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4 PERSONAL JOURNAL

Printing on to textured non-inkjet papers is a fascinating

way of introducing an extra element to your work, but you

can also mimic this effect by scanning and layering, as this

example shows.

Start with a piece of scanned vintage faded wallpaper

and blend in another image on top. The collision of shapes

is really essential for making this work, so you’ll need to

experiment with placement as well as scaling your sources

up and down to fit together.

‘Printing on to textured non-inkjet papers

is a fascinating way of introducing an extra

element to your work, but you can also

mimic this effect by scanning and

layering, as this example shows.’

All images © Tim Daly

Digital images are largely texture-less, so apps such as Instagram

have become a popular way of roughing-up such smoothness.

However, simple montage is a great way to do this too.

In this example, a flatbed scan of a page from a vintage French

book is combined with a photograph which has had its edges

roughed up. By resizing the image, it was easy to make it fit into

the ready-made border. Look at photographer Simon Larbalestier’s

excellent project Pixies Familia – a contemporary reworking of his

famous Pixies album cover in a highly textured album.

3 THE BEAUTY OF THE COMMON TOOL

Walker Evans’ now famous still life spread for business

magazine Fortune was created with the concept of revealing

the innate visual qualities of mass-produced hand tools.

This example, created by scanning a piece of aged and

textured pine, was combined with a scan of a simple hand

tool bought at a boot sale. Both objects were layered up in

Photoshop. To create the sense of lighting and 3D space,

a simple Photoshop Drop Shadow was made around the

right hand edge of the hammer.

5 THE OVERPRINT

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