Mixed Media Masterclass #4 | Doris Charest | Skillshare

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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

11 Lessons (45m)
    • 1. Introduction

      1:05
    • 2. Materials that you will need

      2:29
    • 3. Printmaking with foam

      4:15
    • 4. Plexiglass monoprints

      2:13
    • 5. Poured paintings

      4:27
    • 6. Palette knife and more

      5:42
    • 7. Painting with photographs

      9:25
    • 8. Reworking an old painting

      5:29
    • 9. Making cards

      3:06
    • 10. Ideas for Mixed Media

      5:46
    • 11. Conclusion skillshare #4

      0:52
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About This Class

In this 4th and last Mixed Media Masterclass we cover more techniques for your mixed media projects.  Learn even more techniques to make your projects unique.  The joy of mixed media is that you can create work that is personal and reflects your vision.  Join me for more ideas to make your work different from others.  Let me give you more ideas that will lead to your own unique style. 

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Meet Your Teacher

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Doris Charest

Contemporary Fine Art Specialist and Instructor

Teacher

Doris Charest - Biography

Education:

BED University of Alberta, Edmonton, AB

BFA University of Calgary, Calgary, AB

MED University of Alberta, AB

Mixed media is Doris' favorite favorite form of painting . She loves exploring with textures, shapes, and a more contemporary look. Nature and the world around her inspires Doris. Her love of texture won her the Allessandra Bisselli Award and a First Place in a Still Life show with the Federation of Canadian Artists in Vancouver. Look for Doris Charest's work in the American Magazine: Sommerset Studio (Summer, 2007) and British Magazine: Leisure Painter. Both feature a three pages of Doris' artwork. She won the Sylvie Brabant award in 2011 for her work in the art community. In 2013 she won First Place for he... See full profile

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Transcripts

1. Introduction: welcome to mixed medium masterclass. Number four. This is the last off the whole serious. And in it I touch even more interesting techniques. So I hope you join me for a mask. Mixed media masterclass number for we're going to take all kinds of ideas. We're going to learn how to do full mono prints. We're going to learn how to rework an old painting. We're going to learn how to create artwork with a palette, knife, even a squeegee for a window. We're going to learn how to paint with photographs. There's all kinds of new techniques in there that you can learn. So join me for my mixed media master class. This is the very last of the series and I hope it really completes all that you ever learned or need to learn with mixed media. See you in the next section. 2. Materials that you will need: Welcome back. The materials you will need for this course is acrylic paint. Sometimes you can use watercolor. If you like water color, choose your favorite colors and then add black point. You will need brushes and different sizes. You're going to need surfaces. The paint on. You can use canvas paper board anything that will work. Uh, whatever your preference use I often use board or illustration. Board for the very wet techniques and canvas or paper for the others. You'll need plastic to cover your table with. You will need containers for water. You only Jessel most black and white. You will need items to make texture with. You will need a glue gun. Now here's some optional supplies. Spray paint, a variety of colors, pencils, masking tape, a variety of brushes, packing tape, stencils, home core pieces of craft, foam, spackle or drywall compound any craft glue or some kinks to now. There are probably supplies that I missed simply because, um, I forgot about them, but I will live the supplies for each section. So look at the beginning of every section. You'll tell you exactly what you need for that section. So what we would need as well is a space of your own. You'll need a spot to create. A lot of these techniques are very messy, So can you locate a spot in your house where you can leave something undisturbed to dry Here on In this picture, I have a book holding down some paintings because I want the texture to get really deep into the paper, so you will need a table to work on. You will need a plastic sheet to cover it, so keep that in mind. If you can find a corner in your basement or a corner, and even in a closet where you can leave the items to dry, it will help enormously. So we'll see you in the next section, where I do a review of how to do Kalash See you there. 3. Printmaking with foam: full mono prints. Now you can buy this foam at any art supply store, or you can save me trees and use part of it. And all you could do on these foam sheets is actually draw something there. So today I'm going to draw three different flowers, and I'm going to use that as a stamp on one of my paintings. What you need is a pencil that is not very sharp. A one that is dull makes the best marks because the marks need to be deep. If the marks air not deep on this whom then what happens is you don't get much of a mark. They fill in, so you end up with a big, flat piece of paint. Now your pencil needs to dig deep, so press hard, but not enough to tear the foam. The foam. It's actually a little bit fragile. You have to be in between and just draw whatever you want. If they're not sure what to draw, please practice on a piece of paper because once you draw into this, you cannot change it. It's a one time only process. I cannot fix any errors unless I turned them magically into something else. So the best is to know what you want to go and then just drive. So here and there's gonna be flowers and a few leaves. And make sure that the edges of the drawing touched the edge of the foam. That's one design principle. They should touch the edge of the phone at least three times. No, I've decided to add, like a squirrely kind of design in between the flowers, and all I do is repeat the shape of the pedal, and it creates a design just by repeating the shape. Remember, again press hard. It's important that that dent in the foam be really well done. Then you just use acrylic paint, so any color that you like, you can use the acrylic paint. You paint the star of home and then you just stamp it. That's all there is to it. The only difficulty I find is the foam is very thin and hard to hold, so that is something to think about. Here is the next step. I have my drawing. I have a piece of paper, so I contest it. And I actually did a few of these just to make sure I liked whatever I was doing. So I'm gonna test it on the paper and it's OK, but not great, so I'll paint it again quite often. The very first stamp isn't that great, because the parent paint is not even, and that's a little better. So now I'm going to paint it and actually put it on the painting. The paint is more even the more times you apply it, and you end up with a pretty interesting design. So there you go. It's not a great texture for a background, and then you can add it wherever you like. If you happen to not like the design when you're Stamford, the best thing to do is to just take a cloth, a wet cloth and stamp it on. So now I'm going to use my second star home just because I want something a little different, but at the same time, not totally different, and I won't put it in different areas just a wee bit and I'm doing the ghost. So I have remnants of the color and that's it. Have fun with this one. It's really easy and enjoy, and we'll see you in the next section 4. Plexiglass monoprints: plexiglass model prints by Doris Shot. Now the very first step is for you to get a piece of plexiglass and then you cover it with liquid soap. Let that fit for five minutes or so, and then you can paint on it. The more you let it sit, the more the paint will stay in place. I want something really loose and not very defined because I want to use it as a background . So I just paint with water color paint on top of the soap and leave the mark showing I want to use colors that work well together. And that would create in an interesting background. So you just paint with watercolor paint and just at it any way you like. If you wanted to create a design, you could just create a design. Here. I just want colors that will blend together, and also I want a little bit of a composition, so I'm aiming for the X composition. I want it to be just a wee bit in there. The paint will blend when I put the paper on top, so the first step is to put the paper on top and gently rob if you want to, you can use a spoon and press a little harder, and then you get the paint really adhering to the paper. Well, that's a little wet for me, but the design is interesting. I like that. So I'm going to do a ghost. I'm going to put a second piece of paper on there and rob and see what I get. Quite often, the ghost is more interesting than the first, And sure enough, this is the kind of background I'm looking for for my mixed media paintings. Have fun with its tried out. It's so easy, See you in the next section. 5. Poured paintings: poured paintings by Doris Shop. Here are four cups and I set my canvas on there. What you need for this is some colors that are diluted and then an old countess or a new canvas. I painted black Jessel over this old painting, and I'm using it as a means for my poured paintings. Keep in mind that all you need to do for your paintings to dilute it and then just poor. It's not a very complicated process. On the Internet. You can find different tips and tricks to make it more varied as far as a background texture. But I like this method because the pouring and the mixing of the paint is very interesting . So you just keep pouring until you're happy, and then you let it mix together. When you're happy about the way it mixes together, you just make sure it's level and you have your painting background. I love to use thes as backgrounds because they make the most interesting kinds of backgrounds. The trick is to have your painting level and not falling all over on one side or the other . The more level it is, the more the paint will mix if it's not level, it'll do like this right now will pour over the side. So I'm just going to make sure that it's level. Here we are. It's poring over the side. Still, I still have to make it more level. But look at the way. It's interesting On the right hand side. I love that texture and that look, and I can just imagine a mixed media project with that. Here's how it ended. And now this is a clip from a painting party that I had, and it's just us creating painting. So we mix the paint, we different colors and then we start pouring in the space off about an hour. We created about a dozen paintings. Those are great ways to create backgrounds. You just set up and paint and pour the paint, I should say, and you end up with several backgrounds. That'll last you quite a while. So you poor, poor, poor mix mix mix, cover the sides a little bit, and here we go. Now, the resolution isn't quite as good because it was dark in our space, but at the same time you get the idea how we just take the paint. Poor, poor, poor moving around and you end up with a background so so you can use any kind of size of canvas. This is the last canvas. We just used all the leftover paint and poured it on to see what happened. And this became the favorite off all the paintings we did just because just because it just came out great. Here's another example of a port painting. This one is just about all on the horizontal composition format, and I love this background. It's going to make a great mixed media painting. There are areas I can work here and keep adding to and is going to make a fantastic painting. I can't wait to get at it. Here are some more examples of port paintings, so you can never really predict what's going to happen, and that's the fun of it. And it makes great backgrounds for you mixed media. So the pages drifts and mixes, and pretty soon you have a great combo. As you do this more, you'll find out that thicker paint does different things from thin paint, and when you mix the two together, you haven't even more interesting background. So these air Great for your mixed media starts. Try it out. It's very easy. Thin your paint and poor. That's all there is to it. I'm sure you can find some more tips and tricks, but that's the basics. See you in the next section. 6. Palette knife and more: palette, knife and more by Doris Shy. Now what we're going to do is actually work with a squeegee, which is like a scraper tool for windows for the beginning. So that's why I added, the more the squeegee is going to do the sky background, and we're just going to blend blue and white together to create a background. So just take your squeegee and mix it all up. Just keep working until you're happy with what you have Now. We're going to add the basic shapes to the mountains by just adding just marks, really with the squeegee. So we just keep adding and adding, Just keep working the surface and creating that very first layer of color and creating the basic shapes. That's all your goal is in the beginning. Keep in mind that you want to cover the whole surface as much as possible, and then you will add the detail. So right now I'm just adding marks with the squeegee, and it's looking lovely. Actually, that's a great beginning for a painting. I'm just going to add a bit of yellow at the bottom yellow green, mostly because those are going to be the foothills and this is going to be the very basic beginning off the painting. What I'm going to do. Once I'm done, the slayer is let it dry. Sometimes it may take up to 24 hours to dry completely because the paint is very thick. Now it's dry, and we're going to use our credit card to add more color now See how, when you drag that credit card, you end up hitting bumps and creating even more textures. So you're adding marks just by doing the credit card, the gliding of the credit card over the bumps. And this creates very interesting rocks, because in the mountains the snow falls on the rocks, but not over every. It doesn't cover everything 100% so it will cover the top of the rocks and then they'll cover some other areas. And when you hit the credit card over the bumps, that's exactly what happened. So this is what you do now. I'm adding black to create more rock shapes, and I'm trying to redefine the area, so just blocking some of the color out to create that space where it's going to be the mountains, and then I keep tweaking. So this is like any other process. You can keep tweaking for a long time. The hard part is deciding when you're done. What I want to do is create some kind of link that will bring my eye into the painting. So we look at it. So I'm going to add marks that transition and bring my eye closer to the mountains. I'm adding paint. I'm adding a few different colors, but that if you notice it's a very limited palate, there's white, black, grey, brown and a little bit of yellow. Now I'm switching to a palette knife because I'm adding more highlights. So whiter whites just like that, I'm creating more off the snow and I want to create the highlights and have them nice and bright. I'm adding thicker paint every time the paint gets thicker and it creates even more texture . I want that look where the mountains are receding into the background and as we come closer we see more and more detail. Now I'm adding bits of blue to create like a water effect of the snow melting, and I just keep adding detail and thinking about composition the whole time I don't just apply paint to apply paint. I apply paint in order to create an effect, and that's the main point that you have to remember. Think about how you're applying the paint and why you're applying the paint. Now you want to create a foreground that doesn't compete with the mountains. So I'm tweaking with a little bit, agree at the bottom and lessening the contrast off the whole effect of the paint, some creating almost a dollar area at the bottom. Now we're going to add at more detail with the palette knife. I'm going to go for darks and this time, see how the black hits the highlights, hits the bumps. I will keep adding to this painting, probably for weeks and weeks and just tweaking a little bit here a little bit there all the time. I'd like you to do the same. Play with this. Enjoy the whole process. So this is palette, knife and more so we'll see you in the next section 7. Painting with photographs: a large with photographs by Doris I. This is an easy project. All you need is a lot of magazines or photograph. First you draw a sketch, something very simple, and then you begin to look at magazine. I'm going to create something that's a little different from my sample here. The first step you do is start choosing colors. So for the foreground, I want a little bit of green. So I look to different magazines and I tear them up. I picked different kinds of greens, and I'm going to just colostomy and overlaps. Um, it could be adds and magazines. It can be whole articles. It could be anything you see that is green. Now I need bits of red for the sun, and I can choose colors from anything I see. I can use magazine pictures and tear them up just like that and just keep adding materials or colors that will work from my painting. So here all I'm doing is collecting different colors that I will add to my painting. So National Geographics and hi color magazines like travel magazines are excellent for this project. What you need to do now is just collect colors at that. You will tear up and put together. So that kind of blue grey is good for skies. I am going to have a sky, so I need some color. More blues, more blue grey. I just look for different items that I might need in my painting. I've speeded up the process now because I find it's just so slow. Tow watch. So we're going to take this whole big pile of magazines and tear them up. Now there's a trick to tearing. If you look at my first video on mixed media collage, you'll learn all about how to terror so you don't have that white edge. If you want that white edge, that's fine. But if you don't want it, then you need to learn to tear properly. The next item you need is gel, and then you put gel under and gel over and just keep jelling. Just keep adding two year surface and just gel the whole item down. Now each piece of newspaper or picture or whatever you choose needs to be glued down really well. Gel is Samuel Peikin. Sometimes it kind of looks like it's going to be OK and it isn't, and we have to add a few more layers after. So this might not be a one step process like it looks. It could be, but it might be upset. A two step process. Once you glued things down, you realize sometimes that you missed some spot. Just remember that you might have to do this a second time. Just fill in the little spots like you see in the middle there. But just add the bigger pieces for now, and then you can just add some more later on. You can go over the edge is that's not a problem, because once everything is dry, you can trim it again, and it's easier to trim after than it is to try and fit it right into that rectangle space . So just keep adding completely gel under gel over and vary the colors. The variation in colors is what makes it interesting, so just keep adding and leering and adding some more and just creating that really rich surface. That's lovely right there. So here we go. We keep adding, the more variety you have, the more interesting it's going to be. That's the beauty of using photographs for this kind of collage. So I've added gel over and gel under, and I'm going to let all the greens dry now and work in another section. People don't always work from the bottom up. You can choose which way you wanna work. I just find that if I work below the horizon line or above the horizon line, then it's better. Here I am, cutting up the edges once they're dry, see how easy that ius and just trim it. And here I have my collage. I've added lots of pieces, and I filled it in off camera. I'm still not very happy with everything, because things are not blending properly now. One. It looks like three different sections. So one thing that you can do to make it look like it's all goes together is to take some of the colors like the gold and put it in the gray. You keep adding little sections and repeating the color, so what I will do is I'll put little bits of gold in the gray, and then my eye feels like Okay, that's true. The sun is going into the clouds and we're having little bits peak out and it's lovely. It just looks great. It makes the piece that much better. I'm adding some more. Remember to gel under Angela Older Now I've picked a landscape for this piece, but you don't necessarily have to use landscapes. You can pick any kind of subject area you like. I'm going to put some of the greys into the gold color so that the goal the grey sky comes down into the gold color from the sun. That creates a more harmony between the colors. I'm just going to blend it all together, so it looks better. This is a very easy pros, and a lot of it depends on design. You can pick any topic you like. Your imagination is the only thing that's limiting, so just think about what you would like to do and just do it. That's about all it amounts to. I'm just going to keep trying to blend the colors in an adding little graze into the gold color and adding gold color into the grease. If there are very plain areas like I see at the bottom part and next to a very textured area, the plane area will stand out so that's something that I can see that I should really fix later on. So near my mountains I'm going to add a layer of gold. And what that does is brings the color down even more. It's lovely that way. See how that adds another dimension to the whole process? The whole painting. It's wonderful. We have three, maybe four levels of dimension, so we'll have the sky area will have the hills were going to have with hills. Now, by adding this small piece of gold and we'll have to foreground, it adds another dimension to the whole painting. Ah, that green spot is bothering me. So I think what I'll do is I'll add a few pieces toe hide that big, blank green spot and just break it up a little bit because it just picks away from the whole experience off the bottom. All I look at at the bottom is a big green spot. Take the time to fine tune your image. You just keep adding different little pieces. If you don't like something, keep in mind that you just collage on top of it. So now what I'm gonna do is add some highlights to the bottom, so the sun is shining on the foreground and leaving gold ish little marks. So these pieces, what they do is they actually bring our I into the painting. So I'm just looking at it upside down now to see if the composition works. When you're not sure if the composition works, you turn it upside down and check it out. It's easier to see your errors when things air upside down and I'm looking at the sun and I'm not liking what I see. So I'm just going to add a few little pieces here and there and tweaks Ah, whole painting now, mind you, you to keep doing this for weeks and weeks, and it's a very easy process. You just glue on top whatever you don't like and bland it a little more. So just keep tweaking and adding, just like I'm doing now. Here's more or less the final product. Enjoy this. It's really fun. It's a great process. I'm going to keep adding and adding and anything I won't stop, but I will stop for now. So enjoy this collage ing with photographs and we'll see you in the next segment. 8. Reworking an old painting: reworking at Old Painting by Doris Shy. Here, we're going to take an old painting and just paint on top of it. Sometimes adding another layer like this makes the painting that much more interesting. So this is an old collage project, and the color in it was wonderful, and I want to keep some of it. So I'm going to cover it, but not completely, and just have some of the parts peeking out of it. If I'm not even in my painting, that doesn't matter, because in the end I'm going to remove some of it by spattering water onto it. And I just take my time and cover it like that and like that and just make sure it's fairly even there. That helps. That's a little more even now, what I'll do is I'll spray it with water, and then I count to 10 and let the water seep into the paint a little bit. Then I take a paper towel after a counting to 10 and just put it, place it on top and gently rub it. If it moves, it's OK just gives you a different look, but this way you get a bit of the texture of the paper towel in a bit of the spots of water . So when you sprayed with water, the spots of water loosen the paint and it lists really easily. So here I have my painting. I'll do it one more time. There's a few spots that I want to remove some, and there we go. I'm ready. So see how the painting underneath peeks out and it looks wonderful. So we'll let that dry and move onto the next step, which is adding a photo transfer and a little bit of gold. So off camera, what I did is I did at the photo transfer and the bits of gold for the gold foil. All you need to do is just add a bit of jail on your painting and put the boiled down and then just let it dry and the same thing with the photo transfer. You learn about these techniques in my mixed media class, so if you want more detail, just go look there. So the next step is deciding what to put on, and that's probably the harder part. So today I feel like I want to make something that has text in it. And so I taken a book and I tear it into pieces, and I add the taxed for texture. I don't want people to read this book. Are the pages that I add in there? I just want to add the text for texture. So there we go. We have that and we keep adding and all you need to remember is to put gel underneath and on talk, and the pieces will stick there forever. Gel is a wonderful glue medium. Now I'm going to add some of my collage papers. You learn more about collage papers and making them in my mixed media class. This is, uh, done on tissue paper and their semi transparent. I love that look, so we will see a different color underneath. It's really nice. I also cover different ways to decide what kind of composition you want. There, this one, I'm making a strata composition. So to learn more about these compositions, you just look in my mixed media class. No, not so much in my next meter class, but in my composition for abstracts plans. Well, now I have to decide if I like blue or if I like another color in there, and I excited. I didn't really want blue. I was going to add a little bit of sewing, and I and drab and I did add a little bit. But I didn't really like it, so I didn't add a lot. And now I'm I'm adding quinacrine on gold, and that's one of my favorite colors, and it looks great with the blue. Then I add little bits of white to create the strata effect. And remember that these marks lead the eye towards the focal point, which is the face in this theme with the phase. I like to think of it as my dream Siri's. It's really the face of my daughter that I've worked up in photo shop. I just like showing the different dreams that youth have, and it's very interesting. So this strata is, uh, leads my eye towards the face. There's more lines towards the face nearer to the face, and then the line space out later on. So this is just an idea on how to rework an old painting, and I hope you have lots of finery working your old paintings. Check out my mixed media class and you can get more ideas. See you soon 9. Making cards: making cars by Doris Shy. So in my mixed media class, but we did is we made all kinds of papers. These papers just are so buried. We tried different techniques. There was t there was making Fatah's there. Waas just finger painting. There was stamping with leaves. There was overlapping techniques. There was making marks and there was stamping. And there's another T exercise. So all these papers mean that we're left with all these designs that we don't know what to do with. Some of them are better than others. Some of them, oh, Onley parts of them are good, so if only parts of them are good, what you can do is cut them and turn them into cards. So here's my card, and what I do is I sought the papers out and I decide which ones I want. And there's my template. So I have this little shape that I use over and over again, and that's an oil painting that used to be 11 by 15 and now is just the size of a card. So here are the cards. I was so happy to have found some good parts in the paintings and they turned out great. So here I took little sections out. Sometimes I used a marker to outline the card. Sometimes I didn't. So I just chose certain parts that were more interesting than others and turned them into beautiful cards like that one. And here's my original template, and from an old painting that was 11 by 15. And that's another 11 by 15 that I turned into a card so you can get really interesting little parts that can make cards so you don't have to throw out all those paintings that you usually think, Oh, God, I made a mess and I can't salvage it. Sometimes you can write Happy Birthday in front, see how that's just interesting and out off that sometimes you can take pieces and make an interesting arrangement. I love the color in this one and again. Another big painting turned into a little and a leaf exercise turned into a birthday card. So these are what you conduce with leftover papers or paintings you don't even I want to see again. There's always an interesting part or two or three that you can salvage to make cars. This is an idea for you have fun doing this, it's really interesting, and it makes you feel better because you've salvage something from whatever you've done. 10. Ideas for Mixed Media: Mixed Media Ideas By Doris Chevy Here's some ideas for you. Different styles and different techniques combined together to create mixed media. So in this one, you we have photo transfer stamps, writing with a brush, writing with a stamp. In this one, you have spackle or modeling paste and then painted on top. This is on watercolor paper. The other one was on board. This one is a photocopy transfer that what ended up being painted over and different modeling effects for the background as well as prayer papers, these air, all ideas that you see in these videos that I include. This one is a flower. It was a collage that I didn't like very much. But I love the flower that I added onto it. Not only do you work realistically, but you can work as an abstract. Remember to repeat the colors. This one is mostly black, white and ran, so I have a limited color palette. I have photo transfers, I have stamps. I have hand drawings. I have a little bit of everything in there as well as colors. Here's a window Siri's with a deveined leaf. I also have writing. I have textures I have spots of color. I have a little bit of three or four things in there. In this one. It's made mostly with rice paper, so I collaged race paper on top of another piece of collage to create the white. This is a very simple off vase with flowers on Lee. The vase and the flowers are collage. Oh, maybe the bottom under DeVos. The rest is done with paint. This is all collage and mostly handmade peepers, so you can create a different effects that way. So if you use hand made papers, you get a sick, dimensional look. This one is a combination of collage Pete and photo transfers. This one is mostly collage in photo transferred, so a very different style from the others. Another leaf painting with little dabs of paint added. The background is mostly textures with stamps. Another vase with collage in the background and then kalash flowers and vase In the foreground. You can get a lot of variety with collage, a little bit of collage in the middle with the deveined leaf, and then paint on the outside. This one uses natural plants as well as the deveined leaves. You can see the plants are in there. Keep in mind the plants will not keep their color. This one is a photo transfer with bull paint marks. Another photo transfer with text treating that theme of dreams. Another vase with flowers. Except this time it's on board and another vase with flowers so very different looks same kind of concept. This one has gold has a gold background painted over the gold, all kinds of things that you can do with this one. It's mostly collage, newspaper photo transfers and a photo transferred face and tissue papers that I have collaged. There's all kinds of things you can do. There's no limit to Onley your imagination. Here I have another Siri's. It's a Siri's with pairs just to give you an idea of what you can do with just one theme. I have the pears with a paper background, and this one has a textured background with spackle buttons pressed into it. All kinds of things. It's a really fun process. This one is collage with paint on top, So I painted on the pair on top of the collage. This is a pair two pairs, actually, with a little bit of sparkle, and the rest is paint. There's no collage in this one. This one is typically collaged. And then, at the same time, I drew the pairs on top with water soluble crayon. You can do this with paint as well. This is collage at the bottom. What paint at the top? This is collage at the top and the bottom with the pairs in the middle. So there's all kinds of things you can do. You can even paint on wood. This is a small piece, which just wrong. Would I collaged first. That one is also on the left is also collage and with a little bit of paint, and then you can do just about anything. See how the idea is very and you could do so much. 11. Conclusion skillshare #4: thank you for joining me for all four mixed media master classes. I've really enjoyed teaching all these new techniques that you can learn and incorporate into your mixed media. There are so many things you can do that will enhance your work and add to it. All you have to do is just try it. So thanks for joining me for a mixed medium masterclass and we'll see you in my next Siri's .