Collage with Mark Hearld

As mentioned in my earlier post about paste paper & marbling, I spent a very happy 2 days earlier in the summer with the staggeringly talented Mark Hearld. We watched him absentmindedly snipping miniature horses from scraps of waste paper with his tiny nail scissors, we rifled through his personal paper stash, piled high with hand printed fragments, calligraphy and paste paper. We listened as he explained the dark secrets of collage, mesmerised by his fluttering fingers which would spring to life producing charming shapes and structures from the most mundane of cartridge paper.

Mark Hearld is truly a magical genius and I would have paid good money to sit in his studio and sit quietly watching as masterpieces flowed from his fingers like he was born to it.

AND he’s married to the lovely Emily Sutton, who knew! And we collect her books, have 5 of her prints, one of which is beloved and up on my daughter’s bedroom wall. Blimey. Literally like meeting a rock star.

Anyway, so I loved every minute, and tried very hard to scratch the surface of collage, but it’s so very difficult to do. A good collage combines light and dark, depth, complimentary colours, paintwork over cut sections, just the right amount of detail, a focal point, and good sticking (PVA). I found the process really challenging, but I absolutely loved it. Here’s what I produced while I was on site, I plan to do lots more, I rushed myself so I’m hoping to make some more considered collages in the studio.


Paper making fun

Earlier in the summer I was so lucky to do a brilliant course at Burlingham Hall, which started off with paste papers & marbling taught by the mesmerising Victoria Hall, and ended up with 2 days of collage with Mark Hearld, one of my absolute favourite illustrators and frankly a bit of a genius. More about Mark Hearld later…

Victoria is an incredible paper specialist, she taught a full day of paste papers, which I absolutely loved, there is so much you can do with a bit of flour paste and some pigment, I ended up with reams of beautiful paper treasures and lots of techniques I can progress with here at home. The second day was marbling, which also resulted in a heap of gorgeous paper for me to take home, and lots of new ideas for using the marbling techniques to make large abstract colour compositions. Victoria was fab and really inspirational.

My favourite was the paste paper, I think it would make a great background for linoprints, but I also loved the bold marbling effects with blobs of pure colour – how amazing would these look with a light box behind them?

You can find out more about Victoria Hall and her amazing paper work here – she is brilliant.