materials

• Mars Carving Block (or similar LEARNING OBJECTIVE: To become comfortable with creating personal images and patterns
product) from readily available sources.
• lino tools and sharp craft knife
for cutting into carving block
• tracing paper
• pencil
• fabric, wrapping paper, or image
to work from
• water-soluble printing inks,
commercial ink pads, or acrylic
paints
• soft brayer (if using printing inks or
acrylic paint, for ease of application)

FOOD FOR THOUGHT

• Do bolder patterns work better than more intricate patterns?
• How does ink differ from paint in the result?
• How does printing ink and ink from an ink pad differ in result?
• Do you have to wait for layers to dry before overprinting?
• Which media was most comfortable to work with?

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 Play and Experiment
• Print repeat patterns. Try as many variations as the particular block will allow. Samples 1 and 2
show the same stamp printed two ways.
• Overprint with different colors. Sample 3 shows the same stamp background with a different
stamp overprinting with white.

INSTRUCTIONS
STEP 1: Working directly from fabric, paper, or image, trace portions of the design that are
appealing. Make effort to not copy directly but to interpret the image.
STEP 2: Turn tracing paper pencil side down onto surface of carving block and burnish with
thumbnail or bowl of spoon.
STEP 3: Carve away areas that are not to be printed, leaving printed area raised. (Hint: Place
carving block on piece of tracing paper to allow for easier movement while carving. Move the
block more than you move the cutting tool.)
STEP 4: Rinse with water and blot dry.

STEP 5: Once the block is complete, use it to print with. Start with one basic print at a time
2
and get comfortable with loading the chosen media onto the block.

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 18 Stencils
LAB
Masks and
Materials

• oak tag (manila file folder or LEARNING OBJECTIVE: To explore positive and negative shapes, using masks and stencils.
cardstock)
• cutting surface and craft knife
• old magazines or images for
cutting shapes
• ruler
• pencil
• glue stick
• stencil brush
• acrylic paint
• substrate of choice (watercolor
paper, cardstock, mat board,
etc.) with or without background
completed

FOOD FOR THOUGHT

• List ten ways to use a mask or stencil.
• Make a list of shapes and form “basics” to
use in your work to build a supply of stencils
and masks.
• Which lends itself better to creating a positive
space? Why?
• Consider other materials to use as a ready-
made stencil and make a list (e.g., sequin
waste and cardboard alphabet and number
stencils).

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 INSTRUCTIONS
STEP 1: Choose an image or shape to work
with from magazine or image stash. Cut it out
and glue to oak tag or cardstock. (See A.)
STEP 2: Using a craft knife, carefully cut out
the shape around all edges. (See B.) Pop
the shape out of the larger form. The shape
removed is the mask and the larger form
is the stencil. Both positive and negative
spaces have been created for use.
STEP 3: Noting the important detail on the
image of the mask, cut shapes to define
important areas of detail. (See C.)

A B C

Play and Experiment

• Load the stencil brush with very little
paint making sure to wipe off any excess
paint. This is referred to as a dry-brush
technique.
• Using the stencil, create a shape.
• Using the mask, create shadows around
the stenciled shape.
• Use the stencil on an old piece of work to
add a new detail.
• Use only part of the stencil on a piece.
• Once initial stenciling is completed, digitize
the piece and play with different filters to
see how the image changes.

Collage sample using stencil and mask Digital version of collage using stencil and mask

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 19 Stamping
LAB
and Mark Making
Materials

LEARNING OBJECTIVE: To experiment with the results of commercially available tools

for mark making and stamping.

• commercially available sponges,

brayers, and stamps (items from
the children’s art section at your
craft store work well)
• acrylic paint
• text-weight paper
• water for rinsing

FOOD FOR THOUGHT INSTRUCTIONS

• Did favorite tools keep appealing to you? Why? STEP 1: Create a wash of several different colors of acrylic paint and coat five to ten pieces of
• How much effect on the outcome did the paper with each color. Let dry.
colors have versus the results of the tools? STEP 2: Using waxed paper or some kind of palette, spread acrylic paint out in small sections
• Think about what is available in your home to enable the tools to run through or be loaded evenly.
that you could work with. Make a list and go STEP 3: Begin to play with the tools in a random fashion and just make designs.
find them!
STEP 4: Don’t stress; just play.

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 Play and Experiment
• Try different color combinations using the
same tools and patterns.
• Make different patterns with the same tool.
How many ways can it work?
• Take a trip to the hardware store, the
paint store, and the art supply store . . .
investigate what else is out there for use
and create a wish list.

Book covers made from stamped papers

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 20 Tools
LAB
Making Personal
Materials

• old plastic lids (such as a LEARNING OBJECTIVE:

margarine lid) To discover what tools are
• wooden blocks close at hand and how
they will work.
• packaging foam
• rug slip mats
• old place mats
• corks
• toothbrush
• plastic wrap
• string
• acrylic paint
• text-weight paper and/or
cardstock

INSTRUCTIONS
STEP 1: Cut plastic lids in half and make a decorative edge. (See example above.)

STEP 2: Crumple up plastic wrap into small ball.

STEP 3: Cut pieces of place mat, packing foam, and rug mat and adhere to wooden blocks to
make stamps (blocks shown on page 59).
STEP 4: Lay out acrylic paints in a variety of colors on a palette to dip the tools into.

STEP 5: Begin to play and print, making repeating patterns on the papers.

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 Play and Experiment
• Don’t let paint dry before adding another
layer, to allow them to mix.
• Water down some of the paint to make it
flow more.
• Spatter with the toothbrush by running
thumb over the top of it when loaded
with paint.

FOOD FOR THOUGHT

• Which tools were most effective? Why?
• Which tools were the most fun to use?
Why?
• List ten other items you can think of to
gather and play with next time.

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 21 Glazing
LAB
Materials

• matte medium LEARNING OBJECTIVE: To become

• acrylic paint (brown and white) familiar with the basics of glaze and how it
can change the surface appearance.
• ink
• substrate with finished work or
background texture 1

• graining combs, sponges, rollers,

and things to stamp with into
the glaze

INSTRUCTIONS
Prepare the substrate by applying a thin
sealer coat of matte medium. Let dry.
Repeat.
STEP 1: To make a glaze, mix brown paint 2
and matte medium in 40/60 proportions.
Cover surface and then wipe.
STEP 2: Repeat, using a wash of white
acrylic paint mixed with water in 40/60
proportions. Do not wipe.
STEP 3: Mix ink (choosing a color already
present in the piece) with matte medium,
using the same ratio as with the brown paint.
Coat surface of a third piece and wipe back.

Collage house with glazed surface

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 Play and Experiment
• Try a piece without wiping back the glaze but in place of that, pull • Have a piece of work in the discard pile that the colors are just not
surface design tools through the glaze. working in? Pull it out, make an ink glaze using one of the colors in the
piece, and glaze it.

FOOD FOR THOUGHT

• How do different glazes/patterns change the same piece? • Are bold patterns more or less effective in a glaze?
• Does glazing with a color from your collage unify the piece more • How do progressive coats of sealer affect the glaze surface?
effectively than using, say, a white or brown glaze? What are the
differences?

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 62
Line and Form
PAUL KLEE ONCE SAID that drawing is like “taking a line for
a walk.” Lines and forms can be used together and separately to create
artistic compositions. These exercises will help explore these concepts
and how they can be used to enrich your work.

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 Artist: Laura Kinney

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 22 Geometry
LAB
Basic
Materials

• imagery to work with (choose four LEARNING OBJECTIVE: To explore the basics of form and shape and how they affect
or five related images in different composition.
sizes)
• pencil
• watercolor paper
• ruler Play and Experiment
• compass
• colored cardstock • Create a series of geometric shapes and assemble them into a composition.

• glue stick • Try the composition in two different ways.

• Compare the results.

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 INSTRUCTIONS
STEP 1: Reduce each of your image shapes to their
basic geometry.
STEP 2: Play with the arrangements of the geometric
shapes on the background until the arrangement is
pleasing to the eye.
STEP 3: Complete the collage using real imagery.

FOOD FOR THOUGHT

• Which combinations have the most visual impact?
• What sinks into the background?
• What comes to the foreground?

2 3

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 23 Line Walk
LAB
Take a for a
Materials

• black roller ball or felt-tip pen LEARNING OBJECTIVE: To become more comfortable with using pens and pencils as a way to

• white paper (copy paper will communicate in your work through continued practice.
work just fine)
• a timer
INSTRUCTIONS
• something to draw
STEP 1: Choose something to draw. It shouldn’t be too simple. Choose a landscape or still life or
human form or a pet. Feel free to work from a photo.
STEP 2: Set the timer for fifteen minutes and start drawing your subject.

STEP 3: Start by defining the overall look or content of your subject. Work large in broad
movements to capture the form and shape of your subject. (See A.)
STEP 4: Spend the next five minutes moving closer to the detail by shading the darker areas with
lines and making the lighter areas stand out. (See B.)
STEP 5: Spend the final five minutes adding detail. (See C.)

STEP 6: Put your pen down when the timer rings.

Artist: Lowell Shay

A B C

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 Play and Experiment
• Draw the same subject every day for
a week.
• Draw the same subject twice, the
second time without lifting your pen.
• Draw the subject without looking down
at your paper.
• Draw with pencil.
• Draw with pastel or charcoal.

Artist’s self portrait at 16 from photo

FOOD FOR THOUGHT

• Did your drawings improve when
drawn repeatedly?
• How did different drawing tools affect
the outcome?
• Which did you prefer?

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 24 Nature
LAB
Found in
Materials

• photograph or image to work from LEARNING OBJECTIVE: To find inspiration in objects in the environment and everyday life.

• text-weight paper
• pencil
• copy machine (useful but not INSTRUCTIONS
necessary)
• decorated paper (your own or STEP 1: Using a pencil, lightly outline (or trace) on text-weight paper the basic form and details
commercial scrapbooking paper) of your image. (See A.)

• glue stick STEP 2: Using this line drawing as a template, cut or tear out just the overall shape of your
subject to form the background. (See B.)
STEP 3: Using the basic forms from your line drawing, continue to cut or tear out the “details”
from different papers to complete the shape. (See C.)
STEP 4: Make copies of the resulting image in different sizes to play with. (See D, opposite
page.) Use a transparency if you want to reverse the image.

A B C

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 FOOD FOR THOUGHT
• How does removing color from the work
change its appearance?
• Is there a preference for cut or torn edges?
Why?
• Which is harder, working from real life or
working from a photograph without tracing?
D

Play and Experiment

• Us e the resulting image in a collage.
• Using the same method, create a landscape or
seascape.
• Us ing a photograph, create a portrait with this method.
• Get brave and try a portrait from a real model.
• M ake sure to try cutting and tearing your edges.

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 25 Connecting
LAB
the Dots
Materials

• assorted papers LEARNING OBJECTIVE: To find balance and connectivity in composition by connecting the
• watercolor paper or prepared shapes and forms.
substrate of choice
• imagery
• pencils and/or pens Play and Experiment
• glue stick
• Take a piece from the scrap pile and start over, using the instructions to find ways to improve it.
• scissors or craft knife
• Make a black-and-white copy of a piece. Work the pieces at the same time but add no color to
the black-and-white piece, just the line or forms that are added should be the same. Compare
the two to review how the color enhances or distracts from the work.

FOOD FOR THOUGHT

• Set the pairs of collages together where
you can see them for a few days. Be sure
it is someplace where you will walk by them
several times a day.
• What stands out the most?
• What works? What doesn’t?
• Does the mark making and drawing pull the
forms together or push them away from one
another?
• What are the most useful and interesting
observations made?

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 INSTRUCTIONS
STEP 1: Prepare a simple collage and color STEP 2: Turn one of the two upside down. STEP 3: Change the orientation of the piece.
copy it several times. Also make one black- Using mark making or drawing, work through Using mark making or drawing, work through
and-white copy. (See A.) each of the compositions separately, uniting each of the compositions separately, uniting
the forms and imagery. (See B.) the forms and imagery. (See C.)

A B

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 72
Papers
PAPER PLAYS ONE of the most important roles in a collage. It’s
the sugar in the cake or the tea in the hot water. Paper can contribute
to many aspects of a collage. It can create a textured background, or be
painted, stamped, printed, and completely morphed into something
it wasn’t to add richness and depth of form and color. It can be just a
spot of color in the right place, or it can be the key element or focal
point of your work.

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 Artist: Jen Goff

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 26 Traditional
LAB
Materials

• small notebook or journal and pen LEARNING OBJECTIVE: To take a look at the work of traditional collage artists and use them as
• books on collage and collage artists inspiration for new works.
(either from your own collection or
the library; try to choose from artists
that you are both familiar with and
unfamiliar with)
• copier, scanner, or camera to take
photos for your notes

INSTRUCTIONS
STEP 1: Get comfortable, sit down, and
start paging through the books, taking
special notice of what types of papers
different artists use and how they use them.
STEP 2: If you can, make copies, scan,
or photograph (keeping in mind this is for
personal use only) those works that have
used papers in interesting ways.
STEP 3: Note the kind of papers you see
and how they are used.
STEP 4: Note what you might use a
particular paper for that you hadn’t thought
of before.
STEP 5: Note what papers are used
most often.

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 Play and Experiment
• Find some of the papers that you have
discovered in your research and try
working with them.
• Using the old method of “copying the
masters,” copy a finished piece as best
you can.
• Using the style of someone’s work that
appeals to you, create your own collage
in their style.

Author’s work emulating Fred Otnes

FOOD FOR THOUGHT

• Are there papers that you found were
used by many artists many times?
• What was it about the papers they chose
and how they chose them that appealed
to you?
• Was copying someone’s finished work
without step-by-step instructions harder
or easier than you thought?
• How difficult is it to copy someone’s style
but find yourself in the work and make it
your own? How did you accomplish this?

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 27 Handmade
LAB

LEARNING OBJECTIVE: To investigate handmade papers.

Materials

• papermaking kit, which should include a deckle,

mold, and pulp material as well as instructions
or
• Plan a field trip to a paper store and purchase at
least five different sheets of handmade paper.

FOOD FOR THOUGHT

• Which papers would you choose to work with again? Why?
• What attributes would you look for when shopping for
papers now?
• What were your favorite and least favorite papers, and why?
• Which papers took surface design or printing well? INSTRUCTIONS
• Think about keeping a journal with samples of your favorites
and notes on how you made them. STEP 1: If the option to make paper was chosen, follow the kit instructions and
make paper.

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 Play and Experiment
If you purchased your paper, try the
following hand-embellishing techniques:
EXAMPLE 1: Stamp with acrylic and
let dry. Stamp again with ink.
EXAMPLE 2: Paint surface with acrylic
paint, let dry, then coat with ink. Pull
1 2 3
brush through wet ink and remove in
some areas.
EXAMPLE 3: Spray surface with both
paint and ink.
EXAMPLE 4: Spray and spatter
surface with both paint and ink.
EXAMPLE 5: Stamp with two different
colors of ink.
EXAMPLE 6: Spatter with ink.

EXAMPLE 7: Spatter with paint and let

dry. Stamp with ink and then mist lightly
with water when almost dry. 4 5 6

EXAMPLE 8: Stamp with acrylic paint

and while still wet, stamp with ink.
EXAMPLE 9: Stamp with acrylic paint
and while still wet, stamp with ink, then
mist lightly with water when almost dry.

7 8 9

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 28 Commercial
LAB
Materials

• scrapbooking paper, wrapping LEARNING OBJECTIVE: To explore ways to make commercially produced paper more
paper, or even magazine imagery personal.
• a copy machine that reduces and
enlarges (this may require a field trip)
INSTRUCTIONS
• inks
• acrylic paints STEP 1: Make black-and-white copies from your chosen papers, enlarging and reducing.
• chip brush STEP 2: Bring them back to your work space and continue to make experimental compositions.

FOOD FOR THOUGHT

• How have your choices changed over the
course of three or four times of doing this
exercise?
• Do you have colors that you always gravitate
toward? If yes, why?
• Is it harder to see things you don’t like or
things you do when searching?

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 Play and Experiment
• Using ink and acrylic paint washes, color the copies you’ve made
to create paper.
• Relate color choices to papers of same pattern but different sizes
to use together.
• Try inverting the copy to produce a negative version of the print
before colorizing.

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 29 Reclaimed
LAB
Materials

• found papers (magazines, junk mail, LEARNING OBJECTIVE: To become more aware of the paper resources in our everyday lives.
fliers, worn and weathered scraps
found on the ground)
• inks
• acrylic paints
• gesso
• pencil
• watercolor paper or substrates
of choice
• craft knife and cutting surface
• glue stick and/or matte medium

Journal made from recycled book and papers; used

to keep samples and notes about found and recycled
papers of interest

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 INSTRUCTIONS
STEP 1: Collect ten different types of paper from your household. STEP 5: Cut or tear at least ten small rectangles from each piece to

STEP 2: Collect scrap paper from your studio or work space.

work with.
STEP 6: Create a journal of samples of different papers and jot down
STEP 3: Take a walk through your town or neighborhood shopping
area and collect free paper (fliers, newsletters, etc.). notes about what appeals to you, where you found it, and methods
that should be tried using it.
STEP 4: Choose several different papers from your stash.

Play and Experiment

• Use your swaps to create a collage.
• Try using the same paper several different
ways, and compare results.

FOOD FOR THOUGHT

• How has your awareness of readily available
paper changed?
• What types of papers draw the eye?
• Do images or print capture your attention
first?
• Where did you find a paper resource where
you least expected it?
• What paper surprised you the most, and
why?

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 30 Specialty
LAB
Materials

• tissue paper (white and several LEARNING OBJECTIVE: To explore how specialty papers can enhance the work.
colors)
• lace paper (available in fine art
supply stores)
• matte medium
• watercolor paper or substrate
of choice, previous collage work
or image to work over
• chip brush

FOOD FOR THOUGHT

• Does the amount of matte medium affect
how much the specialty paper “melts”?
• How does color in the tissue change the
effect?
• What happens when you layer two or more
pieces of tissue over one another? How
can that work to your advantage?
• How can that work to your disadvantage? Two common and fun specialty papers are tissue and lace. Both melt when used with matte
• What other types of thin paper could be medium, so they lend an air of transparency while building layers. It’s a wonderful combination.
used in the same manner? Tissue needs to be tested as many of the less expensive tissues will bleed color. This could
actually be used to an advantage, but best to test first to be sure it’s what you want. Lace paper is
a little more difficult to find, but most fine art supply stores carry several affordable varieties.

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 INSTRUCTIONS
STEP 1: Coat the background of your substrate
A B C with a light coat of matte medium.
STEP 2: Tear a piece of colored tissue large
enough to cover the work completely and lay
down over piece.
STEP 3: Coat with a light coat of matte medium
to blend tissue onto image. (See A.)
STEP 4: Tear small pieces of a lighter color of
tissue and lay over wetted area and apply another
thin coat of matte medium over the top, smoothing
down and effectively “melting” the tissue over the
previous color. (See B.)
STEP 5: Repeat step 4 with a third color. Let dry.
(See C.)

Play and Experiment

• Cover entire piece with color, then select part of
image to add more color to creating focus. (See 1 2 3
example 1.)
• Use just lace paper over the image the same
way tissue was applied. (See example 2.)
• Try using both lace and tissue in different parts
of the work to compare differences. (See
example 3.)

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 84
Paper Play
THE EDGES OF THE PAPER have a lot to say about how it
will affect the visual impact. Sharp edges are very distinct, concise,
and clear. Torn or frayed edges lead the eye softly with little or no defi-
nition. It is up to the artist to learn when distinction or softness are
best used. These exercises will help you to recognize when to choose a
particular effect.

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 Artist: Judy Wise

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 31 Cutting
LAB
Materials

• papers of choice to play with LEARNING OBJECTIVE: To look at sharp, distinct edges and how they work.

• scissors
• craft knife and cutting surface
• watercolor paper or substrate with
background of choice
• imagery, printed or patterned paper
• pencil
• ruler

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 INSTRUCTIONS
Play and Experiment
STEP 1: Cut out images along their distinct
edge using either scissors or craft knife. EXAMPLE 1: Cut out the image and place it in a simple geometric shape.
STEP 2: Apply imagery to the background. EXAMPLE 2: Cut out the image and apply to a background and add phrase or quote.
STEP 3: Continue to “finish” the work in EXAMPLE 3: Repeat above but instead of containing the whole image, place the image
choice of collage techniques. off-center in the geometric shape.
Note: For this exercise it might serve well EXAMPLE 4: In place of using the edges of the image to cut along, draw a geometric shape
to make copies of the same images to play around the image to contain it.
with so notations can be made to how the
different applications change the impact
and appearance.

1 2

FOOD FOR THOUGHT

• If you use copies of the same image to
perform this exercise, it will be easier to make
comparisons.
• How does containing the entire image within
a hard shape differ visually from placing a
partial image within the same shape?
• Which is more effective, and why? 3 4

• What is appealing and unappealing about

cutting along the edge of an image?

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 32 Tearing
LAB
Materials

• Papers and/or images of choice LEARNING OBJECTIVE: To explore the effects of tearing papers and how it can create greater
to play with depth and more cohesion.
• scissors
• watercolor paper or substrate with
background of choice
• imagery, printed, and/or patterned
paper
• pencil
• metal-edged ruler

INSTRUCTIONS
STEP 1: Tear out images along their outline
either just on the line or just outside the line as
desired.
STEP 2: Apply imagery to the background.

STEP 3: Continue to “finish” the work, using

your choice of collage techniques.

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 Play and Experiment
• Tear an image into small squares
and form a composition, using the
squares to define your image.
• Copy an image. Tear the image out
for the collage, then tear the copy
into thin strips to write on over,
under, or around the image.
• Copy an image. Tear the image out
for the collage, then tear the copy or
copies into small pieces to use for
the background.

Finished collage from torn pieces at left

FOOD FOR THOUGHT

• Tearing images into small squares is a good way to use work that has ended up in the discard pile.
• What do you have on hand you could recycle in this manner?
• How does using the same image in multiple ways in the collage help or hurt its cohesiveness?

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 33 Punching
LAB
Materials

• craft punches (whatever you have LEARNING OBJECTIVE: To use commercially available tools to create forms and shapes
on hand) to work with.
• papers of choice to play with
• watercolor paper or substrate with
INSTRUCTIONS
background of choice
• imagery, printed, or patterned paper STEP 1: Using punches, create a pile of shapes to play with.

STEP 2: Pile the punched shapes on top of one another to create a collage. It doesn’t have
to be a large collage; something less than 3" (7.6 cm) square will work.
STEP 3: Repeat, using different punches out of different papers together.

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 Play and Experiment
• After creating your small samples, paint over • Create a grid collage of the same 5 or 6 punched
them. Let dry and then dry-brush with a light color. shapes used different ways (below).
Repeat with lighter color, then one more time with
metallic paint (left).

FOOD FOR THOUGHT

• How does painting over the shapes change their • Make a journal of punched shapes and how you
impact? use them.
• List ten ways to use punches in collage.

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 34 Burning
LAB
Materials

• papers of choice to play with LEARNING OBJECTIVE: To add an aged look and distinctive edges to paper, using burning.
• scissors
• watercolor paper or substrate with INSTRUCTIONS
background of choice
• pencil STEP 1: Cut or tear paper samples to work with into small shapes.

• glue stick or matte medium STEP 2: Light the incense and burn the edges of your shapes by placing the incense right up
against the edge of the paper and moving slowing up or down its length. If it is burning too quickly,
• incense and small glass to hold it
simply move the incense away and gently blow on the paper.
while not using it
STEP 3: Repeat until all edges are burned.
• matches
STEP 4: Holes can be burned into central areas by pushing the incense head on against the
• small container of water
paper with gentle, steady pressure and blowing lightly.
STEP 5: Make sure to keep the incense in the glass jar when not using it, to avoid a fire hazard,
and keep the water container close by should something ignite.
STEP 6: Using glue or matte medium, adhere samples to watercolor paper or substrate of choice.

Note: The temperature at which paper will ignite is 451°F (233°C). The incense burns at a much
lower temperature but will still burn the paper; it’s more as if it is smoldering the paper. Do not use
matches or candles to burn the edges. The paper will reach igniting temperature too quickly and is
not easily controlled.

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 Play and Experiment
• Make copies of imagery and cut and
burn one copy; tear and burn the
second.
• Make copies of imagery and burn
edges but nothing central on one, burn
both areas on another, and finally, burn
only in the central area but not edges.
• Try to burn an image to appear as
though it has been in a fire.
• Pulling different kinds of paper from
your stash, try burning them and see
how they react. Make notes and keep
in a journal for future reference.

Collage of ink-dyed papers torn then burned

to shape over tissue background

FOOD FOR THOUGHT

• Does a cut edge or a torn edge burn
more easily?
• What kinds of papers burn more
quickly than others?
• How difficult was it to burn the paper
to make it appear as though it had
been in a fire? What worked and what
didn’t?

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 94
Mediums
THERE IS SUCH AN EXCITING ARRAY of mediums available
today that it makes it very difficult to choose which one might work for
a given project. There are, however, some tried-and-true mediums that
have always and will always work well for collage. It doesn’t mean there
are others available that can’t do a better job; it means that only through
experience and experimentation will you find what works best for you.
Try everything you can and find what suits you.

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 35 Gel
LAB
Medium
Materials

• heavy gel (matte or gloss) LEARNING OBJECTIVE: To explore one of the many uses of gel medium as a transparent
• watercolor paper or background texture.
substrate of choice
• imagery
INSTRUCTIONS
• scissors or craft knife and cutting
surface STEP 1: Cut or tear your imagery and papers to apply to background. (See A.)
• dark color of acrylic paint STEP 2: Use the heavy gel to both adhere and coat papers and imagery.
• water STEP 3: Let dry.
• flat paintbrush STEP 4: Add mark making or other imagery to complete collage. (See B.)
Note: My preference for mediums is STEP 5: Apply a second and/or third coat of heavy gel to the surface to create texture. Let brush
Golden Products, but as stated earlier, marks and skips show. (See C.)
there are plenty of manufacturers with
good products. STEP 6: Let dry.

STEP 7: Mix a light wash with dark acrylic paint and coat the surface to expose cracks and
crevices. (See D.)

A B

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 Play and Experiment
• Try using a sponge to apply the final layer of gel medium for
more texture.
• Apply a thick layer of gel medium and use the wrong end of
a paintbrush to write in it. Allow to dry overnight and apply a
thin dark acrylic paint wash.
• Try a transfer using a black-and-white fresh toner copy. Put
down a layer of gel medium on the surface you want to
transfer to. Put a layer of gel medium on the toner image.
Lay image facedown while still wet over wet surface.
Burnish with the bowl of a spoon until smooth and then let
dry. When dry, rub warm water gently over the paper until it
releases completely and leaves the toner image embedded
in the gel medium.

Author’s work; branches are an example of gel transfer

FOOD FOR THOUGHT

• How much texture actually becomes obvious?
• What could be done to make it more obvious? Less obvious?

C D

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 36 Matte
LAB
Medium
Materials

• watercolor paper or background LEARNING OBJECTIVE: To explore the use of matte medium as a collage tool.
substrate of choice
• imagery
• lightweight colored, printed,
and patterned papers of choice
• scissors
• craft knife and cutting surface
• flat paintbrush
• Stabilo pencil, china marker,
or other mark-making tool
• acrylic paint

FOOD FOR THOUGHT

• One of the major advantages of matte
medium in collage work is its open time.
It dries quickly and, after drying, can be
worked on with other mediums. Make a list
of ten ways this can be advantageous.
• Compare the results of mixing the matte
medium with ink verses a metallic powder.
• Keep a journal of results and try mixing
other things with the matte medium as a
“carrier,” such as the little holes resulting
from punching paper for a three-ring binder.

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 INSTRUCTIONS
STEP 1: Cut or tear your imagery and papers STEP 2: Use the matte medium to both STEP 3: Using the mark-making tool of choice,
to apply to collage. (See A.) adhere and coat papers and imagery. Let dry. add writing or drawing over collage. (See C.)
(See B.)

A B C

Play and Experiment

EXAMPLE 1: Mix ink with matte medium and EXAMPLE 2: Mix metallic products such EXAMPLE 3: Mix ink with matte medium and
use it to add sheer, allover color to the surface as Pearl Ex (from Jacquard) with the matte create a border on the collage.
of collage. medium to apply a shimmer to portions of
the collage.

1 2 3

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 37 Adhering
LAB
Materials

• white craft glue LEARNING OBJECTIVE: To discover options for adhering paper and objects in a collage and

• heavy gel medium how they affect the following layers of collage.

• spackle
• mat board, canvas board, or similar
heavy substrate cut into 4" x 5" INSTRUCTIONS
(10.2 x 12.7 cm) pieces
• small, flat paintbrush STEP 1: Using washers or other metal objects, create eight boards, using the four different
types of adhering mediums: household glue (A), spackle (B), tacky craft glue (C), and lastly,
• flat metal washers or metal objects
heavy gel medium (D).
to work with
STEP 2: Mark the backs of your boards with pencil, noting which adhering medium you used.
• ink
STEP 3: Allow all boards to dry overnight.
• acrylic paint
STEP 4: Take four of the eight boards (one of each set of two) and coat with gesso. Allow
• gesso
to dry.

A B C D

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 Play and Experiment
• Coat one side of each board (with and without gesso) with and ink wash. (See left.)
• Coat the other side of each board (with and without gesso) with a paint wash. (See below.)
• Make more boards and play with straight paint, ink, or glazes.

FOOD FOR THOUGHT

• Of the four adhesives used, which had no visible effect on the subsequent layers?
• Which held faster and stronger?
• Which adhesives act as a resist?
• What do they resist?

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 38 Paints
LAB
Materials

• watercolor paper or background LEARNING OBJECTIVE: To explore of a few of the many uses of paint in a collage.
substrate of choice in small pieces
approximately 4" x 5" (10.2 x
12.7 cm)
• imagery INSTRUCTIONS
• lightweight colored, printed, and
STEP 1: Using the imagery and paper, create small 4" x 5" (10.2 x 12.7 cm) quick collages by
patterned papers of choice
cutting or tearing the pieces. You don’t need to cover the entire background for this exercise.
• chip brush
STEP 2: Use matte medium to adhere the pieces to the substrate, then coat lightly. Let dry.
• matte medium
STEP 3: Starting with the darkest color of acrylic paint, lightly brush paint over areas of the
• acrylic paint (one light, one medium, collage, diffusing some of the imagery and paper, leaving other areas alone and filling in parts but
and one dark color that work well not all of the background. (See A.)
together)
STEP 4: Repeat with a medium color. (See B.)
• small sponge
STEP 5: Repeat finally with the lightest color. (See C.)

A B C

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 Play and Experiment
EXAMPLE 1: Use a wash of paint on all or EXAMPLE 2: Try sponging the paint on in EXAMPLE 3: Use a wash of ink mixed with
most of the imagery. places rather than brushing. matte medium on all or part of the imagery.

1 2 3

FOOD FOR THOUGHT

• How does a light wash change the look of a piece
versus a dark wash?
• How does a monochromatic paint approach differ in
appearance from a compatible color approach?
• Paint is really one of the most versatile tools available
for collage—it’s right up there with paper. List ten ways
you could use paint that you didn’t try in this exercise.

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 39 Inks
LAB
Materials

• watercolor paper or background LEARNING OBJECTIVE: To discover ways to use ink as if it were paint.
substrate of choice
• imagery
• lightweight colored, printed, and
patterned papers of choice
• scissors or craft knife and cutting
surface
• flat paintbrush
• small, round detail paintbrush
(or several sizes if readily available)
• permanent black (or other color)
pen (personal favorite is the fine-
tipped Uni-Ball)
• pencil
• inks in bottle

FOOD FOR THOUGHT

• What happens to the ink when it crosses over other ink that is • Does a washed ink background accept new ink differently?
already dry? • List five other ways to use ink in collage.
• How does sanding affect the way the paper pulls in the ink?

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 INSTRUCTIONS
Play and Experiment
STEP 1: Using the imagery and paper, create small 4" x 5" (10.2
x 12.7 cm) quick collages by cutting or tearing the pieces. (It’s not • Try washing larger areas with diluted ink before going in with detail
necessary to cover the entire background for this exercise.) brush and adding more.
STEP 2: Use matte medium to adhere the pieces to the substrate, • Treat the ink as if it was watercolor.
then coat them lightly with ink. Let dry.
• Using the ink as if it was paint, fill in areas of the work as the eye
STEP 3: Using pencil lightly sketch or write on and around the suggests. (See example for hints.)
piece. Accent the imagery, write over parts of it, doodle, whatever
• Using the permanent black pen, go over your sketching and/or
comes naturally. Keep in mind this is just an exercise and not a final
writing as desired to give more detail. Add more if it feels right.
masterpiece. Just let things happen freely.

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 106
Imagery
THE OLD SAYING GOES that a picture paints a
thousand words, and it couldn’t be truer. Images relate
not just whole sentences but paragraphs in a minimum
of space. The impact of an image is affected by many
factors: how it relates to the rest of the piece, how much
importance it is given or not. Being subtle is sometimes
the most direct way of delivering a message or thought.
Playing with images will open new horizons and lead to
paths yet unknown.

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 Artist: Stephanie Lee

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 40 Photos
LAB
Materials

• photographs of various types: LEARNING OBJECTIVE: To explore the effects of techniques on different types of photographs.
vintage or copies of them, emulsion
photos, digital professionally printed
photos or ink-jet photos (Photos
should have no personal meaning INSTRUCTIONS
for this exercise, to allow for more
freedom in experimentation.) STEP 1: Select several photos to work with. Black-and-white works best. (See A.)
• water STEP 2: Wet photo and pat damp dry.
• oil pastels (inexpensive brands STEP 3: Lightly sand the surface in varying degrees. Lightly rub oil pastel into photo. (See B.)
work fine for this)
STEP 4: Using scratching tool or large needle, doodle shapes, words, or outline imagery on the
• pan pastels if available photo surface. Rub dark color oil pastel such as black or brown into deep scratches, then wipe
• large needle or scratching tool off surface. Apply second and third colors to complete. (See C.)

• water STEP 5: Working in layers, apply the oil pastel building up to bright and vibrant color. (See D.)

A B C D

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 Play and Experiment
• Repeat with all kinds of photos in the stash to see how they react. Take note of
which type is being worked on before it’s worked.
• Using inexpensive glossy photo paper, an ink-jet printer, and watercolor paper, try
a water transfer as follows: Print out image on glossy photo paper. Wet the surface
of the watercolor paper with warm water. Lay the color print on the glossy wet
watercolor paper, ink side down, and burnish with a paper towel. Be careful not to let
photo slide. Burnish with the back of a spoon and peel back photo to reveal transfer.
(Example 1 is photo after transfer. Example 2 is actual transfer.)

Above: Photo paper after transfer

Below: Water transfer

FOOD FOR THOUGHT

• Make note of the results obtained over various types of
photos and keep for reference.
• Which was most effective?
• Which was least effective?
• List five ways you could alter the surface of the photo
and what tool you would use.
1 2

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 41 Drawings
LAB
Materials

• drawing pencils of varying types LEARNING OBJECTIVE: To begin to

• good art eraser practice drawing using simple mark making.

• easy-rolling black pen

• white sketch paper or copy paper

INSTRUCTIONS
STEP 1: Using the various pencils on paper,
draw the following: circles, loops, light lines,
dark lines, spirals, squares, basically anything
you think of. The idea is to learn how the
drawing instrument you choose will respond.
STEP 2: Repeat above exercise with a pen.

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 Play and Experiment
• Run an eraser through the pencil mark-making
exercise to observe which types of pencils erase
more easily than do others.
• Expand the types of marks made and try drawing
actual objects such as a piece of fruit or stack of
books.
• Try contour drawing, which is simply drawing the
outline of something; the line defines the edges of
what is being drawn.
• Try cross-contour drawing. This is where the lines hint
at the direction of the form. It doesn’t have to be exact;
in fact, the opposite applies here. More energy will be
evident if expressive lines are used versus grid-type
lines.
• Try adding shadowing to your forms, using the sides
of the pencil or by crosshatching with the pen.

Mud Puppy Sketch (cross-contour drawing) by Lowell Shay

FOOD FOR THOUGHT

• Which type of pencils did you like best? Why?
• List/describe the preferences for sketching on sketch
paper.
• List/describe the preferences for sketching on
newsprint.
• List five ways to create shadows.

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 42 Brayer
LAB
Play
Materials

• soft brayer(s) of various widths LEARNING OBJECTIVE: To become familiar and comfortable
(2", 4", and/or 6" [5.1, 10.2, with the many uses of a brayer in laying down a printed
and/or 15.2 cm]) background and overprinting imagery.
• water-soluble printing ink or
acrylic paints
• waxed paper or palette
• pad of newsprint
• flat things to print (leaves,
feathers, herbs, ferns, lace,
keys, cutouts, etc.)

INSTRUCTIONS
STEP 1: Tape waxed paper (about 18" [45.7 cm] in length) to work surface or use a palette.

STEP 2: Squeeze a small amount of ink or paint onto one side of your waxed paper.

STEP 3: Roll brayer through ink repeatedly to coat the brayer surface evenly. The ink
or paint will “tack up” and feel a bit sticky when ready to print.
STEP 4: Place your printable piece on your newsprint.

STEP 5: Roll inked brayer over piece once.

STEP 6: Lift piece to reveal print.

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 Play and Experiment
• Print using two colors. Load color onto
printing matter with one brayer, lay printable
piece on paper and roll over with a brayer
loaded with a different color.
• Lay printable piece under paper and roll
brayer over top.
• Load ink or paint onto printable piece on
palette, transfer printable piece to paper, and
lay a second piece of paper on top, rubbing
with your fingers.
• Print with flat, nonorganic matter such as
keys or coins.
• Mix colors on the palette before loading the
brayer.
• Mix colors on the palette but do not mix
completely.
• Try printing on different types of paper.

FOOD FOR THOUGHT

• Which of the chosen printing items worked best? Why?
• List at least five other things to try printing with.
• Is there a personal preference for ink or paint or would it depend on
the particular piece?
• Which dries faster, paint or ink?
• Which papers were tried and what were the results?

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 43 Borrowed
LAB
Materials

• copies of images or personal work LEARNING OBJECTIVE: To explore borrowing imagery in a composition.
(copy images in different sizes to
work with)
• watercolor paper or background
substrate of choice
• flat paintbrush
• matte medium
• gesso and/or acrylic paint
• pencil
• scissors and/or craft knife and
cutting surface

INSTRUCTIONS
STEP 1: Choose one image to work with. Tear or cut the largest copy of the image to use as a
background.
STEP 2: Using matte medium, collage image to substrate.

STEP 3: Take an enlarged version of image to be borrowed and cut or tear out.
STEP 4: Using matte medium, place the image in the foreground.

STEP 5: Complete the collage with your choice of techniques.

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 FOOD FOR THOUGHT
Play and Experiment • List five more ways you can borrow an
• Try using larger portions of the image over a smaller version in the background. image and use it in the same collage.

• Create a grid-style background with image torn or cut into squares, then collage a larger • How does it differ in effect when small is
image on top. Add even larger details as the final step. layered over large versus large over small?

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 44 Drawing
LAB

Over
Materials

• black-and-white laser copies that LEARNING OBJECTIVE: To discover ways to create the illusion of drawing.
have been lightened significantly
• black permanent pen (such as
Uni-Ball)
INSTRUCTIONS
• drawing pencil
• art eraser STEP 1: Start with a photo and make a light black-and-white copy. (See A and B.)
• gesso STEP 2: Lay down a very thin wash of gesso over all of your copy and let dry. (See C.)
• flat paintbrush STEP 3: Start with the pencil and go over the prominent outlines of the subject of the photo.
Use a sketching motion, not a detail motion. Just try and capture the gist of the image. (See D.)
STEP 4: Go over the piece one more time and add shadows and details. (See E.)

A B C D E

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 Play and Experiment
• Try using just the black pen. Make the drawing
very sketchy in appearance.
• Go for extreme detail in your drawing and take
your time.
• Try using the same image and approach it
different ways (for example, just pencil, just pen,
both, lighter and heavier washes of gesso).

FOOD FOR THOUGHT

• Take note of the comfort level as the work
progressed. Did the strokes become more daring
and less controlled or the opposite?
• Think of ways to incorporate this sketching into
a collage.

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 11
Visual

Dictionary
QUOTES, POETRY, PHRASES, and even single words
all have a place in a collage. The use of the written word is not
necessary but can often enhance a collage piece in a way no
image, color, or texture can. The words can be in the background,
the foreground, or even used as a focal point.
Gather up collections of words, quotes, and personal writings,
and let’s begin to explore the world of the visual dictionary.

UNIT

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 Artist: Michelle Ward

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 45 Heart
LAB
From the
Materials

• copies of imagery that has strong LEARNING OBJECTIVE: To open up the channels of communication between the heart and
personal meaning the hand.
• pen (Uni-Ball or fine-line Sharpie
recommended) INSTRUCTIONS
• pencil
STEP 1: Adhere the imagery to substrates, using matte medium. Create a single image or a
• writing paper
composition, whichever feels most comfortable. Don’t spend a lot of time; work quickly.
• tissue paper
STEP 2: Think about the image while you are working. Let dry. (See A.)
• watercolor paper or background
STEP 3: While the images are drying, sit with each one in turn and write the thoughts that come
substrate
to mind. Write quickly and do not wordsmith. Work intuitively. (See B.)
• matte medium
STEP 4: When each piece is dry, sit with the image and the words and circle the words or phrases
that feel most important and best express what you are trying to communicate. (See C.)
STEP 5: One piece at a time, look at the words and the image together and choose which
word or words to add to the piece and where to place them.

A B C

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 Play and Experiment
EXAMPLE 1: Write directly on the piece with pen and/or pencil. Stabilo matte medium down first, then applying when wet, will make the tissue
pencils work very well for this and come in white, black, and brown. “melt” or disappear for the most part, leaving just the words visible.
EXAMPLE 2: Using tissue paper and pen, write the words, let dry EXAMPLE 3: Type the words or phrases on your computer and print
(heating it for a second or two with the hair dryer helps as well), then use them out. Tear or cut out and add.
the matte medium to adhere the tissue to the work. Laying a layer of

1 2 3

FOOD FOR THOUGHT

• How does having the image in visual range help or not help when writing?
• Did what you originally thought about the image and what you ended up using surprise you?
In what way were you surprised?
• When doing a comparison of the same image with different word approaches, which were
more effective in the communication, and why?
• Did you develop a preference for working with words?

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 46 Experience
LAB
Drawing on
Materials

• notebook or sketchbook LEARNING OBJECTIVE: To find ways to look for inspiration in the everyday surroundings.
• pencil and/or pen (This exercise is best done as a “field trip” but can be done at home.)

• camera
• matte medium
• small, flat paintbrush
• watercolor paper or journal

INSTRUCTIONS
STEP 1: By getting out of our ordinary experience,
we find ways to change perspective on everyday
observances. Hop on a bus or a train or go to the
mall and get out the sketchbook and camera, then
start observing.
STEP 2: Collages are everywhere, mostly in the
form of advertisements.
STEP 3: Make sketches, take notes, and/or take
photographs of anything that pulls your eye. Drink
it all in and bring it back to your work space.
STEP 4: Print out pictures and lay them out on
table. (See right.)
STEP 5: Put your notes together with the photos.
STEP 6: Choose the two that stand out most and
work with them in the next section.

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 Play and Experiment
• Design and execute a collage that reflects your
personal observations. (See example 1.)
• Design and execute a collage that imitates that shape
but not the content. (See example 2.)

FOOD FOR THOUGHT

• How did taking the field trip refresh the powers of observation in your
everyday spaces?
• What caught the eye most often: image, words, color, combinations?
• Define the forms of communication that were most effective.
• Which were least effective?

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 47 Words
LAB
Borrowed
Materials

• collection of quotes to work with LEARNING OBJECTIVE: To explore the use of quotes in a composition. When using quotes,
printed onto paper that can be cut you must always provide attribution. For this exercise, I give my humblest thanks to Kahlil Gibran
or torn for his beautiful words on generosity.
• watercolor paper or background
substrate of choice
• small, flat paintbrush
• matte medium
• imagery that works well with
chosen quotes
• small bits of scrap paper

INSTRUCTIONS
STEP 1: Choose a quote and imagery to work with.

STEP 2: Adhere the imagery to the background substrate with matte medium. Let dry.
STEP 3: Work quote into the composition either in whole or part.

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 Play and Experiment
• Try using part of the quote in an overscaled copy as
a background. Diffuse with a wash of gesso or paint.
Then add imagery and quote. (See right top.)
• Using the imagery as the background, repeat the
quote in whole or part all over or in various parts of
the collage.
• Try making a basic textured background. Enlarge
the print of the quote so that the enclosed areas of
the letters (for example, the circle that is formed
in a capital O) are large enough to add imagery to.
(See below right.)

FOOD FOR THOUGHT

• Does the content of the quote have a lot or little effect
on how you choose to communicate it?
• Which is more effective, making the words or the
image predominant?
• Does repeating the words carry the communication
more strongly, or is it overbearing?
• Which was the most satisfying piece you completed,
and why?

V I S UA L D I C T I O N A R Y 125

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 48 Vintage
LAB
Documents
Materials

• stash of ephemera (vintage letters, LEARNING OBJECTIVE: To look for meaning and connections in vintage imagery to use in a
bills, postcards, statements, etc.) collage composition.
• small, flat paintbrush
• matte medium
• watercolor paper or background INSTRUCTIONS
substrate of choice
• imagery STEP 1: Choose an image with words to start with, such as an old advertisement, and decide
what communication to articulate. (See A.)
• scraps of decorative papers
STEP 2: Use gesso to diffuse and obscure parts of the ephemera that have no bearing on the
• acrylic paint
piece, and highlight those that do. Let dry. (See B.)
STEP 3: Begin to add the imagery, connecting the words that have been left showing with the
images on or around them. (See C.)

A B C

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 Play and Experiment
• Make copies of chosen image and ephemera and
make several versions of the collage for comparison.
• Try altering copies of the same image five different
ways.
• Change the scale of your original. Try working with it
larger and smaller.
• Turn your image into a transparency and try overlaying
it with other images.

FOOD FOR THOUGHT

• Which is more effective: the written word or the
image? Why?
• How does changing the scale of an image or word(s)
change its communication?
• What was the impetus for making the choice of words
to accompany the imagery?
• Did you effectively communicate what you started
out to or did the message change as the piece
progressed?

V I S UA L D I C T I O N A R Y 127

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 12
Unification and

Composition
A SUCCESSFUL COLLAGE is not just some
pretty images and words thrown down without intent
or planning. It might look good but, like all shallow
beauty, interest will fade quickly if there is no depth.
Success is achieved by unifying the elements of the
collage, connecting them with meaning or content, and
creating a good composition. Here we will take a short
walk through a few final steps to a successful piece that
UNIT
communicates its content and is pleasing to the viewer.

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 Artist: Judi Riesch

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 49 Palette
LAB
Materials

• copies of personal collages or LEARNING OBJECTIVE: To explore the power of color and how to use it.
other people’s collages from books
or magazines
• pen or pencil
• watercolor paper or journal Play and Experiment
• glue stick
• small box of watercolors • Using a hot palette, tear or cut shapes to form a collage.
(inexpensive is fine) or colored • Repeat, using the same shapes but changing the palette to a cool palette.
pencils
• Repeat, this time using black and white.
• Repeat one more time, using a monochromatic palette.

FOOD FOR THOUGHT

• Pull out the original work and compare with
your experiments.
• How does the message change with color?
• What colors would you try if you did it again,
and why?
• Which palette tells this particular story best?
Why?

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 INSTRUCTIONS
STEP 1: Choose one collage to work with at STEP 3: Use just brown (or sepia), black, STEP 5: Repeat, using complementary colors
a time. Make black and white photocopies. and white. (See C.) of choice. (See E.)
(See A.) STEP 4: With watercolors or colored pencils, STEP 6: Repeat, using a hot palette—yellows,
STEP 2: With the original hidden, take a add color using a water (cool) palette (blues, reds, oranges. (See F.)
photocopy and using watercolors or colored greens, plums). (See D.)
pencils, add color using a monochromatic
palette. (See B.)

A B C

D E F

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 50 Content
LAB
Materials

• list of words you like (e.g., bird, fish, LEARNING OBJECTIVE: To investigate ways to communicate a message.
eyes, spirit, create)
• watercolor paper or background
substrate of your choice
INSTRUCTIONS
• small, flat paintbrush
• matte medium STEP 1: Choose a word and related images.
• images that relate to your chosen STEP 2: Work quickly. You are only communicating one word at a time, and this is an exercise
words not a masterpiece.
• printouts of the words in different STEP 3: With paint or paper or a combination, create a simple background.
fonts and sizes STEP 4: Adhere image(s) with matte medium to background.
• acrylic paints STEP 5: Choose the font and size of the word that best fits your composition.
• scraps of decorative paper

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 Play and Experiment
• Reverse images and words. Place the word down first from an overscaled copy and
lay image(s) over it.
• Stop when images are down and let dry briefly. Make copies. Try variations of the
word applications to compare with one another.

“Booby egg:” Michelle Unger. All other photos and images: Bee Shay.

FOOD FOR THOUGHT

• Choose a piece and make a list of thoughts that come to mind when you look at it.
Ask someone else to do the same without discussion. Compare the visual impact
and perceptions.
• Which pieces communicate their intent most clearly? Why?

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 51 Good,
LAB
Bad, and Just Not Right
Materials

• two L-shaped pieces of black LEARNING OBJECTIVE: To discover what makes a composition communicate exactly what you
or white cardstock (viewfinder) are trying to say.
• six color copies of an image that
has many elements or details
(see example)
• note paper or journal INSTRUCTIONS
• pen or pencil STEP 1: Choose one image and make all six copies.
• glue stick STEP 2: Using the viewfinder over the first copy, find the first most interesting and pleasing
• scissors or craft knife and portions of the image.
cutting surface STEP 3: Run a pencil or pen line to mark it off.

STEP 4: Remove the viewfinder, cut along lines, and set aside.

STEP 5: Repeat five more times.

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 Play and Experiment
• Once you have all six of your compositions, line them up and make
notes on what each one says and how it says it.
• Use a piece of your own work that you were unhappy with.
• Use a piece of your own work that you were happy with.

FOOD FOR THOUGHT

• Does reducing the elements of an image make a clearer
communication?
• Is busy better or is it too much information?
• Does color affect how the piece communicates with regard to
composition?
• Turn a successful piece upside down and squint. Does it still feel
balanced and pleasing to the eye? What does that tell you?

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 52 Finishes
LAB
Materials

• commercially prepared glaze or LEARNING OBJECTIVE: To understand ways to unify the surface either in process or upon
transparent acrylic paint in dark completion.
colors (such as Golden’s fluid
acrylic paint)
• ink
• matte medium or any common INSTRUCTIONS
clear sealer, matte or gloss finish
STEP 1: Prepare a 12" x 12" (30.5 x 30.5 cm) collage by applying a thin sealer coat. Let dry.
• substrate with finished collage Repeat.
STEP 2: Cut collage into smaller pieces and try different glazes and finishes for comparison.

STEP 3: Apply a thin layer of glaze as suggested in Play and Experiment. If you apply too much,
remove quickly with dry cloth. For stubborn areas, a damp cloth may work. Do not wet the
substrate completely.
STEP 4: Add another layer of glaze if sufficient coverage was not met.

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 1 2 3
Play and Experiment
EXAMPLE 1: Keep one piece without glaze for
comparison.
EXAMPLE 2: Mix ink with matte medium for a glaze.

EXAMPLE 3: Use a wash of acrylic paint for a glaze.

EXAMPLE 4: Try straight ink as a glaze.

EXAMPLE 5: Mix tube watercolor paint with matte

medium for a glaze.
EXAMPLE 6: Use an antiquing solution such as
Golden’s Asphaltum to add age or definition to texture.

FOOD FOR THOUGHT

• How do different glazes change the same piece?
• Does glazing with a color from your collage unify the
piece more effectively than using a white or brown
glaze? What are the differences?
4 5 6

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 Gallery

Artist: Catherine Anderson

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 Artist: Sue Haddon

Artist: Traci Bunkers

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PM
 Artist: Melissa Manley

Artist: Laurie Mika

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 Artist: Jan Harris

Artist: Gina Armfield

GALLERY 141

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 Contributors and Resources
CONTRIBUTORS Katie Kendrick Lynne Perrella Jacquard Products
joyouslybecoming@earthlink.net lkperrella@aol.com paint
Cathy Anderson www.joyouslybecoming.typepad.com www.lkperrella.com www.jacquardproducts.com
cathy@catherineandersonstduio.com
www.catherineandersonstudio.com Laura Kinney Judi Riesch K & Company
Lauraakinney@msn.com jjriesch@aol.com scrapbooking papers
Gina Armfield www.itsmysite.com/judiriesch/ www.kandcompany.com
armfield@att.net Stephanie Lee
www.sweetsistergina.typepad.com stephanielee@q.com Michelle Ward KI Memories, Inc.
www.stephanielee.typepad.com grnpep@optonline.net patterned and cut cardstock
Anne Bagby www.greenpepperpress.com www.kimemories.com
annebagby@bellsouth.net LK Ludwig
www.annebagby.com ludwiglk@gmail.com Judy Wise Merion Art & Repro Center
www.gryphonsfeather.typepad.com judywise@canby.com fine arts supplies
Traci Bunkers www.judywise.blogspot.com www.merionart.com
traci@tracibunkers.com Melissa Manley
www.bonkersfiber.com melissamanleymetal@yahoo.com RESOURCES Parchment
www.melissamanleystudios.com fine papers
Shirley Ende-Saxe Earth Guild www.parchmentnantucket.com
rgrace44223@yahoo.com Misty Mawn papermaking kits and beautiful
www.shirleyendesaxe.typepad.com mistymawn@gmail.com handmade papers Ranger
www.mistymawn.typepad.com www.earthguild.com re-inkers and ink pads
Jen Goff www.rangerink.com
paperwingsdiy@gmail.com Laurie Mika Golden Artist Colors
www.paperwingspdx.com laurie@mikaarts.com mediums and paints Staedtler
www.mikaarts.com www.goldenpaints.com Mastercarve carving block and tools
Sue Hadden www.staedtler-usa.com
soozihadden@yahoo.com Fred Mullett Green Pepper Press
fredb@fredbmullett.com rubber stamps
Jan Harris www.fredbmullett.com www.greenpepperpress.com
purplebirdart@q.com
www.purplebirdart.blogspot.com

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 About the Author
BEE SHAY has been an instructor in the creative arts since
1978 in some way, shape, or form. She identifies herself primar-
ily as a teacher, and is also a nurturer, artist, parent, and friend. In
1994, after painting traditionally for almost twenty-five years, she
fell into the world of mixed-media arts and was instantly in love
with collage. The subsequent years have been a journey filled with
exploration, teaching courses locally and at art retreats nationally,
involvement with online art communities, and continually ex-
panding her body of work. The most enjoyable piece of all of this
has been “playing the muse” by lighting the flame in her students
and watching as they burn brightly, second only to the extended
family that has resulted from all this kindred contact.

Author’s self portrait

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 Acknowledgments
I’VE ALWAYS WANTED to write and illustrate a To Lynne and LK, thank you for encouraging me to take
book but somehow in my world, it was going to be a chil- the leap and more important, for opening the door.
dren’s book . . . one of the many stories I used to tell my kids To LK, Judi, Frank, Annette, and Shelley. Thank you for
over and over again. Perhaps some day the Moonchangers being there for me through this year in a way that only
will come to life outside their wee bedrooms, but for now true friends can be by making me laugh, making me cry,
my dream is a reality and I couldn’t be more fortunate. and showing me true north when the horizons were lost.
So many people come to mind and as is often is the case To my fairy godmothers Sooze and Jodes. Where would I
at a time like this, I find myself with too little room and too be without your fairy dust?
little time to acknowledge them all. You know who you are. To “the boyz,” thanks for keeping my heart and my feet
I wouldn’t be here without your loving support and en- warm during the hard parts.
couragement to follow my dreams. So my love and heart- To Lowie. Thank you for being as patient as you could be
felt thanks goes out to you from these pages. and as loving and supportive as you are in my quest for my
To my readers, thank you for buying this book and tak- dream. Thank you for introducing me to the island we now
ing the journey with me. It is one well worth taking and I call home in all its beauty and wild abundance of inspira-
hope you reach higher and farther than the edges of the tion. For building me a beautiful nest in the trees of our
pages. Please feel free to keep me apprised of your progress home from which to work. You are a genius and an artist
or shout for help should you get lost. and my biggest hope is that someday you will see that for
To Mary Ann, my amazing editor, for putting her faith in yourself.
me to take on this project and hearing my voice. For keep- And finally, to my kids, La, Bean and Bud . . . my best
ing me calm and not making me feel like I didn’t know work ever. You make me proud every day. How lucky can
what I was doing. one person be? I love you all and leave you with a most
To everyone at Quarry who made this book happen. It grateful heart.
was a team effort and without them and their amazing
talents this book wouldn’t be on the shelves.

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 © 2010 by Quarry Books

All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright
owners. All images in this book have been reproduced with the knowledge and prior consent of the artists
concerned, and no responsibility is accepted by the producer, publisher, or printer for any infringement of copyright
or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits
accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will
resolve inaccurate or missing information in a subsequent reprinting of the book.

First published in the United States of America by

Quarry Books, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.quarrybooks.com
Visit www.Craftside.Typepad.com for a behind-the-scenes peek at our crafty world!

Library of Congress Cataloging-in-Publication Data

Shay, Bee.
Collage lab : experiments, investigations, and exploratory projects / Bee Shay.
p. cm.
Includes index.
ISBN-13: 978-1-59253-565-1
ISBN-10: 1-59253-565-8
1. Collage. I. Title.
TT910.S429 2010
702.81’2—dc22
2009022988

ISBN-13: 978-1-59253-565-1
ISBN-10: 1-59253-565-8

10 9 8 7 6 5 4 3 2 1

Cover Design: bradhamdesign.com

Book Layout: Megan Jones Design
Artwork: Bee Shay, except where otherwise noted
Photography: lightstream

Printed in China

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