Cog Icon signifying link to Admin page

Collage Art for Sketchbooks: Gelli Prints, Board Books & Mixed Media Tips

In this tutorial, I’ll be working on some sketchbook collages and seeing where it takes me.

 

I’ve got a few books on the go including some baby board books and several different sized sketchbooks. Some of the collages are already started and just need a little more work, and I’ve got a few new ideas I’d like to try out. I’ll be moving between my books, adding bits here and there as inspiration strikes. 

 

I love using board books for collage—they’re sturdy, fun to work in, and just the right size. I highly recommend Drew Steinbrecher’s free tutorial on board book basics—I’ll drop the link at the end.

 

Stay tuned for Part 2, where I'll show you how to finish the collages off with paint, stencils, and hand-drawn elements.

 

So grab a cuppa, get comfy, and join me while I hit record and let the process unfold.

 

Hope you enjoy!

Watch the full video tutorial here:

Materials You’ll Need:


Gel-printed papers:
I'm using a selection of Gel-printed papers in a range of colour palettes and patterns—from botanicals to text to stencilled designs. My prints are made on various types of paper, including sheet music, book pages, and wet-strength tissue paper, which all add different textures and translucencies.

 

Clear drying adhesive:
I use matt medium to adhere and seal my prints. You’ll also need a paintbrush for applying the medium, along with a silicone spreader or an old credit card to smooth out the paper and help prevent wrinkles or bubbles.

 

Acrylic Paint: 
I use acrylic paint for both layering and detail work. I like to pull colours from my Gel-printed papers to keep the composition harmonious. I apply the paint with a brush, often carving into it with a palette knife while it’s still wet.  I sometimes use a spray bottle of water to dilute areas for a more fluid effect. I also keep some tissue to hand for blotting excess paint and softening contrasts.

 

Other Tools:
You’ll need a pair of scissors to trim your papers to size. I also use a hole punch to create a circular motif in some of the layers—it adds a nice bit of repetition and interest, as well as creating tiny little windows that reveal the layers below. 

Project 1 - Seascape Sketch

My first project is a seascape based on a rough sketch I did at Orbost Beach on the Isle of Skye. Orbost is a beautiful tidal beach, known for its rocky shoreline, black sand, and views across to islands in the distance. I’ll be using a palette of dark greens, browns, black, and white to recreate that rugged coastal landscape.

To start, I’m building up the foreground using strips of dark green and brown gel printed tissue paper to form the coastline. I’ll tear the paper by hand to help echo the natural, jagged texture of the shore.
TIP: Wet strength tissue paper is brilliant for layering—once the adhesive is applied the tissue paper disappears, leaving only the image behind and a lovely, subtle effect.


With my placement decided, I apply the adhesive directly to the page. I’m using matt medium, but you could just as easily use gloss medium or any other clear-drying adhesive suitable for collage, like ModPodge.

Next, I lay the strip in place, then lightly brush on another coat of matt medium to seal it.  If there's any overhang, you can simply snip it with scissors or rip it off to maintain that rugged, organic look.

Next, I’m going to work on building up the islands in the distance. I’m using wet strength tissue paper again—this time in a black and white pattern. I’m shaping the paper with both scissors with hand-tearing so it fits the space while still keeping a natural, organic feel.

Project 2 - Board Book

Next, I’ll finish the last couple of pages in my small board book. Building these pages is really just about playing and experimenting—placing different combinations of prints side by side to see which colours and patterns work best together, and layering with wet strength tissue paper to add depth and interest.

Once I’ve settled on a design I'm happy with, it’s time to adhere everything in place. I use a brush to apply the matt medium, then carefully place the paper into position. 

I like using something with a flat edge to smooth any wrinkles out and to press it down firmly—especially around the edges. I’m using an old library card, but a Catalyst Wedge works just as well.

You might find you need a bit more adhesive, especially if you’re working with thicker paper like the lovely printed book pages I’m using here. If that’s the case, it helps to brush some adhesive onto the back of the paper as well—particularly when layering one piece over another.

Once it’s in place, I use a spreader to press it down gently but firmly, taking extra care around the edges to make sure everything’s nicely secured.

Now that I’ve got my base layer in place, I’m going to start experimenting with some tissue paper overlays. I really like using prints that have a bit of openness to them—they create these lovely little glimpses of what’s underneath.

I give the surface a light brush with matt medium, then gently lay the wet strength tissue paper over the top. Once I’m happy with how it’s sitting, I go over it with another coat of matt medium to seal it in, and then I set it aside to dry.

Once the adhesive is dry, I add a few more layers in the same way—choosing details from my gel prints in colours and patterns that complement the base layer, then applying them with matt medium and smoothing them out with my spreader.

I also like to add a bit of dressmaking paper here and there—it gives a lovely texture and a soft, layered look.

Project 3 - Square Sketchbook

I’m moving on now to my small square sketchbook. On this page, I’ve got a rough painted square in robin’s egg blue—one of my favourite colours. I’ve cut a little square from one of my gel prints in the same robin’s egg blue, with a bit of black running through it, printed onto some old sheet music. The print is just a touch smaller than the painted square underneath, so it creates a nice little frame around it.

Once I’m happy with the placement, I place it in the same way using a brush and matt medium top and bottom. 

Next, I take a clean sheet of paper and gently smooth it down with my hand to make sure it’s properly bonded to the page.

Next, I have a bit of a play with my printed papers to find something that complements what I’ve already laid down. I land on a lovely orangey piece, with a nice bit of warmth to balance out the blues.

Before I cut a strip from it, I run it through the hole punch to create some little round windows. It’s a simple touch, but it lets you peek through to the layers underneath, which I just love.

I then reach for some of my little offcuts and start placing them around the design.  This will add a few pops of colour and help everything feel a bit more balanced.

I place a small piece of hole-punched robin’s egg blue paper over the black and white area—it echoes both the colour and the circular theme nicely, pulling it all together without overcomplicating things.

Next, I cut out some thin strips from the black and orange print and glue them in place. I really liked the black from the earlier circle I tried—it added a lovely depth—but it was just too bold and overpowered the rest of the page.

Adding a bit of black back in as tiny strips gives me that contrast I was after, without overwhelming the softer colours. It's just the right touch to anchor the page and keep everything feeling balanced.

Once the adhesive’s dry, I bring in a ruler and a fine black pen to echo some of the patterns already in the piece. I draw in a few subtle lines to balance out the text from the sheet music—it helps tie things together without overpowering.

I also outline the circles to emphasise that lovely circular theme, and add in a few more using a small stencil, just to gently repeat the motif and keep the rhythm going across the page.

Project 4 - Abstract Painting

Now, I’m moving on to another sketchbook page—it’s got a bold inky abstract painting in black, blue, and white that I’d like to develop a bit further. I find a really subtle print on a piece of dressmaker’s pattern paper that feels like a good fit. It’s delicate enough not to compete with what’s already there and will allow the layers beneath to peek through.

I apply it with matt medium and smooth it down gently with my spreader.

Next, I take a blue botanical tissue paper print and place it over the top. Once I apply the matt medium, the tissue virtually disappears, leaving only the beautiful shape of the plant behind and still allowing the base layer to show.

I tear a small blue botanical print from another piece of tissue and place it in the corner, over the dressmaker’s paper text.

It softens that area nicely, covering up the seam line and some of the text, which felt a bit too busy. You can still see them showing through, but it’s much more subtle now.

Next, I add some dark blue—almost black—paint, using it to create a few loose circles. I then use a palette knife to carve away the excess, revealing some of the layers underneath and adding a bit of texture and interest to the design.

Finally, I give the paint a quick mist with a spray bottle of water—not only does this help to dilute it, but it also echoes the inky, drip effect running through the rest of the piece. I then blot up the excess with a tissue to soften the contrast and stop the water from pooling too much.

Project 5 - Sketchbook Collage

Here’s another sketchbook collage I’m working on that I’d like to develop further. It features my favourite colour scheme with plenty of blues and beiges, along with touches of white and black, plus some text and botanical elements. I’ve printed it all on a mix of papers, layering them for added interest.


I start by repeating the same botanical print to help bring some balance to the piece. I adhere it both front and back with the matt medium.

Next, I’ll add a little colour pop with some teal paint in the corner. To soften it, I blot it immediately with some of my dress pattern paper, lifting up the excess paint and revealing a lighter, softer effect.

I add a few more teal paint pops throughout the piece, blending the wet paint with my fingers to soften the effect.

Finally, I introduce a touch of brown paint to tone down the teal slightly, blotting it with a tissue to keep the colours balanced and not too overpowering.

I hope you’ve enjoyed following along and feel inspired to start your own sketchbook! Remember, it’s all about giving yourself permission to play, experiment, and explore without pressure—just have fun with the process.

Be sure to stay tuned for Part 2, where I’ll be showing you how to add some extra flair with embellishments—using paint, paint pens, stencils, and hand-drawn elements. I’m looking forward to sharing those techniques with you!

In the meantime, here are some of the results from today—I'm quite pleased and can't wait to finish them up in my upcoming session!

If you want to learn more about collaging over board books, be sure to check out Drew Steinbrecher's excellent free tutorial Build Your Creativity: Board Book Basics!


Be sure to sign up for my newsletter so you never miss a new tutorial. I also offer a FREE course called The Essence of Landscape, where I teach how to turn your prints into finished paintings.


Happy printing!

^