A gel med's gel Mededium that makes a transparent color and a more flexible and strong exciting expression by mixing with a water -based acrylic paint.
You may think that this is a mixture of tube paints, but you know that it can be used not only as a mixture but also as an adhesive to make a collage.
In addition, it is possible to transfer the image by adhered to the normal output image with laser printers to the water -resistant basal base material.
This time, I would like to make a collage work based on transfer techniques using such a possibility.
In this article, I used images of the book published in the Archive of the Metropolitan Museum. *1
The following are as follows.
■ Picture materials and tools
・ Wooden panel
・ Image of the publisher output with laser print
・ Gel medium
・ Painting roller
・ Fogging
·iron
・ Full cloth
·dryer
(Note: The image will be reversed when transferring to the panel. Please be careful when printing characters etc.)
① Attracted and undercoat
Make an eye so that the medium is not soaked into wood.
When transferring to a water -resistant basal material such as glass, process the primer as needed to enhance the medium.
Apply a 2-3 layer of gel medium with a roller and dry it completely.
After that, apply gel medium again.
② Apply gel medium to the transfer image
Before the gel medium painted in ① dries, quickly apply gel medium to the transfer side.
Use ordinary paper (PPC paper) for the process of processing later.
Also, if you hit the roller strongly, the paper will be broken, so please go carefully.
③ Adovers the panel and the plate
Before the medium painted in ① and ② does not dry, bond the two.
When the bubbles are entered, the chip of the plate is born, so paste it evenly to the base material. If the bubbles are entered, carefully stick the printed paper from the center to the outside so that the screen protection film of the electronic device is applied.
③ Press with iron
Press with iron so that bubbles do not occur during drying.
At this time, be sure to glue the panel on the surface where the image is printed.
Set the temperature at the lowest, do not use steam, and glue it with a patch cloth.
When the adhesion is completed, wait until the adhesive surface is completely dried.
④ Sprinkle the dry panel
Cut out the margins and spray to the dry panel to moisten evenly.
Since the gel medium has the property of being water -resistant once dried, only the fiber of the normal paper is dissolved, and only the color of the laser print adhered in the gel medium is established on the panel.
⑤ Remove the fiber on the surface
If the screen is evenly wet, remove the fiber of the normal paper so that it is rubbed gently using a finger flat.
At this time, if you rub it strongly, you may be able to cut even the image transferred in the gel medium, so remove it gently.
If it dries in the middle of the work, remove the paper carefully by spraying it again.
⑤ 'Repeat this process several times
Once you've finished the whole fiber, dry it with a dryer once and check how much fiber remains.
After that, repeat the process of ④ to ⑤.
The parts that are white so that the transferred image cannot be seen is emphasized.
The photo below seems to be repeated about twice.
Make the whole wet again and carefully remove the normal paper part.
⑥ Transcription completion
Dry it again and remove the paper until it becomes the desired color to complete.
If you want to finish the work only with the transfer of the version, it is a good idea to apply crancopes for screen protection from above.
For those who want to give a glossy feeling, we recommend crystal burnish, and mat burnish for matte texture.
This time, I wanted to create an atmosphere like an aged ancient document, so I left some fibers and mixed gel medium and small brown paint from above.
Because it is completely established on the screen, even if you put the paint from above or stroke it with a brush, there is no wrinkle or twist on the screen as if it were colored on the collage.
⑦ Collage
Finally, I imagined the traditional Japanese art "paper", added a collage process and made the screen gorgeous.
This is also used on the Metropolitan Museum website. *2
Make a composition while actually cutting and applying it.
⑧ Paste
This process uses a gel medium mat.
Glue for the stationery has a weak adhesive force, and it has no water resistance, and it will peel off the paint from above, but if you use a gel medium, it can be established on the screen.
We use mat media so that unnatural luster does not occur on the border of the bonded part. In the end, if you want to make a glossy finish, you can use a normal gel medium.
⑨ Finishing
Furthermore, since I wanted to add an old flavor, I will add a gel medium that mixes different colors thinly, lightly tap the screen with a rag to perform further aging.
The transferred version has a different texture and color and color, so it is possible to create a wide flat space.
⑩ Completion
It is completed when dried.
This time, we transferred to the plain panel, but when you transfer the basal material, the lower color layer is transparent and you can enjoy a slightly different texture.
Also, since the first -established version is completely water -resistant, it may be a work that adds more painting expressions, such as putting paint from above.
It is also possible to overlap with acrylic paint on the water system, as well as alkid resin and oil paint, so we will also try to get a glazing and colored photo oil painting on the monochrome version. Please try.
Let's try a new collage work using Gel Medium.
Reference illustration
*1 《Biagraphies of Lian Po and Lin Xiangru》 Huang Tingjian, Ca. 1095, The Metropolitan Museum of Art
*2 《Cosmological Mandala with Mount Meru》 14th Century, The Metropolitan Museum of Art
《EMPEROR'S TWELVE-SYMBOL FESTIVAL ROBE》 The Metropolitan Museum of Art
《Five Beauties》 TEISAI HOKUBA, 1840, The Metropolitan Museum of Art
Art Materials Expert at PIGMENT TOKYO
Akira Oya
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art. While working at PIGMENT TOKYO as an Art Materials Expert, he also continues his career as a visual artist.
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art. While working at PIGMENT TOKYO as an Art Materials Expert, he also continues his career as a visual artist.