Art and Design A comprehensive guide for creative artists - Aaltodoc

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CHAPTER SIX Collage The word collage comes from a “French word coller meaning to glue or paste.”(Jenkins 1980, 108) According to Annette (1982), “collage is an arrangement of several different shapes, cut or torn from various materials, which form a pleasing combination of shapes, textures and colours when glued onto a sheet of paper to make a permanent picture.” Obviously, then, collage art is made up of various collections of things. Nevertheless, working to produce a collage artwork is governed by serious creativity supported by “pasting” and “assembling.” It is the “maximum diversity of source material, to produce a coherent artist synthesis.” (Ashwin 1982, 63) By analysis, collage art is well made with arrangements of thrown away objects, which work as basic materials of its different forms. We can also see this from Kyeyune's (2003, 215) Art in Uganda in the 20th Century denoting this excellent statement: “Ssengendo produced a richly colourful imitation style from a collection of things lying about in an untidy mass and that their portrayal was made easy by a clear physical display of shapes in distinct tones and texture, with ridges of fibre and feathers.” Here we see that a collage artwork can be constructed and defined by analysing shapes, colours and textures of different things. Walther (2000, 46) reminds us that “it was not until Picasso discovered the technique of collage, or 'papier colle,' that he started thinking about sculpture ... Sticking papers onto a picture, ... a step beyond the strict two dimensional character of painting. And when he begun to use other materials such as card board, tins, wood, string and wire his pictures changed more and more ... ” Distinctly, then, learners should be made aware that collage art is interdisciplinary, it combines other disciplines of art and design like sculpture, painting, pottery and drawing. We can conclude with Janis et al.'s (1967, 145) reasonable explanation: “Collage brought the world into art and then art moved into the world ...” Thereby, creative artists should be encouraged to use nature as the main source of useful materials. And it can as well be a source of inspiration from whence designs of collage artwork can be made. The table below examines the different parts of plants, which can assist to provide remarkable basic materials necessary for creating collage art: In our environment there are plenty of plants, which can provide necessary glue for use on collage and other crafted artworks. Trowell (1951, 26) suggests, “if you know any tree which gives out a sticky transparent juice, you should try to use it as a glue medium.” Here we see that it is important for the learner to have the right kind of glue for the different materials available to make a collage artwork. As an example, boiled cassava paste; made by mixing hot water with cassava flour forms a thick paste necessary for fastening like glue. During stove preparations, keep the substance moderately solid for better bonding results. Here below is a proposed list of supplementary craft glues and colouring dyes, which are obtainable from plants. Some of them can be used to carry out experiments for scarce art materials: In their book Forest Climbing plants of West Africa; Bongers et al. (2005, 171-172) suggested some of these climber species—of plants, which can be used for crafting purposes: Alchornea cordifolia; the leaves of this plant can procreate an indigo colouring material. Cryptolepis sanguinolenta; from its roots and the bark. We can extract a yellow colouring material for dyeing fabric. Lonchocarpus cyanescens (lonchocarpus); the seeds and leaves of this plant can produce an indigo colouring. Morinda morindoides (Rubiaceae); the roots and the bark produce a yellow colouring. Oncinotis pontyi; extract liquids from its stem, add lemon juice then boil. Strong glue will be attained. Fit for repairing broken pots. Rhigiocarya racemifera (Menispermaceae); produces glue from its fruits. Uvaia; a yellow colouring dye can be squeezed from the roots and the bark of this plant. Canarium schweinfurthii (Mpafu tree); the bark of the tree (on the stem) when opened and left for some time it will produce a white citron scented gum. Other types of craft glue can be purchased. These may include; sticker glue, wallpaper paste, glue stick, royal icing, glitter glue, tacky glue, white glue, powdered glue and wood glue. 120 121
A collage artwork Materials: Dry leaves attached with glue and/or threaded on the surface of a bark cloth Surfaces for producing collage can be worn out posters, fabrics, card board, particle board, styrofoam trays, sackcloth/canvas, wood, cardboard cartons, egg trays, furniture. Assorted objects can be buttons, wine corks, old jewellery, cotton balls, rice (cereals), plastic bottles, macaroni, old photo films, cassettes/CD, wrapping papers, magazine pages, bits of coloured or hand-made papers, parts of the artist's artwork, photographs et cetera. Found objects include thrown away items such as: pieces of wood, sticks, seeds, feathers, sand, clay, leaves, seed pods, wires, snail shells, pebbles, weeds, egg shells, coloured stones, bottle tops, drinking straws, tooth-picks, match sticks, sisal, raffia, grass, used bags, tins, shoes, old playing cards, keys, lace and shredded paper; are good for making paper machê when mixed with starch and thin flour paste. In the opinion of Trowell (1951, 7), “equipment and materials for teaching art can be very expensive. Yet, with a little care and trouble, art can be taught at a very little cost.” Undeniably, the cheapest way of executing a collage artwork without spending money, is by using found objects. Thus, it will give more possibility for the learner to interact with their surrounding environment and it is another benefit of achieving recycling. We can end with Ashiwn's (1982) remarks, “collage is capable of a certain amount of visual shock where different sources” of materials and ideas often continue to declare their origin with in the artist's inspirations and inventiveness. Uses of collage Collage art is sometimes not easy to understand by some creative visual designers, it can be intimidating or disturbing. As Rothamel (2000, 9) points out, “collage ... can be just as formidable as watercolour, oil painting or sculpture.” Certainly, this also indicates that collage art serves satisfactorily well in the various art disciplines. Jenkins (1980, 108) prefers a different justification: “On why do collage? Answered ... it imposes a sense of order on random materials.” From this we can understand that, the learner who does collage art shall be able to arrange neatly and also manage working with various obtainable materials. Here is how collage art can be useful: • Artists use collage to make beautiful paintings, photomontage, weaving as well as—in music. • Collage is the most creative way to do art by recycling. • Collage is undoubtedly the cheapest way to produce very expensive artworks. • Collage is a branch of study that can be easily absorbed or integrated into other art and design fields. • Collage art is an open power to every learners creative potential. It is limitless. Characteristics of collage art Collage art can be made in two or three dimensional forms. The qualities and characteristics of collage art differ accordingly. Here below is a viewpoint of an itemised list of collage characteristics: a. Combined with painting is a characteristic of collage—in which (paint) pigments can be reasonably merged with other colourful collections of chosen collage art materials. Digolo & Mazrui (1988, 35) offers a rational opinion; “collage is often combined with painting and drawing.” b. Texture is almost always generated by the materials used in the course of executing a collage artwork. It can be realised by touching or seeing. Jenkins (1986, 110) affirms, “Fingers are the best paste applicators” and they give” the most sensory experience.” Certainly, by ways of touching different materials, the learner should be encouraged “to study the variations in texture and colour” for the time of choosing collage materials—of a specified artwork. c. Multimedia in collage art is explained with an aesthetic frame of reference. That is to say, a single artwork is produced in more than one medium. Digolo & Mazrui's (1988, 29) say, "when two or more techniques are used, the method is called multimedia or mixed media." Thus, this characteristic of collage art appeals to creative artists with knowledge and skills of integrating subject matter with various materials of a kind like found objects to create collage artworks. 122 123
Page 1 and 2:
and Design Art and deign Art and de
Page 3 and 4:
Preface The goals of this book 1. T
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• Decorating fabrics with more th
Page 7 and 8:
CHAPTER ONE Art and design Art and
Page 9 and 10:
Several examples of geometric patte
Page 11 and 12: Architecture A basic example of the
Page 13 and 14: Elements of design A closer look at
Page 15 and 16: Inset: halftone dots obtained from
Page 17 and 18: Jung (2004, 139) remarks, “Of cou
Page 19 and 20: Principles of design Principles of
Page 21 and 22: Play. A painting with proposing act
Page 23 and 24: Exercise 1. By associating each ele
Page 25 and 26: d) Charcoal is good and it is an ab
Page 27 and 28: A lakeside Background landscape sho
Page 29 and 30: Vebell et al. (2005, 202) prefer a
Page 31 and 32: A study of a cow. In the profile vi
Page 33 and 34: Scanty waters. Acrylic painting Siz
Page 35 and 36: Liquids for painting The types of l
Page 37 and 38: Although it is sometimes necessary
Page 39 and 40: Trowell (1951, 27) shares a rationa
Page 41 and 42: Well as computers have dominated a
Page 43 and 44: Phillips (2004, 9) reminds us that
Page 45 and 46: m) In conclusion, on any outstandin
Page 47 and 48: Lowercase The lowercase alphabets a
Page 49 and 50: Proportion It can be used to work o
Page 51 and 52: Illustrations can be done as painti
Page 53 and 54: Logo Trade Marks Label Notice sign
Page 55 and 56: Michaels (2010) points out some “
Page 57 and 58: The ultimate goal of designing a bo
Page 59 and 60: A raised surface b) Intaglio printi
Page 61: d. Outdoor signs are the major visu
Page 65 and 66: Apart from that, excess glue can be
Page 67 and 68: A small section of a floor surface,
Page 69 and 70: A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: CHAPTER NINE Weaving Weaving is the
Page 77 and 78: Here we see that through trials and
Page 79 and 80: . Yarn is for fabrics as straw and
Page 81 and 82: Tod (1977, 172) laments, “Cloth m
Page 83 and 84: Exercise 1. By using found material
Page 85 and 86: To simplify the discussion, let us
Page 87 and 88: Here is an itemised set of methods
Page 89 and 90: B A A: An already made tie-die fabr
Page 91 and 92: Start by preparing a separate scree
Page 93 and 94: CHAPTER ELEVEN They made “clay re
Page 95 and 96: Examples of inverse relief can be f
Page 97 and 98: Sometimes plaster of Paris is used
Page 99 and 100: Maquette A maquette is a translatio
Page 101 and 102: Rich(1998, 250) offers a reasonable
Page 103 and 104: “Welding equipment is largely use
Page 105 and 106: . Porosity of clay is determined by
Page 107 and 108: • A pottery artist needs enough e
Page 109 and 110: owl, a cup. In size and shape it wi
Page 111 and 112: Along with the left hand and add so
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• Photography can be used to depi
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Explanatory photographs Descriptive
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Here is how: • Film cameras were
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Crafts other than those detailed ab
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2. In an area of 25cm by 30cm, desi
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Q quill feather 68 R raffia 148 red
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Mills, John W (1990). The encyclopa
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