101 More Mixed Media Techniques: An exploration of the versatile world of mixed media art
101 More Mixed Media Techniques: An exploration of the versatile world of mixed media art
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Product Details
| ISBN-13: | 9781633229112 |
|---|---|
| Publisher: | Foster, Walter Publishing, Incorporated |
| Publication date: | 12/30/2015 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 24 MB |
| Note: | This product may take a few minutes to download. |
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CHAPTER 1
Tools & Materials
Each of the artists featured in this book incorporates his or her own unique set of mixed-media tools and materials; however, this section covers the traditional tools and materials you'll need to complete most of the projects in this book. All other materials are listed at the start of each project. The degree to which you re-create the projects is up to you. It is recommended that you read all of the project steps before beginning. You can often substitute hard-to-find objects and paper products for materials that you have readily available.
Drawing Supplies
Paper Drawing paper is available in a range of surface textures: smooth grain (plate finish and hot-pressed), medium grain (cold-pressed), and rough to very rough. Rough paper is ideal when using charcoal; smooth paper is best for watercolor washes. The heavier the paper, the thicker its weight. Thick paper is better for graphite drawing because it can withstand erasing better than thin paper.
Drawing Pencils Artist's pencils contain a graphite center and are sorted by hardness (or grade) from very soft (9B) to very hard (9H). A good starter set includes a 6B, 4B, 2B, HB, B, 2H, 4H, and 6H.
Colored Pencils There are three types of colored pencils: wax based, oil based, and water soluble. Oil-based pencils complement wax pencils nicely. Water-soluble pencils have a gum binder that reacts to water in a manner similar to watercolor.
Art Pens There are a number of ink, gel, indelible, and poster-paint art pens on the market that are useful for rendering fine details in your mixed-media projects. Experiment with a variety of pens to see which ones you like best for your particular projects.
Erasers There are several types of art erasers. Plastic erasers are useful for removing hard pencil marks and large areas. Kneaded erasers can be molded into different shapes and used to dab an area, gently lifting tone from the paper.
Watercolors Watercolors come in pans or tubes. Tubes contain moist, squeezable paint and are useful for creating large quantities of color. Artist-quality watercolors are made with a higher ratio of natural pigments to binders, so they are generally brighter in appearance. Student-quality watercolors use more synthetic pigments or mixes of several types of pigments.
Pastels Pastels come in oil pastels; hard, clay-based pastels; and soft pastels, which are chalklike sticks. Soft pastels produce a beautiful, velvety texture and are easy to blend with your fingers or a soft cloth. Pastels are mixed on the paper as you paint; therefore, it's helpful to have a range of colors in various "values" — lights, mediums, and darks — readily available.
Acrylics Acrylic paints come in jars, cans, and tubes. Most artists prefer tubes, as they make it easy to squeeze out the appropriate amount of paint onto your palette. Artistgrade paints contain more pigment and produce truer colors than student-grade paints, which contain more filler. In addition, there are a number of acrylic mediums, including glazing, thickening, dispersing, and texturing mediums, that can help you achieve a range of effects.
Brushes The three basic brush styles are flats, rounds, and filberts. Large and medium flats are good for painting washes and filling in large areas. Smaller flats are essential for detail work; drybrushing; and making clean, sharp edges. Larger rounds and filberts are useful for sketching outlines and general painting, whereas the smaller sizes are essential for adding intricate details. Brushes are grouped by hair type (soft or stiff and natural or synthetic), style, and size. Always wash your brushes after using them; then reshape the bristles and lay them flat or hang them to dry. Never store brushes bristle-side down.
Other Art Essentials Other tools you may want to have on hand include a ruler, artist tape, art markers and crayons, blending stumps, a pencil sharpener, and a utility knife for cutting drawing boards.
Color Theory
Knowing a little about basic color theory can help when working with mixed media. The primary colors (red, yellow, and blue) are the three basic colors that cannot be created by mixing other colors; all other colors are derived from these three. Secondary colors (orange, green, and violet) are a combination of two primaries. Tertiary colors (red-orange, red-violet, yellow-orange, yellow-green, blue-green, and blue-violet) are a combination of a primary color and an adjacent secondary color.
The Color Wheel
A color wheel is a visual representation of colors arranged according to their chromatic relationship. The basic color wheel consists of 12 colors that can be broken down into three different groups: primary colors, secondary colors, and tertiary colors.
Color Schemes
Choosing and applying a color scheme (or a selection of related colors) can help you achieve unity, harmony, or dynamic contrasts. Explore these different schemes to understand color relationships and to practice mixing colors.
Complementary Complementary colors are colors that are opposite each other on the color wheel. Red and green, orange and blue, and yellow and purple are examples of complementary colors. When placed adjacent to each other, complements make each other appear brighter. When mixed, they have the opposite effect, neutralizing (or graying) each other.
Split-Complementary This scheme includes a main color and a color on each side of its complementary color. An example of this would be red, yellow-green, and blue-green.
Triadic This scheme consists of three colors that form an equilateral triangle on the color wheel. An example of this would be blue-violet, red-orange, and yellow-green.
Analogous Analogous colors are adjacent to each other on the color wheel. Analogous color schemes are good for creating unity within a painting. You can do a tight analogous scheme (a small range of colors) or a loose analogous scheme (a larger range of related colors). Examples of tight analogous color schemes would be red, red-orange, and orange; or blue-violet, blue, and blue-green. A loose analogous scheme would be blue, violet, and red.
Tetradic Four colors that form a square or a rectangle on the color wheel create a tetradic color scheme. This color scheme includes two pairs of complementary colors, such as orange and blue and yellow-orange and blue-violet. This is also known as a "double-complementary" color scheme.
Borders & Edges with Cherril Doty & Marsh Scott
Artists often ignore the edges of their works; however, borders and edges can enhance certain themes or create a unique frame. Adding borders or otherwise finishing off the edges of a work also creates visual interest in a piece.
Materials
• Substrates (with or without completed artwork)
• Ruler
• Variety of edging scissors (pinking shears, fabric shears, edge-cutters)
• Rotary cutter or paper trimmer
• Watercolor paper
• Container of water
• 1" brush
• Old cookie sheet or baking pan
• Lighter
• Acrylic paints
• Acrylic medium
• Acrylic gel
• Painter's tape
• Assorted printed papers
• Deli paper
• Sea sponge
• Used dryer sheets or dry baby wipes
• Cosmetic sponge
• Blunt, short-bristled brush
• Rub 'n Buff® or gilders paste
Cut, Torn & Colored Edges
Tearing (below): This can be done with wet or dry paper. Dry tearing creates an even edge, whereas wet tearing creates a deckled effect. For wet tearing, watercolor paper works best.
Cutting (right): Hard edges are created using a mat knife, rotary cutter, or paper trimmer. When cutting, cut along the outside of the ruler so the artwork will not be damaged. Thick, textural pieces may take several cuts.
Step One Moisten the front and back edges of the paper. Allow the paper to absorb the water.
Step Two Place a hard-edge ruler on the inside of paper, and tear paper away from the ruler.
Above Left: Cut edge Center: Dry tear Right: Wet tear Cut and Torn Edges
Colored Edges
Colored accents can be added to torn or sharp edges using several mediums.
Lightly apply paint to edges using a blunt, short-bristled brush (top left) or a cosmetic sponge (top right).
Lightly apply Rub 'n Buff® or gilders paste to edges using your fingertips or a soft, lint-free rag.
Use pens and markers to highlight edges. Use the side of the nib or a brush-tip pen for best results.
Burned Edges & Sharp Borders
Burned-Edge Border
A burned edge lends an irregular darkening effect to paper. This method works best with torn edges.
Light the edge of a torn-edge sheet of watercolor paper with a lighter, one inch at a time, making sure the flame is extinguished before moving on. Continue around the paper until the burned edge is complete.
Sharp-Edge Border
Measure and mark a border, using a straight edge and pencil. Tape inside the pencil lines with painter's tape.
Brush two layers of acrylic medium (on a flat surface) or gel (on a textured surface) on the outside edge, allowing it to dry between layers. Stamp or paint on the edge and allow to dry; gently remove the tape.
Tip
For your safety, work over a cookie sheet or baking pan, or on a concrete or metal surface outdoors in a wind-free environment. Keep a container of water nearby.
Colored Border Effects
To create a sheer-color border effect, mix one-part acrylic paint with three-parts acrylic medium; brush the border with the mixture. For a darker border, let dry and repeat.
You can also apply sheer color by rubbing. Dab a little paint on a used dryer sheet or dry baby wipe; then apply it to your border.
Stamped or stenciled borders can be created using a repetitive application or stenciling of found objects, such as the bottom of a plastic produce basket or the end of a cardboard toilet paper toll.
For an interesting textural border, apply opaque or mixed paint to a sea sponge, and dab on the edges of the substrate.
Applied Borders
Borders can be placed evenly on all sides or broken up. Contrasting colors may be used for a more obvious border, or you can use similar colors and textures.
Scraps of painted paper, maps, napkins, and other printed paper materials make unique applied borders.
Colorful strings, cords, and natural objects, including slender leaves and thin twigs, also make excellent borders.
Film strips and punched-hole paper strips make great borders. Remove hole strips from a spiral notebook; paint and adhere with heavy gel.
Embossing & Casting with Cherril Doty & Marsh Scott
Painted cast and embossed pieces — either whole, torn, or cut into pieces — are an interesting way to add dimension and visual interest to your mixed media art. Favorite items can be cast and used to add a personal touch.
Materials
• Assorted papers
• Assortment of items for texture and pattern
• Towels (assorted sizes)
• Two large corrugated boxes
• Spray bottle or container of water
• Spoons (metal and wood)
• Blender
• Softest possible toilet paper
• Rack for drying
• Plastic needlepoint sheets
• Drying rack
• Dryer sheets
• Straight-sided shapes
• Rubber stamps
• Molds (e.g., shells, cookie forms, etc.)
• Silicone mat
• Hot glue gun
• 4" to 6" spring-form pan
Embossing
Embossing with a Vehicle
Strings, twigs, leaves, rope, stencils, and other soft textural objects are perfect for these techniques.
Step One Tear several sheets of paper to the width of your car tire or less. Moisten both sides of the paper with water, and stack paper inside a wet towel. Let rest for at least 20 minutes to soften.
Step Two Place one piece of flattened cardboard at the front of a tire. Place the embossing items in a single layer on top of the cardboard.
Step Three Remove the paper from the wet towel and place it on top of the items. Fold a large dry towel in half and place it on top of the paper.
Step Four Place a second piece of flattened cardboard over the towel. Drive back and forth slowly over the cardboard to make the impression. Carefully remove the paper and set aside to dry.
Embossing by Hand
Step One Tear several sheets of paper to the size you want. Wet the paper and place it inside a towel for 20 minutes or more.
Step Two Place a stencil or other textural embossing item on a firm surface. Place the paper over the item and a piece of plastic over the paper. Applying firm pressure, rub over it with a wooden or metal spoon.
Step Three Use your fingers to press in and around the design to further enhance it.
Handmade Pulp
When creating handmade pulp for casting, it is helpful to have a space where the water can drain through without damaging anything.
Step One Gather your molds. Fill a blender about 3/4 full of water. Tear a generous handful of toilet paper into bits and add to the water. Let it rest for 5 minutes; then blend for 10 seconds to a pulp.
Step Two Spread dryer sheets over needlepoint plastic and slowly pour the pulp over it. Allow the water to drain through.
Step Three Gather some pulp with your fingers and press into a mold, pressing more into any thin areas, as needed. Place mold on a towel, pulp-side down, and let rest for 20 minutes.
Step Four Carefully loosen around edges and pull out your casting. When casting is dry, apply gesso to both sides of mold, and allow to dry completely. Paint or embellish mold, as desired; it is now ready to add to your work and can be adhered using regular glue.
Reusable Handmade Molds
Step One Fold a dryer sheet in half, and draw a design on it using a pencil or pen. Place the sheet on a silicone mat; then trace over the design with a hot glue gun. Allow to cool and harden.
Step Two Prepare casting pulp (see page 21). Place the embellished dryer sheet face up on top of a needlepoint plastic sheet. Place a spring-form pan on top of the dryer sheet and then pour the pulp inside. Press down firmly, pressing the water out with your fingers.
Step Three Remove the mold, continuing to press out the water. Set the casting on a towel, and allow to air dry for 24 hours.
Step Four Follow step four on page 21 to prepare the mold for your art.
Found Objects
Outdoor Objects
There are so many interesting casting possibilities around us — a knothole in a fence, the cement marker, a design on a tree trunk. This method allows you to take your casting pulp with you.
Step One Create the casting pulp (see page 21). Pour pulp into a spring-form pan and press the water out as before. Repeat several times to create casting "patties." Place the completed patties in a sealed plastic bag to keep them moist. Use a range of forms to create casting patties in different sizes.
Step Two Take patties on the road and press them into any texture you like. Bring them home and let dry.
Household Objects
Step One Prepare casting pulp (see page 21). Pour the pulp, letting it drain as you go, into open molds, such as cookie cutters and a spring-form pan.
Step Two Press out the water using other objects, such as jewelry, buttons, and rubber stamps, to create texture.
Drips, Drops & Sprays with Cherril Doty & Marsh Scott
Jackson Pollack doesn't get to be the only one to play with paint! These techniques are just plain fun, and you can do them easily. Make sure your work area is well protected with tarps or plastic.
Materials
• Acrylic paints (heavy body and fluid)
• Acrylic and India inks
• Variety of spray paints
• House paint
• Spray bottle of water
• Variety of papers
• Canvas substrates
• Butcher paper
• Variety of paint brushes
• Toothbrush
• Pipette or eyedropper
• Protective tarp or old sheets
(Continues…)
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