The Parada Paradoxe scent features a white bouquet of neroli and jasmine, two of my favourite aromas so it boded well from the outset. I mean they had to right? So I was delighted to unbox an early (gifted) sample and the bottle was just as imagined, and I have to say it comes with all the wantability of the Prada earrings that I’m also lusting after. The first L’Oreal outing since licensing the Prada fragrance name was also going to be a shift of direction and after Prada Candy, I was more than ready! I was hoping for something sophisticated and as I pictured it in my mind I saw the bottle in the shape of the triangular logo.
What if I used something upside-down or inside out? What if I substitute a different yellow? And, what if I just gesso over it? Let innovation be your companion as you pursue your artistic explorations.When the news dropped that there was a new Prada scent on the way, my nose started tingling with anticipation. I encourage you to always ask “what if” in your art practice. Rauschenberg’s ability to look at the possibilities inherent in materials we see every day is such a good lesson for those working in mixed media. Spread the gel with a wide blade for an even surface, and allow several hours to dry. It is thick and juicy, spreads easily and the UV protection is a great addition when working with old papers. Gel Topcoat is one of my favorite mediums. Using a coat or two of thicker medium, such as the Gel Topcoat or a heavy gel medium, as a final coat serves to level the surface visually. Some of my collage pieces were fairly thick. I use this to de-emphasize various levels on the surface. I think the hand-drawn details add to the overall complexity of the composition.Īdd a faux-wax layer using the Gel Topcoat. After that, I use my artistic instinct to select other areas to emphasize or extend. Usually, I start with strengthening or lengthening both a vertical and a horizontal line in the composition. With the pencil, I emphasized some lines of the composition and made marks on and elongated other elements.
I thought the rawness of the pencil marks would play off the vintage elements in the composition. Allow to dry.Ĭreate some emphasis in several areas using pencil. But be sure to leave some dark areas showing. I used Titan Buff and Naples Yellow Hue.Īllow the colors to mix as you scrape. Scrape the paint over the surface, using a palette knife. Place a few drops of fluid acrylic paint on the substrate in a couple of light colors. Don’t forget to paint the sides of the substrate as well, if applicable. I chose black gesso, but other good choices are Golden Artist Colors acrylic paint in Prussian Blue Hue, Dioxazine Purple, or even Pyrrole Red or Red Oxide. Optional: Golden Gel Topcoat with Ultra Violet Light Stabilizers, semi-gloss or heavy gel mediumĬreating a Collage Landscape, Step-by-Step 1.Heavy-body acrylic paint, your choice of colors (I used Golden Titanium White).Matte medium and/or soft gel matte medium.
Found papers, a variety, including neutrals and a few colored pieces.Fluid acrylic paints (I used Golden® Artist Colors in Naples Yellow Hue and Titan Buff).Stretched canvas or cradled board (I used an 11 x 14 board).Dark acrylic paint or gesso (I used black gesso).Now, let’s create a collage landscape with this in mind. Taking risks is part of making art, along with problem solving and uncertainty. Rauschenberg tells us not to be afraid to put something down at random in a piece of art. Using found objects, paper and other items in artwork not only adds texture, interest and wonder to our work, it brings the viewer’s imagination into play. Artist Robert Rauschenberg with his art at the Museum of Modern Art in New York, March 19, 1977.