A TECHNIQUE DRIVEN Blog dedicated to mastery of surface design techniques. First we dye, overdye, paint, stitch, resist, tie, fold, silk screen, stamp, thermofax, batik, bejewel, stretch, shrink, sprinkle, Smooch, fuse, slice, dice, AND then we set it on fire using a variety of heat tools.
Saturday, June 29, 2013
Monday, June 24, 2013
Saturday, June 22, 2013
- Any cheap craft paint work.
- Since craft paints dry too fast, I add Golden Open Acrylic Medium to slow down the drying time. This gives me time to play with my designs.
- Less is more – paint, that is.
- For any tools like these (except the one that makes lines) you have to push down into the plate to get an indentation. The line tool didn’t require any pressure. In fact, I wanted to be careful so I didn’t poke a hole into the plate.
Then I add the Open Acrylic Medium.
Next I spread the paint on the gelli plate with my roller.
Then I took this tool (have no idea what it was used for) and made some cool lines.
And here is the finished print.
Here is another piece without the lines.
I just had to show you a closeup of that one.
The next two I cheated using a commercial batik as the base fabric. I only used one paint color on this first one.
This is the same batik fabric with a blue print using the potato masher and a yellow print with the line tool.
A while back there was a technique introduced (at least to me) on this blog called "Smacking." While I was concerned when first seeing the title, the realization of what it meant for artists was exciting!
In the interest of trying very hard to catch up with all I've wanted to do, try out, experiment with, etc....I finally got to do some of this technique!! (Better late than never, right?)
I had plexi and a "smack handle" but I would have had to walk all the way out to the barn to cut the plexi because it was too big. In the meantime, I had gotten from FreeCycle a bunch of those clear plastic photo/sign holders. Figured they would work just as well so I was off and playing.
Below is the process I used and the result of my work. I used a few colors of acrylic paint, a piece of my hand-dyed fabric that needed something else done to it, the sheet of plexi and the plastic frame. You can follow the process in the photo collage below (starting top left and going clockwise). I "smacked" the plexi with the paint-covered frame, then put the fabric down onto the "smacked" surface and pressed it down.
I'm very happy with the results (this piece will be going into my box of fabrics chosen for my "Pecan" series. And yes...I'll be doing it again!! Now on to my next experiment.........
Saturday, June 15, 2013
After the foam trays, I eventually found sticky back foam which is so much more versatile as it's easier to cut and is pliable as well, meaning that narrow strips can be cut and bent at will. I have a box full of various stamps that I've cut from sticky backed fun foam and mounted to Plexiglas, thicker foam, and even cardboard. I use these many times over in my artwork.
Since I sometimes take several minutes to work into the paint on the Gelli, I like to gather all my supplies that I think I might use first, such as paint, stamps, stencils, textural items, and torn and ironed pieces of white cotton fabric. I primarily use Setaclor fabric paints and I do not have an extender for the drying time. I try to work quickly.
To get started, I roll fabric paint, usually Setacolor, onto the Gelli plate with a brayer and work into it in many different ways. One of the first things I may do is to draw into the paint on the Gelli with the wooden handle end of a paintbrush for small lines. I may also use the paintbrush itself to remove paint. You can see an example of this in the following print on the right side. After each swipe of the brush, I removed the paint from the brush with paper towel.
I started this print with a screen printed layer underneath on a piece of solid white cotton (the mossy green vine like plants). The stamped image I added after pulling the mono print.
This is the same print but with a stenciled plant added in bronze on the left after I pulled the print. I will sometimes stencil right onto the painted Gelli. I lightly hold the stencil on top and gently pounce on paint through a section of the stencil with a sponge brush. The stencil edges won't leave much of a mark or pick up much paint if you hold one corner of it away from the Gell.
Below, the pink plant on the left is again done by stamping after the fabric print is pulled. The white one on the right was done with a dry clean paint brush to remove paint from the Gelli before pulling the print. This piece isn't finished yet as I've just ironed on the appliqued leaves and will continue stitching.
This is one that I did in the same printing session that has been stiched, quilted and embellished. Again the background white plant was done by removing paint from the Gelli with the paintbrush.
My print themes tend to follow the seasons and the current flora or fauna. The tulips have just waned here and during their bloom, I sketched and made stamps before getting started with the prints. Below you see an example of a Gelli print that I did by:
1. Spreading paint with a brayer onto the Gelli.
2. Laying paper masks that I had cut form printer paper (these may be used a few times if you lift them carefully).
3. Using tulip stamps pressed directly onto the wet paint on the Gelli. The stamps are clean with no paint. This creates the ghostly background tulips you can see in the print below.
The print below happened to be made on a real gelatin mold which I stirred up to create the bubbles. I used pressed dried seaweed as a mask and cut out a paper seashell mask as well. Just remember to reverse any image that is directional! The seahorse was stamped on using one of my homemade stamps after pulling the print.
Here's one that I've done in the same manner and stitched onto. I added color to the seashell with Neocolor II crayons.
I love to use pressed flowers from my garden as well.
Below, is an example of what the Gelli looks like with the paint brayered on and printed into with some textures (the circles are empty spools). A paper mask is laid onto the wet paint. The next step is to lay on the fabric and rub with my hand to transfer the image to fabric. Once the print is made, I use a palette knife to carefully lift the paper off the Gelli to use again.
In the same session I also pulled a print of a gold finch onto deli paper using a paper mask for the finch. Once dry, I then pasted it into my sketchbook using matte medium. This allows me to play some more with the image.
The sketchbook is on the left and the fabric Gelli print is on the right. I've begun to color in the goldfinch with my NeocolorII crayons and will do some thread sketching ontoit next.
Friday, June 7, 2013
3 cup of cold water, 3cup boiled water, 100gr. gelatin ( 4 euro)
I left the gelli plate in the baking plate, while making my prints. ( it is very difficult to remove the plate) I was able to make 10 prints on cotton using this paint
Cleaned the plate with cold water and put it back in the refrigerator. I can use the plat again for another 10 prints
So, now I know that printing with the " gelli plate" is something I can use .
I can order a " real" one now.
Thank you Judith to the accompaniment of the Gelli Plate