BRUCE DORFMAN Combined Media, Assemblage, Art in Three Dimensions AM Class Studio 16 1St Floor - 8:45 Am – 12:30 Pm

Total Page:16

File Type:pdf, Size:1020Kb

BRUCE DORFMAN Combined Media, Assemblage, Art in Three Dimensions AM Class Studio 16 1St Floor - 8:45 Am – 12:30 Pm BRUCE DORFMAN Combined Media, Assemblage, Art in Three Dimensions AM Class Studio 16 1st Floor - 8:45 am – 12:30 pm PM Class Mixed Media Studio Basement - 1:00 pm – 4:30 pm LPM Class Mixed Media Studio Basement – 4:50 pm – 6:50pm Prospective students must meet with the Instructor (between 12:20-12:30pm with portfolio) before signing up for the class. Bring actual work or images. The Instructor is present Tuesday and Thursday unless otherwise announced. Prospective students may visit the class. The class monitor may be able to answer any additional questions. New students should first read through the page in the current ASL catalogue that pertains to this class. There is no materials list for this class. Materials may be suggested based on the specific needs of the particular student. All critiques and instructions are on an individual basis. This ongoing workshop is for students and artists with some experience. It is primarily for those who are continuing on but may also be for some who are starting out. The workshop provides hands-on access to the ever-expanding language of techniques and concepts of collage/ assemblage/ construction, which have become major means of expression for today’s artists. Students work in the studio and/or may bring work for critique and instruction, which is usually on an individual basis. When Mr. Dorfman is not immediately available, there is a monitor who may be able to assist you, especially with information, handouts, and any administrative matters. The Monitor is an artist who is also Mr. Dorfman’s class assistant. THINKING ABOUT ART 1. Don’t worry about expressing yourself. It’s impossible to avoid it. 2. All art is abstract. There is no art that is not abstract. 3. There are always those times when a particular blue won’t work and another will; when a space must be a bit wider or rounder. 4. Keep you eyes, ears, and minds open. Consider possibilities, potential, the unfamiliar, and the unknown. Also the known, to the extent that it is tied to oneself. As with everything in art, anything that is used to accomplish creation should never be routine or automatic. Art should always reflect urgency, involvement, and preferences. 5. What one expresses is usually surprising and not necessarily what one anticipated. 6. Don’t propagandize your emotions. 7. Stay away from false economies and convenience; they lead only to postponement. 8. Drawing means dividing a space with a mark that refers to both the space and any other mark. 9. Consider the differences between complexity and complication. 10. All art is direct as it can be and it is never simple. Art does not simplify; it makes more direct and it clarifies. 11. The appreciation of art does not necessarily mean liking it or enjoying it. 12. Balance in art involves tension; it is a qualitative thing, not quantitative. It is asymmetrical and a matter of character. 13. Each time you create, do more than you can. Avoid “just practicing”. 14. There are many differences between conception and preconception. Art evolves from conception. 15. Concepts are never a problem. The difficulty is in giving concept clear and coherent expression. 16. Structure in art is rooted in clarity of concept. 17. It is possible and essential to distinguish between art and what is artistic, illustration, propaganda, design, and decoration. 18. With art, one gains the understandings, freedoms, and disciplines unique to the particular artist; one gains aesthetic expressions of utter distinction. 19. With each creation there is a gain in freedom and a shattering of innocence; but the innocence returns. 20. I read somewhere that 89, 774, 531, 902 butterflies weigh 4 pounds. 21. Don’t wait for Godot Protocol for student work areas 1. All individual work areas must be assigned by the class monitor. 2. Full-time (F/T), 5 mornings or afternoons a week students will hold their assigned areas. 3. Part-time (P/T), 2 mornings or afternoons a week students’ work areas are based on available remaining space – with approval of monitor. 4. If it is known to the monitor that a F/T space is to be vacant that day, then monitor may OK for a P/T student to work in that space. 5. F/T spaces may only be held unoccupied until 10 AM for am and 2 pm for pm classes. After this time, the monitor may give P/T students the use of those spaces for the day. Remember that great art has often been made on small folding tables. 1. Criticism in this class is entirely on an individual basis. There is no predictable criticism pattern or formula. 2. There are no class criticisms or critiques. 3. When criticism is given, it is based on the judgment and timing of Mr. Dorfman, whom you have chosen to work with. 4. Once you have committed (even if just once) to the public exhibition of your work anywhere away from the school, you have expressed and acted on your independence and identity as an artist. Hence, you will no longer be approached simply as a student. As such, your work may be discussed but may not receive criticism in ordinary student terms. 5. Do not solicit criticism from the instructor 6. Classes will end on time and no further criticism will be given at or after that time or after the instructor has left the class. 7. Letters of Recommendation: In order for Mr. Dorfman to write a letter of recommendation: Student must have worked at least one month full time with Mr. Dorfman. The request must be made at least two months prior to the application deadline. All required information on the letter or application must be completed legibly in ink or typed. All letters must be addressed to a specific individual or institution. No letter will be addressed “To Whom It May Concern.” A stamped envelope, addressed to the receiving institution along with the above materials must accompany any request. Please understand the risks involved when requesting a letter of recommendation from the instructor. The Constructed Image COLLAGE An artistic composition of different materials and objects pasted or fastened together to form a unified whole. Collages are usually made of two-dimensional material – typically torn paper and fabric. ASSEMBLAGE A composition made of different objects and materials that share a unifying theme or principal. Assemblages, unlike collages, are usually constructed of three-dimensional materials. CONSTRUCTION A construction is a more intricate and elaborate assemblage. It is always three dimensional, often combining whole large objects and varying materials. A construction can be thought of as a sculpture made through assemblage. INSTALLATION As installation is a three-dimensional environment created from various materials, usually made for a specific space. The site of an installation is an important and integral part of the work. Typically, an installation – unlike a construction – ceases to exist once it is moved or disassembled from its site. Students of Studios 15 & 16 1. Do not leave chairs, stools, easels or boards in perimeter hallways as these are fire exits. Obstructions in these areas are a violation of NYC Fire department regulations and the League can be substantially fined. Place easels, drawing boards, and tables in the area provided for them. 2. If a work is in progress and you’re working on un-stretched canvas or paper; attach it to the pin-boards in the hall outside of your studio at the end of your session. Work on un-stretched canvas or paper attached to any other area will be removed and the League will not assume any responsibility for damage. 3. If you are keeping more than one piece of work on these pin-boards walls they are to be layered one on top of the other. 4. Do not cover or move the work of other students on the pin-boards, speak to the monitor if an issue arises. 5. Make sure the work being stored on the wall in the hallway does not cover the heaters during wintertime. 6. We recommend that you attach your un-stretched canvas and paper to foam-core boards that are for sale in the school store so these works can be easily stored in the painting racks. 7. Do not store bags, paint-boxes or other materials except paintings in the painting racks. Periodically the maintenance staff will go through the rooms at night and discard these types of items if left in the painting racks. 8. Take finished works home! You may not keep more than 3 pieces of work in progress in the racks. 9. Painting racks and pin-board back walls are for works in progress, not storage. Place small works in the small racks and large works in large racks. 10. Do not work larger than the storage space allows. 11. Keep in mind that at the end on the summer and spring sessions all work must be removed from the studio. Your cooperation is appreciated by all, ASL Office. .
Recommended publications
  • Grab and Go Camera and Ipad
    Concept: Background Information: Understand how to use the Nikon CoolPix L610 camera and IPad to Technology has been integrated into virtually every facet of education. Through capture experiences and create Digital Observation Technology Skills (DOTS) youth are able to experience and digital artifacts. identify various aspects of nature through technology. Two of the tools used to make these connections with nature are the Nikon CoolPix L610 Camera and the Age level: IPad. These tools are designed to record images on the go as well as assist you in 4th- 12th creating digital artifacts that can be shared. Education Standards: How to: Digital Camera HS-PS4-2 1. Turn on the Camera by pressing the on/off button. Success Indicator: 2. The camera should be set to “easy-auto” mode, this will allow for the Youth will be able to record their easiest use of the camera. experiences through images and 3. To record an image simply press down on the big silver button on the top videos, as well as create collages, until a green rectangle appears in the middle of the screen. This will auto movies and trailers to share their focus the image. Once the green rectangle appears press down hard to take experience with others. a picture. 4. To change mode, such as landscape or portrait, press the green camera Preparation icon to the right of the screen and the toggle through the different options. 5. To record a video press the black button with the red circle in the middle. Time: This will start taking a video.
    [Show full text]
  • With Dada and Pop Art Influence
    With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK.
    [Show full text]
  • Tapestry Translations in the Twentieth Century: the Entwined Roles of Artists, Weavers, and Editeurs
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs Ann Lane Hedlund University of Arizona, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Hedlund, Ann Lane, "Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs" (2004). Textile Society of America Symposium Proceedings. 462. https://digitalcommons.unl.edu/tsaconf/462 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs Ann Lane Hedlund The Gloria F. Ross Center for Tapestry Studies Arizona State Museum, University of Arizona, Tucson [email protected] Historically, European tapestry making involved collaboration among artists, designers, draftsmen, cartoon makers, spinners, dyers, weavers, patrons, dealers, and other professionals. This specialized system of labor continued in modified form into the twentieth century in certain European and American weaving workshops. In contrast and with a small number of exceptions, American tapestry in the last half of the twentieth century has centered on weaver-artists working individually in their studios from their own designs. This paper focuses, in a very preliminary way, on one exceptional example of continuity, or revival, of the European specialized labor system—the creation of a group of twentieth century tapestries orchestrated by editeur Gloria F.
    [Show full text]
  • Art Matters Lesson Plan Art Play Lesson #3: Pattern & Colored
    Art Matters Lesson Plan Art Play Lesson #3: Pattern & Colored Paper Collage Shelly Korte & Vashti B Moss 4/14/2020 Tools Materials scissors (optional) Colored paper (tissue paper, magazine Table cover (optional) pages, and/ or construction paper) Heavy cardboard glue stick plain white paper (cardstock, mixed media paper, or printer paper) Wet wipes Inspired by: Ramona Sakiestewa, contemporary New Mexican Hopi American tapestry and paper artist. Facets/4, dyed and woven wool. 50in x 90in, currently in the Common ​ ​ Ground collection in Albuquerque Museum. https://ramonasakiestewa.com/artwork/ Set Up 1. Cover work area with tarp or spare paper sheets 2. Each artist will have 2-3 sheets of white paper, a selection of colored paper, and a glue stick Instructions Part 1: Relax and Share a. As a group, take a deep breath through your nose and exhale or sigh out of your mouth. Do this two more times as a group. As you relax your shoulders, your face, and your mind, come into the present moment. b. Check in with how you’re feeling and give it a shape and color. If you’re in a group, go around and give everyone a chance to say this out loud. Part 2: Warm-up/Illustrating Words with Shape and Pattern a. Take a deep breath. Relax your shoulders, your arms, your hands. Remember to pause and do this periodically as you work. b. Students artists will tear (or cut) paper into shapes. Considering color, the grain/tearability of the paper. Notice how it feels to tear the paper. Notice how it feels to change tear direction and method.
    [Show full text]
  • Ovidiu Solcan Collage Artist RO&US.Cdr
    OVIDIU SOLCAN | COLLAGE ARTIST OVIDIU SOLCAN COLLAGE ARTIST Ovidiu Solcan is the creator of spectacular carefully designed pop-art collages, in which, at a closer look, one can discover interesting details that might escape an inattentive glance. Ovidiu was born in 1983 in the comunist Bucharest, Romania, where he lived and studied architecture. His passion for art started at an early age but the University of Architecture influenced him to start producing recycled magazine collages as a step forward from his previous mix media artworks (digital, graffiti and acrylic). The result was so exciting that, ever since, he has been more fascinated by the torn pieces of paper than paints. Artworks of great architects like Le Corbusier and Friedensreich Hundertwasser were the starting point of his inspiration for his collage art technique as a personal manner to express his visual concepts. He enjoys working with nothing but recycled magazines and all pieces are manually tear or cut apart and glued to the canvas. @ovidiu.solcan has a large audience on Instagram – one of his major ways of exposing his art. As in real life Ovidiu’s artworks have been shown in exhibitions like: - ARTWALK STREET FESTIVAL – Bucharest 2017 & 2018 - North Sea Jazz Festival Rotterdam 2019 - #Brancusi heARTbeat #5th Edition @ Qreator Bucharest 2019 & 2020 - MONEY GO ROUND – Rosso Gallery 2020 – Rome - Luxury The Concept Store 2020 – Hamburg - Pavot Gallery 2020 – Bucharest Ovidiu had a solo studio gallery where his creative process was exhibited live as an installation at The Grand Avenue – Marriott in March - August 2018. During 2019 Ovidiu had a project sharing the joy of collage creation in partnership with Mastercard and Daruieste Viata Association.
    [Show full text]
  • How to Make a Collage 4 Free Mixed Media Collage Techniques Presented by Cloth Paper Scissors®
    how to make a collage 4 free mixed media collage techniques presented by cloth paper scissors® 1 3 4 2 collage to order: objects of my desire: 1 create with words 3 making sewn paper SUSAN BLACK collage collections JENNY COCHRAN LEE the elements of collage: 2 putting it all together reverse collage painting: NICOLE PAISLEY MARTENSEN 4 a bright spot on a winter day HOLLY CHRISTINE MOODY In “Objects of My Desire: Making Sewn Paper Collage Collections,” Jenny Cochran Lee explores how to How to Make a Collage: turn paper scraps into collage art 4 Free Mixed Media treasures. Collage Techniques presented by Finally, Holly Christine Moody Cloth Paper Scissors® offers an easy collage project that ONLINE EDITOR Cate Prato will help you whittle down your decorative paper stash in a fun CREATIVE SERVICES way. In “Reverse Collage Painting,” DIVISION ART DIRECTOR Larissa Davis PHOTOGRAPHER Larry Stein you make a paper collage on a substrate, apply gel medium, Projects and information are for inspiration and personal use only. Interweave Press is not responsible hat is collage art? A and then paint over it. The magic for any liability arising from errors, omissions, or whole lot of fun! At happens when you swipe away mistakes contained in this eBook, and readers should proceed cautiously, especially with respect to technical the most basic level, some of the paint to reveal the information. wyou can make a collage with paper, collage designs below. © F+W Media, Inc. All rights reserved. F+W Media glue, and a substrate like a canvas grants permission for any or all pages in this eBook to With How to Make a Collage: 4 Free or watercolor paper.
    [Show full text]
  • Sculpture I – Assemblage
    Name Sculpture I – Assemblage Artist: Joseph Cornell was a collector and carefully juxtaposing found objects in small, glass-front boxes, Cornell created visual poems in which surface, form, texture, and light play together. Using things we can see, Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. http://www.josephcornellbox.com/gallery_menu01.htm Learning Targets: Sculpture I understand how color can change a sculpture. I know there are many types of sculptures. I know that there is a wide variety of materials used in sculpture. I know how to implement the elements and principles of design into my Sculpture I know how create an sculpture with assemblage of recyclables I can create 3•D sculpture from cardboard, using paper construction methods such as scoring, mitering edges. I know how to work with paper construction techniques and Mache; learn about grain, bending, cutting, scoring, and quality of different types of paper. I know and understand the work of artist Joseph Cornell . Standards A: Skills and Techniques: The student understands and applies media, techniques and processes B: Creation and Communication: the student creates and communicates a range of subject matter, symbols and ideas using knowledge of structures and functions of visual arts. C: Cultural and Historical Connections: The student understands the visual arts in relation to history and culture. D: Aesthetic and Critical Analysis: The student assesses, evaluates and responds to the characteristics of works of art. E: Applications to Life: the student makes connections between the visual arts, other disciplines and the real world. Assessment: Design Considerations: o Outside Design, Color, Pattern, etc.
    [Show full text]
  • The Quilt As Concept
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2009 The quilt as concept. Denise Mucci Furnish University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Furnish, Denise Mucci, "The quilt as concept." (2009). Electronic Theses and Dissertations. Paper 472. https://doi.org/10.18297/etd/472 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky May 2009 Copyright 2009 by Denise Mucci Furnish All rights reserved TIlE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Approved on March 9, 2009 By the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to Guy M. Furnish whose dedication to education has made this possible. iii ACKNOWLEDGEMENTS I would like to thank my major professor, Lida Gordon, for years of inspiration, guidance, and patience.
    [Show full text]
  • Picture Collage with Genetic Algorithm and Stereo Vision
    IJCSI International Journal of Computer Science Issues, Vol. 8, Issue 4, July 2011 ISSN (Online): 1694-0814 www.IJCSI.org 1 Picture Collage with Genetic Algorithm and Stereo vision Hesam Ekhtiyar1, Mahdi Sheida2 and Mahmood Amintoosi3 1 Faculty of Electrical and Computer Engineering, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] 2 Faculty of Electrical and Computer Engineering, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] 3 Faculty of Mathematics and Computer Science, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] Abstract In this paper, a salient region extraction method for creating picture collage based on stereo vision is proposed. Picture collage is a kind of visual image summary to arrange all input images on a given canvas, allowing overlay, to maximize visible visual information. The salient regions of each image are firstly extracted and represented as a depth map. The output picture collage shows as many visible salient regions (without being overlaid by others) from all images as possible. A very efficient Genetic algorithm is used here for the optimization. The experimental results showed the superior performance of the proposed method. Fig. 1 LEFT IMAGES OF SOME STEREO IMAGES USED IN THIS PAPER. Keywords: Picture Collage, Image Summarization, Depth Map visible or the images are occluded, the importance of 1. Introduction regions are discarded. An approach named saliency-based visual attention model Detection of interesting or ”salient” regions is a main sub- [2] is used in [1] for extracting interesting regions. This problem in the context of image tapestry and photo model combines multi scale image features (color, texture, collage.
    [Show full text]
  • Assemblage Art Combine Various Materials Together to Explore the Concept of Assemblage Art
    Assemblage Art Combine Various Materials together to explore the concept of assemblage art. Big Idea Recycled materials can be used to create art. Standards 4.A Listens effectively in formal and 26.A Understand processes, traditional informal situations. tools and modern technologies used in the arts. 9.A Demonstrate and apply geometric 31.A Develop a positive self-concept. concepts involving points, lines, planes and space. 25A Understands the sensory elements, organizational principle and expressive qualities of the arts. Materials • Used cardboard boxes (lids are good too) • Metal scraps (make sure • Scissors these are not sharp) • Glue/tape • Popsicle sticks • Markers (for names and to • Other recycled materials, like decorate) buttons, lids, fabric, etc. • Scraps of sanded wood • Photographs of Louise (check with local lumber Nevelson work (search on yards, hardware stores or internet) parents) Inspirational Artwork & Resources Big Black by Louise Nevelson An American Tribe to the British People by Louise Nevelson The Art of Assemblage historical document by William Seitz Vocabulary Assemblage: a group of things gathered or collected; an assembly; collection Collage: a technique of composing a work of art by pasting on a single surface various materials Negative space: empty space, space around an object or form; also called white space Recycle: to extract useful materials from garbage or waste Recyclable: fit for or capable of being recycled Setup Find a clean space to work, either a table or floor area and cover it with newspaper. One may want access to a sink to wash hands. Directions 1. Describe assemblage to children and other vocabulary definitions.
    [Show full text]
  • Cultural Ramifications of the Found Object in Contemporary African Art
    International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space.
    [Show full text]
  • (12) Patent Application Publication (10) Pub. No.: US 2013/0337418 A1 Anuradha (43) Pub
    US 2013 0337418A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2013/0337418 A1 Anuradha (43) Pub. Date: Dec. 19, 2013 (54) PROCESS OF FLORAL BOTANICAL (52) U.S. Cl. COLLAGE DECOUPAGE CPC ........................................ B44C5/06 (2013.01) USPC ............................................................ 434/93 (76) Inventor: Sahu Anuradha, Chhattisgarh (IN) (57) ABSTRACT (21) Appl. No.: 14/000,229 An improved process for dry flower craft which comprises cutting craft media (dry botanicals with stencils) and mount (22) PCT Filed: Apr. 25, 2011 ing the same on any Surface of product with combination of other botanical elements like bamboo, grass, weeds, seed, (86). PCT No.: stem, tendrils, fiber, Solawood in any desired manner includ S371 (c)(1), ing artistic manner, which comprises reducing color loss Aug. 19, 2013 while drying and storage of vegetation and also during craft (2), (4) Date: ing of the vegetation, making stencils of cheapest materials (30) Foreign Application Priority Data Such as cardboard and paper, cutting out motifs; shaping the petals in any desired shape, pasting the same with known Mar. 9, 2011 (IN) ............................. 3O3AKOLF2011 adhesives, characterized in that botanicals are dried prior to floral collage decoupage by drying while using mixture des iccant of silica gel--silver sand--non iodised salts (1:1:1 ratio), Publication Classification finally obtaining floral decoupage or only floral collage or a combination of bothin design processing as application of the (51) Int. Cl. craft, making the floral resin laminates by reducing the per B44C5/06 (2006.01) oxide harder by 1%. US 2013/0337418 A1 Dec. 19, 2013 PROCESS OF FLORAL BOTANCAL (i) cutting craft media (dry botanicals) by hand with card COLLAGE DECOUPAGE paperstencils and mounting the same on any Surface of prod uct with combination of other botanical elements like bam FIELD OF INVENTION boo, grass, weeds, seeds, stem, tendrils, fiber, Solawood in any desired manner including artistic manner; along with 0001.
    [Show full text]