Gel and Modge Podge Image Transfers

My journal for made. Creative Space’s “Project: Art Journal” group show is printed and ready to pick up tomorrow. All I need to do is attach the front and back covers.

The above portraits are in my journal, and also form the basis of two image transfers that grace the above-said covers. I started with a scan of the head of a smug-looking, blonde, blue-eyed little girl doll, which I meshed with a cheap 'n' nasty photobooth portrait of myself from two years ago. The results are so wide-eyed and plastic ... they look like "good" and "evil" twins!

I've wanted to make image transfers for years, but somehow only started experimenting a few days ago. First, I cropped and ramped up the contrast on both originals, which I roughly printed on everyday A4 paper and photocopied at the local library.

My first transfers are done with Modge Podge, a popular craft glue found in art supply stores. Here's what I did:

1. Brush 300gsm watercolour paper with gesso and allow to dry
2. Cover a photocopy with Modge Podge, lay face down on the watercolour paper and lightly brayer to ensure good adhesion.
3. Allow to dry for an hour before dipping my finger in water and rubbing the photocopy paper away, leaving the toner image behind
4. When dry, repeat the wetting and rubbing to ensure all the paper fibres are gone (the image looks cloudy when fibres still remain).

Modge Podge transfers are rough 'n' ready compared with other mediums, the photocopy paper is harder to rub completely off and the actual toner transfer is quite fragile ... as you can see, some of it tore, especially in the darker transfer. I do, however, love the aged and tattered look, like something from a really old newspaper.

My skills had sharpened by the time I tackled gel transfers, using Golden's soft gel medium. This is a beautiful product, but its hefty price tag and rarity in Australia makes for a luxury item!

Again, here's what I did:

1. Brush 300gsm watercolour paper with gesso and allow to dry
2. Paint an acrylic background (I used simple blocks of colour varied in tone and saturation) and allow to dry
3. Brush a second, light coat of gesso to unify and add visual texture, and allow to dry
4. Seal with gel medium and allow to dry
5. Cover a photocopy with gel medium, lay face down on the watercolour paper and lightly brayer to ensure good adhesion
6. Allow to completely dry, which may take a few hours, before dipping my finger in water and rubbing the photocopy paper away, leaving the toner image behind. 

Gel transfers are rich and detailed. The actual transfer is more robust than the Modge Podge one, but is still delicate (again, you can see a couple of tears in the darker transfer). The photocopy paper was also much easier to remove ... I only had to do it once.

Which technique do you prefer? If you've played with image transfers, what other "emulsions" have you used and to what results?
 

Kolossoi: Exploring Ancient Greek Dolls

I've never been one to keep a sketch book or journal. I know they're invaluable artists' tools, but it's hard to explore ideas on paper when you're a photographer — the problem is that we don't use pens, paper and paint ... instead, we see the world through viewfinders and Photoshop.

However, recently I've changed my practice. As you know, I'm keeping a journal for an upcoming group show at made. Creative Space in Toowoomba, Queensland ... and am thrilled with how simply filling the pages with research is not only propelling my image-making forward, but also taking me in all manner of new directions.

Take the image and close-ups below, for example. Dolls are my journal theme, but this is as far removed from little girls' play things as possible! I've been reading about Kolossoi, which are dolls the ancient Greeks made, disfigured and buried in the ground to protect their homes and communities. They aimed to frighten away everything from ghosts to foreign armies by making these dolls as shocking and obscene as possible!

 

 

Pixel: Self Portrait

It's surprising that I've been so interested in self-portraits over the last year, given that most photographers, including myself, will do anything to avoid being in front of the camera.

I've done a bit of reading and apparently artists make self-portraits for a variety of reasons, including: self-promotion, emotional purging, the convenience of a free and willing model, or the opportunity to experiment with new techniques.

I think I fall into the last category — where I feel compelled to make others look attractive, I don't mind distorting my own image ... I'm happy to mask my identifying features with psuedo pixels and tattoos in order to take meaning to new levels.

I'm sure a psychologist would have fun with that!

Afternoon Tea

These tea cups started life as an advertisement

for Maxwell Williams fine bone china

And this image came from a recipe

for angel food cake ... mmm

I’ve been experimenting again with citrus-based solvents, the kind used for cleaning up oil and other grimy things.

“Better Homes and Gardens” magazine, of course, doesn’t fit into this category, but the solvent releases the ink from the pages, which I can then blend to painterly effect with a brush and cotton tips.

The time has come to apply this technique to my own photographs but, alas, my lovely printer, Stephen Best of Macquarie Editions, uses archival inks and papers that are just far too superior in quality … the ink simply won’t budge!

I wonder what would happen if I tried colour photocopies….

Click here to see my first experiment with this technique.

Nerida Does Networking

I have a new-found respect for illustrators.

The images they produce for magazine or web articles look deceptively simple — a few strokes of watercolour here or the odd scrap of paper collaged there. It’s as if they couldn’t possibly spend more than an hour on each one.

I’m laughing right now, but it’s not a funny laugh … it’s one of insanity, caused by staying up all night to create what looks likes a few line drawings, a bit of colouring-in and a couple of scanned heads. I might not have “whipped up” this illustration to go with my friend Nerida’s article on networking for Her Business, the blog of the Australian Business Women’s Network. But I learned a lot and am pretty proud of my first-time effort. I especially like that I even included Nerida in the illustration (that’s her head on the left).

I must say that Claudine Hellmuth, a rather nifty mixed-media artist based in Washington DC, is a rather heavy influence behind this piece. In hindsight, I also noticed something a little Matisse about the style and composition of the three background figures, albeit a modern version.

Claudine Hellmuth makes the illustrative

style look so easy ... believe me, it's not!

Rough photocopies of heads are a

hallmark of Claudine Hellmuth's work

Game of Bowls by Henri Matisse (1908)

"The Black Fern" by Henri Matisse (1948)

Citrus Solvent Sunflower

Step 1 of a 4-step process: Cathy Taylor dissolves

ink on a magazine page using Citra Solv

Step 4 of a 4-step process: Cathy Taylor adds

acrylic paint to create an autumn forest scene

In the January/February 2010 issue of “Cloth Paper Scissors”, mixed-media artist Cathy Taylor demonstrates how to create soulful backgrounds by blurring the ink on magazine pages with Citra Solv. Unfortunately this citrus-based solvent isn’t available in Australia, but the previous owner of our house had left something similar tucked in a rickety cupboard in the garage.

My first attempt at "painting" a magazine page with

Citro Clean before manipulating the ink with ear buds,

tooth picks and paint brushes

Close-up detail 1: I'm inspired to paint this in oils

Close-up detail 2: I'm fascinated by the texture and pattern

While I didn’t get Taylor’s sea of Turner-esque intermingling, I did have fun manipulating the ink with cotton buds, toothpicks and paint brushes. I wonder if ink, paper and geographic differences across the publishing world make a difference to the effects one can achieve — where Taylor used the US version of “National Geographic”, I used the Australian version of “Better Homes and Gardens”.

Still, I’m intrigued with my painterly results, especially in close-up detail, so plan more experiments.

Self-Portrait: Tattoo

I have a habit of tackling huge concepts and this self-portrait, comprised of 24 photographs, is no exception.

Needless to say, stitching these together in Photoshop was time-consuming, yet very rewarding ... I'm now an expert in using the "eraser tool" to blend and create scratched textures, as you can see in the close-ups below!

The result is quite frightening: it's like a tattoo, but also like the skin has been peeled from my face to reveal the muscular workings beneath. Both tell the story of my photographic interests, of Christian iconography, gender issues and rural motifs.

After Warhol: Pop Art Self Portrait

The idea for this series of self portraits started after a chance encounter with Howard Millard's article "Create a Pop Art Portrait; Back to the '60s" at Shutterbug.com. It didn't come to fruition, however, until last Friday, when I went in search of a do-it-yourself photo booth at Belconnen Mall, Canberra.

I love the delightful cheap 'n' nastiness of these booths, including the thrill of the note slot sucking up your money and those nervous moments waiting for your sheet of portraits to be dumped into your hand, kind of like a can of Coke from a soft drink machine. The beauty of this particular machine was the four different poses it allowed, so watch out for much more of me!

I wouldn't say copying Andy Warhol's famous technique, albiet digitally, was easy. In fact, it took a couple of days to scan and adjust the original picture, choose sympathetic Pop Art colours and master Photoshop's "elipse" and "add anchor point" tools. Millard doesn't suggest the use of these last two tools, but I'm a perfectionist and wanted absolutely smooth edges between colours, just like you'd find in a silkscreen print. The result is definitely worth it.

As for copying Warhol ... it felt strange at first, but I'm now convinced that everyone should have their own pop art portrait! I'm inspired to drag Justin and other family members into the nearest photo booth, and perhaps experiment with turning the results into image transfers.

Christmas Tree with Wings

It's that time of year again ... when I feel guilty for not sending Christmas cards.

Of course, I fully intended to — it's just that life got in the way this December, including our house selling and a dog with a stitched paw.

Anyway, my sister Kerriann tells me Christmas cards are unfashionable these days, mostly because they're environmentally unsound. Come to think of it, I've only received two this year....

Could it be that a 150-year-old tradition is coming to an end? Or am I just unpopular?

Whichever, I had planned to put one of the above pictures on my cards this year. I created them by scanning leaves, vintage Christmas wrapping, a line from Dale Carnegie's How to Stop Worrying and Start Living and a background I painted with acrylics.

At first, I thought what I'd done wasn't super Christmassy ... then I read that early Christmas cards featured spring, rather than religious themes. How neat is that?

So, have a wonderful and refreshing Christmas, and take a minute to remember what this day really celebrates ... how Jesus was born into our world to teach us how to live, so we could enjoy a relationship with God.

Betty and Bob Swing It

Betty Swings It

Bob Swings It

After late nights and plenty of stress, here they are: Betty and Bob swing dancing their way through 1950s gender roles.

I started work on this duo with little idea of how they would visually pull together — I simply had the original photos, which I took at a swing dancing display last year, and a pile of vintage ephemera.

So, after much experimentation, here's what I did....

Betty Swings It
Sandpaper and photos ... sigh, what a blissful combination. I love the mix of sepia, age and focus this technique gives. I used a book-making awl to scratch outlines of the windows and shoes (that's the yellow you can just see ... obviously, the detail is much clearer in the 50.8cm x 29.51cm prints) and added a few coloured highlights with Sakura's soufflé pens. I actually only just discovered these pens while working on this project — they adhere perfectly to photos.

I did quite a bit of research into 1950s motifs, colours and "things". For instance, Betty follows trends with a flower in her hair, coloured and diamonte-studded glasses, and cherries on her shoes.

I scanned this handiwork and added the cover from a 1955 cooking calendar, a cat from a vintage button packet, a princess from a vintage book of fairy tales and few words about Betty, including that she bakes chiffon cake. Did you know this cake was big in the 1950s? It uses whipped egg whites and oil for a light, moist result. Even better, it doesn't dry out as fast as other cakes and retains it's fluffy texture when refridgerated.

Bob Swings It
I altered Bob's image using similar techniques to Betty's. However, instead of sanding, I experimented for the first time with a 50/50 solution of bleach and water. It looks like he's on fire!

Finding vintage ephemera related to men was much harder. Fortunately, I found a copy of The Motor magazine from 1956 at the last moment and picked up a pulp cowboy book (which I'm now reading!). I also called my dad and discovered beagles were a common motif. Note that Bob smokes Chesterfields like Cary Grant — so many movies stars advertised cigarettes in the 1950s that I had my pick of famous names. Naturally, I picked my personal favourite.

So here they are. After way too much hard work, I look forward to having a glass of champage with Betty and Bob at the exhibition opening on Thursday.

Sweet Pineapple Buttons

Gasp! This junk store-obsessed soul actually bought something new.

I found these darling pineapple buttons at Spotlight last week and have already used one in a collage. They make me think of summer holidays at the beach and fruity cocktails.

Long live maker Beutron, which obviously has a sense of whimsy, humour and kitsch.

More Moving Bodies

Original Image

I’m exhausted after staying up until 3am to finish the final of two photomontages to be exhibited in New Works’ “Body Moves” show. After a cloudless day, I finished up to the patter of rain on the concrete path outside my study window. How beautiful — I wonder if anyone else in Yass was awake.

The night may have been long, but it was also fun. I gave vintage sports cars fairy floss colours (mint, pink and yellow), made music notes look like they’re on fire, and experimented with painting a photo with bleach.

Both works are due at the gallery on Friday. Justin is picking them up from the lab in his lunch break today and taking them to be framed. As usual, I’m running right down to the wire!

Anyway, here’s another preview….

After

Cool Cat Buttons

Like so many junk store fans, I can't resist a good fossick through a pile of buttons. Last week, however, I found the packaging more interesting than the baubles.

This cute cat on a flamingo pink background comes from Korbond's self-cover buttons (the company still makes haberdashery today). She looks like quite the vixen and I love the leopard-style detail on the right. I used a palette knife to coat her with a mix of gesso and moulding paste for a little something extra.

I've already used a scan of her in a digital photomontage and am sure she'll enjoy many more lives in my artwork. As for the buttons, I'm tempted to cover them in vintage fabric and attach to hair clips.

Snippets of Moving Bodies

Original Image

One of my (few) goals this year is to propel my artistic development by exhibiting more. Well, I'm off to an excellent start with my first group exhibition of 2008 at New Works — Canberra's latest contemporary art gallery — opening on Thursday 21 February.

"Body Moves" is about human physicality, including dance, exercise and sport. I'm contributing two digital photomontages that mix recent images of swing dancing with vintage 1950s ephemera. The end result is a bright and quirky comment on male and female roles in the past.

I haven't finished the works, but can't resist sharing a sneak peek. Inspired by Karen Michel's techniques in the off-beat The Complete Guide to Altered Imagery, I've whipped out the sandpaper and soufflé markers and had a good scribble and gouge over photographs I took at a swing dance demonstration late last year. I've overlaid these in Photoshop with some fun printed material, including a cooking calendar from 1955 (featuring the most sumptuous-looking cup cakes) and illustrations from an old book of fairy tales.

After Hours of Work!

I must confess that I'm not sure how visually appealing I find the results, but the process was certainly enjoyable. I'll post the final images when they're finished.

Scratched Sunflower

I can’t help but gush today. My friend Susan lent me Mixed Media Emulsions: Altered Art Techniques for Photographic Imagery by Angela Cartwright and I have spent the week huddled over its pages, drinking way too many cups of tea. I’m abuzz with ideas, but am trying to be methodical, working through the book’s inspirations from beginning to end.

This sunflower image (just in case you can't tell) has been sanded with an emery board and scratched with a book-making awl. I also used the latter to write words in the emulsion. After a few dabs of acrylic paint, I cut the image into close-up vignettes and re-arranged these like an unmatched jigsaw puzzle.

I find mixed media liberating. Its focus on freeing the inner child makes play and process more important than results — how perfect for my new quest to say “goodbye” to perfectionism.

Promotional Ransom Note

My friend Nerida has a business called Admin Bandit, which specialises in an accounting software for community groups. As a writer, I've helped with a range of brochures, press releases and other promotional material, so am absolutely au fait with how her product, also called Admin Bandit, makes keeping the books and meeting various government regulations easy in any organisation — from play groups to sports clubs.

Over a recent lunch of strawberry champagne and roast chicken, Nerida asked my husband Justin to use his illustration skills to come up with some ideas for a fun promotional postcard. Driving home, we brainstormed gags that played on the company name and its logo of an archer ready to shoot his bow and arrow — of course, Robin Hood and William Tell were obvious references.

Justin has to balance his creative efforts with "real" 9-to-5 work so, in the meantime, I came up with this ransom note (how could I resist also trying my hand at such an appealing brief?). I literally cut words and letters from a newspaper, then scanned and put them together in over 50 layers in Photoshop. What an effort for a result that looks so easy!

Scanogram: Bird, Hands, Thread

As long as I’ve known her, my friend Marion has struggled to pin down what she calls the “rules” of photography. But the more pictures I make, the more flexible my definition becomes. I’ve now even decided that photography doesn’t require a camera.

I remember being shocked when I first saw the work of Stuart Owen Fox in early 2005. Using nothing but a flatbed scanner, he produces delicate, luminous images of plants and animals — flowers, frogs, seahorses and geckoes.

“Is this really photography?” I asked.

Here I am three years later creating my first “scanogram”, a digital photomontage pieced together from scans of my hands, a metal bird I picked up in India, a twine placemat and vintage needlework (which I obsessively collect).

I loved shifting the elements in Photoshop into pleasing arrangements and adjusting the opacity of each to create a sense of form and punch.

Self Portrait: Always Be Yourself

“Always be yourself” is the theme of chapter 16 in Dale Carnegie’s How to Stop Worrying and Start Living. There's more much more joy to be had in being you, he says than a second or third-rate imitation of someone else. Did you know the careers of Charlie Chaplin and Bob Hope were going nowhere until the stopped copying more famous comedians and let their own personalities twinkle through?

A self portrait was the obvious subject when I turned to this chapter in my altered book art journal. My techniques were inspired by Misty Mawn’s article “The Workshop: Using a Single Image to Explore Different Media” in issue 13 of Cloth Paper Scissors magazine. The background is a collage of sewing patterns, fabric and negatives, which are overlaid with acrylic paint and coloured pencils. You may recognise the portrait — it’s the photograph from my Friends, Family and Available Light entry back in June. I sanded it with an emery board and coated it with acrylic paint and coloured pencils.

Sanding photographs is my latest indulgence. Rough sanding creates white scrape marks, which are great for edges or parts of an image you want to fade into the background. Soft rubbing can give the impression of burned-in detail, create a vintage-style patina or, in prints from those black-and-white films that you process colour, add a rusted sepia tint.

Red Pony Collage

I’ve just started making my first “altered book”, a multi-media exercise in which an old book is re-appropriated and given new life with a collage of paint, stitching, fabric, photographs and ephemera.

I’m a self-confessed “worry wart”, so have chosen Dale Carnegie’s How to Stop Worrying and Start Living as my canvas. It may have been published in 1948, but the messages in this early “self help” book are still relevant. Not that you can read any of these through my artwork!

I’m using the altered book form as a personal art journal, in which I can let go of my tendency to perfectionism in favour of slapping together elements in a child-like fashion, letting my unconscious dictate anything remotely meaningful. The result is not necessarily pretty, but it’s sure cathartic.

I created the texture in this page with old wallpaper and molding paste imprinted with a piece of broken plastic I found on the road. This is overlaid with fabric from a vintage tie, tissue paper and a photograph I took of a children’s rocking horse in a backyard around the corner from my house. I limited my acrylic paint to brown, yellow, white and blue, along with a snippet of gold from a stamp pad.