Yesterday, I started walking you through a few basic ways to use a gelli plate as I broke in a new one. Let’s pick right up where we left off.
As a reminder, I do not clean my gelli plates. Some people do, I choose not to. I like all that leftover grunginess that makes extra texture and personality in my future pulls. So I just kept going from yesterday’s end of post. This time I used two smaller stencils and placed them on the plate. It does not matter at all that they overlap in that one area. And just look at all the citrus and geometric leftovers that are still there.
I placed down two sheets of paper – because that’s what I had on hand – and this time I did use the brayer to smoosh them down to the plate. All over. I didn’t add any additional paint before I did this and I wanted to see if I could pick residual color up through these stencils.
And I was able to get some to lift. I set these papers to the side so I could add more color to them later in the process.
I lifted those stencils away and took a little dab of bright pink and brayered it all around. By brayering lightly, I was able to retain the shape of the stencils even though the stencils were no longer on the plate. It mixed so well with the colors that were already underneath.
And I pulled a print using the last page in yesterday’s post. It boosted the pink factor with adding only a minimal amount of acrylic to the plate. And look at the texture it added with those last two smaller stencils. See what I mean about layers of texture?
That pull removed a lot of the paint from my plate. Look how you can still see bits of all the stencils I used up to this point. And that dab of paint is all I added to this 9″ x 12″ plate for the next pull.
I used those same two half sheets from about three photos up, smoothed them down onto the gelli plate and pulled. Still not at a stopping point but getting closer. And look at the layers building. Look at those stencil marks.
I forgot to take a photo – sorry. I used the large stencil you can see underneath in this photo. It is 12″ x 12″ and covered the entire plate. Then I brayered a light layer of Dina Wakley’s color ‘blushing’ right over the top of the stencil. I used those same two half sheets and did another pull. When you pull prints over stencils, it works better to use your hand and fingertips to smooth down the paper. That way you can ‘feel’ the stencil and make sure you pick up color inside those open areas of the stencil. Like all these awesome circles. And now these two pages are complete.
You may be wondering if you can draw over these surfaces. You sure can and I do it all the time! Once you get used to making your layers of paint just the right thickness – you won’t have a problem at all. To start with you will probably use too much paint and your surface won’t be as smooth as you’d like it to be to tangle. Once the paint is dry, use a paper towel or an old cloth to buff the page – this will remove any loose particles and will smooth that paint down to make tangling easier. And you can always use a larger nib pen if that helps. When I started I didn’t use enough paint. And I still tend to go light on the amount I use. It makes for better tangling.
I had this much color still on my gelli plate. I could do a lift just like this and get something really beautiful. But . . .
. . . I opted to add a light layer of that blush color again. Anytime I use my brayer I keep a pad of paper to the side to clean my brayer off on. This page will turn into a tangled piece of art or a lake scene or even a page of beautiful florals. Don’t waste your product. It’s already paid for so use it somehow. This is a good way to build up a stash of background papers.
Hahaha! This is the gelli plate after I rolled on the blush. Check out all the stencil shapes. This is awesome!
I took these two smaller pieces of mixed media paper from yesterday’s post and used them to lightly pick up some of the color. Not much. And these two are done.
I wanted to lighten up the color on my gelli plate so I brayered a layer of white acrylic all over.
Then I took this beautiful stencil and covered the plate with it. Joggles is where I get most of my stencils. Barb has a really nice selection of 12″ x 12″ and a bunch of other sizes, too. This particular stencil is available right here.
I rolled a layer of green right over the top of the stencil, making sure I got paint down onto the gelli plate as well.
And I lifted this print while the stencil was still on the plate. I love it! One of my favorites from that hour I spent playing. It isn’t quite this dark in person, that iridescent green is hard to photograph.
I finish today’s post with this pull. I removed the stencil and put a light layer of turquoise acrylic down. Then pulled this print using just a regular sheet of printer paper. And look. After all these pulls, I can still see the original citrus stencil shapes. As well as all the other stencils I used after that. What if you really dislike the way one of the stencils turns out? Use a baby wipe to clean off your plate. Just remember you will also lose most all of the texture you have gained up to that point. But it’s ok. You will make more.
Tomorrow we will finish up this little gelli plate journey. A little intro into gelli plating. Then soon we will go to the next step in the process and add some other media to these pieces.