Though I haven’t been sketching much lately, I have been making cards with my Gelli prints. Many of the ones I’ve made previously have been on top of recycled etchings or other types of fine art prints. I made quite a number framed by white and cream (the eco dyed ones for example) so I decided I needed more brights. As it happens, the ones I chose to photograph this time are Gelli printed only.
The first one has been printed with a capsicum (green pepper) and some sewing cotton. It has some glorious colours in there, and of course I don’t have a clue what colours I used. Perhaps some Matisse Primary Red which is quite a blue-red.
The second one is with a commercially available stencil and another layer with some sewing cotton. There is a layer of yellow, some red, then some blue. I’ve noticed that I often use the three primary colours for Gelli printing. This one has some yellow, a warmer red, and some blue. I often use Matisse Southern Ocean Blue. I love that colour.
The third card uses the same colours, but could it be more different? It’s a combination of fruit and vegetable bags from the greengrocer.
Number four with the purple border is just gorgeous ‘in the flesh’. There’s some orange there, some magenta, and a colour that could be Australian Yellow Green. (All these colours are Matisse Flow, used about 50/50 with Matisse Open Medium.) This one is capsicum again, with I think lemons in a pale colour underneath. There are some filmy capsicums in iridescent on top.
The final one is a yellow first layer with sewing cotton, then lemons with green, followed by a stamp with a capsicum in Southern Ocean Blue.
They all have colour coordinated envelopes in brights that contrast with the main colour of the card.
I’ve been slow to post this week but now I have a few things to show you. I’ve been a printmaker for about 10 years now, as well as all the other things that I do. I’ve accumulated a lot of prints over that time. About six months ago I had a big sort-out. I put into a plastic bag all the proofs and other prints that just didn’t quite make it. Prints that I hadn’t liked the colours, or that had got some sort of mark on them. I thought “What CAN I do with these prints?”.
I found a use for them. I Gelli printed layers over the top. I didn’t cut around the print, but just divided the paper into a size that was manageable on the Gelli plate, so in many cases there will be an embossing mark through the finished print. Then I set to making greetings cards from them. I also plan to make matching gift tags. I already had some greetings cards, so I got out the circle cutter and inserted small prints inside the card. It needed more, so I glued another piece of the same print onto the front. A loose insert of plain paper inside and I’m finished. This first one is from a proof of this print of a machine at the Heritage Shipyard.
The red card is done over an animal print lino of a series I did at COFA in a rush and liked none of. Far prefer it this way. The blue one was a proof of a solar print from a tyre and other marine stuff at the Heritage Shipyard. The original photocopy that the plate was made from was not good and it is long thrown away.
I had some larger pieces I liked so I had a hunt on the website of Artwise the Amazing Paper Shop. I found some cards in white and cream that are designed for photographs, and they look great with the prints in them, teamed with really bright envelopes that tone with the prints.
I really like this one made from a proof of my pomegranates print. This one illustrates how the embossing mark created by the edge of the plate is 2/3 way across the print, yet it works fine.
The second one in this format is from a proof also. Again, the photocopy the solar plate was made from was poor. This was in the early days when we were still finding our way around solar plate etching. The layering on top of the original print has come up with some beautiful subtle colours. I’ve made a LOT of these cards & still going, but this is just a small selection for you to look at.
Only a very few posts to go now until the giveaway. Maybe there might be something else to give away as you’ve all been so patient.
showing you how. I’ve never made one myself as I have the Gelli plate.
Well, this is something different from me. You get to look at me and listen. This video was made a couple of months ago and has now been edited. I made it for Matisse Derivan using their Flow acrylics and Open Medium. Eliza made the gelatine plates for me. It seems easy enough though, and Eliza made a video
We had fun making this video and it was easy for me. Not long before Annie and I had done Gelli plate printing at the Easter Show. We had workshopped all day with children of all ages, so having done that in the not too distant past, it just rolled off the tongue. That said, I dislike looking at myself on screen and dislike listening to myself even more.
Nevertheless, gelatine plate printing is something I’d meant to so for years. When I read about the Gelli plates, I bought one immediately, as otherwise I might never have got round to it. If you want to give this technique a try, look at the Gelli Arts Blog which I think is the best arts supplier blog in the business. They have so many wonderful ideas and techniques there. Another excellent resource is Linda Germain’s blog.
As for the countdown to the giveaway…. we are getting close to single figures. To be honest I’ve lost count, but WordPress reminds me every time I post.
I still have a couple of EDiM sketches to post, but I thought we’d have something different today.
I am entering in this swap and I have to make 6 pages, 4″ x6″. I have to decorate the back as well as the front. Well, as you know I’m also a printmaker. A while ago I sorted out my failed prints, proofs and just prints I generally didn’t like, from the good prints, in the hope of finding a project for them. Well, I found one.
I got a bunch of prints and Gelli printed layers right over the top of them. The back of the print has become the clean paper I am going to sketch on. It’s BFK Rives paper, which is my favourite paper of all. There are some interesting embossing marks from the plate’s edge on some of them. Most but not all were solar plate etchings. I did the Gelli printing before cutting to size, and before any drawing. I did my best not to smear any paint on the clean paper and that worked fine. I then cut to size. Jeepers they are small!
I made nine of them, (three in each picture) and that allows for less successful things to happen on the other side without it being a crisis. Most, though not all, of my prints were marine/industrial subjects. This is not what you’d normally choose to go with my chosen theme for the swap – tropical plants, but I think it makes it more edgy, and that’s what we’re aiming for, right?
It’s a bank holiday Monday today and still mostly dark at 8.30 am. It’s bucketing with rain again and I expect it will be as cold. Yesterday I completed two of these pages. I was going to make them totally unrealistic, but somehow I wasn’t in the mood and it seemed that actual tropical plants are as weird and strange as anything I could make up.
Not sure if I will do more today as I might start to make the sketchbooks. I also have to prepare for the demo I’m doing at The Art Scene on Thursday.
This one I drew from my kitchen window on a Sunday morning. I had to get on with it as I was going out. There was only a tiny band of cloud low in the sky, so I enhanced it, then soon noticed it had gone completely. The building in the foreground is my neighbour’s house and the one in the background is Royal Prince Alfred Hospital away in the distance. Don’t be misled by the palm tree -it’s winter and it’s cold.
That afternoon three of us went to a talk and workshop at the National Maritime Museum. They currently have an exhibition about the Fish in Australian Art. The talk and workshop was with Roger Swainston. So interesting. Roger draws coral reefs while under water. He uses pencil on architects drafting film. He sets up a grid of ropes so that he can find his place again. If you take this link and click on the top small image you will see what I mean.
In the workshop we drew fish using Roger’s method. We first pinned out the fish so that the fins were displayed to advantage, then we pinned a cord across fish to mark the centre line. After that it was all measuring with callipers. We were sharing a fish between four or five of us, so we took turns in the measuring. Quite soon we got very confused with where we’d just measured and what it related to with our drawing. It was fun though and Roger is a good teacher. I didn’t finish mine, but if I want to do it at home, I’ve got the skills.
Alissa was with me and she got to take the fish home. You can see her fish drawings here.
Another thing that came out of the day was that we had a talk to Roger about solar plate etchings. When we make solar plates, we put our drawings onto architects drafting film to expose the plate to the sun. We asked Roger if he ever did any printmaking & he said no. We explained how easy it would be to expose his existing drawings, and he said he had hundreds of them. He’d brought some of them along, and there was a large one of a lobster that I was just itching to make a plate of and print with sanguine ink. He is from Western Australia so I do hope he finds a printmaker over there, who knows solar, and hooks up with them.
Beginning on Tuesday, I have some work in a printmakers’ group exhibition. The opening is on Tuesday night. All welcome. It’s on till 21st May and I will be there on Friday afternoon minding the exhibition so do come along.
On Tuesday 22 May at Balmain Library and again on 22nd June at Leichhardt Library, I will be teaching a free two-hour workshop in decorating papers with inks. We will be making itajime paper and bubble paper. Here is where you book a place. There will be a demonstration coming up in June also at The Art Scene.
With all these workshops and my acrylics classes starting again, EDiM chugs along. Not far to go till we’re half-way (I’m lagging with the blogging). I had fun drawing this egg carton. Weird perspective, but I had to place that way to fit on the page, because my book is a little narrower than usual. Most of it is drawn in watercolour pencils, then I’ve used the dip pen again but with burnt sienna ink this time. I’m back using the watercolour pencils more and more, and just loving the dip pen. I plan to try a quite a few different colours of ink before the end of May.
I’ve got more into the swing of the ‘materiality’ thing & hope to use some pastels soon too, though I’ll need to prep the paper with transparent gesso. I love to use this stuff when I am drawing in pastels or charcoal. It gives me something to dig into, and I draw better.