March 29, 2017
Appropriation is a very useful concept in contemporary art and essential to appreciating contemporary collage art.
I like to make funky figure collages with papers and text cut and pasted from magazines like W, Elle. Vogue, and ArtForum. I thumb through the magazines and tear out pages when the right image strikes. Everything becomes a magazine mash-up.
The image nearby is my collage titled Sex Celebrity. This work is part of a new series with female images done in collage with various cut and pasted papers. Some of the papers are straight out of the magazine. Some are painted with acrylic. Some papers are purchased in an arts and crafts store. I like to mix and match and create works that combine image, color, pattern and texture. Most of all, I am fascinated by celebrity culture and Pop Art. My goal is to create images that are edgy, sexy and provocative.
The image you see is a collage on a 12×16 inch panel showing two x two females. Everything is an image: some more, some less real. The colors in this collage are creamy white, grey-black, green and tiny touches of pale blue and red.
The large female image is a close-up of a face, eyes closed as if in a swoon. She seems ensconced in a reverie in a garden setting, surrounded by green. She’s a beauty. Her eyes are decorated and glittery. There’s a large, expensive diamond jewel floating near her nose. The jewel looks like a delicate flower or a garden bug. I’ve seen expensive jewels in fashion magazines. They’re highly crafted with multiple stones. A beautiful woman deserves a beautiful diamond. I embellished the image, but it’s straight out of the magazine.
The smaller female image in my collage is a figure in a couturier outfit and her breasts are exposed. You see a lot of that in the fashion magazines currently. She’s standing in front of the large face image. There’s a third image in black and white located on the lower left side. It may be a print by Pablo Picasso torn from an art magazine. I took it because it was the right size and in black and white. There’s a fourth image on the right side that’s a face and facing left. If you look carefully, you can see eyes, eyebrows and hair. The face is made with striped green paper. I like stripes. I like to combine abstraction, reality and fantasy.
I cut and pasted all the papers. There is no actual glitter and no jewel – just papers to simulate jewels and glitter.
Appropriation in Art
I recommend the book titled Steal Like an Artist by Austin Kleon. It’s a little book with a lot of big ideas. The author says: remix and reimagine to discover your true path. It sounds like collage.
Appropriation in art is defined as the act of using pre-existing objects or images with little or no transformation applied to them. The artist’s job is to decide how much image transformation is necessary. Some artists feel guilty for stealing an image. I’m not sure that’s true for everyone. There is so much to steal now. Images are everywhere. I think it’s how you use them that makes a difference.
The image nearby is a magazine collage I created on a 14×11 inch paper substrate. I gave it the title FlatChested. I think she is. She’s high fashion and very thin. The image is inspired by the concept Exquisite Corpse where the parts don’t have to match. Each of the 3 parts comes from a different magazine page. I liked the pink background in the middle section and the model’s long, graceful hand. Her eyes were made up with glitter and that was also appealing. I liked the wild, dark hair in the top section that has a mustard yellow background. I liked the pattern where the hair is separated by a part in the middle. The width worked well with the cut-off hat in the pink section. I liked the dot patterns in the black and white bottom section. Everything worked well. I didn’t have to add glitter because the model already had glittery eye makeup. I changed her mouth and shortened her torso. Colors are gold, pink, black and white. Her skin color is caramel brown. The papers come from W magazine. There are only 4 pieces in this collage – three horizontal rows of cut and pasted magazine papers and a mouth from a model image in black and white (from the same magazine).
My students often ask me about copyright infringement and appropriation. One student this winter had to overcome – and actually did overcome – her resistance to appropriating magazine images. I persuaded her. We talked about it all through the winter term at the Pelham Art Center where I teach contemporary collage to adults. Her career is print publishing so I understand her resistance to appropriating images. I really like her 3 portrait images. Each one is very different. See them below.
The image nearby is the 1st portrait collage Ilene created in class. Her papers included stamped drawing paper (dots) for the face, chevron-striped paper for the dress, decorated papers from magazines and painted paper for hair, eyes, nose and mouth. The collage is on 14″x11″ Bristol paper (substrate). Ilene spent a lot of time cutting papers for the hair, eyes and mouth. Notice one eye is light brown and the other eye is a black and white pattern. Ilene added green glitter eye makeup last. Her background is grey magazine paper with a printed gallery name as vertical text. I remember Ilene asked me if she should cut, cover or leave the vertical text. I said yes – leave it in – it’s not too prominent. Ilene’s 1st collage has a lot of directional movement with pattern and cut papers. The grey dots in the face are tilting down right. The vertical text is parallel to the right edge.
The image nearby is the 2nd portrait collage Ilene created in class. It’s much more abstract and the eyes, mouth, chin and hair are made with cut triangle papers. The papers come from magazine pages but do not show a model’s image. There’s a lot of dynamic energy in the way Ilene placed the cut papers. Notice some of the magazine papers are solid black, beige, yellow, blue and magenta red. Notice a few of the cut papers have stripes and crosshatched line drawing that adds texture. I love the spaces around the triangles. Ilene used a minimum number of papers but still gave us a sense of modeling the shape of a face. Notice the shading in the red papers for the lips. The way Ilene cut the papers gives a sense of volume. Notice the nose and tiny hands (each within a contrasting triangle) are actual magazine images – the only ones in this collage. Hooray for appropriation! I believe Ilene made the hands and nose small to make them less obvious as swiped magazine images. Notice the magenta-red lips are larger than either hand.
The image nearby is the 3rd portrait collage Ilene created in class based on the concept Exquisite Corpse. I believe I made my collage FlatChested (above) during the class to demonstrate how to cut magazine papers in angled, horizontal strips, using different models for each piece. Ilene’s portrait includes a woman’s eyes, ears and hairline on top and a man’s mouth, chin and neck below. She included a black round hat for the top strip in the collage, and found decorated papers in swirly patterns and bright colors for the bottom strip. I know she loves this portrait collage. I really like the contrast of one face in color and another face in black & white, and really like that one half of the face is male and the other half is female. Ilene selected images with care so that the expressions in the eyes and mouth co-mingle.
EXQUISITE CORPSE at PINTEREST
See 72 pins (images) for the Exquisite Corpse at my Pinterest site. Some of the images are historic examples. My students love Exquisite corpse as a class project and I set up Pinterest boards so they can check out images online. Read more about the Exquisite corpse here.
Today, appropriating and remixing images and media is common practice for visual, audio, and performing artists. Appropriation is a strategy. Visual artists would not be able to create the mash-up of images we create without all the images online and in magazines. They’re available, plentiful and we find them. Please share your thoughts. Do you swipe images and use them in collage? Do you re-mix other media? Tell me if you love the Exquisite Corpse.
Thanks for sharing – Nancy
February 13, 2017
Do you celebrate Valentine’s Day? Do you send or receive cards, candy or flowers?
Do you know why we associate the day with love and romance?
I made a collage with paper hearts (ab0ve). It’s a sample and not finished. I would add red glitter and lace. I cut magazine papers and pasted the papers into 7 hearts on a substrate paper with stamped red circles. Each heart is made with 2 parts. Some hearts are painted with red acrylic. Some show white on black magazine text and some show red on black magazine text. Very important: every heart has two halves that touch. Each heart has a right and a left side to show how two become one.
A very brief history of Valentine day cards
Sending notes and letters for Valentine’s Day started in the 1700s in Great Britain.
Esther Rowland (1828–1904) is known as the “Mother of the American Valentine” She was an artist and businesswoman responsible for popularizing Valentine’s Day greeting cards in America.
The History of St. Valentine’s Day
Historians identify Valentine’s Day with the Feast of Saint Valentine, a martyred Christian saint . FYI: There was more than one Valentine martyred. Read more about the saints Valentine.
In the Middle Ages, people believed birds began mating on February 14. February was the month of love.
In the image above, 2 black doves are facing each other with a red heart outlined above them. The heart connects the two birds and symbolizes the love they share.
The connection to birds and mating goes back to pagan Rome and a holiday called Lupercalia – a purification day to avert evil spirits and accomplish health and fertility. Very pagan.
Link here to see a very witty, entertaining video about the original Roman holiday Lupercalia.
Victorians assembled original valentines from lace, bits of mirror, bows and ribbons, seashells and seeds, gold and silver foil appliqués, silk flowers, and clichéd printed mottoes like “Be Mine” and “Constant and True.” Victorian valentines commonly feature churches or church spires, signifying honorable intentions and fidelity.
You can make your own card. All it takes is birds, words, and hearts. The image above is a contemporary card with glittery encrusted hearts in all sizes.
I created the image above to add to this post. It has new cut paper hearts pasted on top of a fashion magazine page image. Some of the hearts are painted papers with oil pastel embellished on top. Some of the hearts are cut magazine papers. I like the scale of the paper hearts contrasted with the scale of the model sitting on a red sofa.
Did you exchange Valentines cards and candy when you attended grade school? Do you remember the tiny candy hearts in pale pink, yellow and green?
Do you give or receive chocolates in heart shaped boxes?
Hearts dominate. That’s why I chose the collage with hearts for the top image. Valentine’s Day is about connections and relationships and red hearts. I cut the hearts so each was in two halves. They touch to show how important it is to connect.
Do you think this is a good way to show connections? Please send me your comments. Please share images if you make your own Valentine cards. Email me your image.
August 4, 2014
I am always inspired when I read a book by a creative artist. For example: Twyla Tharp’s book THE CREATIVE HABIT Learn It and Use It For Life is not just for dancers and choreographers. Every chapter will boost creativity in whatever your field. When I read these books, I always find something I can apply to my collage studio practice or apply when I design projects for collage workshops.
Her chapter titled “Scratching” talks about how to get ideas and how to explode ideas. She says you can scratch in the footsteps of mentors and heroes, but must not copy or your work is derivative. Try to interpret the idea into a new idea and “scratch” in unexpected places to get a new slant on the expected. She says: link A to B to C to come up with “H.” She adds: scratching is the ability to identify A, and then get to B and C. So – don’t stop with one idea.
A class project in black and white and 3 primary colors
I love class projects that explore collage with unique media, or explore images in collage based on other media.
The image above is titled “Cucaracha” (1948). It’s painted sheet metal and wire, 17” wide, private collection, by Alexander Calder (American 1898-1976). He is famous for his mobiles and stabiles – metal sculptures that move in space. His work is about movement and change. Very often his metal sculpture is painted in primary colors – red, blue and yellow. Notice how the mobile parts hang together from tiny chains. Notice how the sculpture casts a shadow as it stands on the ground.
I asked students to make collage inspired by Alexander Calder’s mobile Cucaracha – a 3D metal sculpture interpreted as 2D paper collage. I asked the class to juxtapose print text with cut and pasted papers – one collage on top of another collage – to create a dialogue between the parts and show movement. Black and white magazine text would be the bottom collage layer. Cut and pasted red, blue, yellow and black papers would be the 2nd layer on top of the black and white text. I found the Cucaracha image in the book CALDER CREATURES Great and Small, published by E.P. Dutton, Inc., NY in association with the Hudson River Museum and the Whitney Museum of American Art.
The 2 images (above and below) show 2 different views of the same sample collage I created for the class. I deliberately cut shapes that looked like the 3D shapes – to show students how collage can look like sculpture. The top image is a close-up view and shows unglued yellow and black paper and blue and red round shapes overlapping in the middle of the page. The image below shows the same unglued shapes in another configuration on top of the text collage. When I move the papers, the design changed. I moved papers several times. I wanted to show the class how the image changed each time the papers moved. Calder’s art is all about movement and change. Collage is also about movement and change. And if you don’t like the collage, you can remove the paper and start again.
LESSON PLAN: BLACK AND WHITE AND PRIMARY COLORS
Step 1: Make a collage with magazine text.
Cut and paste magazine text to create a design. It’s black and white, can be clean and crisp, and creates a graphic pattern with letters. It looks easy but it took almost 1 ½ hours for students to create a collage with just text. I asked students to glue a long, thin strip of black paper diagonally across the page before they started to glue text. I told them it was important to have the text strips meet the black paper “antenna” and leave a tiny space between the edges. Notice I created a pattern with text.
Step 2: Make a second collage with painted papers on top of the text collage.
This was fun and much faster. I told students to cut papers into shapes and that their shapes didn’t have to resemble the sample shapes I prepared. Everyone cut unique shapes. They didn’t want to copy the Calder image. Some students created a narrative collage related to words in the magazine text. Almost everyone told me they loved the idea of having text as a bottom layer in the collage.
Following are student images. Notice every collage is created with the same painted papers. Notice every collage image is unique.
In Dee’s image above, notice how her shapes balance well against the text design underneath. Notice one blue square extends beyond the substrate bottom edge. Notice 2 red triangles, 1 red circle, 2 yellow curvilinear line shapes and 2 black thin strips in a “V” shape protruding from the blue square. The shapes are geometric and simple and contrast beautifully with the clean design of text collage. Dee wrote she liked the way fitting the print into the background made her think about space. That was a positive. Negative: Dee prefers working on a large substrate – I gave the class a 7 1/2”x8” art card for the substrate. She doesn’t like working with primary colors. Calder’s mobile image isn’t a natural inspiration for her because she likes softer Impressionist art. Positive: the text is in motion and the painted paper shapes are engaged. I think her collage is bold, clean and well designed.
In Louise’s image above, you can try to read the text, but the image is marching on top and is the primary focus. Notice the thin black strip is a criss-cross “X” placed diagonally across the page. Notice the black and white text in the background creates a grid of blocks with white negative spaces. Louise pasted a pale yellow round shape within the “X” and placed a tall red right angle triangle with torn edge on the bottom right side of the substrate. She added more cut and pasted red papers: a tiny square, a tiny circle, one small red equilateral triangle and a thin, curved red paper with personality – all touching the black “X” in the middle. She added a semi circle and a tiny pale blue square touching the red square. She added new papers: 2 irregularly shaped triangles in speckled magazine paper pasted on top of black paper shapes. The painted papers show movement. The text papers show direction. Louise said she liked working with magazine text and thinks she may use it again as a starting point. She says there is no narrative story in her collage. I think her collage has so many interesting components.
In Vivienne’s image above, notice the juxtaposition of shapes in text with shapes in painted papers is dynamic and also narrative. I think there’s a story above and beyond the words. Notice how much care she took with selecting text papers for her collage bottom layer. The colors in the magazine text range from dark letters on creamy white, to grey black on light pink white, to blue black on a range of pale grey whites. It’s a beautiful text collage with so much variation in the colors and design. Notice Vivienne created a unique shape in red painted paper. I think it looks like a boat. She has 2 thin black strips projecting up from the red shape on the right side, and one thin blue strip projecting from the red shape on the left side. She has a yellow strip at the end and a yellow triangle on the right. There are 3 overlapping triangles – yellow, blue and yellow – that move down onto the red shape like sails. There is a wonderful sense of harmony and gentle rhythm in this collage.
In Claudia’s image above, notice she included text in different sizes and fonts. The text strip “IF YOU LOOK” is prominent in the upper right side. Claudia overlapped her text papers. You can’t read text easily (rows are crunched) and it makes you look more carefully. Notice Claudia created a “V” design with jagged black strips. Notice the left side of the “V” touches a color block that is yellow, red and, blue – one paper on top of another. In the lower third of her collage, notice there is a horizontal black and white band across the entire width of the collage and it overlaps 3 red triangles that look like sails. Another blue on yellow shape (mostly yellow) sits below. The text ‘IF YOU LO0K” tells you to look “IN.” This collage is very layered, very colorful, and very well designed.
In Sheila’s collage above, notice she kept the Mondrian “Boogie Woogie” image that was printed on the art card beneath. Her text strips are glued around the Mondrian image and go to the edge of the card substrate. Her cut and pasted paper shapes go beyond the substrate edges. Sheila said the Mondrian image on the art card influenced her colors – so the project with painted papers in red, yellow, blue and black was a good fit. Notice some shapes overlap; some shapes nest between shapes. Sheila titled her collage “Joyful Explosion.” Notice you can read the text – it’s about Alexander Calder and his mobiles. This is another well-designed collage. Its abstract and about modern art. There’s a strong relationship between the text blocks and paper collage shapes, and a gentle connection to the boogie woogie rhythm implied in Mondrian’s work.
In Irene’s collage above, notice that the pattern of painted paper shapes mimics the pattern of pasted text shapes. All the text is slightly oblique and tilted like the paper shapes in red, blue, yellow and black. I love the fact that Irene left part of the top section of the substrate uncovered to create a horizontal white shape. Did you notice there’s a tiny section of text at the top that’s upside down? Notice that red peeks through the black strip (the right sideof the “V”), I asked the class to leave a tiny space next to the black strip. Irene’s paper shapes are bold and geometric. She cuts into her blue triangles and creates “V” shapes that repeat the “V” of the black strips and the “V” of the yellow strip and yellow triangle. There’s overlapping and repetitive shapes that move in unison along the “V” line. There is a subtle dialog between the upper and lower collage that keeps moving and keeps you looking.
In Carol’s collage above, notice how she created text in overlapping blocks and layered painted papers that became a flying bug on top. The “V” of the bug’s antenna covers the “R” in the word “Creature Comfort.” Carol commented: I decided to do some sort of insect when I saw the black “V” shaped pieces that were to be placed on the first collage text layer. She added: Calder made a critter in primary colors so that clinched it for me. I struggled with the background, not realizing how the image and the text would be having a dialog. I found some clever headlines that made the image humorous. The insect itself dominates the lower left portion and though the bug is moving downward there is a feeling of flight. The creature has an oval yellow head with a large black dot for the eye. Notice the body is blue and the wings are red. There is a tail with a fringe on the back in blue and a fringe in blue underneath the head. Two black skinny legs are showing. Carol said: this project was a delightful revelation to me, and I think I’ll do more collage with text and image from now on.
Every color and shape emphasizes directional pattern. There is a strong sense of harmony between the lower and upper collage. They talk to each other. I wonder if there is a pun intended in the text “Altitude Slickness.” Where did the “L” is slickness come from?
Thank you for reading and I welcome your comments.
July 5, 2014
I planned to write about an art project I designed for an adult collage class I teach at the Pelham Art Center, Pelham, NY, working with pasted papers painted in bright, primary colors. Not exactly 4th of July Red White and Blue – but Red,White, Blue and Yellow (and black). I will write about the project in my next post. The image that inspired the project was a mobile by Alexander Calder. The image below is by Carol (a teaser for the next post).
Here are comments Carol wrote: Nancy – I decided to do some sort of insect when I saw the black vee-shaped pieces that were to be placed in a particular spot on the page. Calder also made a critter in primary colors so that clinched it for me. I struggled with the background not realizing how the image and the text would be having a dialog. I found some clever headlines that made the image humorous. The insect itself dominates the lower left portion and though the bug is moving downward there is a feeling of flight. The creature has an oval yellow head with a large black dot for the eye. The body is blue and the wings are red. There is a tail with a fringe on the back in blue and a blue fringe underneath the head. There are black skinny legs–two are showing. It was a delightful revelation to me. I think I’ll do more with text and image from now on. Thanks Nancy. Carol
Challenge is Always Good
Today I want to share comments by Seth Godin in his blog post titled “Is better possible?” I recently signed up to receive his blog (well written, timely and always brief and to the point). Today’s post is about challenge. Seth Godin says most people are comfortable with saying “no” to the question is better possible? It’s the easiest and safest thing to do – to accept what you’ve been given, and assume you are unchangeable. He says, when you assume that you are unchangeable, you give up responsibility for outcomes. Don’t do it to yourself. Don’t do it to others,
I always say challenge is good for you (and me). Godin says we are afraid of challenges because we fear the possibility of the outcomes. Read what he wrote here.
I design collage art projects that give students a challenge. Last Monday they made amazing multi-layer collages in a 2-hour session. The first layer had to include strips of cut and pasted black and white magazine text in a pleasing design. They had to select the text. I brought a sample collage where the entire background was text that didn’t line up in horizontal rows. The class spent about half the time on the first layer, and organizing magazine text became its own design challenge. The second step was to create an over layer with papers in primary colors cut in unique shapes. I provided the red, yellow, blue and black painted papers and did a quick demo on ways to place shapes over the text. I showed them overlapping shapes, shapes spread out, and shapes clustered together in different arrangements. Collage is always about layers and juxtaposing images (and shapes). The class rose to the challenge and I knew they would. Kids in elementary school can do this project, time permitting. Kids love a challenge and everyone loves primary colors.
Here’s more from Seth Godin’s post. He concludes with: “We owe everyone around us not just the strongest foundation we can afford to offer, but also the optimism that they can reach a little higher. I share his post because when you stretch boundaries, you grow, gain confidence, and you feel good that you took the chance and reached the goal.
What is your goal? Whatever it is, make it creative. Make it good.
May 30, 2014
Every Child is an Artist
Pablo Picasso said: Every child is an artist. The problem is how to remain an artist once we grow up.
In March 2014, I “taught” after-school collage workshops to 4th and 5th grade students at the Williams Elementary School (Mt. Vernon, NY). The project at the 3rd workshop was a Sunny Face collage. The image below is my workshop sample. Notice there is a yellow circle that sits on top of a teal blue circle. The kids cut out the circles first. Notice the triangles with wavy stripes that are placed around the circumference of the paper circle. Kids got the striped paper pre-cut into 2″ x 4 ½ inch strips. I showed them how to cut across the strips in zigzags to create tall, thin triangles. The striped papers were bright neon colors: green, blue, yellow, fuchsia pink, and purple. Notice there are 3 small 5-point stars pasted at the top. Two students wanted to include stars. See collages by Kenyatta and Akeem below. I’ve included a lesson plan: 7 Steps to Create a Sunny Face Collage (see below). See image of striped papers directly below the 7 Steps lesson plan.
I make a sample collage for each project because it gives students a visual jumping off point for how to begin. Another reason I make a sample collage is it’s important for me to learn the best way to structure the project for kids so they can get to work quickly and complete the collage before the end of the workshop. This project involved multiple steps. The workshops last only one hour.
I set out prepared materials at every student’s seat. There are about 20 kids at each workshop. When they arrive they see papers, markers, glue sticks and scissors at every place. They can start quickly. I reproduce black and white photocopies of the sample collage and put one in front of every two students. I show the sample collage to everyone, and explain how to proceed. I tell them I do not expect them to copy my sample. They never copy. They look at my sample and they look at what other students are doing, and they always create something new.
I wanted students to paste letters on the sunny face in their own words. Notice the letters on my sample spell out “Good morning Sunshine. Notice the pasted paper letters on the image below spell out “Enjoy Artful Mornings Passions Songs Explore Today Music.” The image below is the prototype for my sample collage. I gave it a title: “Shine On” and am pretty sure I found the image at pinterest.com. The students created their own words with photocopied letters I supplied.
Notice “Shine on” is made with a single yellow circle with a watercolor blue background. I counted 24 cut and pasted triangles around the circle. Notice all the papers are different solid colors, stripes and patters. The edge of the yellow circle includes small cut and pasted letters. I think it’s difficult to read the words because the letters are so small.
Notice my sample collage (top) did not have any background. I asked the students to add color to the 8 ½ x 11 inch white cardstock they used for their collage background paper. They didn’t have time to create a watercolor background. I showed them how to hold 2 or 3 Sharpie markers in one hand and decorate their background with multi-colored lines done with a sweeping motion. I love how every student created a different background with the markers, and how they were so focused as they worked. It was a great beginning. See all the different images below.
The image above is by Rosella. She’s a very dedicated young artist. Notice her multi-color background – curved, concentric stripes in blue, yellow, purple and pink. Notice her sunny face has 2 rows of triangle rays around the circle. She cut and pasted larger striped triangles first, and then added smaller triangles from a polka dot patterned paper as a second row. Notice how collage papers became a face with eyes (eyeglasses?) and a red and green nose. Notice the words “Happy Day” became a smiley mouth, and how she used collage letters to create a signature at the top.
The image above is by Omarion, who designed a background with free-hand scribbly lines, first in yellow Sharpie marker, then in blue. Notice that the blue lines over yellow lines make green lines.
Notice the bottom circle is black and the top circle is yellow. Omarion cut and pasted 11 striped triangles around the circle. Some are tucked under and some are over the yellow circle. Notice the collage squares with black on white letters that spell “freedom of speech.” See Omarion’s signature in cursive that matches the loopy shaped lines in his background design. I am sure he knew exactly what he was doing as he made the collage.
7 Steps: Lesson Plan for the Sunshine Project
(1) Use cardstock for the substrate (bottom collage layer). Refer to the collage sample with the blue colored background. Hold 2 or 3 Sharpie markers in one hand and make patterns on the white cardstock.
(2) Prepare 2 circle outlines: 5” diameter on blue paper and 4” diameter on yellow paper. Cut out 2 circles.
(3) Cut preprinted striped paper in 2”x4” strips (see below). Cut triangles from paper strips: zig zag from bottom to top and back. Notice the pattern in all triangles show the same horizontal direction for all pieces. Match colorful papers to Sharpie marker colors in the substrate.
(4) Glue the large blue circle down on the decorated substrate near the middle of the paper. Glue cut triangles around the blue circle – with the pointy edge projecting outside the circle.
(5) Glue the smaller yellow circle down over the blue circle. Try to cover the uneven edges of the triangle papers.
(6) Decorate the circle “face” with cut papers and pasted letters that create a personal statement or quote.
(7) If you like, add collage to the background. Add your signature.
The image above shows 6 striped paper strips. Each student got 2-4 strips from which they cut the colorful sunray triangles. Most students made 12 – 20 triangles to glue around the blue circle.
Following are 5 finished collages by students at the Williams Elementary School after-school workshop.
The image above is by Kevon. His background is made with scribbly lines (done while holding 2 markers in his hand). The lines go from top left to bottom right and from top right to bottom left. Notice Kevon added 6 cut and colored 5-pointed stars along the side and corners. He cut 14 perfect striped paper triangles, and pasted them down on the larger yellow circle. Notice how the striped colors radiate out in all directions. The colors are in motion. Try to see the 6 stars. They blend into the background and are almost invisible. His text is his signature, done with black on white cut and pasted letters within the gold yellow circle. The more I look at this collage, the more I enjoy it. Kevon’s collage seems simple, but it’s really sophisticated.
The image above is by Bridney. She had fun swirling markers to create overlapping loops in blue, green, purple and hot pink. Notice the light yellow circle is placed off-center and is covered with 12 striped triangles. Notice the colors – pink, yellow, green, blue and purple radiate out into the background created with swirling lines. Everything is in motion, including the cut and pasted letters that becomes Bridney’s signature.
The image above is by Kenyatta. He decided to use yellow-green paper for his substrate, and created a scribbly line background pattern with green and blue markers going from top to bottom on the diagonal. Kenyatta’s sunshine is larger across than all the others in the workshop. Notice there are 15 long, thin triangles for the sun’s rays. Kenyatta is tall and slim. The paper patterns show different directions. Notice the 5-pointed stars are hand-colored with blue, green, yellow and hot pink markers. See how they blend into the background in terms of colors, but also stand out against the background because the lines are facing in different directions. This young artist took great care in cutting shapes and placing every paper in his collage.
The image above is by Akeem. He used Sharpie markers to draw almost parallel lines across his Cardstock background. He started in the upper left and drew alternate blue and green lines diagonally. Akeem glued 2 circles to the background, and placed his cut striped triangles on top so you see how the papers are glued down. The combination of drawing (contrasting lines) and collage is beautiful to see. Notice Akeem cut a 5-pointed star, left it uncolored, and glued it down near the center of the gold yellow circle. He added his signature nearby as a closely spaced collage of block letters, black on white. The whites in the star and signature tie into the white showing through the drawing in the background. There’s a lot of freedom and energy in the way this collage is organized, and that is very exciting to see.
The image above is by Andrew. He drew free-hand crisscross lines that overlap and curve across the cardstock white substrate. He used purple, green, blue, yellow and hot pink Sharpie markers – colors that match the printed striped papers in his collage. Notice he added spatter dots with marker dipped in water. The 2 circles that form the sunshine are cut from light and dark yellow. Triangle rays are cut from striped and from polka dot papers. Andrew wrote “You only Live Once” in red green yellow and black, and signed his name in cursive – all around the circumference of the yellow outer circle.
Before he was finished, Andrew drew black triangles at all the corners. He has an intuitive sense of design – he curved the wide base of his triangles, which repeats all the curved lines in the background, curved stripes in the printed collage triangles, and curved words along the circle inner edge.
Kids make art to express ideas and show their personality. Children are brilliant at color, design and composition. It’s intuitive. All they need is an assortment of inviting materials. I design collage projects to make it easy for them to get engaged.
How do you get the kids engaged? Project must be cute, fun and open to personal expression. Kids need to see the project as a challenge they set for themselves. It’s their choice to make the project as simple or complicated as they want. My challenge is to focus and encourage them, and organize the materials so the project can be completed in a short period of time. I love to see children make art. That’s why I design art workshops for kids.I want to optimize their experience. I want kids to feel proud of their work and how they’ve reached the challenge they gave themselves.
Often my idea for a collage project starts with an image I find online or in a magazine. See Rosella’s sunshine collage and other works by and for young artists at my Pinterest site. Thank you for reading. I welcome your comments.
May 8, 2014
I used the phrase “Collage Artist Extraordinaire” to describe Ivan Chermayeff in my review of the exhibition ABOUT FACES (March 20-April 19, 2014) at the Pavel Zoubok Gallery at 531 West 26 Street, in NYC. Read it here.
Pavel Zoubok says: no art form expresses the character of the twentieth century and the contemporary moment with greater clarity and immediacy than the art of collage. The Gallery is the place to go if you are a fan. The exhibition calendar includes both historic and contemporary collage artists. Read more here.
I’ve been a fan of Ivan Chermayeff’s collages for years and years, but only saw reproduction in art magazines. ABOUT FACES included collage and assemblage (sculpture). Each wood assemblage included found wood and objects like toys, tools, river stones, sandpaper, and/or brushes. Two works included a found glove that became a face portrait.
My photo (above) shows the gallery installation with 3 wood assemblages by Ivan Chermayeff. Titles are: (left) Janus Head with Canoe Hat, (center) Portrait with Pincushion Cap, and (right) Young Person with Hairless Brush Head. I’ve included solo images (two views) for each sculpture below. All images are courtesy the Pavel Zoubok Gallery. Sculpture should be seen in person, where you can walk around and see different views. The front and back are sometimes very different in Chermayeff’s assemblage.
The image (above) is titled Janus Head with Canoe Hat (2000-2005), mixed-media assemblage, 23 ½ x 8 ½ x 8 ½ inches. Click on the image and enlarge it to see more detail. Look at the nose. I think it looks like the handle on a coffee mug, big enough for you to put your hand through. Notice the hat is actually a little carved wood canoe. Notice the lips on the mouth are wood and painted red. Look at his expression. I think he looks grumpy or is sulking. Read whatever you like into his expression.
The image (below) is a profile view of the same sculpture, and, when you look up, you see the bottom of the canoe on his head. I think the wavy blue painted wood on the side is shaped like a child’s drawing of waves in the ocean. You don’t see the waves in the image above, but you can see the shape better in the image below.
What’s in a name?
I checked Wikipedia for information about Janus – the ancient Roman god of doors, passages, endings and times (representing war and peace). FYI: The month of January is named for Janus. Janus is usually represented with two faces. I wonder if Chermayeff named his wood sculpture Janus because the sculpture includes part of an old wood door. Read more about the god Janus here.
He collects garbage like crazy.
I include a collage (above) titled Red Talker, 15×11 inches (1995). Chermayeff says he collects garbage like crazy. According to the Gallery press release, his collages include the stuff of everyday life: scraps of paper, stamped envelopes, tickets, photographs and other discarded oddments that become juxtaposed compositions of color and form. Chermayeff says: “A little spot, whether a postage stamp, a graphic mark, a letter of the alphabet, a splash of color becomes a nose, an eye or a mouth. In the right place, more or less, it becomes a face…that is both recognizable and rewarding. When a face is there, it has its own reality, whether recognized or not, much like strangers passing in the street.” Read Gallery comments here.
Notice the colors in Red Talker: black, white, red and a peachy-tan. The portrait is all torn and cut papers in geometric shapes: squares, rectangles, circles and triangles. He’s facing right, and wears a hat. He has a large white dot for an eye. His mouth is a torn red and white address sticker. See more gallery images here.
The image (below) is a front-facing view of Chermayeff’s mixed media assemblage titled Portrait with Pincushion Cap (2000-2005), 13 x 8 ½ x 3 inches. Notice the deep grain in the wood and how the artist used smooth round white river stones for eyes. The stones are different sizes. The larger one faces vertical and the smaller one faces horizontal. The mouth is wood painted red. Ears appear on the side of the rectangular head as semi circles painted black. The pincushion cap (painted silver and blue) is another toy wood canoe sitting across the top of his head.
The image (below) is the rear view of Portrait with Pincushion Cap. Click on the image to enlarge it. Notice the rough surface texture in the wood in this view. There’s a deep recess gouged into the wood. I see a different face. The eyes are still white river stones, but they look tiny. The mouth is part of a negative space so it looks like his mouth is open. The “nose” is a rosy red blobby shape stuck into the gouged surface. The ears are gone, replaced with a solid black band of wood with rounded ends and now looks like a hat. The toy wood canoe (pincushion) sits on top. I think he looks like a drunken Russian sailor or an old Viking. It’s another Janus with two faces.
Two images (below) are front and side views of the mixed media assemblage titled Young Person with Hairless Brush Head, 24 x 15 ½ x 4 ½ inches (2000-2005). Notice Chermayeff added wood dowels for this portrait’s 2 arms. The Head is an irregular shaped rectangle. It’s an old hairless brush with 27 holes in 3 vertical rows. There’s a painted red wood dowel planted across the top of his head and a painted red block projecting between his legs. The wood figure looks like he’s wearing cut-off pants. His feet are thin black metal rods that run down to a square metal base. What do you see? I see a portrait of a young boy. Do you think the sculpture is innocent and childlike? I think maybe not.
Ivan Chermayeff’s fine art collages and assemblage sculptures have been exhibited throughout the United States and internationally. His next exhibition will be in the UK. He is best known as a designer and illustrator. With Tom Geismar, he founded the design firm Chermayeff & Geismar (1957), and the logos they’ve designed are recognized worldwide.
FINAL THOUGHTS: See it in Person
In my previous post, I wrote you have to see Chermayeff’s assemblage sculpture in person and walk around to view the work from every angle. I hope the additional images here gave you more information. Please add your comments below. Do you like this artist’s mixed media assemblage? Do you prefer the collages? Do you think assemblage is 3D collage?
January 23, 2014
The Journal as Art
I’m reading the book Drawing from Life: The Journal As Art, by Jennifer New (Princeton Architectural Press, New York).
It’s a beautiful book with text and drawings by 31 artists who keep a journal. Chapters include Observation, Reflection, Exploration and Creation. The preface states: journals are unsung heroes, the working stiffs of creative life.
A journal can be a diary, sketchbook and notebook. It can include anything and everything. It’s a place to play and explore images and ideas.
DO A DRAWING FROM NATURE
At the beginning of the book Drawing from Life, I found the image above – a line drawing of oak leaves with a live twig and oak leaves placed on top of the drawing by Maira Kalman. The artist says she likes to gather information while she walks. She is the author of 13 children’s books and a frequent contributor to the New Yorker magazine. I’m intrigued by her drawing.
I love that you can see through the photo of the leaves to the beautiful drawing below. It’s simple and elegant. I feel the gesture of the lines in contrast to the actual leaves and bark.
In an interview, Kalman says she always has a sketchbook with her and is drawing all the time.
I decided I have to make more time to draw.
So many people say they can’t draw a straight line. Actually – anyone can draw a straight line if they use a ruler. No excuses! If you are an artist or wannabe, I say: get comfortable with drawing because it’s really important.
If you don’t know how to draw something (example: leaves), trace the outline of the leaves and transfer the image onto drawing paper. Another way to approach drawing is find a drawing and copy it. Turn the image upside down and start to draw. You will be amazed at how good your drawing will look when you copy from an upside down image. Your confidence will rise. You can start to draw from what you see – example – a view on a walk, your desk, your room, etc.
Look at something and make an abstract drawing – gestural lines and shapes in response to the image you see. Collect images and make a sketch while you look at the image.
I think it’s fun to doodle with lines, move the pen and watch the image grow. I like to draw from my imagination.
The image above is the 7th drawing in my journal. It’s my favorite drawing so far. The journal is exploring an imaginary fishy world with waves, floating food, and underwater critters. Do you see the snail and the fish in this one?
The journal papers are 10×8 inches. The drawing is small and the collage papers are tiny.
I started the collage with horizontal strips of BFK Rives art paper. I drew with pen and ink on the cut paper and then glued them into the journal. Notice the irregular sides. That’s intentional. I found magazine papers with printed text, tiny dots, a spoked wheel, and stripes. Since the drawings are high contrast pen and ink, I looked for collage papers in a range of grey to black tones. I drew spirals with pen and pencil with softer edges.
I titled the image above White Paper Waves. The cut paper on the bottom of the collage was a scrap leftover from another collage project. I love the pencil outline around the cut out waves. As soon as I found it, I knew I would use it.
I titled the image above Fishy Tails.
Recently I decided I want to cut the collage papers into open shapes with space in the middle. I use a fine scissor. I want the paper to become another line – collage as drawing that can be glued on top. The image below is a cut paper sampler for the next drawing.
PLAYING WITH LINES
I started the journal because I wanted to play with thin and thick, straight and wavy lines. I wanted to create new images that explored the image that came before. My journal is a journey via drawing and collage. I want to see how the images change. It was very important to use certain papers. I discovered I like some papers much better than others. It will influence what I use and what papers I collect.
My journal is spiral bound with a heavy black paper cover and includes medium weight drawing paper. I’m particular about size. It has to feel right in my hand. The pages have to be receptive to pen and ink and bear the weight of glue and papers.
Some artists do a drawing every day. Experts say drawing is good for relaxation, concentration and observation.
If you want to learn to draw, find an online tutorial, a how-to book, or take a class at an art center.
Buy a notebook with blank pages and fill it with drawings. Write comments, keep notes on what you observe. Draw from life. Look at what’s around you. Doodle with thick and thin lines. Create open and solid shapes. Add patterns and stripes. Fill in with cross-hatch lines. If you like – embellish with paint and collage.
Buy pencils and pens. B pencils are softer and darker (2B, 3B, 4B, 5B, 6B). H pencils are harder and lighter (HB, 1H, 2H, 3H, 4H). I do not like H pencils and never use them. I like 3B, 4B and 5B. Higher B pencils (6-8B) are too soft, dark and smudgy for me. Permanent ink pens come with a range of ink tips. I like them all. I especially like the pens with a brush tip.
I love the blog post “the 90 cent solution to becoming organized, creative and successful” by Pat DePuy at Mainstreethost.com (December 18, 2013).
What is the 90 cent solution?
It’s a notebook (a journal) that you buy. Typically it’s unlined papers in a bound book.
Experts say it works best when what you enter is handwritten – when you print by hand or use script/cursive – never mechanical wordprocessing.
Experts say keeping a notebook improves your memory. There’s documented evidence that the ideas you record by hand get acted on and become more successful.
Because your notebook/journal is handwritten, you remember with much more detail when you review what you wrote.
Advice to everyone: keep a notebook. Artists: fill your journal with images you find and drawings you make. Add comments on what inspires you, what you did and why you like it, and what you will do next (what will change, what will stay the same).
Please contact me. Do you draw? If not, why not? Do you keep a journal? Can you describe it? Thank you for reading and your comments.