View allAll Photos Tagged gelliplate
These are experiments from my newly acquired gelli plate. they still have some (technical) issues but I really like the direction this is going to... I'll see where it leads me
Gelli Plate Lasertransfer mit Acrylfarbe,
gedruckt auf Boesner LineArt 250
Scann, Epson V850 pro
Nikon f801
Tokina RMC 28-70mm f/3.5-4.5 Macro
Kodak Tri- x 400
I started off with Cathy’s suggestion to paint some pages, so I used up some gouache on my palette from a previous session. While I was waiting for them to dry, I started experimenting with the Gelli Plate… I had been wanting to try it with soft pastels and it was quite fun but as a result of experimenting I didn’t finish the day with any finished work.
Gelli Plate Lasertransfer mit Acrylfarbe,
gedruckt auf Zeichenpapier, ca.25x20 cm
Scann, Epson V850 pro
Kamera: Lomo, LC-A 120
obj. Minigon XL 38 mm f/4.5
Film: Ilford Delta 400 120
Caffenol C-H 16min
Gelli Plate Lasertransfer mit Acrylfarbe,
gedruckt auf Boesner LineArt 250g,ca.25x20 cm
Scann, Epson V850 pro
Minolta XD7
Obj. Minolta 28-70 mm
HP5 400
Rodinal 1+50 11min
gelli plate laser image transfer
This is to test if and how RIPed images can be transfered on the gelli plate. works, but needs more careful brayering
Gelli plate laser image transfer, showcase for halftones
Original size 15x20 cm, printed with carbon black acrylic paint
Happy Spring Equinox! For the past year or so, I have marked the changing of the seasons with a mixed media print. Let's hope that this spring brings us some renewal, hope and joy! 5x7 Mixed Media monoprint, linocut, ink, acrylic and magic on Paper.
Happy Spring Equinox! For the past year or so, I have marked the changing of the seasons with a mixed media print. Let's hope that this spring brings us some renewal, hope and joy! 5x7 Mixed Media monoprint, linocut, ink, acrylic and magic on Paper.
Acrylic gel plate monotype.
I did a simple monotype today in black and white. I wanted to test an alternative way of doing a double transfer so I wouldn’t have to work in a mirror image. I looked around in my collection of black and white photos and found one that I had on my iPad that I took years ago while walking in Basket Slough. I placed a clear plastic clipboard over my iPad and put a framed piece of shrink wrap plastic over it. This separated the painting surface from the iPad screen so that when I painted with a wet brush I wouldn’t drag the photo around. I then traced the photo using a small round brush and acrylic paint mixed with retarding fluid to extend the dry time. I transferred the wet paint from the shrink wrap to the gel plate. I then was able to work further on the gel plate. I found that I could not only add paint with a brush, I could also remove paint using a cotton swab dipped in alcohol. I like being able to make corrections. It is much harder to make corrections when you paint directly on paper.
After it all dried, I used my standard method of coating the plate with Golden Fluid Matte Medium, putting the paper down, weighting it with books, and letting it dry for 30 minutes and then pulling the print. This pulls all the paint off the gel plate.
I really like the look of monotypes. The brush marks and textures are very different from a painting done on paper because the surface is slick and doesn’t absorb paint.
Fabriano Hot Press Watercolor paper, Amsterdam Lamp Black Standard Series acrylic paint mixed with Golden Retarder, a small round brush and a small flat bristle brush. Image is 6 inches (15.2 cm) square.
the space around the news looked liked this.
so sah der "Raum um Nachrichten" aus, nachdem ich damit gedruckt hatte. (Raum um Nachrichten der Süddeutschen Zeitung vom 9.2. 2018, Titelseite)
Gel plate acrylic monotype on Khadi handmade paper.
I built a new registration system. This one uses two wooden 1/4 inch dowels as registration pins. I set my hole punch to punch holes seven inches apart at the top of the paper. This is my first test. It seems to work well. I printed in multiple layers building up the colors and textures using brayers, a brush, tissue paper, and my finger. I’m also testing printing on very rough handmade watercolor paper made in India. I think the rough texture adds to the rendering of the chaotic, raw power of the sea. Image is 8x10 inches (20x25 cm).
The title is a description of both the subject and my process.
Let's Dance (2)
2016.01.19
Monotype
Info on how this was made here: www.facebook.com/media/set/…
I think this print came out well and I am satisfied with it. I think it conveys the feeling that there are two people dancing better than the first one - I'm not sure if that's about the registration or the colors.
Nevertheless, there are some technical things I'm still working out and will discuss below - not because solving them would necessarily make this image better but because the more understanding I have the more options I have - and maybe my discoveries will be useful to someone else.
For this print I first inked the whole plate green, then used three hand-cut stencils - one each for pink, red, and purple. The difference between stencil and mask is a little fuzzy - I mean you are always masking something and always letting something through. However, I think of these as stencils because they are each a whole page with holes cut where I want the ink/paint to come through. If it is a shape cut from the page, then I think of it as a mask. OK, sorry I'm rambling tonight but I do like language.
In any event, I already had the gelli plate 'locked' in place on a piece of glass by a thick ridge of tape around it on the glass because otherwise I found it slid around a bit when I was rubbing which wasn't so good for registration. After Shelly's suggestion, I looked around the studio and found something about as thick as the gelli plate, then taped that to the glass next to the plate. Next, I taped the page I was printing to the raised object so I could flip it up and down for prints. This meant the paper and the plate should keep perfect registration.
In the previous print, I laid the stencils on the plate. In this case, I clipped them to the sheet I was printing so I could see on the print that everything was lined up correctly. (paper and stencils are 8.5 X 11 inch card stock, while my plate is 5X7 inches. Therefore, I could easily clip outside the printed area).
So I think registration was pretty good for this one. Nevertheless, many elements are not exactly as I planned, for instance I wanted the purple stripe on the lower part of the right arm, to be the lower part, not for there to be that pink line below it. Again, I'm not saying it isn't fine the way it is, I just like to understand how things work, so I have more options at my fingertips in future.
So here's what I think happened. As I mentioned, my stencils and the sheet I'm printing are both on a fairly heavy cardstock. Because the stencils are therefore a little thick, and the sheet therefore a little inflexible, I think each of the areas getting printed is smaller than I planned because the page is not pressing down all the way to the edge of the cut areas, and this explains the small 'halo' lines around areas that I thought would line up.
So... if I do want exact registration, I think the next things to try are:
- Cut the shapes being printed on top of others a little larger then it seems they need to be.
- Use a more flexible paper to print on
- Use a thinner material for stencils and masks
Well that's my theory, as yet untested - please let me know if anyone has any other ideas.
Gelli botanic monotypes. I love that they approach the look and feeling of old daguerrotypes - but in color.
These were made by ink the plate, pressing the botanical onto the plate and then either lifting the botanical - or not - before printing. The "composites" are two separate prints (foreground/background of same botanical in same position) that were combined digitally.
5 X 7 inches (printed area)
A Gelli plate is a commerically made gelatin-type plate for monoprint/monotyping that makes it very very easy to pull prints without a press. I got one in January of last year and had loads of fun playing with different techniques. You can google for more info on Gelli printing, this link looks pretty good: keetonsonline.wordpress.com/2013/05/16/all-about-gelli-pl...
I started off with Cathy’s suggestion to paint some pages, so I used up some gouache on my palette from a previous session. While I was waiting for them to dry, I started experimenting with the Gelli Plate… I had been wanting to try it with soft pastels and it was quite fun but as a result of experimenting I didn’t finish the day with any finished work.
Gelli plate charcoal transfer monotype.
I did another gel plate print today. This time I tried a charcoal transfer. I did a charcoal drawing on paper, laid it on the plate, and burnished the back with a baren. This transfers the charcoal to the plate. The charcoal sticks to the plate so well that I can paint with acrylic over the top. In the print this becomes the background. I let that dry and then did a final coat of white paint and while it was still wet I put down the printing paper and burnished the back and weighted it down with books and let it dry for several hours. I then carefully pulled back the paper to reveal the image. I’m impressed with how well this works. I really like the look. The neat thing about this method is that the charcoal sticks to the paint and does not smudge. I don’t have to use a spray fixative. The other neat thing is I did the drawing using grape vine charcoal that I made myself in our wood stove. Image is about 8x6 inches (20x15 cm).