mixed media photography
I loved researching into mixed media photography. I have always been interested in art, which has shown in my recycable fashion project. Before experimenting with this technique, i researched into photographers that have interoperated this style.
Judith Golden
For three decades, Judith Golden has been a committed and accomplished artist. Her work has helped define the history of women exploring self and society through visual media since the 1970s when she was first recognized as a distinctive creative voice. With the medium of photography as her foundation, Golden innovatively explores the intersections between reality and illusion by combining traditional techniques and contemporary cultural references, handwork and technology, rational discovery and uncharted flights of fantasy. Working in series, Golden inventories the myths and methods of human consciousness while revealing the powers of nature and the mysteries of time. Her work continues to evolve with rich new subjects, returning iconic themes, and unending questions and answers to the experience of life.
I loved researching into mixed media photography. I have always been interested in art, which has shown in my recycable fashion project. Before experimenting with this technique, i researched into photographers that have interoperated this style.
Judith Golden
For three decades, Judith Golden has been a committed and accomplished artist. Her work has helped define the history of women exploring self and society through visual media since the 1970s when she was first recognized as a distinctive creative voice. With the medium of photography as her foundation, Golden innovatively explores the intersections between reality and illusion by combining traditional techniques and contemporary cultural references, handwork and technology, rational discovery and uncharted flights of fantasy. Working in series, Golden inventories the myths and methods of human consciousness while revealing the powers of nature and the mysteries of time. Her work continues to evolve with rich new subjects, returning iconic themes, and unending questions and answers to the experience of life.
Mixed meida photo`s from the artist `Nista`.
How to create this effect...?
What you need:
1) Inkjet photo or laser photocopy (black & white or color)
2) Canvas Panel
3) Mod Podge
4) Mixed media materials (such as designer papers, newspapers, stamps etc.
5) Water spray bottle
6) Acrylic paints
7) UV-resistant clear finish
1) Inkjet photo or laser photocopy (black & white or color)
2) Canvas Panel
3) Mod Podge
4) Mixed media materials (such as designer papers, newspapers, stamps etc.
5) Water spray bottle
6) Acrylic paints
7) UV-resistant clear finish
1. To create a similar artwork begin with any size canvas panel (12” X 9” in this case)
2. Using Mod Podge cover the canvas with textured papers (sometimes called designer or decorated paper), old newspapers and other found objects such as ticket stubs and stamps. 3) At this point, it’s a good idea to brush this layer with a coat of Mod Podge or any other gel medium for better hold and protection.
2. Using Mod Podge cover the canvas with textured papers (sometimes called designer or decorated paper), old newspapers and other found objects such as ticket stubs and stamps. 3) At this point, it’s a good idea to brush this layer with a coat of Mod Podge or any other gel medium for better hold and protection.
4. Next, transfer a photo of your choice, you can transfer an inkjet image printed onto a STANDARD printer copy paper or use a toner based photocopy of your photo. For this transfer I chose a photo of Manhattan Bridge which I took from Brooklyn Bridge in 2004. I chose this picture because it has a nice contrast between the shadows and highlights areas. Before transferring it I printed a mirror image of this picture with my inkjet printer, then took it to Kinkos and made a Xerox copy of it. (Generally Xerox copies have longer life than inkjet printouts).
5. In order to transfer the image, coat your photo with a nice amount of Mod Podge (any Gel medium can be used here instead) and placed it face down into the background layer canvas. Using your fingers gently smooth out any air bubbles.
6. Set aside and let it completely dry. If you are using an inkjet printout it only needs about 20 minutes to dry but a photocopy requires a few hours, however for better results it is recommended that you let it dry over night.
7. After the transfer is dry spray the back of it with enough water (no need to soak) in order to rub off and remove the paper back which you can do using your fingers but you can also use a damp sponge. (Make sure to repeat this step as many time as needed to remove all the excess paper or otherwise the transfer will have a white ghost-like layer over it.)
5. In order to transfer the image, coat your photo with a nice amount of Mod Podge (any Gel medium can be used here instead) and placed it face down into the background layer canvas. Using your fingers gently smooth out any air bubbles.
6. Set aside and let it completely dry. If you are using an inkjet printout it only needs about 20 minutes to dry but a photocopy requires a few hours, however for better results it is recommended that you let it dry over night.
7. After the transfer is dry spray the back of it with enough water (no need to soak) in order to rub off and remove the paper back which you can do using your fingers but you can also use a damp sponge. (Make sure to repeat this step as many time as needed to remove all the excess paper or otherwise the transfer will have a white ghost-like layer over it.)
8. When the transfer is ready you can use watered-down acrylic paints to add some color in different areas for added interest. In addition you can use distressed ink around the borders.
9. And finally don’t forget to protect your masterpiece with a UV-resistant clear finish.
my own experiment...
If i progress this idea further, i would love to have a go using the technique above, as the image i created below was a quick experiment, i just used an old photo and played around with photoshop and the overlay layer to experiment with the idea.
9. And finally don’t forget to protect your masterpiece with a UV-resistant clear finish.
my own experiment...
If i progress this idea further, i would love to have a go using the technique above, as the image i created below was a quick experiment, i just used an old photo and played around with photoshop and the overlay layer to experiment with the idea.
Robert Rauschenberg
Robert Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance.
Rauschenburg would cover a canvas with house paint, or ink the wheel of a car and run it over paper to create a drawing, while demonstrating rigor and concern for formal painting. By 1958, at the time of his first solo exhibition at the Leo Castelli Gallery, his work had moved from abstract painting to drawings like “Erased De Kooning” (1953) (which was exactly as it sounds) to what he termed “combines.” These combines (meant to express both the finding and forming of combinations in three-dimensional collage) cemented his place in art history.
The idea of combining and of noticing combinations of objects and images has remained at the core of Rauschenberg’s work. As Pop Art emerged in the ’60s, Rauschenberg turned away from three-dimensional combines and began to work in two dimensions, using magazine photographs of current events to create silk-screen prints. Rauschenberg transferred prints of familiar images, such as JFK or baseball games, to canvases and overlapped them with painted brushstrokes. They looked like abstractions from a distance, but up close the images related to each other, as if in conversation. These collages were a way of bringing together the inventiveness of his combines with his love for painting. Using this new method he found he could make a commentary on contemporary society using the very images that helped to create that society.
Below is a photograph of My Own Creation...
Eva Weinmayr
Eva Weinmayr's art makes use of the sensationalist headlines blared out in the populist British press day after day.
Artist Eva Weinmayr, who works with leftovers, designs, and fragments of the information society, is primarily interested in language. For years she has been collecting "teaser bills" - those abbreviated and exaggerated posters hawking the headlines of the day - from the London Evening Standard, and using them as a starting point for her work. In a fragmentary and associative text written especially for this book, artist Gustav Metzger reflects on Weinmayr's work and documents the ongoing dialogue between their very different artistic positions, which both focus on social processes. This artist's book, edited by Florian Matzner and designed by Zylvia Auerbach, succeeds in capturing this fleeting dialogue and the exciting tension underlying it.
Eva Weinmayr's art makes use of the sensationalist headlines blared out in the populist British press day after day.
Artist Eva Weinmayr, who works with leftovers, designs, and fragments of the information society, is primarily interested in language. For years she has been collecting "teaser bills" - those abbreviated and exaggerated posters hawking the headlines of the day - from the London Evening Standard, and using them as a starting point for her work. In a fragmentary and associative text written especially for this book, artist Gustav Metzger reflects on Weinmayr's work and documents the ongoing dialogue between their very different artistic positions, which both focus on social processes. This artist's book, edited by Florian Matzner and designed by Zylvia Auerbach, succeeds in capturing this fleeting dialogue and the exciting tension underlying it.
Bibliography
American painter, the chief pioneer of Abstract Expressionism. Born in Cody, Wyoming, and grew up in Arizona and California. Moved to New York and studied 1929-31 with Thomas Benton at the Art Students League. Influenced by Benton's regionalist style and by Ryder, and later by the Mexican mural painters and Picasso. Worked as an easel painter on the WPA Federal Art Project 1938-42. Paintings of ritual violence or sexuality, with turbulent clashes of movement and fragmentary archetypal imagery, which led gradually in the early 1940s to a completely abstract 'all-over' style to which was given the name Abstract Expressionism. First one-man exhibition at Peggy Guggenheim's gallery Art of This Century, New York, 1943. His involvement with gestural painting, inspired partly by the sand painting of the American Indians and partly by Surrealism, culminated in his use from 1947 of a technique of dripping trails of paint onto a canvas laid flat on the floor. Married the painter Lee Krasner in 1944 and settled with her at Springs, Long Island, 1946. Painted a number of works in black and white in 1951-2, many with re-emerging imagery of anatomical motifs, etc. Died in a car crash at East Hampton.
Sally Mankus
"In creating much of this mixed media work I have used a process of lifting rust, carbon and markings from charred surfaces (mainly bakeware). The rust, carbon, and markings become embedded in an acrylic "skin". These "skins"are translucent and flexible. In addition to using these as finished pieces sometimes I add other things - image transfers, paint, found objects".
Sally Mankus statement
"Much of my work has evolved from a unique process of lifting rust, carbon and markings from charred surfaces (mainly bakeware). The work explores layered and diverse meanings incorporated in everyday, overlooked objects one would find in the home. The work has moved into the realm of installation incorporating numerous domestic items, primarily items used in the ritual of preparing and serving food. Objects (pans, pot lids, napkins, etc.) and materials (rust, carbon) used are so common they become symbols in a universal language. Photography has become a part of the work in the form of manipulated (sometimes layered) Xeroxed images. Participation in the work involves not just the visual, but sound, smell, taste and touch. The viewer is invited to look more closely at that which is and has been experienced on a daily basis. Objects and images take on multiple, often contradictory, meanings leading to diverse interpretations".
No comments:
Post a Comment