Showing posts with label collage fodder. Show all posts
Showing posts with label collage fodder. Show all posts

Tuesday, November 3, 2026

For The Love of Fodder - Circles Numbers Tickets & Tokens STENCIL CLUB 11/2026 Exclusive

Hello again from Kim Hamburg!

This month’s StencilGirl® Club set, Grungy Layers, designed by Nicole Watson, is right up my alley. Circles and numbers are two of my favorite collage elements, and this set gives me plenty of both. Add in the playful botanical shapes, and I immediately started imagining all the little pieces I could make.



Rather than use the stencils to create one finished composition, I decided to make something I could use in many projects: a whole collection of collage fodder.


What Is Collage Fodder?

Collage fodder is simply a collection of papers and small elements ready to use in your artwork. These might be painted scraps, cutout shapes, numbered tickets, or little embellished pieces you have made yourself.

In mixed-media collage and junk journals, fodder can become a focal point, a border, or that small finishing detail a page needs. A botanical might stretch across a journal spread, while a tiny numbered ticket or colorful circle can tuck into a layered arrangement.

I like making these pieces without deciding exactly where they will go. For now, their only job is to be interesting!


One Stencil Set, So Many Possibilities

Collage Fodder Examples


For this collection, I worked with different sections of Nicole’s stencils, sometimes using a complete design and sometimes isolating just a small part.

Number tickets. The section filled with numbers was perfect for making little tickets. I stenciled the numbers over colorful papers, cut them into groups, and clipped the corners diagonally. Some have quiet backgrounds, while others have several colors and patterns competing for attention. I like having both.

Three-leaf flowers. The three-leaf shape on its long stem makes such a playful cutout. I followed the stencil’s silhouette, keeping the leaves and stem together as one piece. The numbers within the leaves add another layer of interest without needing much extra decoration.

Multi-leaf botanicals. The larger branching botanical gives me a more substantial piece of fodder. These can remain as full sprigs or be trimmed into shorter, five-leaf versions. I also like adding small circles and number labels over individual leaves. A separate leaf can become a useful little accent, too.

Small dots and medium circles. Using circle punches in two sizes, I made tokens from my decorated papers. Some capture a whole number or ring; others catch only a fragment. Those partial designs are often my favorites. A shape that looked ordinary on a larger sheet can become much more interesting inside a small circle.

Donut circles. Removing a smaller circle from the center of a larger one creates a wide paper ring. These are wonderful for layering because the opening lets part of the artwork underneath remain visible. I decorated some with little lines and loops around the centers.

Connected circle clusters. Instead of cutting every stenciled circle apart, I also cut around groups of circles, leaving paper between them so they stay connected. The result is a wonderfully irregular shape. Extra outlines, dots, and little marks make each cluster different.

Three-leaf borders. The repeating three-leaf design along the bottom of the stencil offers another possibility: keeping several motifs together as a strip. It can become a decorative border across a journal page or a layer tucked behind a larger piece of fodder.

The same shapes appear throughout the collection, but changing the paper, color, and details keeps them from looking identical.


How to Make Your Own

You will need your stencils, papers from your stash, acrylic paint or ink, a sponge or blending brush, scissors, and circle punches in different sizes. Gather a few markers and pens for decorating, too. I especially like Posca pens and brush-tip markers. A small box will give your finished pieces a home.

1. Start with what you already have.

Pull out scrap paper, gel-printed papers, painted leftovers, and patterned pieces you have been saving. There is no need to begin with a fresh sheet.

For this project, my attitude was: the more colors, the better! Even a scrap that does not seem especially promising can make a terrific little ticket or dot.




2. Add the stencil designs.

Place the stencil over your paper and apply acrylic paint or ink with a sponge or blending brush. Use a light amount and build up the color rather than loading the applicator heavily.

Try different combinations: dark numbers over bright paper, contrasting circles over a painted background, or a botanical over a patterned scrap. Let everything dry before moving on.




3. Embellish before cutting.

While the paper is still in larger pieces, add extra decoration with your markers and pens.

Outline a leaf, draw a second line inside a circle, add dots, or make a few loose marks across the background. Some pieces need only a small detail; others invite more.

Use the colors you enjoy. There is no requirement to match mine—or to make every piece match the next one.






4. Cut out the botanicals, tickets, and clusters.

For the three-leaf flower and multi-leaf botanical, cut around the outside of the shape, keeping the stem attached. Leaving a narrow paper margin makes the delicate areas easier to handle.

For tickets, cut out groups of three or more numbers, then snip each corner diagonally to create that ticket-like shape.

For connected circle clusters and botanical borders, leave enough paper between the individual motifs to hold the whole piece together.







5. Punch the circles and rings.

Use two sizes of circle punches to make small dots and medium-sized tokens from your decorated papers.

For donut circles, you need a larger circle with a smaller opening in the middle. An easy way to center the opening is to punch the small hole first, then position the larger punch around it.

Save those little centers—they are more fodder!

Move your punch around the paper before committing. Changing the placement slightly can give you a completely different combination of color, number, and pattern.






6. Give everything a home.

Once the pieces are dry and finished, collect them in a small box. I found a little box for mine, and I love seeing all those colors and shapes together.

The next time I am working on a collage or junk journal page, I will have a collection ready to go.




Ready for the Next Page

A leaf, a ring, and a number ticket can become a small collage cluster. A few dots can repeat a color across a spread. One long botanical might be all a page needs.

That is what I enjoyed most about this project: I could experiment with Nicole’s stencils, use papers already in my stash, and make something useful without planning a finished artwork.

Now, when a project needs a little something, I have a whole box of possibilities.


Keep Creating with StencilClub

For more opportunities to experiment, explore StencilClub from StencilGirl® Products⁠. This monthly subscription features artist-designed stencil sets created especially for club members, along with access to exclusive videos and a private Facebook community where members can connect and share their work. Join by November 15th to get this month's set from Nicole Watson. 

You can browse the wider collection at stencilgirlproducts.com⁠ and follow @stencilgirl_products⁠ on Instagram for more stenciling inspiration. When sharing your projects, include #stencilgirlproducts so the StencilGirl community can find your work, too. 


Show Me What You Make!

I would love to see what you create! Whether you make a handful of colorful tickets, a collection of botanicals, or an entire box of fodder, share your art with me on Instagram and tag @gluepaperscissors_⁠ so I can see it.

You can also find more of my mixed-media artwork, tutorials, and experiments on Instagram and visit my website at kimhamburg.com⁠.

You can find this month’s artist, Nicole Watson on Instagram @nicolewatsonart 

Until next time, keep experimenting—and save those little scraps. They might be exactly what your next collage needs.

Kim Hamburg
Mixed Media Artist


Sunday, January 4, 2026

Using January's StencilClub Set to Build a Library of Marks, Texture, and Future Possibilities

Happy New Year, 2026!

I am Kim Hamburg, a mixed media collage artist who happens to love all things stencils and all things numbers.

There is something quietly reassuring about numbers. They suggest order, sequence, logic—ideas that can feel grounding inside a creative practice built on intuition and experimentation. I’ve long been drawn to typography and numeric forms for this reason. Frequently you will find a number or a series of numbers in my work.


That balance between structure and freedom is what immediately drew me to By the Numbers, a pair of stencils designed by Sarah Short for the January 2026 StencilClub.  Based on the numbers three and four, these stencils feel less like numerals and more like visual rhythms—curves, dashes, and pauses that hint at typography without fully declaring it. Sarah’s love of letterforms is present, but softened and abstracted, inviting interpretation rather than instruction.  

As a mixed media collage artist—and a guest designer for this month—I approached these stencils not as finished images, but as tools for building a visual language.  The papers I made will remain in my stash and I plan on using them in future collage work.


Image caption:

The By the Numbers stencils by Sarah Short—abstracted interpretations of  the numbers three and four, ready to move from structure into mark-making.


Supplies

  • India ink

  • Acrylic paint (any colors you enjoy)

  • Vintage book or textbook pages

  • Pre-made Gelli printed papers, or other favorite papers

  • Sponge roller

  • Sponge brush

Optional:

  • Wood panel

  • Glue stick or gel medium

  • Utility blade or scissors

  • Ephemera

  • Hole punch (any size)



.


Building a Library of Painted Papers

Painted papers are an essential part of my practice. I think of them as future ingredients—materials made without pressure, ready when a collage needs something graphic, textural, or quietly directive. Having a small stack of prepared papers nearby removes the friction of starting and allows me to stay responsive once I’m composing.


I began with India ink and a sponge roller, rolling the ink directly through both stencils onto a variety of papers. Vintage book pages are a favorite because they introduce text, diagrams, and subtle grids, but this process works just as well on Gelli prints or plain paper. The sponge roller keeps the ink layer thin and even, catching the stencil edges without flooding the surface.


I repeated this step across multiple papers, switching between the two stencil designs, then let everything dry completely.


Image caption:
India ink rolled through the stencil with a sponge roller, allowing the dash marks to read as rhythm rather than number.


Isolating Sections for Intentional Design

Once the ink layers were dry, I returned with acrylic paint and a sponge brush, this time resisting the urge to use the entire stencil. Instead, I isolated smaller sections—the curve of the number three, or the dash marks embedded in the number four stencil.


This approach transforms the stencil from a single image into a system of marks. By focusing on fragments, the numbers dissolve into shape and pattern. I also paid close attention to alignment, allowing stencil lines to echo the lines already present on the paper—text columns, margins, and subtle grids—so these papers would feel compositionally resolved when used later in a collage.  I tend to use a grid system when collaging, so making sure things were lined up felt more intentional.


Image caption:

By isolating sections of the stencil, the number begins to dissolve into shape, texture, and pattern.  Think of stencils not as images, but as systems—sources of marks that can be repeated, rearranged, and reimagined.


From Painted Paper to Finished Piece

After everything had dried, I selected a small wood panel and adhered one of the stenciled papers using a glue stick or gel medium. The wood immediately adds weight and presence, shifting the paper from background to surface.


I added more acrylic paint at this stage, scraping it across the panel with a playing card. This tool creates uneven, expressive marks and helps integrate the paper into the surface rather than letting it sit on top.


From another painted and stencilled page, I punched out a few circles—simple shapes that subtly reference the numeric origins of the stencils. These were layered onto the panel, followed by a flower and a bingo piece. Found elements like these bring their own histories and associations, grounding the composition and adding quiet narrative weight.


Image caption:
Painted papers move from preparation to composition as layers, shapes, and found elements come together.


Letting the Stencils Do Their Quiet Work

What I love most about the By the Numbers stencils is their flexibility. They can be bold or subtle, central or supporting. You can use the full design, isolate a single mark, or cut the resulting papers into fragments that disappear into a larger composition.

Vintage textbook pages add visual interest through typography and diagrams, while painted layers soften and unify everything. In the end, these papers are less about numbers and more about readiness—about giving yourself a library of marks, textures, and shapes that already speak the same language.

When you sit down to make a collage, the conversation has already begun.

Sometimes the most expressive work starts with something as orderly as a number—and then lets it wander.


Image caption:  Finished Mixed Media Collage on Wood Panel

By the Numbers is only available to StencilClub Members who join by January 15th and will ship on that day.  You get lots of great benefits as a club member, including a coupon for 25% off all regular collection stencils, a project and pdf from the artist and an additional project by me that is for members only.  So don't delay!  Get more information about StencilClub here! 

I would love to see your work.  Please tag me on Instagram Check out my IG

Facebook Kim Hamburg Facebook 



Friday, February 9, 2024

Using stencils to make marks easily in your journal pages



Hi Everyone,
Niamh here from sunny down under! I love mark making and it is something I know a lot of people find tricky. But what if there was a way to make it easier for you? There is - stencils!!!!
Stencils come in so many varieties - but at stencil girl products - there are sooooooo many that you can use in different ways to help you with mark making in your art easily.
I have chosen two of my favourites today to play with, the Maltese mix stencil and the CM 2019 circle stencil. I love these as there is a great mix of sizes and flow on the stencils allowing you to be a little random with your marks. 

Here is the step by step video making this page: 

Stencils used: the Maltese mix stencil and the CM 2019 circle 
Happy Creating,
Niamh
@niamhbaly (IG/YouTube)


Tuesday, August 29, 2023

Cyanotype with Stencils + Vintage Papers



Hello StencilGirl® fans! Nicole here, and I’m back with a fun way to create unique papers for your mixed media collages and art journaling. 

 

I have long admired cyanotypes. There’s just something about those mysterious blue and white images that draw me in. In fact, when a local art gallery had a class last fall to learn how to cyanotype, I was there! In class we used hot press watercolor paper and fresh flowers to play with layers and the sun to create a few different pieces of art. Here is what I made in class:



After taking the class, I knew I just had to try the process with stencils.  And, I failed. Miserably. I don’t know what I did wrong, but nothing worked. All my images washed away in the developing process. 

 

However, I am determined! So, I am here several months later trying this again.


The basic process of creating a cyanotype is simple:


1. Mix up the solutions as directed (allow to rest 24 hours) 
2. Mix one part of each solution (I use the lid to measure) and put into a cup (only mix what you need as the solution is only stable for a short time)
3. Lightly paint the solution on your papers in a darkish room with limited UV light


4. When dry, protect the papers from light until you are ready to develop them
5. Place the stencil on top the paper and expose it to the sun (3-30 minutes) 


6. Once developed, process the print in water


7. It will take about 24 hours for the print to completely oxidize, or turn the deeper blue

 Note: More detailed instructions are on the cyanotype solution package, and there are a lot of websites and videos to also help in the process and include even more ways to alter prints.

Creating cyanotypes my way.


Instead of plain watercolor paper for my substrate, I wanted to use vintage book pages and ledger pages, two of my favorite papers to use in my artwork. In keeping with the cyanotype tradition, I did also use some hot press watercolor paper and a white tag (pictured below) as well to have some of the true blue and white images.


 

One of the fun parts of cyanotypes is the unpredictability and layering. On the other hand, it’s also one of the most frustrating parts. They take a few minutes to develop, and you don’t always know what you’ll create until the end. During the development process, you can move the flowers (or stencils in my case) about every 30 seconds or so to add interest and different intensities of blue.

Since I failed miserably the first time, I practiced before my official blog. And, yay! It worked, plus I learned a few things to tweak.



I learned that not all paper works the same.

 

When using vintage papers, you have to be ok with the unpredictability! Not all papers are created the same, and some just don’t work as well. But, I’m making collage material, so in the end there is always something to use no matter how well it works.

 

Sometimes the vintage paper itself reacts with the solution so that the cyanotype doesn’t darken as much. Also, since vintage papers are not white, the final outcome colors are varied. It can be frustrating, but occasionally you develop amazing results that you have no idea how it occurred. 



For some reason, several of my papers partially developed soon after I spread the cyanotype mixture on them. I’m not sure if it was a reaction to the vintage papers or that I let too much light get to them. Since I didn’t want to waste the papers, I still printed on them with interesting results. 

On a side note, when using papers with handwriting, choose ones that won’t react with water, such as ledger pages written in pencil only.



I learned, or realized, that my previously used stencils that were full of paint worked the best.

 

Since new stencils are clear(ish), they don’t block the UV rays 100%. However, with that, the clear stencils were also fun because they let light in causing a lighter shade of blue with the darker images of the stencil. Both are fun! It just depends on what type of images you are wanting to create.




Since I had some new stencils I picked out specifically for cyanotypes, I solved that problem by spray painting them with black paint first. 



As an added bonus, this created some more collage papers!



Most importantly, I learned to just enjoy the process.

 

I am certainly not an expert at cyanotypes. Over the course of a couple days and sessions printing my papers, no results were alike. Some turned out absolutely amazing and others, well, let’s just say they will make great background layers.

 

As frustrated as I was in the sunshine and 100+ degree temps here in Austin, I am truly excited to play again! I have so many more amazing StencilGirl® stencils I want to explore.

 

If you are like me and always admired cyanotypes but thought they would be difficult to create, I hope this tutorial inspires you to have fun and play. I cannot wait to add these papers to my mixed media art and collage.

 

I posted my favorite result throughout the blog above, and here are some more of my favorites playing with stencils and cyanotypes:




And, you can watch some of the process in the video below, with additional commentary and a flip through of all the papers I made. 

 


 Happy Cyanotyping!


-Nicole









Connect with me on



Stencils Used (some are only shown in YouTube flip through)

 

Supplies

  • Cyanotype Solution by Jacquard
  • Foam brushes
  • Disposable cup
  • Access to water/sink or a large container of water
  • Hot press watercolor paper (90 lb or thinner for easier collage making)
  • Vintage book and ledger pages
  • Liquitex black spray paint (optional)
  • Sunshine! Or a UV light