From time to time I will share my experiments with both old and new products that I use in my collages and mixed media work. There always seems to be new products and new ways to use all those paints, pastels, crayons, markers, etc. that all of us buy.
Recently I used Kroma Krackle, which is just what the name implies. There are several manufacturers but I used the Kroma Krackle at a group art session.
It is a semi-opaque gel that you can use on its own or mix it with a small amount of acrylic paint. Spread it on your surface with a brush or palette knife. As it dries (which can take overnight) cracks will appear. The thicker the lawyer, the bigger the cracks. I used a heat gun to speed up the drying, which worked well.
As you can see from the two examples you can make a more all over effect or apply sparingly in thin dribs and drabs. The results are surprising and I like the texture it gives to an artwork.
I cut small rectangle from some of my experiments and made very nice greeting cards. I also spread the crackle/paint combination on magazine images which resulted in a layered, dense look that was appealing. Add marks with paint pens or markers for more interest and to show the hand of the artist.
This is a good addition to add to your repertoire of
paper decorating techniques. For more information simply Google Kroma Krackle.
This collage is titled “When I Turn Blue” and uses paint, pastels, graphite and magazine cuttings.
Faces appear intentionally and accidentally in my work and I like to say I do self portraits that don’t look like me.
Here is a case in point. The background was made in a mixed media class and constituted a “start”.
Starts are so fun and easy to make and they usually spark excitement and enthusiasm. Then the difficult work begins to finish it into a piece of art.
Using the paint blobs as a starting point I began pulling out a face which I did not like at all. So the search began in my stash of images and I found a perfect fit in size and color.
Once the faced was glued on I could see the path forward to finishing it by expanding the hair and adding a few abstract blue shapes to the face.
The two straight lines were added in place of a torso as I thought the open space ironically, would be more engaging.
Take away from this piece-keep playing and adding layers and trust your instincts.
Title: New York Then and Now; Size: 4″ x 6″; Book and magazine cuttings
Source material for collage is abundant in both digital and analog format. I work exclusively with old fashioned paper, scissors and glue because I enjoy the tactile qualities of everything about paper-folding, cutting, glueing. Most of my images in the past were culled from old books and I have the blessing and the curse of living near The Strand bookstore in NYC which has been around for many years and sells both new and used and rare volumes. Of course I gravitate to their outside racks of one, two, and five dollar books. They are in absolutely no order and that makes the hunt more exciting.
Lately, however, I have been also using some magazine images since there are current images regarding issues of the day such as climate change, immigration, etc. This past year has made me venture into some political commentary with my work which I had not previously done.
But I digress. Inexpensive books not only provide images but will sometimes ignite a spark of inspiration for a single work or even an entire series. For example, I found a Dover copyright free publication with images of the facades of cast iron buildings of old New York. By tearing, cutting and coloring the images I have been able to make many collages both on paper and on canvas. Currently I am cutting out the windows to allow other collage elements to show through. This simple idea gave way to a whole new set of collages.
Most of the windows, pillars and old New York street scene in this small collage were taken from this Dover publication. Mixed with a few contemporary magazine pieces for interest and a focal point of a face makes it a resolved piece of work. Notice also how depth perception is manipulated by the small scale buildings, people and carriages in the center. Anything is possible with collage.
Although Banksy was unaware of his participation, he and I collaborated on this college. The rat image was unearthed from some papers I brought back from the UK and my contribution was the rubbing on the right hand side which was from a metal plate in the sidewalk in front of our flat. The street art materials just worked together.
Rubbings, or frottage in artspeak, are an excellent way to record plaques, manhole covers, gates, doorknobs and assorted metal street features wherever you happen to be. Materials are simple and inexpensive: crayons unwrapped and sturdy paper and a roll of tape. If you want professional materials purchase rubbing discs from art supply stores that sell them for grave rubbings. Most papers will work but some will tear here and there. Avoid this issue by buying mulberry or rice papers that are thin but very durable. Simply tape the paper to the object and run the crayon or disc over the image. Brings back the kindergarten days of making rubbings of coins.
Use the papers for backgrounds for paintings or use them in collage. The Asian papers glue down easily with minimal wrinkling.
Make yourself a small travel kit when you go on holiday and you will be able to return with unique souvenirs as well as art materials.