These paper were from my Multipurpose paper pad.
The one side glazed kraft paper and the Bible paper are really good for metal stamps.
The other two are my personal preferences.😂 They are on the contrary, full of textures, and yet still be able to present the details.
I don’t always use smooth papers and not always want the patterns to be super clear.
Add a little different “something” to your work, you’ll find it’s more interesting.
Textured paper are big help to create more layers to your collage art.
I like the way they are, no need to feel failed or you didn’t do well on the stamping. Incomplete patterns actually increased the vintage taste.
I know most of you already own VersaFine and VersaFine Clair, same here🤚🏻
I have to say normally they really worked better on rubber stamps. But, now you can see how VersaFine works on these paper, they are not that bad, right?
That’s why I said each part matters.
Different ink pads shows different outcomes on different paper.
My second recommendation of the ink pads for metal stamps is そらまめ.
No other reason but easy to use and high accessibility also can be used on different surfaces and a looooooot of colors for you to choose.
Most of the ink pads brought up here were produced by TSUKINEKO.
This company has tons of different ink pads,
please choose the ink pads based on your own needs such as Where do you want to use them, what kind of color tone you prefer, etc.
這篇裡面用到的紙都來自於多用途便條本,(自家產的,我們都叫它多多😆)
單光白牛皮跟聖經紙真的好適合金屬印章,另外兩種紙是個人偏好硬塞進去的😂
它們跟前面提到的紙張特性剛好相反,充滿紋理,但是依然能夠呈現金屬章的細節。
我其實沒有特別常用很平滑的紙, 也不會每次都希望圖案超完整,加些不一樣的「什麼」在作品裡面,會發現新天地喔。
有紋理手感的紙張其實是拼貼很大的助力,會讓成品充滿層次。
我喜歡每次蓋出來的樣子,自然就好,不用覺得失敗了或是蓋印苦手,不全然完整的圖反而更能帶出復古感。
我知道蠻多人都已經有VersaFine和VersaFine Clair, 我也有🤚🏻
必須老實說通常這兩款印台跟橡皮章感情比較好,不過呢,這裡也可以看到VersaFine在這幾支紙上的表現,也沒那麼糟糕,對吧?
這就是之前提到的「每個部分都很重要」,不同的印台在不同的紙張上就是呈現不一樣的結果。
個人第二推薦適合金屬章的印台是そらまめ,原因無它就是好用多用又好買,到處都有進貨,而且超多色可以選。
這裡提到的印台大多都是TSUKINEKO 的,這間公司出產一堆不同的印台,請依據自己的真實需求來作選擇,比如說想用在哪裡,喜歡哪種色調之類的。
#linchianing #stamp #paper #collage #paperlover #stamps #scrapbooking #scrapbook #scrapbookinglayout #stationery #stationeryaddict #handycrafts #crafts #craft #papercrafts #paperart #new #collageart #paperlover #paperlovers #metalstamp #tsukineko
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強中之強!
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攝影之聲19
#照片 #雕塑
#photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
◑ GRAB YOUR COPY NOW!! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
▍購買雜誌 Order | http://goo.gl/Xecs3q
▍訂閱雜誌 Subscribe | http://goo.gl/ZE9gd0
In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
---
Voices of Photography 攝影之聲
www.vopmagazine.com
how to create collage art 在 VOP Facebook 的最佳貼文
◑ 新刊上架 !! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
▍購買雜誌 Order | http://goo.gl/Xecs3q
▍訂閱雜誌 Subscribe | http://goo.gl/ZE9gd0
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
---
Voices of Photography 攝影之聲
www.vopmagazine.com
how to create collage art 在 870 Best Collage Art ideas - Pinterest 的推薦與評價
Jun 23, 2017 - Explore Marie Kazalia's board "Collage Art", ... Collage Art Projects, Webdesign Inspiration, Photocollage, Tableau Design, Fashion Collage. ... <看更多>