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Principles of Collage

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Collage as a modern art medium originated around 1910 when Picasso and Braque stuck scraps of newspaper to their canvases. Since then it has been inventively employed by artists ranging from the Dadaists to Rauschenberg in his 'combine' pictures. The author of this concise treatise is an artist and lecturer who takes the reader through the basic elements of the subject with a refreshing simplicity of explanation and example. Illustrations of collage works by artists Schwitters, Matisse, Gris and others demonstrate the almost limitless potential of this inexpensive and versatile method of constructing art objects in which almost anything from photogaphs to string, seeds and nails may be effectively used

Collage is an art form rapidly acquiring new disciples, principally because the technical process is within everybody's sphere. It can be defined simply as the selection, arrangement and adhesion of ready-made materials to a surface, so its scope is almost limitless and the substances used are cheap- often free. A book by an acknowledged authority in the media, therefore, is an event that should not be missed, particularly for those wishing to learn by example. Brian French, in lucid, simple language and with numerous illustrations, analyses the composition of collage from the theoretical stage through colour, shape, texture, line and construction to framing for presentation. And he does it with flair and infectious enthusiasm. the book is well worth studying by all attracted to the media, and one that I unhesitatingly recommend

What a book! Brian French shows us that colour and texture only exist in context with their surroundings.

How-to-do-it art books, with a few notable exceptions, fill me with horror. Partly because of my practical inactivity I suppose. This book may join the notable exceptions list. I hope so. By former Leamington art teacher Brian French, Principles Of Collage is just as capable of being a reference work for school teachers- or art critics, a do-it-yourself for those with the time, or simply an astute, highly personal analysis of a medium that is too little known. After studying at Goldsmith's School of Art in London, England, including a post diploma year and his art teacher's training, the author taught at schools. It started at a big London comprehensive, and some of the students' work illustrates the book. Collage became an extremely convenient media to use in his teaching, with advantages that commend it to individuals, as well as teachers. The book is basic. It starts at the purpose of art, and works on. like Cennini in his great handbook of five hundred years ago, the author exhorts us to regard yourself as a professional artist from the beginning. Chapters take us through colour- with a luscious and obviously expensive colour guide insert, areas and shapes, textures, line and composition. For the heavy historical reading we have to go to the end of the book. There is a small, but representative collection of works by Picasso, Schwitters and Juan Gris. We also find a couple of the author's works, including the witty 'juxtaposition of the unlikely'. A photomontage, it represents a highly important subdivision of collage. As a painter, which is what Brian French mostly is, he rejects colour using all white, he rejects texture using just canvas, and rejects accident by working out highly mathematical structures- sophisticated, transforming pictures

This book is great at explaining why things look the way they do to us, examining relationships between colours, use of space, shape and form. Any budding artist looking for some basic rules and ideas will be greatly helped by this book. It is also a good read for those simply curious to understand why we like certain images, colors and forms instinctively, and why we don't like others

This book RULES, man! I'm starting out as an art student, and this book gave me SO many ideas... artists' bible! I'd hav' flunked without it... can't recommend higher!! Later-

Collage as a modern art medium originated around 1910 when Picasso and Braque stuck scraps of newspaper to their canvases. Since then it has been inventively employed by artists ranging from the Dadaists to Rauschenberg in his 'combine' pictures. The author of this concise treatise is an artist and lecturer who takes the reader through the basic elements of the subject with a refreshing simplicity of explanation and example. Illustrations of collage works by artists Schwitters, Matisse, Gris and others demonstrate the almost limitless potential of this inexpensive and versatile method of constructing art objects in which almost anything from photogaphs to string, seeds and nails may be effectively used.

This book is great at explaining why things look the way they do to us, examining relationships between colours, use of space, shape and form. Any budding artist looking for some basic rules and ideas will be greatly helped by this book. It is also a good read for those simply curious to understand why we like certain images, colors and forms instinctively, and why we don't like others.

Collage is an art form rapidly acquiring new disciples, principally because the technical process is within everybody's sphere. It can be defined simply as the selection, arrangement and adhesion of ready-made materials to a surface, so its scope is almost limitless and the substances used are cheap- often free. A book by an acknowledged authority in the media, therefore, is an event that should not be missed, particularly for those wishing to learn by example. Brian French, in lucid, simple language and with numerous illustrations, analyses the composition of collage from the theoretical stage through colour, shape, texture, line and construction to framing for presentation. He does it well, with flair and infectious enthusiasm. The book is well worth studying by all attracted to the media, and one that I unhesitatingly recommend.

Principles of Collage analyses the elements of two-dimensional composition, collage in particular. It explores these elements in simple language, aided by illustration, so that they may be fully understood and used with authority. The element discussed in each chapter leads logically to the next. The later chapters show how these elements may then be composed in a reasoned way into collages of a professional standard, presented and framed up to exhibition standards. The illustrated chapter on the history of art and collage places the contexts of the book firmly in the context of the century. Written for persons who wish to produce work which is more than wall decoration, this book will enable the reader to make collages of worthwhile content and form. The author is an artist and a lecturer.