Mixed Media Collage: Painted Paper to Stunning Abstract in 3 Easy Steps | Maren Cahill | Skillshare

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Mixed Media Collage: Painted Paper to Stunning Abstract in 3 Easy Steps

teacher avatar Maren Cahill, Mixed Media Artist, Writer, Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (39m)
    • 1. Intro

    • 2. Project Overview

    • 3. Tools & Materials

    • 4. Creating Hand Painted Paper

    • 5. Painting a Watercolor Background

    • 6. Composing Your Collage

    • 7. Adding Final Details to Make Your Piece POP

    • 8. Final Recap

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About This Class

Oh the joys of paper! The texture, the dimension, the layering...mixed media collage is seductive in its appeal, and lends itself to myriad forms of expression. Paper can become whimsical, somber, reflective, poignant, statement-making...whatever! Now imagine making your own paper, in luscious jewel tones, or grounding earth tones, then ripping it up and letting it take on its own shape over a subtle watercolor background, according to your creative mood. 

Ah, mixed media. 

In this class, you will learn how to create a mixed media collage using delightful, hand-painted papers over watercolor underpaintings in a minimalist, emotionally-evocative, abstract design. And you'll do all of this 3 easy steps that you can apply right away. 

You'll learn these 3 steps from start to finish:

  1. Learn to turn plain tissue paper into beautiful, richly-textured, hand-painted papers to use in your collage work
  2. Create a basic watercolor background that supports your emotional theme & collage design
  3. Compose and design an abstract collage and add other mixed media elements, such as stamping, ephemera, pen & ink, oil pastels, etc. 

In the end, you will have a wonderful, frame-ready piece that you can enjoy immediately.

This class is perfect for artists & creatives of any skill level. If you are interested in anything mixed media, anything collage, and are drawn to paper crafting or watercolor, this class is for you!

Materials Needed:

  • White tissue paper
  • Acrylic paint (2-5 colors)
  • Tall kitchen trash bag
  • Small bowl (x2)
  • Paintbrushes (Natural bristle x1, wash brush x1, glue brush x1)
  • Watercolor paper (5x7 - 9x12)
  • Watercolor paint (tube paint preferred; 2-4 colors)
  • Matte Medium
  • Other mixed media elements: stamps, stamp pad, oil pastels, found paper, ephemera
  • Optional: alcohol or spray ink in spray bottle, white gesso, stabilo pencil, Neocolors, stencils, etc. 

Now, let's go mix up some media!

Meet Your Teacher

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Maren Cahill

Mixed Media Artist, Writer, Photographer


Hi there!

My name is Maren Cahill, and I am a self-taught mixed media collage artist, writer and photographer. I have been a creative all of my life, gravitating to writing, photography and music. However, I never considered myself to be an artist. And then life happened. As a small business owner, mother and partner, I invested so much of myself into keeping work and family afloat that I put my creative work on perpetual hold. But one day the call to create could not be ignored any longer, and so I jumped in with gusto. Since then, I have been expanding my knowledge (mostly on Skillshare!) and finding my place of delight in watercolor and mixed media. Since then, my work has been featured in a book on art therapy (in publication now), and part of several... See full profile

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1. Intro: Hi, everyone. My name is Maren Cahill. Welcome to my class. Mixed media collage painted paper to stunning abstract and three easy steps. I am a self taught, mixed media artist with a focus in collage and a longtime writer and photographer. I'm here today to teach you how to make inspirational abstract collage and watercolor pieces. Using luscious hand painted paper and minimalist design. I've always had a love affair with collage. In paper, I like to think of collage like telling a story of your life. It's like artist medicine, the richness of the textures and the effects of layering or visually seductive and add emotional complexity to a piece. By the end of this class, you'll be able to breeze through the papermaking process quickly and inexpensively. You'll also have a working knowledge of layering techniques and composition to create simple yet emotionally evocative abstract pieces. These skills can be used for art journaling or Decca pa je. The sky's the limit when you're able to make your own materials. This classes for anyone interested in mixed media art. Whether you're a beginner or advanced collage artist, it's especially geared towards those who have a love of minimalist design and inspirational themes. I'm super excited to have you here, so I'll see you in there 2. Project Overview: So here's what we'll be doing in the class. Our project is simple, easy and rewarding. We'll be working small, working small helps you stay loose while practicing your new skills, and having a finished piece is a great source of satisfaction and fulfillment. Not only will you have a small collection of collage paper, you'll also have a free mobile piece that you can immediately enjoy. Our first step is creating that yummy hand painted tissue paper. It's honestly, so fun and easy. You'll probably find it addictive. I get asked to demo this process all the time, and people are always doing and dying over wonderful colors and textures that are created, and they can't believe how easy it is to do. You'll make 2 to 3 large sheets of paper with different colors for use in your piece. While your papers drying, you'll create a basic watercolor background that supports your collage design. Then we'll move on to composing and designing your abstract collage, adding final details with different mediums to breathe life into your piece and make it pop . In the end, you'll have a piece that you'll fall in love with, and that's frame ready in an hour. So let's talk now about the tools and supplies you'll need for this class 3. Tools & Materials: Hi, everyone, Welcome back. Let's talk about the tools and materials you're going to need for a successful class. Our list of supplies is a little long, but I'm going to break it down into bite size pieces According to the three stages of our project, I'll also have the full list of materials available in the resource is page. And if you have any questions, feel free to reach out. First, let's talk about what you need. War making your paper. You will need a tall kitchen trash back. This is a kind with a flap instead of a drawstring because it lays down flat nicely. You'll also need a large surface for spreading your trash bag out onto, so you'll need something that's at least the length and width of a completely opened up trash bag. You'll also need some tissue paper. This is gift wrapped tissue paper straight out of the package. You may also repurpose tissue taken from gift boxes, shoeboxes, etcetera. You'll also need a brush with longer bristles. This is a one inch natural bristle brush that's found in the paint aisle at your hardware store or superstore. Super cheap. You'll need a couple of shallow bulls for mixing your paint. I suggest that you get something with a wide mouth because what we're going to be doing is mixing some acrylic paint in with water, and you want to be able to stir it in really, really well. You'll also need a selection of acrylic paints in your color palette of choice for your project. I have some mid grade quality pains here, as well as some cheap craft pains you can use either whatever you have on hand. Whenever you're choosing your paints for your project, you'll want a few main shades for your color theme. You also want some neutral tones to mix in with your paint to make it lighter or darker. This creates a really cool ombre effect on the paper, and it's amazing whenever you're doing landscapes, because it makes the paper look really organic and create some really cool transitions between pillars. So for this piece, because I'm using a night sky sort of theme for a project, I'm going to be pulling in some black to create darker tones, my paint and also Payne's gray to create some more mid tones. I also really love to use metallics when I'm making paper because it creates a really neat shimmer and shine. So we're gonna use silver in this piece. It's gonna be really cool. Finally, you'll need some water to mix in with your paint. Let's talk about the materials that will need for the watercolor segment of our class. First, you'll need watercolor paper, and since we're working small, I recommend the choose paper that's between five by 7 to 9 by 12 size. I'm going to be using a seven by 10 sheet, and this is cold press. ÂŁ140 cancer Excel. We might see a little bit of warping with this paper. That's okay. We can get that flattened out if you have it professionally framed. Otherwise, just choose a higher quality piece of watercolor paper. Here's my paper. I suggest taping it to a sturdy surface with masking tape or painter's tape. This is a one inch roll. I like to use a silicone cutting mat for that so that I have it later when I'm doing any cutting with paper underneath the cutting board. I like to also have a paper towel in case I want to do any drip technique you'll need to containers of water one dirty and one clean. You can raise your brush off in the dirty water first and then do a final rinse in the clean water so you're not bringing any tinted water over on to your paper. There are four brushes I recommend. The first is a 3/4 inch Mott brush. This is great for doing water color washes. I really like a number 12 round brush, and I'll primarily be using this a smaller round brush. This is a number eight round. This will let you get in with some finer details and lines and a flat angle brush. This really helps with blending any hard lines. You'll also needs water color paint in several shades. Here, I've got Prussian Blue Mob, Dioxin Purple and Ivory Black. I'm also going to be using a little bit of Dr pH Martin's hydrates Titanium White is our Grand Bacher Academy and Windsor and Newton Komen watercolors. I prefer working with two paints instead of Pan paints for this project, because I get a lot more saturation in the fluidity is really nice to move across the paper . But if what you have on hand is pan paints. By all means. Feel free to explore those and see how they work for you. I also like to have a spray bottle of 70% rubbing alcohol so that I can splits it into the paint as it's wet, creative, really cool. You'll need a small pallet for putting your watercolor paints on. You can even use a paper plate. Lastly, you'll need paper towel for dabbing up any pools of paint that might be in your piece along the way. Okay, finally, we have the supplies that will need for the Qalat portion of our project. You will have your stack of hand painted papers that were going to be making the class. You will also need a brush that is used solely for the purpose of applying glue and adhesive. When you use any of your brushes for gluing, it really gloms up bristles so you don't want to be using this for paint. You can, however, use it for quite a long time for gluing. So if you just market there, you'll know that's what this is. For. Another optional tools that you may like to have on hand is the catalyst. Wedge, this is a catalyst. W 06 I really love this for any of my collage work, but I have to say it's not my favorite go to for this particular project. That's simply because I find that you can have some difficulty with tissue paper. It's bring some of my paper over here because tissue paper so thin whenever you get it wet with the map medium as you're hearing it, it becomes a lot more fragile. It can rip the paper as were using it. That the other, more important thing is that you see all these great textures that we have in the paper here, all those nice creases and folds. When you use a tool like this, you might actually be pushing some of those great textural pieces out of your paper. So we don't really want to do that. But where you might like something like this is on the edge is just to get a really nice seal. Matt Medium. This is my choice for adhering any sort of collage an Exacto knife. I really like this one because it has a swivel head. This lets me cut out really find precise lines. Paris Scissors is not a bad idea to have on hand a variety of pens and markers here. I'm just choosing a couple of different sizes of micron pins and a couple of unit ball gel pins. I've got a white and a silver metallic to create highlights and shadowing a really likable pastels and damps to make words and a stamp pad. That's it. So now we know everything that we need to do this project and let's jump right in should be fun. See you there. 4. Creating Hand Painted Paper: - Okay , so let's make one and purple hues Now. I've got a fresh sheet of tissue paper and I'm starting with a bit of eggplant again, Just a dollop on the side of the bull and I'm adding some water. I do the dollop so I can control how much pigment I bring into the water. Even though I start off with all of this color right here. It's a good habit to get into for later when I'm only using partial amounts to gradually increase the tone. So I'm gonna work in this paint, give it a good stir until the pain is completely dissolved and then start laying it out on the paper. So I'm liking this color, but it's a little bit light for the theme that I have in mind. But I'm gonna go ahead and keep this small bit here because really, we end up using so little of the paper for these small projects that will have quite a bit of this leftover for use in future projects. So I'm just continuing on with this strip and then I'm going to add in some violet here to darken the paper. Another ingredient, the enemy to mix it all in, so I like the darker color here, but it's still not quite got the smoky sort of feel that I'd like to see. So we'll finish out this little patch and then we'll add in some Payne's gray get that nice and stirred in really well blended. Sometimes you'll have those thicker parts left on your brush, and that's OK. It actually creates some really cool character in the paper, so I can already tell I love the smokier feel, and I wanted to be even more pronounced. So more pains graze coming in. So it's getting there. I do like this a little bit better. It has a smoky sort of quality, but what I know is that the paper always drives much lighter than it looks here while it's very wet. So I'll finish this strip here, and then we're going to add some black. Okay, you'll see here how the black pain is super runny. It almost dripped all the way into the bowl, and I had actually filmed this segment first before the blue piece paper. So with that particular filming, I actually brought in my higher grade black paint so that I could have a lot more control. So you see here I brought in about half of it. And yes, I love this color. This is absolutely what I was going for. It reminds me of the Smoky Mountains at nightfall in the winter. It's just so lovely. So I've only used about half of the black, and it's so gorgeous, we're gonna keep going with this color. I loved this color so much, actually, I decided to save it into my reserve jar so I could use it on more paper. It's just so beautiful. I couldn't let it go to waste. So it is the purple that I was using, um, inthe e extra sheet of paper in the previous segment with blue. So we're just gonna finish up this piece here and get in a little closer. You can see all of that wonderful pooling their and this intermittent type of pooling where we get sort of pools here and there is great because it it lends this unexpected character and interest in the paper when it's dry. And here we are. This is our completed piece. Take a closer look. Lovely texture cannot wait to get in there and see how this all looks on her piece. 5. Painting a Watercolor Background: Hi there, everyone. Welcome back to listen to for this steps, we're just going to be painting a simple background wash onto the watercolor paper, so start off by taping your paper to a flat surface. You can use a cutting mat or a piece of cardboard or whatever. Take your paper off at 1/4 inch or half inch all the way around so you have a uniform allowance for framing. This way you won't be concerned about losing a key element in the firming process. Here's a quick glance at the supplies. You'll meet again for the section and I'll grab my palate. Remember, you can even use a paper plate, and I'm going to add a small dollop of each color to the pallets. I'm starting with Prussian blue and then black, and because we're working small, you won't need much at all. P size will do. Now we have the ox is in purple, and then we're going to add mob. So I'm going to be starting with the darkest element of our night sky first. So I'm bringing over oppression blue and grabbing my smaller brush so I can get just a bit of the black there, and I'm gonna mix it in. I'm coming back in with a really wet number 12 brush, loading it with some extra water and then just gliding it across the top of the paper. So because I want the water to flow seamlessly, I'm keeping the brush pretty wet. And I'm using the water to pull some of the color from the previous stroke to blend down and to create a less saturated Grady int than I add more water to my brash here. But I don't load with more paint, and so the water allows for a natural bleed from a stroke above, and that creates a natural organic ingredient without adding more color. So I want the top most part of the sky to be the darkest. So I'm going to go back in with a bit of black because the papers still wet and my brushes wet. I can get just a bit on the brush and then drop it in and then just blend lightly. You just gently push the water around and a mixing the blackwood some more Prussian blue to intensify that black area. Nice. I really like that. It gives it a lot more depth and saturation to that top part of the sky. You know, let that again gradually lightened by adding a bit of water, but no pain coming back in at this point with more paint to make a band of color for natural variants and then quickly adding some water in the next drugs to get that Grady in back and then just watch it bleed right on down so lovely going back and forth left to right, right to left, picking up the drip of water from the edges I go and then blending it into the next stroke , adding plain water to allow that color to bleed down just ever so slightly. And here I'm going to add mob for a splash of color at the horizon, letting it bleed down to be organic, avoiding any hard lines. I'm just dropping it into the water that I just laid down and letting that flow, adding in a bit of purple and then dropping in some of the smoky black blue color notice that I'm just dropping in that color and letting it just lead and blend. And I'm just really lightly touching the paper with my brush to just push it around ever so slightly. Now I'm going in with a few drops of the hydrates. Titanium white. This is my horizon line, and it's our lightest point. So first I'm getting the paper really wet where I want the white to go, and then I'm dropping it in so it will spread. This liquid watercolor is kind of clumpy, so the first drop spread pretty well. But the rest of them are just a glove, so I'm going to blend them out with the brush. It's really cool watching that paint. Just move across the paper is. You push it with your brush, dropping in a bit more mob here and then I'm using the number eight round brush to just gently blend it in. It's a smaller line, so the number eight Let's it be more delicate. They have more control. There's a bit of pooling as that water is moving down, so I'm just gonna soak that up with a bit of paper towel. Just place the edge lightly against the pool paint, and it will soak in no need to dab or press, and I'm going to do a black wash now for the foreground because I want the papers to be the highlight. I don't want to go to dark, so I'm getting the black paint pretty wet and going in with a wet brush doing a wash across the page, just letting the dark areas bleed down for an organic transition. I'm also leaving smart white space in this section. White space is our friend. When it comes to watercolor, there's a little pooling in this corner. I want that to be more blended, so I'm going to stoke it up and then go back in for some more uniform coverage. If you have any hard lines, you can blend them at this stage while the papers still wet, use the flat angle brush, get it wet and then come in with feather light strokes really light, just blending the paint at that hard line until it becomes softer. The keys to be feather light so that you don't overwork the paper and cause it to pill. So now I want to spritz some rubbing alcohol into the wet paint and see if it will create some model defect in the colors there, and I get a little in the lower right corner, not much up above. So the pieces already becoming pretty dry and I can tell the color is not a star, cause I'd like. So I'm going back in with some pressure in blue and black combo in a final wash layer of top. And I'm seeing some spots here is I paint and that's from the alcohol. I've actually never seen it do this before, and I'm not super happy about it. Um, I like to the smooth distribution in the center, and now it's broken up by these heavy dark spots. Well, so I'm just going to have to make it work and figure out how to make it integrate into the final design elements. I guess it'll be okay. Just taking care of a bit more, pooling their along the edges. And then I'm grabbing that flat angle brush again to do some more blending and try to get rid of some of the lines that are happening from that final wash layer there and right there in the corner, just try to get that a little softer. So now I'm dipping into my dirty water jar, which is really only slightly bluish at this point, and I'm letting that purposefully tent the paper with a really light hue of water, just ever so slightly dropping that horizon line down a bit, and now it's time to let it dry. If you want to speed that along, you can use a heat gun. Just be careful not to get too close to your paper. You can actually burn your paper, and if you have any pools of water you don't want toe. Push across those with the heat too much because it can make it spread across your peace. Unless you want to do that intentionally, you can check to see if your paper is dry by feeling the temperature. If it's cool to the touch, it's not yet quite dry, so leave it a bit longer until it's no longer cool in your hand. Once your piece is totally drive, it's safe to peel up the tape from the paper, and we're ready to move on to the next step 6. Composing Your Collage: Hey, welcome back. Moving on to collage. This is where it gets really fun. We start putting it all together, reading composition and ripping into our really cool paper. It's where the project really starts to take life and our creative freedom really starts to let loose. So have a lot of fun. Let yourself play and just be in the process. You just ripped paper, see what shapes happen and let them build from each other. I knew when I started this project that I wanted to be working with the mountain scene in the night sky. I didn't really have a design concept beyond that basic theme. When you're working on a landscape, it's really helpful toe work on your four grand layers first so that you can build up your design behind it. And because the foreground is dark, have chosen my black papers here for this That created some really cool peaks. And now I'm just working on those foremost layers there and trying to come up with the right composition, not quite having it right. So we're just gonna move on to the purple here and get some of those farther weight peaks where they get a little lighter in color and just rip it until you find the shape that you like or that just sort of pulls you in. And I'm liking this one a lot, So I'm gonna go with that. I like to put some pieces back behind. As I were layer up all of my different segments as I go Don't glue anything down yet Just get everything where you like it to be That way you can just keep on moving and ripping and changing things up as you go. So, like, it really wanted this blue part in here, But I didn't like that big piece. So I ripped it up a little bit and made a small little peek, sort of hidden back behind their peeking out from behind this foreground of having some trouble with that little hill right in the front that when I actually really like so now kind of going in reverse order, you can take everything off. You can either take a picture of what you've just done, so you don't forget or just, you know, kind of bird's eye it and see if you can remember basically where things were you can also market with a pencil if you want to look at the top of the purple peak there. If you wanted to remember exactly where that was there, over on the left side. If you wanted to know exactly where it it came in from the edge, you can just put a little mark there. Just see where the design takes you. So I've got my Matt medium and my brush, and I'm going down with the peace and laying a really thin layer of that medium down and rushing across the paper and laying the paper down and then brushing the mat medium up over the paper as well and then pressing it down with my fingers. I go to get a really good seal, and so then we can start laying down our next layers here. And before you start gluing, though, make sure you have your placement where you like, everything to be and then going in with the bottom. Most ones start laying down Matt medium again from the top and the bottom and just do like a corner at a time. Bring your top most pieces off and get the bottom there and just put a piece back on and then you notice how Here I pulled one edge back so that it would just keep it right in that the exact spot I wanted it to be. And then here, there with the corner and then the top layer there. I've got a little piece that came off the edge there. So just give it a quick little rip there. And here you see him going to heaven and using the catalyst wedge. Um, the texture of the paper was pretty thick right there, so I wanted to help get it down really nicely. I've got way too much matt medium on the brush there, so I'm just gonna get it thinner. If you have too much Matt Medium, especially with tissue paper, it can really sort of pool up underneath and create too much creasing or air bubbles. And so when you have a problem area that you're working with, like I did here in the foreground, just keep playing with it. So I've got my little hill. And then I had a couple of I kept tearing that long piece to create a couple of narrow pieces so that I have a good gentle slope going on right in the foreground There that makes it gives us some good visual interest. And then if you have any loose edges, you just trim off with some scissors. And so I finished the mountain. And now what I want to do is I want to create a moon hanging up in the sky. So I have some commercially made silver paper that I'm going to use their and I just used the lid of my Matt medium because it seemed to be just the right size and I didn't even bother tracing around it. I just took that swivel Exacto knife blade traced around that with the blade and just cut it right out that way. And now, as I'm looking at the mountains, I realized I wanted a bit more color in the front and wanted to create some color variants , and some blue seemed like it just would go so nicely there. So just creates sort of like a floating peak and carry it over across the page really created some really nice visual interest there, and then one more blue peak right there. There we go. Another little push with the catalyst wedge because that one had a sort of thick, folded edge, made it a little hard to lay down. You can use your fingernail to get those edges up. It's a really great way to just gently lift up the edge to get some more Matt medium underneath, and it's great. I like that a lot. 7. Adding Final Details to Make Your Piece POP: before you move on to the next step of adding detail, it's important to spray a thin layer of workable fixative over your entire piece. So take it to a well ventilated area. Spray a thin layer from left to right top to bottom. Once that's dry, apply a really thin coat of Matt medium across your entire piece. This gives it a really nice protective coat and has an added benefit of giving you a surface layer that you can essentially just wipe away mistakes from which really comes in handy. If you add any details that you just don't like, allow your Met medium to thoroughly dry. And then once it's dry, grab some oil pastels. Here I'm using black, white, grey, dark blue and purple. The first thing you want to do is add shadows and highlights across your collage piece. The idea is that we want to use the pastels to push the tissue paper back somewhat so that the collaged tissue paper appears to blend seamlessly into the watercolor paper. Next, you'll want to blend in the oil pastel. You can use your finger to do this, but I find that blending stump works really Well, the goal here is to smooth out the oil pastel as much as possible to make sure that it has this really nice, smooth, radiant. Just keep on going for a while until you get that really nice blended effect that you want . And then same thing with the dark purple. We're going in along the back peaks to create some shadow and to blend the paper and then coming back in with some black to dark in the shadows. You can see here what the oil pastel looks like before it's been blended over on that right side. So I want to come in with the stump and really blend in that back line. Really? Well, next, we're gonna go in with some white for some highlights. So you want to clean the tip of your stump off on a paper towel to get all of the dark color officer not blending it with the white. So with the white, you're wanting to create highlights. So think about where the light is going to be hitting from the moon. Here. It's going to be the tops of those peaks and the moon facing sides, and then just keep going in and adding more shadow and highlight being sure to blend in as you go here. There's just a little too much black, so I'm actually going in with a baby wipe and wiping some of it away. This is the beauty of having that protective Matt medium layer. You can just come in with a baby, wipe and clean off anything you don't like. And I'm gonna grab the blue and we can go in and create some really cool interest along piece. It actually brings it out. Not quite a high light, not a shadow, but sort of pops the color. Just keep blending as you go. You can take your white pastel or whatever you're using for highlights and rub the edge of it just along the tops of those creases in the paper. And it creates really cool dimension, sort of popping those highlights up off the paper. This makes that mountainside look really organic. And then here, the base of the mountain. Go in with some grey instead of the white little blend in better with the darker tones, and we'll just do some final blending here. Those last layers and now going in around the moon with the white pastel. We want to create a really cool glow effect here, So just outline it all the way around, and then we're going to blend it. So don't be afraid to just hang out here with your stump. You really want to blend that pigment down into the paper really nicely. We want this to be glowy and hazy. And so you wanted to be really diffuse as it moves out of away from its point of center from the moon. So the further out it gets, the more diffuse and glowy it becomes. I thought I'd be cool to draw some foliage down in the foreground. So here I actually first sketched in the drawings with a still below pencil, which will talk about here in just a little bit. Here, I'm tracing over the sketches with the black micron 02 and a white jelly pen. I'm letting the tracing be really loose in an illustrative style and do that by letting the lines overlap and being perfect. Be kind of quickly. Okay, so now I'm going in over those sketches with a wet brush, just pulling some of that pigment from the stability. Oh, pencil down onto the paper to create some cool shadows. Time to add some letters. I like to use a water soluble stamp pad so that if I don't like the placement Aiken, just wipe them off with baby weight. Just be careful not to wipe off any of the stability Pencil. Unless you've gone back over it with workable fixative, there's an endless number. Directions. You can go here in your project you can at stencils. You can add different kinds of paper. You can add found objects. There's so many things you can dio just keep in mind that you want those detailed elements to be the thing that really brings in the emotionality of your final piece. And that's it. When you're all done, give it a final coat of workable fixative so that nothing smears. And then when you're done with that, you want to seal your piece with one more thin layer of Matt mediums. 8. Final Recap: Okay, So now that you've learned to make your own collage paper and compelling design, you can easily carry your skills over into working with different mediums and larger formats. Remember that by keeping your design simple and minimalists, you set the stage for an evocative abstract that will speak to people and draw interest. Now, please go post your completed projects for all of us to see, it's a great way to get inspiration and encouragement, and it's a fun way to connect with other skill shares. I can't wait to see what you make by.