DIY triptych paintings collages panels. Impressive paintings using the floral collage technique
Floral collage technique allows you to combine natural materials and decorative elements captivates needlewomen. The creation of three-dimensional paintings has great possibilities and combines objects of living and inanimate nature. Such a collage can complement and decorate the interior. 
Each work carries amazing energy and reflects philosophical meaning and the artist's emotions.
Required materials and tools:
The basis for creating a three-dimensional floral collage can be ordinary thick cardboard, chipboard, or a sheet of hardboard. different sizes. After selecting the panel size, style and color range work begins to prepare the necessary tools and materials for creativity.
- dry plaster mixture or putty, which allows you to create a three-dimensional surface texture;
- spatulas and construction brushes of different widths;
- paints: acrylic
- silicone or super glue
- wire, scissors, simple pencil;
- decorative elements.
To decorate the panel, you can use dried flowers, stems and leaves, cones, beads, stones and shells, cereals, pasta and other types of natural or artificial materials.
Stages of floral collage
Creating beautiful works consists of several stages:
1. Applying plaster or putty to the prepared base. When using a dry plaster mixture, it must be diluted with water in a ratio of 1:4 until the consistency of thick sour cream is obtained, and then a color shade must be created that matches the chosen style.
2. Fixing elements of various decorative elements using wire, glue or pressing into an applied layer of medium-thick plaster.
3. Drying the panel.
4. Decoration additional elements in accordance with the chosen style, applying shadows with gouache or painting with spray and acrylic paints.
Author's gallery
These panels are made without the use of textile glue. I used edging fabric, but you can use any coarse fabric. A rough, relief texture will only give a more interesting effect.
1. Decide on the size of the panel. I will cut a piece of fabric 10 cm larger in length and width than the size we need. Iron the fabric well with a hot iron through a wet rag; the fabric should shrink completely.
2. Take fiberboard, plywood or, as a last resort, thick cardboard, just not corrugated. Fiberboard and plywood must be primed, PVA glue or covered with enamel before starting work. Cover the cardboard with a piece of polyethylene film.
3.Next, we begin to make the panels themselves. We lay the fabric on plastic film and paint the rectangle in the center of the piece of fabric with white acrylic paint. If it is planned that there will be no frame of paint around the picture, the size of the rectangle should be a few millimeters smaller than the printout. That is, after the picture is pasted, the paint should not be visible. If you plan to frame it with paint, draw a rectangle larger by the size of the picture with the frame. If you plan to paint over the entire panel, then draw a rectangle a few mm smaller than the size of the panel.
The paint should be allowed to dry completely, the film under the fabric should be changed periodically, then the paint will dry faster. This procedure must be repeated at least three times. There is no need to try to paint over the fabric the first time; it won’t work, but it will greatly increase the paint consumption and the time it takes to make the panel.
When the last layer of paint has dried completely, apply PVA glue to the area where the print will be pasted. The printout, if it is printed on plain paper, is soaked in water for 15 minutes, blotted, greased with glue and glued as with regular decoupage, carefully smoothing it with a roller and avoiding air bubbles. If the printout is made on rice paper, there is no need to soak it, just apply it to a fabric coated with glue and, wetting it with water on top, level it out. If we use a napkin for a panel, we glue it, as we usually glue napkins on wooden boards, but with great care.
4.When the picture is completely dry, place the fabric on the base and fold the edges of the fabric to the reverse side. We fix them with glue. On the back side of the work we glue two or two pieces of twine crosswise so that they pass through the corners of the work.
5. We make a frame from bamboo. We attach the panel to the frame nodes with twine. We cover the reverse side of the work with beautiful thick paper.
6. We cover the entire work with 1-2 layers of acrylic varnish.
The “terra” technique is the creation of three-dimensional paintings that allow in a new way convey the diversity of the surrounding world.
They surprise and delight
The “terra” technique, thanks to which you can create unique, exclusive compositions using natural materials - dry plants, fruits, gravel, shells, feathers, roots, moss, cereals, pasta.
The author of the collage manages to see fragments of a unique world in shards of glass, broken dishes, and dried lemon peels. Generally speaking, collage is omnivorous: almost anything is suitable as a material for it.
You can take a photograph or painting as the basis for a collage composition, but there is no need to copy an existing image - you just need to refer to it as a hint. A collage artist develops a special perception of the world: for him there are no uninteresting things. Any scrap of paper or piece of fabric can turn into a story, plot, motive for a future composition.
A painting using the “terra” technique can be made on any dense base, for example, hardboard, cardboard, glass or plywood.
Floral materials are secured with glue or wire.
Of course, floral collages will require patience and hard work. But in the end, landscapes, still lifes, graphics, abstract paintings, made independently, will become a unique decoration of the apartment and will cause the sincere admiration of your guests.
Master class on how to make roses for panels using the “terra” technique from craftswoman Rina
Here, as usual in my works, I used natural materials. Dry poppy pods, orange roses, tansy flowers, corn cob leaves, grape curls, real rose buds. And my secret flowers are the tails of bell peppers.
I show you a rose. I pierce it with several toothpicks, not deeply, so that it can be easily removed later.
I cut it so that the bottom is flat. Then it’s easy to attach and glue the rosette.
Here you can clearly see how I fasten it.
Here are the finished roses.
One of them took part in a panel using the Terra technique. I dry them in the summer simply in the air, and in the winter on cardboard, on a radiator. Try it!
How to create a panel using the terra technique from Efroska_Elena
First, the prepared leaves and blades of grass were dried in the oven.
And this is a box with already dried “garbage”.
And it all started like this. First I laid it out:
Well, then the fun began. Afraid that I wouldn’t remember the current composition, I photographed it.
I made a background on a piece of plywood with plaster (it was later changed) and began to glue the “garbage” with a brush. I kept looking at the photo...
There is not enough texture in the background...
Add buckwheat and dry!
Painted with gouache and varnish.
Repainted...
I added green to the leaves, light to the lilac seeds and red-brown in places. But the gouache was constantly mixed with the previous layer (no varnish was added). So the “multi-color” is almost not noticeable.
When everything was dry, I brushed over white acrylic with a “dry brush” to highlight the texture.
History of the emergence and development of collage
The first mention of collage dates back to the 2nd century. BC e. Around this time, paper was invented in China. However, until the 10th century, this technique was used extremely rarely. In the tenth century, Japanese calligraphers began to use pieces of paper specially processed and glued together. In Europe, collage as a type of DPI was known back in the 13th century. In the 15th – 16th centuries, various elements made from gilded sheets of paper were often used in the design of Gothic cathedrals. Frames for icons were often made of precious metals and gems. Collage was first used as an artistic technique in the 20th century. Its wide popularity is associated with the penetration of the Art Nouveau style, which was new for that time, into art. Similar works of art were created by many famous artists, such as Pablo Picasso and Georges Braque.Thanks to the use of sheets of paper, such paintings look voluminous and unusual. These original compositions are a cross between the actual work of painting and sculpture. Over time, collage is no longer perceived as an additional technique that allows one to create unusual paintings, and is singled out as an independent object of art. In the middle of the 20th century, this type of DPI became even more popular. Very interesting, for example, are the compositions of Louise Nevelson, who made collages from found fragments of furniture, barrels, interior items, wooden boxes, panels, etc. Very often during this period, collage is used to frame photographs. The wood becomes almost mandatory element all similar compositions. In the same work of art, this material could be combined with graphic or pictorial images.
It is believed that the first to transform the collage technique into an art form was the German John Heartfield in 1924, who used such panels as a satirical weapon against Hitler. However, three-dimensional compositions were also popular in Russia at the beginning of the century. The most famous Russian collages are considered to be A. Lentulov’s paintings “Moscow” (1913) and “St. Basil’s” (1913). Pieces of paper were used in the first panel, and foil in the second. The works of the artist V. Tatlin, distinguished by their dynamic compositions, are also quite popular.
Features of the technology
To ensure that products made using the collage technique are bright and original, a variety of decorative elements are used in their creation. At the same time, the artist tries to complete the collage so that the viewer perceives it as a single harmonious work. Of course, all rules for constructing a composition must be observed.Collage styles
At the moment, only four main styles are known that are used to make such products.. Vegetative
. Plants or their fragments are used as the main elements. At the same time, the artist tries to make the finished work as realistic as possible. In this case, plants do not act as part of the landscape or the overall plot of the picture, but as an independent element on which the main emphasis is placed.
Decorative.
Such collages are distinguished by their fantastic plot. The main goal that the artist sets for himself when performing such a work is originality and uniqueness. Looking at such a picture, the viewer tries to guess the author’s intention, his mood.
Landscape
. The name of this type of collage speaks for itself. Such panels depict various kinds of landscapes - natural or urban. It could be the sea, a forest, beautiful buildings, etc.
Formo-linear.
The main elements of such collages are geometric shapes– rhombuses, squares, circles, etc. Even the background in such works is a combination of these simple elements.
Collages are usually made using a passe-partout and a frame. A passe-partout is a wide frame that frames a panel. Its main task is to facilitate the viewer’s perception of the picture. The frame and mat also protect the painting from the effects of adverse environmental factors.
Galina Karpova
Here they are we got the collages."Winter the Lacemaker", work by Sonya F.
"Trees in the Snow", work by Ira G.
For collages on"winter" I prepared the theme with white lace, shiny fabric, guipure, cords and braid, openwork paper napkins, half beads, feathers. In addition, scissors, figured hole punchers, various glues, white pencil, white gouache, brushes. For the background we took gray-blue cardboard approximately A2 in size. Sonya began her work by outlining the composition of her future painting with a white pencil.
On the right in the foreground I decided to stick from "silver" herringbone knitwear. Which is not surprising to us in anticipation of New Year's holidays! To do this, I cut arbitrary triangles and glued them onto PVA.
Having become interested in the beautiful fabric, I decided to make a large tree on the right as well.
Nearby, Sonya pasted fragments of lace patterns reminiscent of Christmas trees.
To secure the fragments with PVA glue, they were also coated on top, as in decoupage.
Punched holes in snowflakes. I glued a half bead into each one.
Getting carried away by creativity, I decided to stick them on the Christmas tree.
I painted the trunks of small trees in the distance with white gouache. This is what sonin looks like collage after the glue has dried.
And Ira for his collage I lined the tree trunk with white cord with sparkles, and made the crown from small openwork napkins. The idea for the small tree came to Ira later, so the composition of the picture suffered a little. Small tree - senile wire, feathers and half beads, "snowy" snowdrifts - scraps of various lace fabrics.
Panel prepared for the exhibition, I only have to glue the cards with the inscriptions.
