Miniature landscapes.

Limited time periods are not always conducive to painting outdoors, so I decided to approach landscape in a more imaginative way in the classroom. I hung reproductions of landscapes by various artists such as van Gogh, Dali, and Monet in the artroom. We discussed these prints in terms of composition, expression, color, and line.

I asked students to begin thinking about the various elements that make up any given landscape. They considered color, light, and texture as they apply to mountain ranges, the ocean, or the desert. How could they show the visual qualities of extremely hot or extremely cold climates? Could the same landscape be interpreted in different ways to show seasonal changes?

A Series of Landscapes

The assignment for my high school students was to create a series of three small paper collages that represent different qualities of landscapes. These landscape collages could be realistic, expressionistic, abstract, or symbolic. Institutions were to use torn or cut paper. Another medium could be added, if desired. Producing a series was suggested for two reasons: to help the students understand the value of multiple images, and to focus a greater understanding of how to create strong and repeated compositions in small spaces. The series required a minimum of three landscapes. Each was to be no larger than three and one half inches square and no smaller than two inches square. One landscape in the series was required to be monochromatic.

A Special Focus

As a result of the size limitations, careful consideration was especially important in choosing a composition. At the same time, this restriction helped to create a special focus for the artist in which to work and to bring greater attention to the work. To help in this process, a basic viewfinder was made by cutting a 3" (7.6 cm) square from the middle of an 8 1/2 x 11" (21.6 x 13.5 cm) sheet of manila paper. This was intended to help isolate the best composition. They placed the viewfinder over the unglued torn paper image on a daily basis to check their progress, They also used the viewfinder to decide whether to keep the size of the work at three inches or go slightly larger or smaller. The work was carefully stored on shelves and in class drawers to avoid shifting the unglued compositions. When the final composition was decided on, the gluing process began.

Selecting the Right Paper

The paper for their compositions needed to be as varied as possible. The aim was to acquire paper of different thicknesses, colors, and textures. The assortment of papers included handmade Japanese lace, newspapers, rice papers, tissue, foil, and common recycled paper. I was also fortunate to have newspapers in foreign languages which added visual textural qualities.

We used watered down white glue (two parts glue to one part water) once the overall composition was finished. Also, consideration was given to the type of paper being glued. Watered down white glue was used over tissue paper so that it soaked through the surface to adhere. With foil paper glue is applied to only the reverse side because it will dull the foil surface. When using very fine paper, like the lace paper, dotting small areas is necessary to secure the shape so as not to lose its subtle qualities.

Applying other Media

Some students also used thin, 20 gauge craft wire in gold, silver, or copper. This wire added both linear definition and color. The students who chose to use this were encouraged to hammer the write to alter its original form and to create line variation. This subtlety in the hammered metal surface worked well with the irregularities of the handmade paper.

Watercolor paint was used as a staining technique on the various kinds of paper. This was helpful in creating a sense of overall visual unity in the monochromatic landscape.

Matting for the Presentation

In the final stage, the students were asked to present all three landscapes in simple white mats. They used a 10 x 12" (25 x 31 cm) heavy white paper in lieu of expensive mat board. Each student had to measure the paper to cut the exact size they needed for their work. The top, left, and right sides had to be of equal distance while leaving a generous amount at the bottom of the paper.

In this process, the students realized that the small composition focused greater attention on where the artist wanted the viewer to look. The size also created a greater emphasis on the need for good craftsmanship in the use of materials because the space was so limited. The small size also drew viewers into the complexity of the visual expressions.

Big Lessons from Small Works

What pleased me about the teaching process was going to be learned were positively reinforced in the student responses. Many saw the value of creating in a series because it resulted in the work being seen more as a process and not merely as an end result. The students felt by thinking and working small they could accomplish the quantity of the three assigned landscapes easily. As a result of this understanding, many created four or five collages in the end. There were many students whose understanding about composition and sensitivity in the use of materials increased tremendously. This was apparent to them when they compared their first collage to their last.

The simplicity of using cut or torn paper, combined carefully with other media, can produce very impressive results. The overall work was both striking and beautiful.