I’ve been forced by circumstances this week to not have a creative outlet, and I’ve come to realise that’s not a good idea! I’ve snatched time though, today, to practice the Gelli Plate technique I’ll be teaching in my Art Journaling Session on Monday evening. There will be spaces available – if you’d like to come, just get in touch.
[Monoprint panels using Chipped Sapphire/Stormy Sky Distress Paints and white acrylic paint; background from cleaning the brayer; text in Posca white acrylic marker.]
Another journal page using my new wooden block stamps – they work so well with the Dylusions paint. It’s just the right consistency to cover the stamp, stick to the page, and not squidge everywhere. Unfortunately it wasn’t quite the same when I used rubber stamps, which squeezed the paint away giving me the tramline outline that I then had to fill in with a paintbrush.
I’ve just taken delivery of a set of wooden fabric printing blocks, a commercial take on the carved versions typically seen in India/Indonesia. As well as printing onto fabric, of course they’re suited to printing onto paper as well, and what better way of using them than in an art journal? This page is in my Moleskine journal that has been somewhat unloved since starting art journaling in 2011. I already had a pink/purple background in place, and I augmented this with some dabs of Dylusions paint. The image transfer of some heuchera leaves was also already on the page, and I’ve blended the edges with some more paint as well as adding a smear of orange to colour. The block prints can be seen in purple and white at the borders. I was quite pleased with the right side especially, as the paint acted more as a glue, pulling off previous paint layers creating a serendipitous distress effect. The text is free-drawn in Signo white pigment pen and outlined with a fine black pigment pen, except for the final two words which I traced so that it was a little more ‘special’. For hand-drawn text, I found the book Hand Lettering: Simple, Creative Styles for Cards, Scrapbooks & More by Marci Donley and DeAnn Singh really useful as something to bounce off. We’ll be using the blocks in the Art Journaling Session on 3rd August, for which one place is still available to book here.
I’ve just taken delivery of my 3×5″ Gelli Arts Plate, which is the perfect size to have a go at a technique I wanted to test for my forthcoming Zentangle Inspired Art workshop. I mixed black acrylic with a slow medium in equal quantities and used a brayer to cover the plate evenly with the black paint. Working as quickly as I could, I scraped paint off with a rubber tipped tool to ‘etch’ the tangle design. Despite the speed at which I worked, the acrylic still dried, so by the end I was scraping into dried paint, and to transfer the monoprint to paper I needed to add a layer of matt multi medium over the dried paint. After everything had dried on the page, I added Distress Inks to colour. A fast and furious sample, but a technique I think I will try again, perhaps with Golden Open acrylics or even a waterbased printing ink.
On a separate note, it is worth having a look at my original image – which was taken with a camera – the gloss finished of the acrylic played havoc with the light… Whereas the scanned image above shows off the piece far better. There’s also some resist happening with the black and the multi-medium which adds to the texture.
When I saw the contents of the latest DT goodie bag lots of ideas sprang to mind. We’ve been sent the newest set of ‘Henna’ inspired Creative Expressions ‘Singles’ stamps – rubber stamps that are pre-mounted and cut ready for slapping onto your acrylic blocks and printing with straight away. This project uses embossing powder and spray dyes to create a faux batik effect on a handkerchief – although any cotton fabric would work just as well. For more making details, read on 🙂
I needed to stay awake yesterday evening, so turned off the TV, got off the sofa and disappeared down the garden to the studio. A couple of friends have recently moved house, so I decided to make them new home cards, which took about an hour (including tidying up after, which I’m determined to keep doing!):
The backgrounds are mono prints using my Gelli Arts printing plate, layering up lots of different acrylic paint colours through stencils, sequin waste and removing paint with bubble wrap and foam stamps. I overprinted with white acrylic using the Claudine Hellmuth ‘Dwelling’ foam stamp, then outlined with her clear stamp set and Archival Jet Black ink. The sentiment is from Tim Holtz/Stampers Anonymous ‘Simple Sayings’ [CMS155] printed in Archival Jet Black and mounted on background offcuts to tie it all together. I outlined areas using a Signo white gel pen (fine tip) just to help define some of the detail.
Well after a flurry of activity over the last two weeks watching my new studio get installed, and then decorating it, constructing furniture and moving in – as well as emptying out and putting back to right the dining room, conservatory and some of the craft room – I have my first ‘working’ day in the studio.
Of the various things I have to catch up with, college work is one priority as I have a mid-way assessment tomorrow. Consequently, I have taken pics of my latest light shade in my series. This one features one of the patterns I gleaned from a visit to the Islamic artefacts at the British Museum, drawn into Illustrator, adapted for the round and then screenprinted in opaque white ink onto thick tracing paper, and then constructed onto a card frame. As with the previous post, here are photos of the shade in daylight, and internally lit at night.