Then I would position the fabric on part of the gelli plate. I wanted a variety of colors/shape/textures on the fabric so I would only place a corner or one edge of the fabric onto the plate. To print I rub the fabric with my hand to transfer the paint. I found I liked using my hand better than using a dry brayer. The brayer caused wrinkles but my hand didn't. You can either get paint on your hand (which I sometimes decided to do) or you can place a piece of paper on the fabric before rubbing it since the paint does sometimes bleed through the fabric.
I found I could get a first strong print and a second ghost print using this method. That was really pretty cool because if I used only one corner of the gelli plate for a direct print on one piece of fabric, then I could used the top half of the gelli plate for a direct print and the bottom corner as a ghost print at the same time on my next piece of fabric--a two-fer.
I repeated this process till I was satisfied with a nice background (see above).
Now it is time to add the foreground. Remember this is what I wanted the finished fabric to look like:
- Abstract compositions with planes of colors
- Strong horizon lines
- Complex layering achieved through texture and color
- A symbolic representation of "an individual" in each.
- The design/composition finished (or resolved) by printing or by stitch.
These are the two I like and will start some stitching on them.
These are the two that I will stare at for a while and decide where to go next.
This post is linked to Nina Marie's Off the Wall Fridays