learn how to make a collage 4 free mixed media collage techniques

presented by cloth paper scissors

1

1 2 

whats left collages 

CHARLOTTE LYONS

something to crow about: a mixed-media fabric collage

DIANE TAYLOR

3 4

 reating custom paper c for collage

LIZ BERG

painted paper collage 

SERENA WILSON STUbSON

Diane Taylor explores how leaving some things to chance can add a new dimension to your work in Something to Crow About: A Mixed-Media Fabric Collage. She combines fabric, paper, and stitch, taking advantage of the creases and fraying edges to create texture and interest. Liz Berg demonstrates how to alter found papers with paint and marking tools in Creating Custom Paper for Collage. Her methods add texture and remove and add color to create more visual interest. In Painted Paper Collage, Serena Wilson Stubson mixes found or decorative papers with paint and glue to create collage paintings full of depth and interest. Her method allows you to use up junk paper in an artistic way. Through Learn How to Make a Collage: 4 Free Mixed Media Collage Techniques, you will discover how to use design principles that you can apply to collage and your other mixed-media artwork. Use the techniques as presented by the artists, or mix and match them. Either way, Learn How to Make a Collage: 4 Free Mixed Media Collage Techniques will to bring new life and perspective to your collage artwork. Warmly,

Learn 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

PHOTOGRApHERS

Larissa Davis Larry Stein Korday Studio

hat goes into making a collage? Paper, paint, fabric, stitch, found objectsjust about anything you can think of. But making a collage is not just a sum of its parts. The process of gathering materials, making decisions about what to include and where, and exploring new combinations of materials and textures is in itself an art exercise. Making a collage can inform the other areas of your artwork and its a lot of fun, too. In this free, downloadable eBook, Learn How to Make a Collage: 4 Free Mixed Media Collage Techniques, you will learn tips and techniques for creating collages with fabric, paint, stitch, and found objects. Each artist will reveal how the combination of careful planning and spontaneity can inspire you to create cohesive collages. In Whats Left Collages, designer and fiber artist Charlotte Lyons shows how, using a grid system, you can make collages from the little bits that are left on your worktable at the end of the day.

Projects and information are for inspiration and personal use only. CLOTH PAPER ScIssORs 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. Interweave Press LLC grants permission to photocopy any patterns published in this issue for personal use only.

Where mixed media artists come to play

Cate Prato Online Editor, Cloth Paper Scissors Today

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Summerhouse 8" 10"

whats left collages

There are no little things. Little things are the hinges of the universe. No kidding. All these beautiful bits rattled and rolled around in my mothers dresser after years of drifting toward the back. Broken jewelry, matchbook covers, stamps, letters, lamp nials, buttons, seashells, merit patches, the things that were worth saving but never found a place to live. My universe suddenly rested on new hinges.

hen I think about it, this process started 30 years ago when my mother casually asked me to clean out her dresser drawer. There is a saying,

Adapted from CLOTH PApER ScIssORs November/December 2007

BY

Charlotte Lyons
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XO Blue 8" 10"

I was so thrilled to find these lost treasures, and used an empty vintage printers tray to house the odd collection. Treating each compartment of the tray like a small canvas, sometimes painting a tiny scene inside, I fit it all together like a picture puzzle of meaningful family junk. It wasnt long before I had my own oddities to fill another tray, and so it went, until I made several collages out of the bits and pieces. My mothers salt spoons, old valentines, heart-shaped rocks, Dads car keys, Nanas nursing school pin, baby charms, doll shoes. Over the years, it changed the way I looked at scraps of

paper and textiles as well as tiny objects. When I ran out of printers trays, I began collaging stretched canvases marked off into similar grids, essentially making flat compartments for the bits and creating the feeling of a jewelry box, a tiled mosaic, or a patchwork quilt. I do like those little rectangles. Lately, I have been trying to use up whats left on the worktable at the end of the day. A crazy self-challenge, and hard to pull off every day, but its often a good way to inspire something new. Hence the name of the series and this article, Whats Left. The process is an easy one and the steps are simple. Its all about

M AT E R I A L S
8" 10" stretched artists canvas
with staples on the back (Canvas board would work, also.)

Acrylic Folk Art paints in 2 or 3

colors

Golden soft gel medium (matte) Craft sticks Paintbrushes and 1" foam brush An assortment of papers, trinkets,
treasures, and found objects

optional
Digital camera and computer

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Begin by sectioning off your canvas into a grid and painting in the squares with similarly colored paints (left). Then, audition bits of paper and fabric, changing them around until you nd a pleasing composition (right).

the cool stuffsomething I still seem to have way too much of, though thats not a bad thing after all.

directions
1.

Collect the base grouping of objects to include in your collage. Without editing too much, look for pieces that have different thicknesses and shapes. On a tray, assemble little things like buttons, found objects, papers, medals, textiles, flowers, letter tiles, trinkets, and keys. Looking at the collection, choose a base color for the background to set them against. Set the objects aside. With a pencil and straight edge, create a grid: lightly mark off the

2.

canvas into rectangles for a vertical or horizontal presentation. This can be done in several ways. You can start with halves, then quarters, then eighths, and so on. Another way to make the grid is to make columns and mark these off into random height rectangles so the grid is regular in only 1 direction. If the objects you have gathered lend themselves to special shapes, arrange the objects on the blank canvas and mark off rectangles to fit the individual pieces. You will unify the collage with color.
tip: Before taking the collage apart to treat the background, use a digital camera to take a picture of your assembled objects. If you already have an arrangement that you would like to duplicate in the nal composition, this will help you reassemble it when youre ready.

4.

Use 2 or 3 shades of a similar color palette, such as pink, orange, and red or blue, gray, and silver, for instance. With the foam brush, fill the rectangles with color, alternating shades as you go. If the brush pulls from another color, thats fine. The idea is to make an interesting background with dimension through color. The grid tiles can be rough shapes that bump against each other in an unfinished way. Paint the sides of the canvas as well. When the painting is dry, place the objects back onto the canvas. Take some time now to shuffle them around, balance lights and darks, and add extras like paper scraps and fabrics. If you took a picture of it first, you can view the original digital collage and use a photoclothpaperscissors.com
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5.

3.

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Its helpful to take digital photos of your composition once you have a good idea of where you want to place the elements (left) so you can remember their placement as you glue them down and add detail to your collage (right).

editing program to select and move tiles around. This gives you ideas about color and object relationships. Audition new backgrounds in places like a neutral-colored paper or a pattern. At this point, I try to leave it for a day or so. When I come back to it, Ill decide if it is ready to complete or needs more work in the way of layers or additional objects; sometimes I even remove objects.
6. 7.

each other to make levels that create interest. You can also add an overlay of thread, string, or textiles to emphasize the grid or take sewing thread and a needle to embellish buttons or fabrics with hand stitching. Attach the papers and objects to the canvas with the gel medium. Butter the back of each object with a craft stick, place it onto the collage, and allow it to dry.

wrapped around the sides. Book text and sheet music are good for this. Several of my blog readers noticed one of these collages that I posted. Soon after, they were hosting a blog-swap and exchanging their own versions of the idea. It was lovely to see all the different treatments, each reflecting the eye of an artist and a fond collection. Keep filling your pockets with found objects and trinkets. Just dont let them languish unseen at the back of the drawer. Better to hang them up on the wall where you can enjoy them every day.
Learn more about Charlotte and her art at charlottelyons.com.

Use the paints and artists brushes to paint details onto the background canvas here and there: a little scene, a backdrop of color for a special object, or a patterned design. Or consider adding another layered dimension of objects stacked upon

tip: Sew buttons to a piece of fabric and attach the fabric for a greater surface bond.
8.

Lastly, the edges can be self-framed with paper bits, torn and collaged along the edge of the canvas, and

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something to
BY

a mixed-media fabric collage

Diane Taylor

crow about
I design sweet, simple motifs (anything from cupcakes to farm animals), add free-motion stitching and fabric details to them, and then stitch these motifs to the background along with any additional elements the piece calls for, such as specialty fabrics, buttons, and trims. My inspirations for the rooster collage (instructions follow) are derived from the countryside where I live. I enjoy picking color and fabric ideas from current interior trends. This particular piece reflects vintage French country dcor. The background is a patchwork design of two print fabrics used in two different ways: 1) I used the fabric in its original, cotton form, and 2) I made the cotton fabric into a paper fabric (creating a lighter shade of the original). I enjoy the juxtaposition of the light, stiff paper fabric with the same print in its bright, soft, fabric form. These instructions are for a mixed-media collage measuring 7" 7", but your collage can be any size, with as many different fabrics and embellishments as you like.

have always been fascinated with textiles and how certain fabrics can work well together. I tend to work in a more freehand way rather than a controlled

manner. Leaving some things to chance can add a new dimension to your work. An accidental crease or a piece of fabric allowed to fray can add new textures.

Adapted from CLOTH PApER ScIssORs May/June 2008

I love to combine a variety of fabrics and textures in my mixed-media fabric collages. I often make paper fabric and use it as my base layer. On top of this stiff base I arrange fabric rectangles and stitch them in place.

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M AT E R I A L S
Access to a computer or photocopier White paper Pencil Black felt-tip pen Plastic drop cloth (or other non-stick
sheet) to protect your work surface

2 white tissue-paper sheets PVA glue (a white glue, such as

Elmers)

Water

choosing your theme

1.

Decide on your theme and gather together appropriate images, printed cotton fabrics, sketches, and buttons that will coordinate and complement one another. Draw, trace, or sketch out your rooster and leaf design, or any other chosen motif, to fit within a 7" square. Re-trace over the outlines of your motifs with a black felt-tip pen. Scan your paper design into a computer, or photocopy it, and make any appropriate amendments to the scale of the design. Set your printer to reverse or mirror image and print the final design.

making paper fabric for the background

1.

2" bristle brush Sponge 2 coordinating cotton print fabrics,

medium-weight

Lay a plastic drop cloth on your work surface. This will be disposed of when drying is complete. Select 2 coordinating prints measuring approximately 9" x 9" each and place them on top of the plastic sheet with the print side facing up. Dilute some PVA glue in a container with water (1:1) and mix well to a medium consistency. Use a 2" bristle brush to paint the glue over both fabrics, ensuring they are thoroughly covered with glue.

Ruler Scissors Sewing machine White thread Slate gray thread Glue stick White, open-weave muslin Natural burlap Neutral fabric for motif Fusible web Fabric scraps (for adding color and
details to motifs)

2.

2.

3.

3.

2 buttons

optional
Additional embellishments (such as
ribbons and trims)

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4.

Immediately after brushing the fabrics with glue, place a white tissue paper sheet directly over the top of each fabric, smooth over it with a sponge, and leave the fabric to dry. Do not worry about making any creases in the tissue paper, as these will add to the overall effect.

note: These rectangle sections can be whatever size you desire, although it is important to allow areas of the paperfabric base to show through to achieve a contrast. It is also up to you how accurately you cut these fabric rectangles; I tend to work in a freehand manner without measuring the fabric used for layering.
2.

piecing the background

1.

When the paper fabric is dry, peel it away from the plastic. From 1 of the squares, cut a rectangle measuring 8" 512", and from the other cut an 8" 312" rectangle. Set aside the remaining pieces for use in another project. To piece the paper-fabric background, sew these rectangles together using a 12" seam allowance. (Place the smaller rectangle on the larger rectangle with print sides facing, and align the 8" edges.) Carefully open the pieces, folding the seam allowance in one direction.

Using white thread in the needle and slate gray thread in the bobbin to give a contrast, machine straight stitch around the edges of these rectangles to attach them to the base. Select a fabric to use as the background behind your motif and cut it to the appropriate size. (I used a loose-weave white muslin, approximately 412" x 512".) Using a

glue stick, attach this background fabric centrally on your square collage; allow it to dry. Using the contrast stitching with a straight stitch, sew around the edge of this rectangle, about 14" inside the edge. Add a second round of stitching about 12" inside the previous stitching.
4.

3.

Add any additional fabric rectangles as desired to enhance the texture and contrast. (I cut 2 rectangular pieces of burlap, frayed the edges, and added them to opposite corners, using the same gluing and stitching process.)

2.

layering the collage

1.

Now that your paper-fabric background is complete, its time to enhance it using smaller rectangles of the two original cotton prints (not the paper fabric). Cut 23 differentsized rectangles from each cotton print. Arrange them as desired on the background, and use a glue stick to hold them in place. Allow the glue to dry for 5 minutes before machine stitching.

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creating the motifs and nishing

1.

2.

Trace your motifs onto the paper side of your fusible web; cut out, leaving approximately a 1" margin around your motifs. Following the manufacturers instructions, fuse the web to the wrong side of your motif fabric.

Set your machine for free-motion embroidery and, using slate gray thread in the needle and bobbin, follow the line of your design. When completed, snip any loose threads. Select fabric scraps to use as accents on your motifs and prepare them with fusible web. Snip small pieces, fuse them to the motifs, and stitch

them in place with free-motion machine embroidery.

4.

3.

Trim any loose threads and carefully cut around the stitched outline of your motifs. Place your motifs where desired on top of your collaged square and tack them into position with a glue stick. (Remove the paper backing from the fusible web, if you wish; I leave it in place on my pieces.)

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5.

Using white thread in the needle and bobbin, free-motion embroider around the edge of your motifs to secure. Cut and trim any loose threads. Embellish your design further by sewing buttons where desired.

7.

Finally, square up your collage and trim it to the desired size.

Contact Diane at dianetaylor70@hotmail.com.

6.

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creating

paper for collage

BY

Liz Berg

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here are many ways to approach creating a collage. If using paper, you need to decide if youll use images, just colors, found

Adapted from CLOTH PApER ScIssORs March/April 2009

papers (those from magazines, books, slips of paper), art papers, handmade papers, paint, fabrics, or other items. The joys of creating a collage are great: collage is not as structured as painting, so there is a lot of freedom; collage doesnt require sewing, although sewing can be incorporated; and collage can be very freeing, allowing the expression of all sorts of ideas. Following is a technique I use to create papers for use in collage. I start with pages from magazines and alter them to create new papers to incorporate in my collage work. There are a number of ways to add texture to papers to create interesting patterns, and there are also a variety of ways to add and remove color to create more visual interest. My collage papers are usually so covered by paint and texture that once cut or torn the original image is not readily seen. However, it is always advisable to use copyright-free images when creating artwork for anything other than personal use. For the collages featured in this article, I used pages from past issues of CLOTH PApER ScISSORS and QUILTING ARTS MAGAZINE, having obtained advance permission from the publisher to use them for this purpose.
Previous page: Shooting Stars 8" 10" Below: The Crevace 8" 10"

M AT E R I A L S
Newspapers, or other, to protect
work surface

Old phone book Paintbrushes, 1 or 2 (2"3" wide) Foam brushes Acrylic matte medium Fluid acrylic paints in several different
colors

Golden titan buff uid acrylic paint Magazine pages Soft gel medium (I use this as glue.) Small plastic container Tray for mixing paint Scissors for cutting paper Old credit card, or similar, for
spreading gel medium

Marking tools such as combs, rubber

stamps, pens, etc.

Found papers: newspaper, old book

pages, map pages, etc.

Artist papers: mulberry paper, rice

paper, etc.

Bristol board or watercolor paper

cut to size (My nished pieces are 810".)

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directions
prepare your papers
1.

Ready your work surface, tear pages from the magazines, and pour some acrylic matte medium into a small plastic container, such as a cottage cheese container. Using a wide paintbrush or foam brush, apply a generous coating of the liquid matte medium to the surface of the magazine papers.

2.

tip: I like to use an old phone book for a clean surface to paint on because I can tear out the pages as I slop medium or paint onto them. Using a page in the phone book as a surface for painting, I can easily paint right over the edges of the magazine pages and not worry about getting the surface messy.
3.

Lay your papers out to dry. The more papers you prep in this manner, the more fun you will have when you get your paints out. Drying time depends upon the amount of moisture in the air, so plan accordingly. Create a mixture of titan buff, which is semi-opaque, with an equal amount of matte medium. Paint this mixture over the surface of the papers and then allow them to dry.

4.

Hot Days 8" 10"

note: By using the titan buff paint, the original images from the magazine pages are more obscured. Drawing into them with various texture tools will create some glimpses of the original lettering or images but, if done carefully, not enough to identify the original images.
5.

the paint is thinned so that it will produce a transparent color rather than a solid, opaque color. I have found that the matte medium dries more quickly than glazing mediums or glazing paints.
tip: I like to keep adding paint and acrylic matte medium to my tray without cleaning out my brush and the tray. This means that I need to pay attention to the colors I use, one after another. I might start out with a dark blue, add a lighter blue next, and then move on to adding a red to create purple. I continue to add red until the paint is red and then add some yellow

to create orange, and so on, until I move all the way around the color wheel and back to blue. In this way I am constantly creating new colors, but because I follow the color wheel I am able to avoid creating muddy colors.

Start adding color. Pour out about 2 tablespoons of fluid acrylic paint and an equal amount of acrylic matte medium. Mix well and start painting over your titan buff layer. By mixing matte medium into the paint,

create texture on the papers

Immediately after applying the paint, while its still wet, it is time to play with various ideas for creating texture. You will want to set some papers aside and not texturize them in order to have a clothpaperscissors.com
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variety of papers for your collage. Here are some suggestions for adding texture to your papers; use various combinations of these techniques.

Take a graining comb and pull it through the paint across the paper in one direction, and then go across in the other direction. Using your fingers, make designs or write on the painted surface. Create your own patterns making swirls, squares, triangles, lines, and spirals. Using a foam stamp, lift off part of the paint while leaving the image of the stamp in the paint. Stamp the excess paint onto another paper. Make various brush strokes on your paper using a stiff bristle brush. You can also use the back end of a brush to write in the paint. Remove paint from the paper with a scrunched up newspaper by lightly patting it on the painted surface. Place a piece of plastic wrap bigger than the paper over the painted surface. Pat it down onto the paint and allow it to dry before removing.

Once your papers have dried, add another layer of paint, still using half acrylic matte medium and half fluid acrylic paint. I like to stay within a color group, but you may choose not to. You can texturize again if you would like to bring out some of the underlying colors, or not. Sometimes, if there is a heavy texture toward the bottom layer, I may just remove some of the last color by dipping a scrunched up paper towel into the paint to leave texture but not remove too much paint.
note: How many papers you make will depend upon how much room you have to dry the papers. I have been known to get out the hair dryer to hurry things along a little.

2.

When youre happy with the placement, use soft gel medium to glue your papers down into a pleasing design. Spread the gel evenly across the back of the torn or cut paper, lay it onto the surface, and use an old credit card to smooth out the paper evenly. This will also remove the excess gel medium from under the papers; you can then spread it over the surface with a brush.

collage
1.

Decide how you want to design your collage. Using your prepared papers, as well as your selection of found papers and artists papers, tear or cut the papers and place them on your Bristol board or watercolor paper base. Create landscape-type images, abstract images, or cut out shapes in whatever way you would like.

Remember to incorporate light and dark areas into your collage, as well as mid-range colors. Complementary colors will add an extra spark. Include plenty of images and a variety of papers to create your message. Use a glaze of color to wash over the entire piece, creating a sense of harmony; use rubber stamps, more images, handwriting with crayons or pens, splatters of paint, lines drawn with pens, etc. These are just some of the ways to make the collage your own. Experiment and add your own personal touch.
Learn more about Liz and her art at lizbergartquilts.com.

painted magazine pages

A layer of quinacridone gold was painted over a layer of titan buff. Next, a layer of uid rose madder was sponged on with a crumpled paper towel. When dry, titan buff was added with a paper towel over parts of the paper. A piece of plastic wrap was placed on top, allowed to dry, and then removed.

A layer of cerulean blue glaze was painted over titan buff, and then a texture tool was used to remove paint in lines.

A violet glaze was painted over titan buff. Next, a small amount of black glaze was dabbed on with paper towel. When dry, some titan buff glaze was added, partly wiped off, and plastic wrap was placed on top.

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painted

paper collage
BY

ver the years I have accumulated a huge collection of papers from all over the world, but I could never bear to use them in my art making. Ive also

always loved texture, and would go out of my way to add stucco, feathers, and even broken glass to my paintingsanything to add new depth, but never my papers. One day I had the idea to include some of these beautiful papers in a new painting, and my own style of painted collage was born.

Adapted from CLOTH PApER ScIssORs May/June 2010

Serena Wilson Stubson

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directions
adding papers
note: These directions are for creating a painting on watercolor paper. The same process would be used with a stretched-canvas base.
1.

Cut or tear circular pieces of paper for the bases of your flowers. You want them to pop, so choose interesting papers from your collection. Cut or tear smaller circles from contrasting paper to fit inside the larger circles. These circles will be the centers of your flowers. I like to add a torn strip of paper across the width of the composition to add color and interest (see the samples at the top of the next page). To do likewise, tear a piece of decorative paper to the desired size. Apply a thin layer of glue to the back of this piece and to the surface of the watercolor paper base, and glue the torn piece in place. I like to place this piece of paper towards the bottom of the composition. Cut some tissue paper slightly larger than your watercolor paper base, scrunch the tissue, and then gently flatten it without removing the wrinkles. Scrunched tissue adds great texture to the collage.

2.

3.

Above (detail on previous page): 3 Orange, 2 Green, 3 Blue Flowers 10" x 15" 100% natural cotton gallery-wrapped canvas; PVA, vintage dress pattern, paper, acrylic paints, found objects used as stamps. 5.

Apply a thin layer of glue on top of the watercolor paper, covering the entire surface. Gently press your tissue paper on top, into the glue, adhering it to the base. This part gets a bit messy because the tissue paper absorbs a lot of the glue, but its worth it for the wonderful texture that results. Apply a thin layer of glue on top of the tissue. Be gentle, as its easy to tear the tissue while its still wet. Add your larger circles in a place that pleases you. I like to glue them about 3 4 of the way up the page.

M AT E R I A L S
A gallery-wrapped canvas or
watercolor paper for the base

Decorative papers such as tissue,

newsprint, handmade or imported papers, scrapbooking papers

PVA glue or Paper Mod Podge Brush to apply glue Paintbrushes: small round, 12" flat,
and a ne liner brush (I use a 2/0 Loew-Cornell Comfort 3350 Liner brush.)

6.

4.

Container of water Acrylic paints (I use Golden Artist

Colors and Kroma Colors.)

Rags Finishing sealer (I recommend

Goldens archival varnish.)

collecting papers
Collect a variety of papers that inspire you. These can be pieces of newspapers, paper with printed motifs, wallpaper, or handmade papers from around the world. You may want to reuse tissue and wrapping paper from gifts; not only are you recycling, but youre also capturing a wonderful moment that you will always be reminded of when you look at your collage.

China markers, pastels, or watercolor

pencils to accent your collage

Found objects for stamping, such as

Bubble Wrap and soda bottle caps

optional Squeeze bottle with a ne tip (Use

with watered-down paint instead of a brush for drawing lines.)

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Add colorful, patterned papers to the background (steps 37)

Color the owers and background with paint, pasels, and stamping, accentuating the underlying textures created with paper and tissue.

7.

Glue the smaller circles on top of the larger circles, and apply another thin layer of glue to the entire piece. Allow to dry.

adding color
8.

Using your 12" flat brush, choose a color to accent the background of the collage. Apply color to the paper using either a dry-brush technique or by painting and then dabbing it off with a rag. All the wonderful textures that the tissue paper created will be enhanced by the paint.

note: If you choose to add more than one color to your background, be careful not to overwork it or the colors may become muddy.
9.

Dilute your paint with a little water and begin to paint your flowers. Paint on top of the circular layers of paper using complementary or contrasting colors. I love to use colors that you wouldnt normally put together, such as orange paint on top of fuchsia or teal on top of red.

1 Blue, 1 Green Flower 5" 4" 100% natural cotton, gallery-wrapped canvas; PVA, tissue paper, paper, acrylic paints, Kroma crackle paint, found objects used as stamps.

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10. Add

detail to the background of your painting using paint splatters, pastels, stamping, or other materials and techniques. youre happy with your background, outline the flowers using black paint and a thin paintbrush or a squeeze bottle with a fine tip. Dont worry if your lines are less than perfect; these details add character to the piece. the stems and a leaf or 2 to the flowers. your piece dry, and then seal it with an archival sealer. I like to wait 24 hours before sealing my paintings.

11. Once

12. Add

13. Let

Learn more about Serena and her art at serenawilsonstubson.blogspot.com.

tips
If youve added too much paint and blocked out the pattern on your paper, blot it with a damp rag. This will also add interesting texture to your painting. Dont restrict yourself to following the curves of the circles; paint dots, swirls, or even zigzags on the circles. Add a third circular layer to the flower using paint instead of paper.
2 Gray, 1 Pink Flower 14" 10" 100% natural cotton gallery-wrapped canvas; PVA, tissue paper, paper, acrylic paints, found objects used as stamps.

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