4 free mixed media collage techniques presented by to make a collage 4 free mixed media collage...

how to make a collage4 free mixed media collage techniques

1 collage to order: create with words susan black

2 the elements of collage: putting it all together nicole paisley martensen

3 objects of my desire: making sewn paper collage collections jenny cochran lee

4 reverse collage painting: a bright spot on a winter day holly christine moody

presented by cloth paper scissors®

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what is collage art? A whole lot of fun! At the most basic level,

you can make a collage with paper, glue, and a substrate like a canvas or watercolor paper. But once you expand your supplies to include other media like paint, stitching, photos, and marking tools—the sky’s the limit.

In How to Make a Collage: 4 Free Mixed-Media Collage Techniques, you’ll discover four different approaches to collage from expert mixed-media artists.

In “Collage to Order: Create with Words,” Susan Black shows how to play with paper and typography to make a collage that captures a favorite sentiment or a special name.

Nicole Paisley Martensen uses a variety of mixed-media collage techniques and transparent fabric layers to blend spontaneity and technical construction in “The Elements of Collage: Putting it All Together.”

How to Make a Collage: 4 Free Mixed Media Collage Techniques

presented by Cloth Paper Scissors®

online editor Cate Prato

creative services division art director Larissa Davis

PhotograPher Larry Stein

Projects and information are for inspiration and personal use only. interweave Press is not responsible for any liability arising from errors, omissions, or mistakes contained in this eBook, and readers should proceed cautiously, especially with respect to technical information.

© F+W Media, inc. all rights reserved. F+W Media grants permission for any or all pages in this eBook to be copied for personal use.

In “Objects of My Desire: Making Sewn Paper Collage Collections,” Jenny Cochran Lee explores how to turn paper scraps into collage art treasures.

Finally, Holly Christine Moody offers an easy collage project that will help you whittle down your decorative paper stash in a fun way. In “Reverse Collage Painting,” you make a paper collage on a substrate, apply gel medium, and then paint over it. The magic happens when you swipe away some of the paint to reveal the collage designs below.

With How to Make a Collage: 4 Free Mixed-Media Collage Techniques, you’ll learn how to use a variety of materials and approaches you can use to make similar collage projects or mix and match to create your own.

Warmly,

Cate Prato Online Editor, Cloth Paper Scissors Today

clothpaperscissors.com

Where mixed media artists come to play

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How to Make a Collage: 4 Free Mixed Media Collage Techniques2

clothpaperscissors.com©F+W Media, Inc.

collage to order create with words

adapted from Cloth PaPer SCiSSorS® september/october 2012



by susan black

as a former graphic designer, I’ve always had a big love for typography

and for using words to communicate visually and creatively. Add to

that love a big pile of vintage books, a few old atlases, a stack of decorative

paper, a shoebox of tissue paper in vivid colors, scraps of wrapping paper,

postage stamps, some paint and drawing pens, ink, scissors, glue, a passion

for collage, and “poof” my own typographic mixed-media style began to

emerge.

m at e r i a l s•Watercolor paper (I prefer

hot-press, bright white watercolor paper.)

•Pencil

•Eraser

•Tracing paper

•Tape

•Decorative papers: sheet music, patterned, colored, etc.

•Watercolors

•Paintbrushes, detail

•Craft knife

•Cutting mat

•Scissors

•Glue (I like to use Zig® glue pens and gel medium.)

•Drawing pen, fine

•Gouache or acrylic ink, black

optional

•Light box

•Scanner/copier commission notes: If you’ve ever considered working on commission pieces, follow along to get a few tips on the process.

directionsnote: I use a small, tabletop light box and have found it to be an indispensable tool. If you don’t have a light box you can use a window and lightly trace your final design onto the top layer of watercolor paper so you’ll have an indication for positioning the letters.

commission notes: Once a client contacts you about the commission, meet with them or exchange emails to get a sense of the final piece.

1. Roughly sketch or trace a few ideas in pencil on paper, refining the design as you go. (Figure 1) Add patterns to the letters, like the leaves in the top row “L” and the rose pattern in the letter “A.”

I love combining typography with pattern and paper and then drawing and/or painting on top. This piece “Call for Art” was commissioned for Cloth PaPer sCissors magazine, but this technique

works perfectly to capture a favorite inspirational sentiment, a line from a poem, a child’s name for easy wall art, a special date, and just about anything else you can think of.

Figure 1



commission notes: Now’s the time to get some client feedback. You may have to tweak one or two elements. If you do, make sure to run the final piece with the changes by the client.

2. Once you have a design you’re all happy with, redraw the design to size or use your scanner and computer (or photocopier) to enlarge the design and then print it out in the size you want the final art to be.

3. Redraw your design on a piece of tracing paper. This will allow you to audition the decorative papers beneath the tracing paper, and make it much easier to cut the letters out.

4. Tape the tracing paper drawing to the back of the watercolor paper along the top edge, like a hinge, so you can flip the watercolor paper out of the way as needed. You’ll see the design quite clearly through the paper.

tip: Try different bold-colored or patterned papers for your background. A solid sheet of vintage book paper or kraft paper looks fantastic, too.

5. Decide on your color palette and indicate these color choices on the drawing. (Figure 2) I like to keep my palette simple and prefer the pale cream of vintage book pages with kraft and black papers for my neutrals, and then I add one predominant color—in this case red.

commission notes: Share your color options with the client and let them choose their favorite palette of colors.

Figure 4

Figure 2

Figure 3



6. Once you’ve chosen your palette, paint the areas of color in any pattern you’ve drawn into the design. (Figure 3)

tip: I find simplifying a palette makes for a stronger design. Too many different colors can distract from the words, letters, and the meaning of the piece.

7. Tape the tracing paper onto a window or the light box and place your first paper choice over the design. Flip the watercolor paper up and tape it out of the way, if necessary. Trace the outline of the letter onto the paper with pencil. I used sheet music. Cut the letter out, erase any pencil marks, and put the letter aside. Repeat for the rest of the letters. (Figure 4)

tip: When working with dark paper that’s difficult to see through, use a small piece of tracing paper to draw the outline of the letter. Place the tracing paper over the dark patterned paper, deciding what part of the pattern you want the letter to contain, and then cut out the letter from the tracing paper and paper while holding the tracing paper in position. You could also use a bit of repositionable glue to hold the tracing paper in place. (Figure 5)

8. I like to cut out all of the letters first and position them on the watercolor paper before gluing to make sure I’m pleased with the final composition and the mix of patterns and colors. Once you’re absolutely sure of the layout, glue the letters in place and let dry. (Figure 6)

Figure 7

Figure 6

Figure 5



9. Use the drawing pen to add the line details in any of the painted pattern areas. (Figure 7)

10. Using a fairly small paintbrush (or brush pen) and the black gouache or acrylic ink, loosely outline all the letters. The addition of this black line really pulls the whole design together. (Figures 8 and 9)

tip: Imperfections add character when drawing or painting the details and outlines—the looser the better. Don’t try to follow the edges exactly. Let the brushstrokes be fluid with thick and thin areas.

11. Trace, cut out, and embellish any top layer or overlapping shapes. I created a banner that I edged with watered-down black gouache and embellished with cut letters before adhering it to the collage. (Figure 10)

commission notes: Now it’s time to wrap up the piece and deliver it to your sure-to-be-delighted client.

susanblackdesign.blogspot.ca

Figure 8

Figure 9

Figure 10

a note on papers

choosing the paper

I used hot-press bright white watercolor paper because it has the smoothest surface, and I wanted to add painted elements. If you’re just collaging elements, use any type of background material: cardstock, canvas, cardboard, furniture, etc. Experiment with different materials.

gathering your paper stash

• Decorative papers, especially those with small prints or neutrals are a staple in my paper stash.

• Find vintage paper. Search yard sales, vintage stores, and Etsy sellers for old books, maps, ledger paper, handwritten notes, and letters.

• Bits of packaging, wrapping paper, inexpensive and brightly colored tissue paper are another staple. I love tissue for its translucent qualities, and it’s available in an amazing variety of vivid colors.

Once you’ve been bitten by the collage paper bug you’ll begin looking at every scrap of paper with a different eye. Let all your friends and family know that you’re collecting paper and before you know it you’ll have your own great paper stash.



“Émigré” • 46" × 31"



ThE elements OF collage putting it all togethermy art making often begins with a morning dog walk. The hills behind

my home are crisscrossed with trails through oak woodland, alongside

seasonal creeks and wildflower meadows, and this is often the most contemplative

part of my day. While walking, I feel my way through my next piece of art, assembling

layers in my mind, choosing and discarding images and textures that are back home in

my studio. I think it’s this formative time, this simmering and mental sorting, that allows

for my ultimate goal of thinking about nothing and working intrinsically when I’m

making the actual piece of art.

adapted from Cloth PaPer SCiSSorS®

may/june 2011

by nicole paisley martensen

Collage by its very nature can be viewed as anti-Zen. First, there is clutter. My studio is a veritable whirlwind of bits and scraps. Second, there are many ways to collage. It’s an art form that presents endless and overwhelming possibilities, sometimes with the nullifying (terrifying) question of how do I choose? And third, there are the multiple media. In my own work I use a number of different media, often all in one piece.

What I look for in making collage is how to pull these elements together to tell a story or evoke an atmosphere or emotion, to create coherence out of dissonance. I’m trying to replicate how the mind works when we latch onto a thought and bounce around in that moment, when the process becomes more important than the subject.

The panels shown in this article are free-hanging silk panels that I layered with transferred images, paint, transparent organza, and other fabrics. The large scale of my work helps to provide space for the energy and rawness I try to impart in each piece.

Movement and expressiveness are extremely important in my art. I use big sweeping strokes while painting and let paint drip down the length of the panel, often spraying the paint with water, smudging and spattering it. I enjoy the contrast of the delicate nature of the silk fabric with the gritty treatment of distressing the surface.

Using the following steps, think of how to translate a sensory experience into a visual one, and how to find spontaneity in technical construction.

m at e r i a l s•Silk habotai, white or ivory, at least

24" × 36"

•Freezer paper

•Iron

•Ironing surface, large (See “Make your own ironing surface.”)

•Masking tape

•Liquid acrylic paints and/or watered-down latex house paint (Golden Artist Colors® liquid acrylics in Titan Buff and Payne’s Gray are some of my staples.)

•Paintbrushes: 11/2" and 3" housepainter’s brushes, 1/2" and 1" flat artist’s brushes, and a thin liner brush for details

•Computer, scanner, and inkjet printer

•Photographs and paper ephemera

•Photo transfer paper for inkjet printers

•Photocopier, toner-based

•Fabric scraps: silk organza, silk dupioni, kimono fabric, vintage linens (no synthetics)

•Fusible web (I used Pellon® 805 WonderUnder®.)

•Digital camera

•Parchment paper

•Blender pen (I use a Chartpak® colorless blender pen.)

•Rubber gloves

•Bone folder

•Spray bottle with water

•Paint palette

•Spray paint

•China markers (black and white), oil pastels, and/or an ebony pencil or soft graphite pencil

•Krylon® workable fixative

•hanging hardware

optional

•Gesso, transparent (I use Winsor & Newton™ brand.)

•Sewing machine or needle and thread



directionspreparing your canvas1. Iron sheets of freezer paper

(shiny-side down) onto the silk habotai until you’ve covered one side completely.

2. Tape the corners of the silk, paper-side down, to the ironing surface with masking tape. This creates a temporary substrate for working on your panel.

optional: Brush transparent gesso over the silk for a smooth texture similar to parchment paper. This provides a toothy surface for acrylic paint to drip and glide. If you prefer a more diaphanous, watery look (see “Émigré”), skip this step.

3. Using the 3" paintbrush, paint your panel with liquid acrylics or watered-down latex house paint. Using a large brush helps keep things loose and abstract at this stage. I often use light colors to start. Let the paint dry completely.

assembling collage elementsTake a few moments to prepare and collect the elements for your collage. Using a mixture of inkjet photo transfers and solvent transfers (see “Solvent Image Transfers” on the last page) adds to the textural quality and depth of your piece.

1. Scan and make inkjet photo transfers of the photos and/or paper ephemera you plan to use. Don’t forget to use the mirror image setting on your printer as necessary.

“Buildanark” • 51" × 29" favorite sources for collage materials

• Flea markets and antique stores

• Vintage goods sold on etsy.com

• Urban streets and sidewalks

• My own photos. I always walk with a camera to photograph textures in nature or peeling paint in the city.

• The bottom of my purse (receipts, ticket stubs, etc.)



“You are My Death Camas” • 45" × 31"

tip: Enlarged natural textures, like photos of tree bark or water, make great photo transfers and can be painted over later.

2. Make mirror-image photocopies of any black-and-white line drawings, botanical illustrations, or text you’d like to incorporate to use as solvent transfers. Use a toner-based photocopier for this as inkjet copies won’t work as solvent transfers. Play with the scale of these elements, enlarging them on

the photocopier so that the original context becomes indecipherable.

3. Cut the fabric scraps larger than you intend to use them and iron fusible web to the back of each piece, following the manufacturer’s instructions. Allow the fabrics to cool and then cut them to the desired sizes. Vintage kimono fabric, silk organza, silk dupioni, and embroidered tablecloths provide

great opportunities for adding pattern and texture.

creating the composition1. Lay your panel on your work surface.

Begin laying out your transfers and fabric scraps. Overlap and obscure some layers, and let some of the transfers and fabrics run off the edges of the panel. Use the entire space, or leave large areas of negative space. This is often an energetic process for me as I tend to move pieces around a lot and try new compositional schemes.

2. Leave your layout and don’t peek at it for a few hours—or a few days. Come back to your piece with fresh eyes and determine if anything needs to change. Is there an area that is too dominant? Too weak? Climb a ladder to get a different perspective.

3. When you are pleased with your overall composition, take digital photos so you have a visual record of how to re-create your piece once you begin assembling it.



assemblyinkjet photo transfers

Following the manufacturer’s directions, iron the inkjet photo transfers onto your panel. Use parchment paper between the transfer and your iron to protect the painted surface.

solvent image transfers

Position the black-and-white photocopies onto the panel where you’d like to transfer the images. Wearing gloves, apply blender pen to the back of the photocopy, one section at a time. Because the blender pen is solvent based,

it will dry quickly. Burnish each section with the bone folder as you go. This technique works best on smooth, tightly woven fabrics.

CAUTION: Blender pens are solvent-based pens, so it is important to use them in a well-ventilated area.

fabric scraps

Remove the paper backing from the fusible web on the backs of the fabric scraps. I mist the fusible with water before ironing it. I find it makes a stronger bond. Cover the fabric with parchment paper, and iron the fabric in place. Repeat for each of the fabric scraps.

note: Refer back to the digital photos of your layout for placement.

more painting1. Prop the canvas upright and prepare

your paint palette. I’m heavily influenced by street art and fashion design, so I tend to use a lot of bright colors as accents in my work.

2. Brush on color, using different brush widths and paint viscosities. Encourage paint to drip by spraying areas of your canvas with water.

3. Carve scribbles or words into the thicker areas of paint with the wooden end of your paintbrush. If you live in a region where you can

bring your canvas outside, experiment with spray painting certain blank areas, or spray paint to obscure other areas that have become too precious or overworked.

4. Add abstract marks with the black and white China markers, ebony and/or graphite pencils, and oil pastels.

5. In a well-ventilated area, spray workable fixative over any areas where you used pencil or oil pastels. Let the panel dry completely, and then carefully remove the freezer-paper backing from your panel.

optional: If you have any other fabric scraps you’d like to include, stitch them on now with a sewing machine or by hand.

6. Create a means of hanging the panel. I usually finish off the tops of my panels by either sewing a narrow sleeve to house a hollow metal rod, or I fasten grommets in the upper corners.

When we engage in the moment where images, colors, and patterns reference and relate to each other, our art itself becomes a meditative process.

nicolepaisley.com

making your own ironing surface• Masonite® board, size of choice

• Fabric, enough to wrap the board (I used cotton with an aluminized coating for a smooth, heat-resistant cover.)

• Small nails or Duct® tape

directions1. Cover the Masonite board with

the fabric, wrapping the fabric to the back of the board.

2. Tack the fabric in place or use Duct tape to secure it.

note: I like a hard surface to press the iron onto. I think it makes for clearer image transfers. It’s also easier to use the board to draw and paint on later, using the board upright. Some artists prefer a softer, padded surface. For that, add a layer of batting under the fabric.



objects of my desiremaking seWn paper collage collections

adapted from Cloth PaPer SCiSSorS® september/october 2012

by jenny cochran lee

even as a child, I was a collector. For years I kept rocks, feathers, and

Cracker Jack® prizes safely hoarded in a potato chip can. That can is

now gone, but the urge to hang onto treasures is not. I’m still a collector. But

nowadays my treasures are the people in my life and the little things that bring

me joy every day: eyeglasses, scissors, and silverware. Eyeglasses are a new

treasure for me, as I now need them in order to read, apply mascara, and see

my children’s faces when we hug. To me, eyeglasses are a reminder to seek

clarity and look at things in different ways. Scissors remind me of my mom,

who spent countless hours cutting and sewing the majority of my childhood

wardrobe. I use scissors in all my art making and I love the way they bridge my

past with my current creative life. And silverware holds memories of fellowship

with family and friends. It reminds me to be grateful for the treasure of food,

from decadent cherry cheesecake to a simple and sustaining bowl of rice.

Flea markets and antique shops are filled with these items. But instead of spending money and causing clutter with the real objects, I decided to create my own treasure collections using sewn paper collage. This object-making technique is straightforward and requires supplies that you will probably already have on hand. So, what are you waiting for? Gather up your paper scraps and take a trip into the flea market of your memory and imagination. What treasures will you uncover?



m at e r i a l s•Stretched canvas, canvas board,

or illustration board (cut to desired size)

•Paper scraps, a variety of colors and patterns

•Paintbrushes, small and medium

•Gel medium, matte (I use Liquitex®.)

•Pencil and scrap paper

•Paper, 100-lb. paper (I use Bristol paper.)

•Scissors

•Sewing machine with black thread

•Acrylic paint, black

•Paper towels

•Plastic bag or plastic wrap approximately the same size as your finished piece

•Clear finish spray (I used Krylon® Low Odor Finish.)

optional

•Scanner and printer

•Acrylic paints, assorted colors

•Embellishments: buttons, metal fasteners, etc.

•Awl

directionspreparing the background1. Select papers that will provide a

subtle, yet interesting background. The objects will be the focus.

2. Cut or tear the papers into strips.

3. Using a medium-sized paintbrush, apply gel medium to the back of the paper strips and then layer them over the entire surface of the substrate. Allow some pieces of paper to hang off the edges. These can be trimmed when dry. Set aside to dry for at least an hour. Overnight is best.

creating the objects1. Draw a basic outline of the object

you have chosen. Remember to keep it simple. The goal is representation, not exact replica! (Figure 1)

2. Cut out your drawing and trace at least 3–5 copies of the image onto the 100-lb. paper. You can also use a scanner and printer for this process. (Figure 1)

3. Cut out the copies. Don’t worry too much about precision. You will be covering the entire surface of each piece.

4. Tear some paper scraps into small pieces about 1⁄2" in diameter. (Figure 2)

Figure 1

Figure 2



note: As you tear, keep the pieces sorted by pattern and color. I use a muffin tin to keep my pieces organized.

5. Using a small paintbrush and gel medium, randomly layer the paper pieces over the entire surface of each cut object. Allow the paper pieces to hang over all edges of the objects. Set aside to dry for at least 15 minutes.

6. Trim the overlapping papers from the edges of the object. (Figure 3)

7. Using a standard straight stitch, machine stitch an outline around each object. (Figure 4) Carefully trim any loose threads and dot the ends of the threads with gel medium to prevent unraveling.

8. Add embellishments or fasteners as desired.

note: I added small metal brads to my scissors so that I could adjust the scissor blades on each pair.

9. Using your fingertip or a small paintbrush, rub the acrylic paint along the edges of each piece.

tips for sewing paper• You don’t need to use a special

needle for this project, but you will need to replace the needle in your machine when you are done. Stitching through multiple layers of paper and glue will make the needle dull.

• Practice sewing on scrap pieces to establish a comfortable speed and to learn how to maneuver tight spaces.

• Skinny or curvy pieces can be tricky to stitch. Keep your fingertips at least 1" back from the needle as you feed the object under the presser foot of the machine.

• Go slowly. In particularly tight spots, use the hand wheel to move the needle.

choosing papers• Choose a variety of shades and

patterns within each color choice. As the papers are layered, this diversity creates rich texture.

• Great paper sources include scrapbook papers, magazine pages, discarded textbooks, junk mail, and art mistakes. (Never throw away those mishaps!)

Figure 3

Figure 4



assembly1. Once the paint is dry, play around

with object arrangement.

note: I like to use a digital camera to document my favorite arrangement. I use this photograph as a reference when I glue everything down.

2. Using a small paintbrush, apply a generous amount of gel medium to the back of the first object in your arrangement. Place the object on the substrate. Put a clean paper towel over the object, place your hand over the object, and hold the object in place for at least 2 minutes. This will help the object stick to the background. Continue this process with each object in your arrangement.

3. Place a plastic bag or plastic wrap on top of the piece. Place heavy books

on top of the plastic. This will help flatten out the bulkier parts of the piece. After a few hours, carefully remove the plastic.

4. With your fingertip or a small paintbrush, rub acrylic paint along the edge of the substrate. Allow the paint to dry.

5. Add paint splatters and other accents, as desired. Allow the paint to dry.

6. Finish with a coat of the clear spray.

texterial.blogspot.comother ideas• Create a mix of objects related to

a specific theme, such as sewing supplies, sports equipment, or kitchen utensils.

• Spell out a word or a loved one’s name using sewn paper letters.

• Change the scale. Use a large canvas and giant paper objects.

• Go abstract. Choose bold colors to create sewn paper doodles, concentric circles, and squiggles.



adapted from Cloth PaPer SCiSSorS® november/december 2011

reverse collage

paintingA BRIGhT SPOT

ON A WINTER DAY

m at e r i a l s•Substrate: canvas, wood, or a

picture frame (I chose a 12" × 12" gallery-wrapped canvas.)

•Decorative papers (I like to use brightly colored scrapbook paper with bold patterns like Cosmo Cricket™ brand.)

•Scissors

•Paintbrush, 3/4" flat

•Acrylic gel medium (I use Golden Artist Colors® Regular Gel Gloss.)

•heavy-body acrylic paint (I used Golden Artist Colors burnt umber and cobalt.)

•Cotton swabs

•Paper towels

•Gel pen, white (I use Sakura® Gelly Roll®.)

Left: “Let it Snow” • 12" × 12" canvas

Right: “Winter Tree” • 51/2" × 11" wood block



winter is the perfect time to

cozy up in your studio with

a cup of cocoa and unleash your

creativity. When the weather outside

is frightful, I find that is the best time

to grab my bucket full of cheerful

papers and get to work. Come along

with me to create a winter-themed

piece that celebrates the season

while adding a bright spot to your

home.

For this project, I chose to combine brightly colored papers with dark paint to create a dramatic and unique look that will brighten even the darkest winter days.

directionscreate the background1. Cut the decorative papers into varying

sizes of squares and rectangles. Blues and greens go beautifully together, but other color combinations work just as well.

tip: Papers with raised designs and/or glitter are more difficult to work with because the paint fills the cracks, making it tough to remove the paint in later steps.

2. Paint a generous layer of acrylic gel medium onto the surface of the substrate and add papers to create a colorful collage. Don’t overthink this part too much. Just be sure that the papers overlap so that you will end up with a textured background. Add more gel medium where the papers overlap.

tip: I often use the end of my paintbrush to smooth down any paper that has a bubble of gel medium under it.

by holly christine moody

Figure 1



3. When you have covered the entire surface with paper, add another generous coat of gel medium to the entire piece and let it dry completely. (Figure 1)

tip: Take care to make sure the paper is pressed flat and that your brushstrokes all go in one direction. This will make it easier to lift off the paint in the next steps.

add the paint 1. Add a generous coat of the burnt

umber paint to a small section of your collage. It is best to start on the outside, working in towards the middle.

2. Using a cotton swab or your finger wrapped in a paper towel, draw your design into the paint. Continue this

notes• It takes practice to determine the

perfect amount of paint to use. Use a generous coat of paint, or you will find that the paint dries before you are able to complete your design.

• You may have to go over the design several times to remove all of the paint. You’ll notice that some of the paint stays in the crevices of your brushstrokes, giving the piece a bit of a distressed look.

• You can remove as much or as little paint as you like depending on how bright you want the final painting to be.

Figure 2

Figure 3

Figure 4



Right: This is the reverse side of “Be Merry.” Consider making a

piece that you can turn over and use when the holidays are over.

process until you have “painted” the entire surface with your design. Let it dry completely. (Figure 2)

3. Add details with the gel pen. Simply outlining your shapes helps to bring more definition to the painting. I also enjoy using polka dots whenever possible. (Figure 3)

4. Paint the outer edge of your painting with a bright, complementary color. I used the cobalt paint for this step. (Figure 4)

Isn’t it amazing that the simple combination of colorful paper and dark paint results in such a bright and cheerful piece of art? Now pour yourself another cup of cocoa, curl up, and admire your handiwork.

hollychristine.net



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