Gathering Supplies
Chapter 1 continued: The Art of Expressive Collage
Today’s post is the fourth excerpt from my first book, The Art of Expressive Collage: Techniques for Creating with Paper & Glue. Typically posts with my previous and current book content are reserved for paid subscribers, but in the spirit of gratitude and the coming Thanksgiving holiday here in the US, I’m sending it out to all subscribers.
This excerpt picks up where the last left off in chapter one, covering the gathering of supplies.
This summer marked the 8th anniversary of the publication date. And with its official release in 2015, the seeds of desire to devote my next publishing efforts exclusively to writing about the Intuitive Voice were planted.
I hope you enjoy today’s offering.
With gratitude,
Crystal Marie
Gathering Supplies
An artist's work space can be just as important to the creative process as the supplies he chooses to work with. Whether you have an entire room for your studio or are sharing a space with the household office, the way you store your materials and supplies can either motivate and enhance your creativity or hinder it. Having moved several times over the past decade, I have had the opportunity to rethink and reorganize my studio space whenever I relocate it. Each time I do, I get a little closer to the most efficient use of the space available to me, while creating an inspiring environment I feel drawn to enter and stay in.
Working with multiple papers and found materials can make for quite a mess when I am in the midst of a creative frenzy. I will go with the creative flow and not stop until I feel my wheels are spinning unproductively and I'm producing more angst than anything. When I stop to take a breather, I find I have scraps and bits of collage paper in piles all over my table and trailing off to the floor. I have glue containers and other supplies strewn about along with scissors, paintbrushes and other tools. Before I can move on to the next phase of my art-making process, it is imperative that I stop and clean up. This is when the time I've spent organizing the room really pays off. Everything I use on a consistent basis is stored conveniently within reach of my table, and the papers are easily reorganized within a few minutes.
Just as having an organized space is important to the work flow, having the right supplies and tools on hand keeps you moving forward when inspiration hits. Nothing stops the creative flow faster than running out of glue in the middle of a project. It really pains me to have to jump in the car and drive to the art store and pay full price for what I need when I know I can get a better deal ordering online. I have learned this lesson enough times that I've started ordering multiples of the basics, especially when I have a show or important deadline coming up.
My stash of collage materials includes many found papers that I have prepared in advance for collage-making. A favorite source for these papers are text pages from old books that I have treated with splashes, drips and random marbling using ink, tea or paint. Typically when I work in the studio, I do so in complete silence, but when I am preparing these collage papers I turn on the music and let it guide my movements.
So often when I am showing my work, these splashes and randomly made patterns have set the mood of the piece and are the first thing that draws a person in.
From organizing the space to purchasing the supplies and embellishing the papers you'll be working with, the time you spend preparing to work will pay off when you are all set to dig in. Think of it sort of like priming a wall before you can paint-it may not be the most exciting part of the job, but it makes the process a whole lot better in the end. First, let's have a look at the supplies and tools you'll need for the projects in this book, and then we’ll look at storage and organization before moving on to prepping papers for future projects.
Adhesives
One of the questions I am most frequently asked is "Which adhesive should I use?" My advice, as with any of the supplies listed here, is to not get too caught up in finding the "right" adhesive when you first begin to practice the art of collage and especially do not let cost be a hindrance. I am a huge advocate of using what you have and if all you have on hand (or all you can afford at the moment) is an inexpensive bottle of white school glue, then by all means use that. I do encourage trying a variety of products on the market in order to get a hands-on understanding of what each one has to offer.
After many years of trial and error I have settled on a couple of products that serve me well in the studio. Yes! Paste by Gane is an acid-free, all-purpose adhesive with the consistency of paste. Each time I open a new container I am taken back to my vouth when paste was among the required school supplies. Unlike the gel and decoupage mediums preferred by some, this product has a low water content, which is precisely why Ilove it. Many of the old papers I work with are delicate or may change color if dampened, and applying Yes! Paste straight from the jar can give me the adhesion I need without worry that the glue will saturate the paper.
As much as I love working with Yes! Paste, I find that it doesn't always give me the working time I need in order to reposition papers easily when used on its own. To solve this issue I combine it with Golden Acrylic Glazing Liquid in satin finish. The glazing liquid gives me a longer working time and a smoother application when applied with a paintbrush while still maintaining the adhesive properties of paste. I've noticed that the paste has changed in consistency over the years, and I don't always need to add as much glazing liquid as I once did, so my old formula of 4 parts paste to 1 part liquid is only necessary when I find a particularly dry batch of paste. Now I recommend that you start off with a smaller amount of glazing liquid and add more as you feel necessary. keeping in mind that the paste should always be the bulk of the mix, Fill a baby food sized glass jar nearly to the top, pour the liguid over and around it, and stir thoroughly until the two products have smoothed to one creamy blend.
Paintbrushes
A variety of brushes are used for the projects in this book and are beneficial to have on hand in the studio. Economically priced multi-packs of natural bristle brushes are perfect for applying adhesive and can stand up to frequent use and abuse. I also utilize these brushes when using acrvlic and oil paints. I can be very hard on my brushes and an inexpensive assortment gives me the freedom to simply toss them in the garbage when I'm done. Larger brushes are needed for encaustic wax painting and must also be made with natural bristles; synthetic is likely to melt from the high heat necessary to paint with this medium.
Watercolor Paper
The majority of my work is created on a foundation of 140-lb. (300gsm) watercolor paper. This enables me to work freely without fear of ruining a more expensive canvas or panel if I don't wind up liking the final composition. I keep multiple spiral pads of cold-pressed paper on hand and precut stacks of the sizes I most like to work with. Finished collage works intended for framing are affixed to another piece of watercolor paper at least 1" (3cm) larger on each side of the collage. For larger works on panel, I order large sheets of watercolor paper and cut to fit the panel before beginning the composition. The added benefit of working on watercolor paper as a substrate is that I don't have to cover every inch of it with collage paper. Open areas can be filled in with any number of mediums—paint, ink, charcoal or encaustic. The paper is sturdy and will hold its shape as I give it a workout.
Stretched Canvas and Cradled Panels
I often choose to display my work on a stretched canvas or cradled panel. The tactile quality of the materials I work with lends itself well to this type of display. I determine which is most appropriate according to the application of other mediums I plan to use. Stretched canvases are ideal when combining collage with paint or very thin single layers of encaustic wax, while cradled panels are the practical choice when the collage will cover most, or all, of the surface and for heavier multiple layers of encaustic wax with collage.
Glue Pads
Remember setting the junk mail catalogs aside when you searched the house for collage material? Well, this is where they come into play. Laying whatever you are gluing face. down on a clean page of the catalog enables you to apply the glue quickly without worry of getting any on your work surface. Each time you are ready to glue a new piece you can turn to a clean page in the catalog. When you’ve used all the pages, just toss it in the recycle bin!
Rice Bags
Seeing a pile of 25-Ib. (11kg) bags of rice in my studio might lead one to believe I am preparing for a famine, but as unlikely as it may seem, they are one of the most useful tools in my studio. The large heavy bags serve to weigh down my work as it dries; the rice conforms to the shape of any dimensional or textural item in the composition without smooshing while holding everything snug and flat as it dries.
Cutting Tools
I don't do a lot of cutting when it comes to the material I use for collage, but I do have some favorite cutting tools and each one has a specific purpose. Scissors for trimming the collage to fit the foundation after it dries. Craft knives and razor blades are multifunctional, from trimming in tight spaces to carving and scraping encaustic wax. And of course my trusty paper cutter serves to cut the watercolor paper foundation down to size.
Graphite, Charcoal, Chalk, Pastels
I have a confession to make: I am obsessed with mark-making and mark-making tools, especially graphite. I have used graphite sticks, graphite pencils, powdered graphite and liquid graphite in my work and recently ordered a whole set of new colored graphite bars. I use graphite mainly for mark-making directly on my collages. Other writing supplies I frequently use in the studio are chalk, pastels and charcoal.
The softer material of these products is ideal for writing on encaustic wax and painted surfaces.
India Inks
Black India inks are pigmented permanent inks traditionally made from carbon dating as far back as the 4th century BC. Colored India inks are derived from fine pigments in a water-based binder very similar to watercolor paints but much more water resistant. Both the black version and the colored can be diluted with water for a more transparent effect. I am quite fond of using these inks to add interest and compelling patterns to old papers and new.
Paints
I have used a wide variety of paint in my work. A smear of color can serve to accent the tactile quality of the paper and subtly draw a viewer's attention. For the purpose of the projects in this book, brand and quality aren't important; use what you have on hand or find inexpensive versions to practice. Once you begin to develop your style and want to take your work to the next level, you can explore the differences between brands and grades.
At its very core, paint is simply pigment and binder. Acrylic, watercolor, oil, egg tempera and encaustic all carry the same basic pigments in different binders.
Acrylic
Acrylic paint is a polymer emulsion-based medium, with low or no odor, that dries quickly and can be cleaned with soap and water. Acrylic paints are the perfect choice when drying time matters. They can be worked in multiple lavers without fear of unwanted blending, and the color will not fade or yellow over time. They can be thinned with glazing mediums or water and thickened with gel mediums and pastes. A multitude of tricks and techniques can be used with acrylic paint to get a seemingly unlimited number of finishes on a seemingly unlimited number of surfaces.
Oil Paint and Oil Paint Pigment Sticks
As the name implies, oil paint consists of pigments ground with various oils, typically linseed. Oil paint pigment sticks also have a percentage of wax binder to hold their shape. Oil paint has a much longer working time than any other paint and thus requires patience to allow for the time needed to dry. Oil paint does have an odor, so a well-ventilated working area is a must. Cleanup requires turpentine or mineral spirits, and special care is required in disposing of these materials. Unlike acrylic, oil paint is compatible with encaustic wax, which is how we will be using it in this book.
Encaustic Medium
Encaustic wax is an ancient medium consisting of a mix of beeswax and damar resin. It can be used as is for a clear finish or mixed with pigments when color is desired. Encaustic wax must be melted and applied while hot, requiring the use of special equipment to heat the wax. It dries as it cools and can be manipulated to create texture or smoothed to a fine finish. Many other mediums can easily be combined with encaustic; the translucent nature of the wax makes it especially appealing to the collage artist.
Basic Encaustic Tools
There is a misconception in the art world that certain mediums are not practical for the artist to try at home because of the large investment required. Encaustic wax is one of those mediums, and while it is true that some of the equipment can get very pricey, it isn't necessary for the beginner, or even the experienced artist, to spend a lot of money. Here are the tools we'll need for the projects in this book and suggestions for a realistic and inexpensive setup.
Electric Skillet or Griddle—Purchasing this piece of equipment through an encaustic supplier can cost hundreds of dollars and isn't necessary. It also is unnecessary to have both. An electric skillet is designed to hold grease and fry food. In the studio, it is useful to contain many pounds of melted encaustic wax. When not in use, simply unplug and replace the lid with the wax inside.
A griddle is a flat surface, generally used for cooking foods such as pancakes. One griddle with a loaf pan to contain melted wax is an ideal setup for a beginner. The surface can hold a metal loaf pan to contain melted wax, with enough room for smaller tins of pigmented colored wax.
My setup includes two of these flat griddles for multiple tins of colored wax, with a recent addition of a deep skillet to contain my clear medium. You can pick these items up at any department store with a kitchen department for very little money. Even better, take a look at your local thrift shop or search out garage sales in your area, where you can usually find them in great condition for just a few bucks.
Surface Thermometer—On my griddle I have an oven thermometer that I purchased at a hardware store for five dollars. It isn't completely accurate, but it serves to help me keep an eye on the temperature fluctuations and is much better than relying on the temperature control that comes on the appliance. Alternatively, there are excellent surface thermometers to be had at a range of prices at any good kitchen store or through an encaustic supplier.
Tins and Metal Loaf Pans Recycled cans—the type that come with a pull-top such as tuna--are the most economical way to supply your studio with tins to melt your wax.
Metal loaf pans and muffin tins are also perfect for melting wax and keeping the colors separate.
Ceramic Loop—This tool has a wood handle and looped blade on the end and is designed for use by the clay artist. This is handy for scraping back layers or smoothing the surface of the wax. Find one at any art supply store.
Heat Gun or Torch—These are used for fusing each layer of wax applied to the one beneath it to provide a stable bond and smooth surface. I have used both over the years and prefer the torch, but for the beginner the heat gun is a logical choice. It provides the heat needed without the concern of an open flame in the studio. A hair dryer or embossing tool will not be hot enough to do the job, so head to your local hardware store and find a basic model that has adjustable heat settings or check the local paper for a handyman's garage sale.
A note about the book and images shared here - most of the excerpts include multiple images. In this excerpt, I chose to share a selection of images that did appear in the book.
In the time since the book was published in 2015 my publisher, North Light Books, was dissolved and rights were subsequently purchased by Penguin Random House. As a result, my book is no longer available to purchase new in print form, but is still available as a Kindle version if you are interested in having it in your collection. You can find it on Amazon at this link.
If you enjoyed today’s post and want to learn more, early registration is now open for Collage School, with a special bundle offer for the first two workshops in the series. Details and registration information can be found at this link.