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Some Recipes for Gelli Plate Effects:

Learn to 'Clean Your Plate'. Practice this till you can do it and understand how to repeat it.

Roll a thin coat of paint out on your plate.

You can either put the paint directly onto your gelli plate - two 'dime size' dabs - OR you can roll some paint out on paper and transfer it to the plate with your brayer.

Right away, while the paint on the plate is still wet and shiny, lay your paper on it over the paint. Iron it with your hands.

When the paper is no longer cool to the touch (timing depends on climate humidity) pull the paper up.

All the paint should be on the paper and your gelli plate should be clean.

You can see a video for this here: The Basic Process

Simple Stamp Over-Print

Using the basic process, print a paper to give it a background colour.

Before you lift it, 'hinge tape' it to the table above or beside your gelli plate so you can 'open and close' it over the plate like a door.

Paint the plate again. Use something to 'stamp' your plate (a cup, your hand, bubble wrap, a spool end, a soup bone, anything flat.)

While that is still wet, put your previously printed paper (dry now) back over the plate ('close' the door).

Iron it with your hands. When the paper is no longer cool to the touch (timing depends on climate humidity) pull the paper up.

You have now 'over printed'. Repeat as desired.

You can also use cut stencils for this exact same sequence, using them as a stamp. 

 

Simple Stencil Over-Print

Using the basic process, print a paper to give it a background colour.

Before you lift it, 'hinge tape' it to the table above or beside your gelli plate so you can 'open and close' it over the plate like a door.

At this point you can lay a stencil on the plate. It will block paint transfer to the paper.

 

While that is still wet, put clean paper, or your previously printed paper (dry now) back over the plate ('close' the door).

 

Iron it with your hands. When the paper is no longer cool to the touch (timing depends on climate humidity) pull the paper up.

You now have a print of your stencil.
 

Print the Ghost

Sometimes the Simple Stamp Overprint will leave 'ghosts' on your plate. You can pick them up too!

When the plate is dry, paint the plate again. 

While that is still wet, put a paper previously printed or not (dry now) over the plate.

Iron it with your hands. Let it dry (5-10 minutes), then pull the paper up.

The ghost print should have pulled up off the plate and be on your print. Repeat as desired.

 

Printing Shapes and their Ghosts (We did this for the Botanical Prints and Nests)

For Botanical Prints:

-Assemble material to print (plants - whatever you are going to print) and plan your composition.

-Paint the plate - a tiny bit thicker this time so it stays wet while you work.

-Lay your materials on the plate in the desired composition.

-Print , pressing around any '3D' items with your fingers so the paper and plate make contact around the material.

-Quickly place 'hinge tape' and lift the paper

-Quickly remove material from the plate. 

-Quickly fold paper back over the plate ('close the door'). This will pick up the still wet ghost of the plant veins. Don't iron too hard, Soft ironing will leave more delicate, appealing ghost.

-Repeat as desired.

For Bird Nest:

-Assemble material to print (plants, nest components, little cut eggs - whatever you are going to print) and plan your composition.

-Paint the plate - a tiny bit thicker this time so it stays wet while you work.

-Lay your materials on the plate in the desired composition.

-Using tissue or newsprint remove the paint from around the '3D' items with your fingers to clean the plate.

-Remove the materials from the plate and let dry

-Paint the plate

-Place paper on the plate and let dry completely before the peeling the paper off the plate. The plate should be completely clean, and the nest ghost should be on the paper

You can see the Bird Nest Print here.

Transfer Prints

-There are many ways to create transfer prints. Here is one way.

-Select a print with high toner. Its an experimental process. You can double print I a laser printer or select a very glossy published image. Choose and image with night contrast. It's the black toner that works particularly well with the acrylic paint. 

-Lightly coat the gelli plate with paint. Choose extremely light paint if you are oging to pick up your transfer with a dark paint and extremely dark paint if you are going to pick it up with light paint.

-While it is still wet, put the photo face down on the gelli plate and iron lightly with your hands. Let sit for 30-40 seconds.

-Pull the photo up. you should see the transfer on the gelli plate.

-When that is dry, roll on a coat of paint and immediately put your print paper on it.

-Wait until the paper is not longer cool and peel it off the plate. The plate should be clean and the transfer should be on your paper.

-As you already know, this is a delicate balance of media, paint and timing. You may have to try a few times.

Charcoal Drawing Transfers

-Create a drawing on drawing paper with charcoal. Don;t blow as you go Leave the charcoal as think as possible.

-When you are done, turn the charcoal drawing upside down onto your gelli plate and rub it. Do not paint the plate at all. The drawing will transfer to the (naked) plate.

-Roll paint over the charcoal drawing and pull it up when it is no longer cool.

-Your charcoal drawing should have transferred to the print paper.

You can see a charcoal print being pulled here.

Creative Adaptations

Reverse Engineering


-Instead of over-printing, you can stamp, lay stencils and make transfers to design your print RIGHT ON THE PLATE before EVER printing! Whatever you do first, will show up on top of your print. This is a little counter intuitive and demands some experimentation.

-To do this just work on the plate and let each layer dry before continuing.

-When your composition is complete, pull the whole composition at once by rolling it with a coat of paint and lifting it.

As you get going other creative ideas will come to you. Some can be amazingly simple, like these apples.

For instance, cutting an apple or a vegetable in half and stamping it onto a bare gelli plate can allow you to create a delightful composition  (through reverse engineering)

 

You can take your time and pick it up with wet paint whenever you're ready.

 

 

 

 

 

If you have any questions feel free to email carolyn.hassard@me.com

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