|
|
|
Deep Cuts: Issue #1
A collage and creativity newsletter
|
B-sides & rarities: the collages that don't make the cut
A few times this week - more than usual - I've experienced the "sliding doors" effect: I see a collage's destiny fork out in front of me.
Not every collage has one of these moments, but if it's going to happen, I find it's typically at the point I first believe a piece to be finished. I'll take a photograph of the collage, crop in, and size it up.
In appraising the final shape of it, I find there's something missing: my projections are off.
This is fine, this is natural. Collage is made up of estimations and approximations and trajectories calculated from gut feeling.
It's a critical part of the process, but one I never share on Instagram. I don't see many others share it, either. The algorithm hates a messy narrative.
In a sense, that's what this newsletter is for: diving into the niche, under-articulated parts of creative practice and creative living. The foundations on which all finished work is built.
Thanks for being here for this first issue. Let's take a look at my B-sides from this week.
|
|
|
On the mat, the first collage looked finished. This piece was a pain in the ass in general, in all honesty, because the road was cut from a narrow Nat Geo image, and didn't stretch to the width of the other pieces.
But when I cropped the photo, something felt off. The composition was nice, but the narrative was weak. It wasn't far off: even swapping the sun for a meteor would have improved it (I looked, but couldn't find one).
I searched my stash for a background component that would add something narratively. What is my oversized man so calmly observing? There we go. It's only the end of the world.
When I crop my images, I often make small tweaks to brightness, contrast and saturation. On the first, I dialled up the warmth and vibrance, because the simplicity of the image lent itself to bolder colours. On the second, I pulled the black point down to bring the sky into balance.
|
|
|
I liked the first collage, but the river of static leaving the TV was messy. It was cut from a tiny image in a Time Life ocean book, and I didn't have enough of that sample to cleanly extend the flow of water beneath the woman's feet.
Sometimes the execution of a piece is messy enough that it ruins the suspension of disbelief. It draws your eye and says, "someone cut this out of paper."
That was the problem here. I ripped up the last shred of water I had, and used it to suggest waves rippling at her feet. Now it looks intentional, but it also shifts the interaction between woman and TV.
In the first version, it looks like a carpet unfurling for her: it belongs on the ground. In the second, it's almost like she's been lured somewhere instead. And that hint of narrative worked better with the TV hovering higher up, enticing her into its glow.
|
|
|
|
 |
£27.00 £22.00
How to film your art process for social media
|
"I wish I would’ve had this guide when I first started filming process videos years ago. 10/10" - @_post_pop_ "Useful tips, clearly explained, and strategies to help us spend more time making collages than filming them! A worthwhile investment" - @pataki.collage
Tool tip
I've had a few questions on what I use to film. I've tried several phone stands, but the only one I can enthusiastically recommend is the Olivia 2 from Paparazzo.
They have a huge 60% off sale on right now, and you'll get an additional 5% off if you use my affiliate code, LILYSMART.
|
|
This is an affiliate link. If you make a purchase, I may earn a commission at no extra cost to you.
|
This is my first newsletter, so I'd love to know how you found it. Any feedback, or anything you'd like to see covered in next month's issue - just hit reply.
Thanks for reading,
Lily
|
|
|
|
