Please note in working through my process steps - I made sure each layer was dry before adding the next. I also had a second gelli plate I used as a palette and brayered on all the leftover paints as I used them. I stenciled on this plate as well and left it to dry at the same time. It provided a second lot of prints.
Step 1. Roughly brayer some phthalo blue and titan buff paints over the surface and leave to dry, as it does randomly dab off some of the paint with dry kitchen paper.
Used a harlequin stencil and burnt umber to add a random design.
Step 2. Brayer a thin coat of white over the layers and pull a print. Here you can see the print on the right and what was left on the gelli plate on the left. So far so good.
Step 3. Use another stencil and colour, I sponged on a mix of burnt umber and titan buff.. The plate on the left is the one I'm working on to pull the focused steps prints - the plate on the right is the one I am using to roller off the excess paint between layers and colours. It looked good enough to use as well but I will wait to the end before I pull a print from it.
Step 4. Using some very old 'Reflections' text stamps with black archival ink I did some random stamping.
Step 5. Now to see what happens when I brayer over a thin coat of cream and white paint and pull the prints from both of the plates - oooh will it work? Now it's becoming a bit of a competition to see how they both respond!
Yay I'm really happy with these.
What did I learn or what would I do differently next time?
In Step 1 when I dabbed off some of the thicker paint layer it would be better to dab more off so there are larger random distressed spaces. This is so that more of the following layers will show though.
In Step 4 the stamping needed to be seen through the gaps, therefore it worked much better on plate 1 than plate 2 where there were no distressed spaces.
The results in Step 5 showed me that by not rubbing off some paint in some of the layers on plate 2 there was much less depth and interest in the prints. This seems to be a key feature of achieving the peeled paint and distressed look.
In Step 6 if I had stamped or maybe used a stencil I would probably have achieved more depth and interest again.
I really love the feel of the prints on the parchment paper and when it came to stamping and cutting images it was a boon for small parts like antennae as it doesn't tear easily.
So I certainly learned a lot and have a much better understanding as to how I could recreate similar prints. My next step is to experiment with drippage and splattering in the layers but for now I can still use them as after techniques to add to some of the lovely prints I achieved.
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For the project I chose the print that looked very much like a timeworn shabby wallpaper to me, mounted it onto brown paper and ....
.... then I selected all the elements I thought would build a beautiful shabby vintage design.
I took one of the plainer gelli prints and I stamped the Gypsie Queen moth as the key focal element using the stamping platform and a blend of coffee, watering can and cobalt archival inks. I cut one to use and one that I will keep in my bits box. The words are mine created on the PC and printed out.
I found a stamped clock face to add as well.
The transfers provide great background interest for the fame.
Step 8: For the project I chose the print that looked very much like a timeworn shabby wallpaper to me, mounted it onto brown paper and ....
Photo Step 8
Step 9: .. then I selected all the elements I thought would build a beautiful shabby vintage design.
Photo Step 9
Step 10: I took one of the plainer gelli prints I had pulled and I stamped the Gypsie Queen moth as the key focal element using the stamping platform and a blend of coffee, watering can and cobalt archival inks. I cut one to use and one that I will keep in my bits box.
Photo Step 10
Step 11: I found a stamped clock face to add as well.
Photo Step 11
Step 12: Some new mixed media transfers from Andy Skinner provide great background interest for the fame.
Photo Step 12
Once compete I added it to a journal.
xxx
Supplies
Gelli Arts 5 x 7 gelli plates and a brayer
DecoArt Premium Acrylic Paints - phthalo turquoise, titan buff, burnt umber, titanium white
Stencils
Parchment paper
Reverse text stamps (an old set from Tim Holtz called Reflections)
Black archival ink
Embellishments to make up the project -
Andy Skinner Mixed Media Transfers French Fancy, Gypsie Queen stamp,
Tim Holtz shabby frame, wildflowers stems.
Cheesecloth, stamped clock face, natural foliage, american style seam binding, pin,
xx
