wacko shapes
le rouge et le vert (un)
le rouge et le vert (deux)
big tooth, big shark
the fatal book opened!
tacky overlaps with creepy
ten thousand things
De Energiecentrale
"the birds": polka-dot bikini version
no laughing matter
mr. bones at myth and legends bingo night
they're watching us
it takes balance
Twilight falls
government redaction
Slowly
the cobbler's dream
The Museum
all art is quite useless
des chats
De Timmerfabriek
silvery objects with boxfish
The Machine Factory
a fabulous friendship-fueled fascination with fish
out in the hills
animalian grotesque
the boy can see the man's true shadow, but the man…
overwhelmed by klee (an homage)
kandinsky loves color
queen of wasps: lost episode
esemplastic
Entrance to Ohura.
De Leeszaal
2016-07-25 La vie est changement web
La danse des muses
De Gehoorzaal
Glockenspiel.
2016-08-15 Meditation-II web
The seldom seen, elusive, bottle man
Forestry Worker Statue.
2016-07-22 Le poste de travail 1955 de mon grandpe…
The Rotary Moa
Floral Flamenco.
To dream
On Your Bike!
See also...
Global Art Gallery | Galerie d'art Mondiale | Galería de Arte Mundial
Global Art Gallery | Galerie d'art Mondiale | Galería de Arte Mundial
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contained chaotic curves
Cut-paper collage postcard created for the Kollage Kit theme: "Unusual Tools for Making Collage Art"
Except for the background, all images snipped from postcards of the fabric collection of the Victoria and Albert Museum.
Tools used: brush-tip and chisel-tip markers. The images are thick, from postcard stock. When you work w/ thick elements, the recipient of your postcard can see the white insides of the cardboard pieces. So I hit on the idea, a few years ago, of using markers to color those white edges, before I glue them down. That way the images do a better job of "melting" into the collage. For the blue-&-white Morris pieces in the middle, I used an indigo blue marker. For all the others, I used a black marker. Usually I also color the outside edge of my collage postcard, but it doesn't seem necessary for that light background. (The black marks you see in the brown areas surrounding the women, etc., are part of the fabric pattern.)
You can see how especially on the blue-&-white pieces, the marker bled a little bit, giving them outlines of blue, more obvious in some places than in others. I don't consider that a problem. =smile=
Tip: When you're coloring the edges, hold the collage piece so that the white or other color of the opposite side is facing you. Why? Because if the marker slips a bit while you're moving it along the edge, it will tend to slip toward you, onto the back side of the image. That way, you don't accidentally make a stray mark on the image itself.
Except for the background, all images snipped from postcards of the fabric collection of the Victoria and Albert Museum.
Tools used: brush-tip and chisel-tip markers. The images are thick, from postcard stock. When you work w/ thick elements, the recipient of your postcard can see the white insides of the cardboard pieces. So I hit on the idea, a few years ago, of using markers to color those white edges, before I glue them down. That way the images do a better job of "melting" into the collage. For the blue-&-white Morris pieces in the middle, I used an indigo blue marker. For all the others, I used a black marker. Usually I also color the outside edge of my collage postcard, but it doesn't seem necessary for that light background. (The black marks you see in the brown areas surrounding the women, etc., are part of the fabric pattern.)
You can see how especially on the blue-&-white pieces, the marker bled a little bit, giving them outlines of blue, more obvious in some places than in others. I don't consider that a problem. =smile=
Tip: When you're coloring the edges, hold the collage piece so that the white or other color of the opposite side is facing you. Why? Because if the marker slips a bit while you're moving it along the edge, it will tend to slip toward you, onto the back side of the image. That way, you don't accidentally make a stray mark on the image itself.
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