Create Successful Image Transfers Using Gelli Printing | Froyle Davies | Skillshare

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Create Successful Image Transfers Using Gelli Printing

teacher avatar Froyle Davies, Mixed Media Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 54m)
    • 1. Introduction

      2:29
    • 2. Materials List

      8:20
    • 3. Preparing Backgrounds

      6:15
    • 4. One Colour Monoprint

      11:20
    • 5. Part 2: One Colour Monoprint

      10:47
    • 6. Two Colour Monoprint

      12:44
    • 7. Part 2: Two Colour Monoprint

      11:34
    • 8. Using Magazine Images

      12:07
    • 9. Part 2: Using Magazine Images

      11:51
    • 10. Trouble Shooting

      4:09
    • 11. The Project

      1:28
    • 12. Bonus Lesson: Putting It All Together

      11:54
    • 13. Finishing Touches

      6:20
    • 14. Thank you & Farewell

      2:42
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About This Class

In this art class, we are going to focus entirely on creating successful image transfers using the Gelli Printing technique.

You will learn the process of image transfer using 3 different techniques.

  • We will start with my favorite and easiest technique, using downloaded laser-printed images on pre-painted backgrounds.

  • Then we will move on to using those same printed images, with a two-colour monoprint.

  • Finally, you will learn how to create successful image transfers using magazine pages. 

This class is suitable for anyone wanting to learn this unique and creative process of mono-printing image transfers.

At the end of the class, you will know how to create a successful image transfer, and as a bonus lesson, I will show you step by step, how to use the image transfer to create a completed collage painting. 

You can find out more of who I am on my website froyleart.com and join me in my private Facebook group - Creative Adventures Making Art

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Bonus Lesson: From The Image Transfer to The Finished Collage Painting.

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Meet Your Teacher

Teacher Profile Image

Froyle Davies

Mixed Media Artist

Teacher

 

Hi, Froyle here, welcome to my studio!

I am a contemporary visual artist, and I have been painting and exhibiting for over 25 years. I am so excited to share my experience and techniques with you. What I love most about mixed media art is the unlimited creative potential. There is so much freedom of expression and an abundance of materials to use, you are truly only limited by your imagination!

Art has the power to transform lives. When you create from the core of who you are and you can say,'Hey I like that', you are affirming your own sense of self, and this can have a positive impact on your view of yourself and the world around you.

I am passionate about giving you an experience of creating art that empowers you to gain greater confide... See full profile

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Transcripts

1. Introduction: Hi Froyo here. Welcome to my studio. I've been painting and exhibiting for over 25 years and all of the types and styles and mediums that I have explored through my arts practice. I find mixed media collage to be my absolute favorite. At the moment, I'm captivated with the jelly printing process. This simple technique is an incredible experimental process of printing that enables you to explore texture and collage, a very easy application. In these art class, we're going to focus entirely on creating successful image transfers using the jelly printing technique. You will learn the process of image transfers with jelly printing using three different techniques. We will start with my favorite and easiest technique using downloaded laser printed images on pre painted backgrounds. Then we will move on to using those same printed images with a two column monitoring. Finally, you will learn how to create successful image transfers using magazine pages. This class is suitable for anyone wanting to learn this process of creating image transfers with jelly printing techniques. Perfect for beginners. I will show you each technique with clear examples exactly how you can create these results at home. At the end of the class, you will know how to make a successful image transfer. And as a bonus lesson, I will take you step-by-step how to use that image transferred to create a completed collage painting. The project is to create your own image transfer and for you to discover which of these Technique suits you best. I can't wait to show you this exciting technique. It's experimental. It creates beautiful Mano prints and you will love the exciting possibilities that the image transfers using jelly printing came create. So let's gather materials and let's make art. 2. Materials List: It's only printing is a very simple process with quick and easy results. And that's what I really love about this creative process. It is highly experimental and open to endless possibilities. Using the jelly plate is a very simple printing process. Now, this is the one I have. You don't have to use this particular brand. This is just the one I bought years ago and I'm still using it now. There are quite a few different gel plates on the market. You can choose for yourself which size and brand you prefer. This is an 8 by 10 inch. I found out find it really easy to use because it's a standard size of copy paper, A4 size also for the prints that works out really well. So that's just what I personally like to use. So you need a job plan. You also need a Bryant's role the paint on. I like to use two braces, one to roll the paint on and then one to push harder when I'm printing something to give it extra contact on the page you don't have to use to embrace, but that's just what I have and I love to do that. You will need some paint. I'm just using very affordable student grade paint that I get from the office stationary. It's a five-minute walk for me, so it's very easy. These are very affordable paints and I have found them perfectly fine to use for both the jelly Prince and the image transfers. There's so many abundant paints you could try. You definitely want to experiment with full body or a more fluid paint. I'm using these ones and I have found needs to be very successful for what I want to do. Now in the image transfer process, the first technique I'm going to show you is using printed images. These images come from unsplash.com. I typed in portrait, and a whole heap of images come up. It's a royalty-free website. You have permission to download to use them for personal or commercial use. The resources are endless. It's absolutely incredible. So make sure you're using royalty-free images, then you won't have a problem later on with someone coming back to cite, you know, it's a copyright issue. You've used my images without permission. I loved the images of Unsplash. There are other royalty free websites you can also try. We are going to do some image transfer with the magazine. I've got this vogue one and the ones that I'm going to use have come in at this particular magazine. You can try different magazines. Just be aware that you don't have the right to use those images if you're going to sell something. So just be a little bit away of copyright issues with the magazine pages. But make sure you explore this technique because it's absolutely fantastic to learn how to do this. Um, you're going to need some papers on using a Chinese rice paper, which is very thin and absorb it and it works really well. I really like using that, but also standard copy Python works fabulously. The gel, flight and printing side that's ASI to and very affordable. You want to definitely have some baby wipes on hand. I also like to have a damn close to what I don't like gear having my fingers sticky all the time and I like having a North claim plight. So I have a damp cloth to want. Also, I'd like to roll off my brain onto paper packaging. I just loved that because it's free and it's an endless results. I also keep the role of paper to use in collage down the track. So think about that. You can use copy paper to roll your brayer off. I just used the brown packaging because it's endless and keeps coming to my house with things that I purchase, which is fabulous. So I keep my roll-off sheet and I use it in collage. That's amazing. We're also going to use some stencils to put some textures on your printed designs. And you can use standard to stencils that you have or you can find other ways to create text justice is a piece of paper, and I absolutely love using this for texture. As you can see, it's got like a reef patent on it. It's just paper. But it makes a fabulous texture when you push that onto the plate. It's one of my favorites. There's also other ways to create textures. I also like the non slip lining that you put on drawers or on shelves stocked thing slipping. It also has a fabulous texture. And as you can see, I like to use that. You just put it on the job light when you're printing something and it makes beautiful lines. So that's the materials that you need for this particular class. You don't have to use exactly what I'm using. Just use what you have. You do need a job play. Absolutely. But if you've got different paints, different magazines, you want to use different images on using portraits for this particular art class because I want to teach you this technique. And if I stay consistent with the subject matter, it just makes it ESEA, but you can use any images. Now these ones are laser print that I got from my local office stationary. I have a five-minute walk to the office stationery shop. So I just go there, I get these printed out for buck and a half. They work really well. You've gotta make sure your images have a strong contrast of light and dark. But I will talk to you more about images as we go along in art class. You definitely want to make sure they're laser print. Don't try using the inkjet printer because I just wild transfer as well. So now that we've got everything ready, make sure you have it all planned out on your table. And everything is within arm's reach. Because once you start putting paint on, enrolling in and creating these prints, you do have to work quite quickly. So you wanna make sure everything is within your reach and you have a nice space to work. I absolutely loved film printing, even just creating the Prince we're going to do the next session is on creating backgrounds, and that's what we're going to do first. And it is so much fun. It's so quick and it produces a result so instantly. I think actually that's what I love so much about it, but also it's highly experimental. So you want to try different paints, different colors, different images, different papers, different textures. There's so much to explore and experiment and try with this particular technique. I absolutely loved that about using the Joe plight and AES also. So versatile and simple. So make sure you have a lot of fun doing this art class. Don't stress out too much. If things don't work, just keep moving along, but don't worry, I will be encouraging youth through eight lesson, taking you step-by-step and helping you to achieve a great successful image, China's faith. So let's move on to the next lesson and I'm very excited to start creating some backgrounds. 3. Preparing Backgrounds: Right, So first of all, we're going to make some backgrounds for our image transfers. Now this psi, many ways to use the jelly plight. It's really not one wise rule the mall truly. There's just an abundance of incredible ideas and experimentation that you can try with your jelly plate printing. You just have to be brave, experimental and be willing to keep trying. So this is one color on the jelly plate that we're going to then print an image transfer onto. Very simple. Anyone can do this. Not very difficult. One color on the plate, put the paper on the plate, pull the paper off so that's beautiful, clear, clean background to then put an image transfer on and this color will work beautifully. Now of course, you don't want to just do one thing. Because there are so many ways to experiment. I personally really like abstract art. So I love to leave shapes on the gel implant that make abstract marks on the ground for my first layers. You may not like this, you might like all of yours completely blended and that's fine too. And you just got to work out what it is that you personally like. I absolutely love abstract, that I loved doing thick chunky paint on my background layers to create abstract marks that look like paintings. But that's me. I'm a little intense and that's how I love to create out. You can do it however way pleases you see how now that's got kind of blotchy colors and shapes on it. I absolutely loved that. That's going to be less background. Okay. So you can also of course put some more texture into your background. I like it stick and textual life that this is just a text Joan piece of paper. Push it on the plate, and it makes a beautiful Mach. Also, this one is a one of those bits of material that you put in on your shelves to stop things from sliding. That makes a pretty good month. 2 I like that. You're really not limited to any one thing that you have to do for your backgrounds. You can get quite experimental. And it can be very liberating. That's pretty nice texture. You can also, of course, these stencils to create texture and your backgrounds. Little that column, That's just beautiful. I love it. So you might want to create some marks with some stencils on your background. Easy way of creating some texture. Look at that. That's just beautiful. That'll make a nice background for an image transfer. So really it's up to you how you want to create your backgrounds with the image transfers, what colors you want to do. Micah, WHO heap a background papers. You can just use a standard copy paper. So I love to have my background stick with paint and shapes and textures, but that's just me. If you don't like that, you don't have to do it like this. You do it how you like like I said, there's not one wise rule them all. I'm using Chinese rice paper, like a really thin watercolor paper. It's very absorbent. Prince. Well, I've used it to print multiple layers and it's been quite successful. You can also of course use plain copy paper. That works really well. So I'm just going to keep making a few different background pages so that I have done something to put the image transposed onto. Make sure you make yourself some. Because the first technique I show you is using pre painted backgrounds. Any column that pleases you that's going to make you happy. You can either blended Orleans or it's nice and clear and clean and blend in. Or you can have little abstract shapes like I like to do. It's really up to you. So make yourself some backgrounds. And then we're going to put some images transfers on them. 4. One Colour Monoprint: When doing an image transfer on the jelly play, I have found the easiest technique for me personally is to print out some image transfers from the coffee shop. I have an office Warehouse, stationary, five-minute walk from my house. So I go over there and I print things out. I usually print TO of any one image. Because if I do a mistake, I've got another chance of getting it right, or if I really love it, I have another opportunity to make another one. These are from unsplash.com. I always use a royalty free website where you have total permission to download the image and use it in your artwork. The Unsplash one, it can be for commercial use or personal use. So our light that freedom. I don't want to create something amazing. Maybe even sell it, and then someone come back to give me a hard time over the royalties of the license of the image. So I just get royalty-free images. But there's an abundance of incredible images on that website. There's also other website, plenty of them. That's just the one that I'm particularly using at the moment. I'm going to do portraits for this particular art class because by stick to one subject, it's just better to show you different techniques with the same subject. Of course, you can use anything for these image transfers, anything you can possibly dream up. Now the thing with your images is that you want strong contrasting images. So there's a lot of strong contrast in the dark and the light patterns of this image, black and white. Easy to see where those strong contrasts are. But also this one, I like the textured pattern of the chain that should print well, something like that's gonna print very defined. So be smart about your choices when you're starting because you want to set yourself up for success. If you create some great image transfers in the beginning, then it'll give you courage to try other techniques. So I'm going to use these images. And first of all, we're going to use our images on pre-paid painted backgrounds. That's just what I've found to be the easiest way of doing this particular technique. So that background's that I painted before. This one was two colors and then I stamped a stencil on that for some textures. That one over painted on something previously stencils. And then there's these other backgrounds with a couple of colors. This one, I really loved those shapes that I've lived in that, or you can just do one color backgrounds as well. Just make sure you've got some ready to go because this is the best way to start with the MBE is transferred first, this is to just use it, put the image straight onto the gel play and then onto a painted background. And I wanted to give you the best possible chance of being successful so that selber getting start and then we're going to move on to other techniques as well. So for this one, I think I might try this image here and see how she looks. And I think I'll put her on maybe this background here. So that is the plan. My greatest challenge with this particular technique of the image transfers is to not use too much paint. That's just what I have struggled with with difficulties of making it work. I'm getting better, But I am a little TV. And that has been a problem. Make sure you pay attention to how much paint you're putting on your jelly client, because you can't have too much, but you need to have enough for it to create the print. And you want it to be as smooth and consistent as possible. Sometimes you do get the prior marks in it, or maybe it is a mono prayed end of the day. It's not going to be exact or perfect. And that's half the beauty of this particular technique. You never quite know what's going to come out, even if all the variables In your fray law. Right? So you put the paint on the job plate, put the image, trace down any given a really good firm rub a little bit of a message. You want to just transfer that image onto the plight, the areas that are light. The paper will absorb the paint so it doesn't show up on the plate. And the areas that are heavy in ink or dad will resist the pint and they will be left on the plight. Well, that's how science goes anyway. Sometimes with colored photos, There's a little bit more. Variable tones and shadings that make it a little trickier. Which is why you don't always quite know what you're gonna get. All right. So let's say how she transferred. That's a pretty nice transferred. Pretty happy with that transfer. I'm just gonna put it straight on the painted background and see if we can get a good print. Lots of ways to do this. And I'm going to show you a few different ways you can try. Again a nice firm route. You can also have Breyer it to make sure it's got as much contact as possible with the Python. Good fam route. And then let's see how she printed. Right, the image on the plate. The pines background. And there we are. Beautiful, one color mono print on a pre painted background. And I think that's pretty nice. I love the texture of the state that she's sitting on. I love that It has her beautiful facial expression printed quite well. It's even got some of the textural marks in a hair that looks good. I think that's a very successful print. I'm pretty happy with that. And that to me is the most simplest way of doing this particular technique. They, I'm going to show you some other ways of doing it. And I really hope you have fun with this. Don't stress out if your first few don't work, you just need to find your groove and how it's going to best suit you. And I'll tell you as we go along the things that I have found problematic. And hopefully you'll create something that you're really happy with. This image here is quite a strong silhouette. So ongoing to put this image onto this texture background and see how that looks. Something like this should look good. We'll see. I'm just using a Payne's gray color. It's a Reeves find out pint. It's a very affordable paint. It came from the office, Warehouse stationary. It's just a student grade paint brained, not expensive at all. And are found that it has worked quite well for transferring images. So you don't have to have any really special paint. I think the quantity is more what you have to pay attention to more than the paint brand. I'm using a Payne's gray because it's dark. But I just like the color more than black. Her Janay, because this is quite a simple image and most of it is a light-colored background. It won't transfer. Just that figure head should transfer on being the dark color. So that's the silhouetted figure there. She looks quite beautiful. There's quite a bit of nice detail there and have face which has transferred really well. So I'll put my text to vet grandiose. Hopefully I can pick up most of that paint. Lot needs to press quite thermally to get those beautiful vine facial features. Like I said, you don't always quite know what you're going to get. Sometimes it just doesn't work for whatever reason, and sometimes it surprises you and it works better than you think. I think that's what I like about the whole process is quite experimental and can be quite fascinating. We guide this beautiful silhouetted profile shots. I think that's really nice. I like that. You can just see here her eye and nose and mouth in the silhouette. And based on that texture background that I did with the stencils, I think that's a really nice print. I'm pretty happy with that. You can see the texture coming through the transfer, which makes it really interesting. It doesn't make it so blocky and color. And this person's really quite beautiful. That's pretty good. 5. Part 2: One Colour Monoprint: Okay, so I've been using pre painted backgrounds with the laser printed images. And they've been working beautifully. Absolutely love some of the ones that have come out. They're great lovemaking. Painting backgrounds. Also, you can use images or prints that don't work the first time. This one was a print with some stencils of some thetas. And he just didn't come out as great as I'd hoped. So I put it aside. Diestrus wrote over it with a color and then used it for a background for this particular image transfer. And I think it's come up some interesting. It's got so much textural marks in the background, and it just looks beautiful. This was the first print I took of the same image transfer and I always get two images printed at the coffee shop when I print them out. So if something doesn't work, I can show eigen, but also if something works amazing and I love it, I love trying again to, so the second one I printed, I use this particular background that hadn't worked for something else. But for these, it just makes, it looks so interesting, so unique. It's a MAN I print, I can't repeat it again in a fit. And I'll probably use this and create a whole collage based on this color and feel and texture. I love this one, so I'm out. So traits that don't work keep them. You can always paint a layer over them and use them as backgrounds for your image transfers. Don't be afraid to retry something. They work really well. You can print on your, on your papers quite a few times. And you can just go to say how you can make something better and achieve more. So now I'm going to try some different titers. I'm going to keep using the laser printers and I'm discouraged. Try some different background pages and say have a print out. That's printed pretty nicely. That's a nice transfer. So I'm going to try it on this pipa, which is just a scrapbook paper from like department store, Cayman or the warehouse or one of those cheap storage areas in the store like with I do the craft areas. I think it came in a pack of papers. It's fairly thin. It's not overly thick. Not as thin as the rice paper I was using. But I just thought I'd have a try with some different papers and see how they print up. The images have been transferring really nicely. So hopefully this paper will absorb all that beautiful time. Here we go. That's a very nice and moody looking image. I liked that. She came up nice. So that's just unlike a quite a thin scrapbooking paper, just foldable craft section of a department store. They come in those big pads. So very cost efficient, very nice effect. It's got these textural marks on the paper and that absorbed the paint quite nicely. The image transferred. Well, pretty happy with that. That's a pretty successful print. I could quite happily put a mask around that and frame it. Or I could stick it on a canvas and create a really nice, beautiful textural collage painting with it. I will have to see what I might turn that into because I actually really liked that. So I'm going to have another go at a different piece of paper. For the background. Ooh, she transferred nicely. Let's hope she prints as well. So I'm going to try it on this piece of paper. It's got a nice patent texture on it. See how she came up? Yes, he's prints it out. Beautiful. Look at that. That's just on very cheap scrapbook paper that came in. One of those being pads has a nice kind of flow rule passing lightly on it. And I think that is just beautiful. Very happy with that and that's very successful print. Facial features, a very defined the dark elements were well and the texture pattern of her top, That's just beautiful. That printed up nice. I could just put a mat board around that and frame that and that just looks beautiful. So this time I'm going to try this image. On this background. This is a little bit thicker. Probably the thickest card stock. Tried. So a Hive works because I'm like, no, it's really disappointing is when you have high hopes for something and it didn't work. And you've raised your image because it's only a monoid brands as well. I always print, when I'm printing out laser printers, I always prefer to. So I can at least have another go at it. Rudderless, see how she goes. Oh, that's a really nice image transfer. Step 1 transferred the image onto the shell plate. We did that. Well, it's a great image transfer. I'm quite surprised really. And how much foliage has come out in back that and her face has printed. Absolutely perfect. I can even see some of the tattoo they on a shoulder. Her top is really textured and printed. Well, I really hope just wakes or wanting to shut up and get it on the pace of PIPA. And otherwise it'll be tinge of RY. Okay, moment of truth. All right. Yeah. Shape printed beautiful on that. So that's quite a thick card stock piece of paper. And that's printed up really beautiful. She looks stunning on there. All that foliage, which is why I went for the blue-green one. And it looks just gorgeous. She's printed up quite CLIA her face is very defined. Her eyes. She's even got that tattoo there and the texture of her tops come through. I'm really happy with that. That is a really successful image transfer. So make sure you have a play with different thicknesses of PIPA. From thin tissue always using Chinese rice paper to copy paper, to scrapbooking paper. And this is quite a thick a cod stock piece of pipe on. All of them have work successful with the image transfers. So this all I have found to be the simplest, most direct and extremely successful way of doing the image transfer is to use a downloaded image habit laser printed the chance rather jelly plate, and then straight onto a painted or different textured paper background. 6. Two Colour Monoprint: Right, So for this next technique, we're going to use the same printed images that we downloaded free from Unsplash. You want to make sure it's a laser print, not your inkjet because you inject will bleed and a boy work well. Now these are the images I have chosen that I'm going to use an experiment. They don't have to be black and white, but they have to have strong contrast because the paint will absorb in the light areas with is less ink and it will repel in the dark areas where there's more ink on the print. So that is what we create a successful image transfer. You can use color images, just make sure, like I said, it has a strong contrast between dark and light times because that's going to work best when you're transferring your image. So I've got quite a selection here that I'm going to try. The first technique, we use these particular images that were downloaded and printed them onto already prepaid backgrounds, which came out very successful. And I'm very happy with that technique. It created fabulous transpose. And I find that the easiest way to do this process is to just print them onto an already prepared background. But, you know, creativity is all about learning and developing and growing. So this next technique, what we're going to use is the same printed images, but we're going to do a two-color print on them on the gel plate. So instead of making the background already, we're just going to use white paper. This is actually a thin Chinese rice paper. And we're going to do the second color on the gel plate as well as the image transfer. One of my biggest challenges in this process is not putting too much paint on the gel plate. I have a tendency to be a little heavy handed. So that is one of my challenges, is to not put too much paint on the gel plate. You've just got to practice and experiment and get used to the feel of your play and the amount of paint that you are putting on to know whether or not you put on too much or too little. Really, it is highly experimental process and don't beat yourself up if it takes you a few goes to actually get something that you're happy with because that's the same for everybody. I'm done. I think I'll try this one. See how she goes. She's got a pretty nods and look about a gut the paint on the image on give it a good rub. Bit of a message. Okay, let's see how she's transferred or USE. That's nice. That's a really nice image transfer. So this is a modern printing technique. You can't use that again. It's one print which makes beautiful, fantastic artworks that are unique. Now, the challenge of this particular technique, doing the two color mode I print, this has to dry. So this image has to drive first, be put before we put the background color. And I'm just giving my Brian white with a baby, why it to make it nice and clean. And then I've got to decide what color I want to try for the background. So you just give it a few minutes to a dry. It has to be dry to the touch. This is my second biggest challenge of this technique, is waiting for it to dry baby dry. What will I use for the background color? I think I might go with something pile because that's a really nice successful transfer there. Make sure you've got your paper ready. Bryozoa clean. I think that's pretty cool. Oops. Nope. Okay, baby dropped it. And it's not quite dry yet and now I've got fingerprints on it. Okay. So hopefully she's dried enough. Now the thing is if you don't wait long enough, you're going to smudge you print because she needs to be dried to put this next layer of the background color. It's highly experimental. This process of money printing, dye, get yourself stressed out. If it takes you a while to get the hang of it. If you first to first lots of Prince don't work. Just keep trying. Keep working on it because you will get the hang of it if you don't give up. I'm trying not to leave Brian marks in it. But math, that's really quite difficult. I'm hoping that that's enough paint on there. Get the print. Is it depends. H day, the weather conditions make a difference to the transfer if it's too hot or if it's not warm enough or this humidity in the air. If you have enough paint or if you have too much paint or not enough paint, It's got a little bit of something there, but you really don't stress yourself out about it. You just got to try again. If it doesn't work. Oops, sorry that the camera shake. You can give it a bit of a Brian. To press it a bit harder if you really want to make sure that the transpose well. Okay, people moment of truth that what do we have? She printed nicely? Yeah, sorry, there we go. Image transfer to column mono print. You want get a perfect print. Because like I said, all those different factors create different responses. It's got a little bit of mock there from the Brian, Brian and rolling it, it doesn't matter, has faces perfect. Even her hands come up really nice. So I'm very happy with this print. I think she's very successful. I'm going to do a few more and just to show you the process again. But this is a two column modern print on the jelly plate with an image transfer using a pre printed downloaded laser print image. And let's see how we turn. My yes, she's pretty nice. That's a pretty nice solids print. We got there. Very nice transfer. So again, we have to wait for that to dry. See how it's quite thick and blocky in there because of the image. This is just one of those linings in a drawer or four said that you can use it to a non slip lining. Think it came out of Drell painted on full. I'm just using it to create a bit of texture on the print before it does actually draw it. Just so it's not so thick and blocky. I think that that would be bene. Well, like I said, it's experimental. There's so many ways to create texture with your jelly plate. You can use special texture plates. You can use so much from around your house. You can eat stencils and white. I've just added touched it with a little bit of drawLine of non slip staff. I don't have to call it to create that texture because that's kind of really fun. Now of course, my hardest part is letting it dry before I put the background color on it. So hopefully she's drawing out, can you see the cool little textures that I put into it by just pushing a liner piece of material onto the plate while the ink was too wet. Think it's dry enough. I know. What Kala will I use for the background this time? I'm not sure I would have Liquitex basics. It's a Bronx. Oop, says, let's give the bronze and try and see how it governs. It's always feels a little scary when you cover enough, you print, especially when it has transferred. Well, hope you work. That's why I've found using the pre painted backgrounds a lot less stressful to begin with. It's a really good way to stop because this takes a little bit more courage to cover your beautiful transfer with Pipe. No way when it's dried enough. So doing the pre painted backgrounds is a fantastic way to start this process. Because you've just gotta get then the image on the plant and then you can put it onto the background. This is the second step when we've built up a little bit more courage to do the second color on the flight. Say, Has she guys that a little bit of Brahms backgrounds. And we'll say how she came out that word, but just keep going. Let's say whose came out nice? That's a nice printed just caught there on the edge. Must have still been a little bit damp. The on the edge it's caught. As I've pulled. It, could possibly be a little bit more careful. But that's a really nice image transfer. I'm happy with that. I would use that in a collage quite happily. Now you can see the texture that I pushed into it with that little bit of fabric just to break ups because I didn't want that blocks solid pike around her. So I just pushed a little bit of fabric into what just to break that up. And I really like that. That's a really inexpensive way of creating texture on new place. And that's a pretty nice spring. 7. Part 2: Two Colour Monoprint: Column when I print, just requires a little bit more paint. And I like the pi's on this particular image. Strong, undetermined. Yeah. The info transferred beautiful. Now I'm just heard and I stuff it up with my light for it to dry. Image is transferred beautifully. So what do I wanna do? I ran pretty soul. She's looking a bit red. A little bit some copper 0, that'd be nice. Look at a metallic coffee. Yeah. What about maybe some, at least in the bottom. They see is it's come up quite beautiful. Strong, independent woman. Yeah. So in this one, because it's got so much docs vice around the image. I'm going to have a little play with some texture. Face transferred beautifying. So this is a texture plate. That's what it's called. I can't remember where I got it from because I've had it for so long. And I'm just going to push that texture into the width, height. Oh, I like that. That looks great. The last movie that with my fingers. But besides that finding that's come up good choice to metallic copper. Funny how it was. Choose these images such as K, When you say you tiny bit more warmth, I'd say Has he came out. Colors pretty known as she printed well, not too bad. Not too bad. It looks, it looks like an Egyptian goddess with a knit pace like that color. That was the iridescent coppa. And then because I wanted to make it a bit warmer, I put a bit of the Alizarin criticism that looks pretty nice like that color. I like her attitude is got a few crinkled marks, but that is what you get with an image transferred. Never going to be perfect. And that's what makes it a beautiful modern print. And can't repeat it. You can't get at the site ever again. And that's the beauty of this particular artwork. So this time I'm going to try printing. It's one of my laser printed portraits. And I'm going to try putting it on a different background. Like what about an old music shape and be cool. See, that's what I love about the printed laser printed images that come up shop, they print, well, I'm happy with that transfer. So I'm going to let her dry and then I'm going to try putting some transparent mixing white and putting her on this page. To summarize. I've got an idea to try some transparent. It's transparent mixing white Liquitex because it didn't transfer the image. But it should be transparent enough to still see the background that I put it on. So I want to put it on the music nights, and I want the music notes to be there in the background, but I don't want them to overpower the figure. So this was my idea. Let's hit all of the other ideas that I managed to dry. It might not work well. This is my theory that it will be transparent enough to still see the music notes, but allowing the figure to be predominant. Hi, Let's see how my idea wet. So what do we think? I like that? Yeah. That's why the transparent mixing white is that one. So you put it on to pull the print onto your page and it's transparent enough that you can still see a background. So you can see the difference between that color and that color. But it just knocks it back a bit so that your images on top. I really like that. She looks great. Yeah, that's gone with dignity and something to the c. Cosine didn't even realize that vintage music page from the thrift shop. Of course, I use them a lot in my collages. But this is, this has worked successfully. This was an image that I downloaded from unsplash prayed road afraid. Got it printed at my local stationary supply shop. Just onto a color laser printer. And there you go. I find this process far more successful than the magazines. Just so you know. I find the magazine image transverse incredibly frustrating because they're very hidden myths when that work, that great, but the amount of Mrs. just oh my gosh, frustrates me. I like where there's far more chance of your image transfer being successful using an actual laser printed image that you specifically chosen because of the strong contrast and the way she's posed and everything else. Far more successful. So then getting the image transfer onto the plight isn't so painful. It works. Pretty sure I think it's worked for me every time. The background, Danny's way you want to experiment. Sometimes my backgrounds have been too rough or too strong in color and they haven't been as successful. This is fun. Using the music notes, that's really fun, that's works well. And I'm really happy with that. That's very successful brand. 8. Using Magazine Images: All right, so I'm going to try a black and white image out of the magazine. Oh, and you'll see how this black and white image guys, I've found great success with the black and white images that are printed out. The print Santa, copy Santa. They've worked out really well. So I want to see if this magazine pays works out as good as the ones that have printed it out. Is the question. So that's the image. Mom for. I'm not sure how the gray times will go if they're strong enough, contrast or not, sorry if it's going to manipulate the pipeline we wanted to. So I would just have to say, I know the ones that I've chosen to print out from the center have worked exceptionally well. That's transferred. Not too bad. Not overly strong, but not too bad. I think. If I put the paint on and pick that up to print, then it could be really interesting, quite delicate, which would be nice to see how it goes. Right? So a higher she prints up well, because it looks nice on the plight. Packaging even a point. Anything can go wrong. Just the extra reassurance and pressure. Giving it the best possible John's of success. Let's say what we've got. Quite a delicate print. So this is a magazine page with just one color back ground. Quantum, nice delicate print. I think it's, yeah, I think that's, I think that's quite successful. Strike from the magazine onto the jelly, plain jelly plate onto the paper. The one-color background. Simple price, this very experimental. But when it works, it's deeply satisfying. Going to try this magazine page. And I might just add a little bit of purple to the mix and see if the colors make a difference. Long as it doesn't have to latch on the gel plate. That's pretty nice. Just going to use a piece of ordinary copy paper straight off the freezer. That's a pretty nice yeah, that looks pretty good. I think that's a successful print from the magazine. I think I'm getting better at this experiments. A mole sign magazine. I'm going to try this image and see how she pulls. There's a good amount of contrast that she's pulled quite well for image transfer, quite good on my white for a few minutes for that to dry and then put a colored background either hand and do a second column on. I might try not. So I'm going to try adding a little bit of paint here. Try not to read and write out directly. I just had a thought that I must try try not to use too much paint and try not to recur. That's the try. I'm just going to rip some text and put in some text along the side there. That could be fun. Doesn't matter what it says. It doesn't actually have to say anything or even be up there. Hi. This is just the idea that I'm trying. May or may not work. But we're going to try, right. All right. Let's see what that did. That put a little bit of text on there. Those with trying to say is a bit more text on that side that kind of worked better. That proved that one probably didn't have enough paint on it. I was what's right. That's good. A little bit of text there. Well, that transferred quite nicely. There we go. So you can see on this side where I put the last minute idea of the text. Faces turned out nice for it. You can see her shape. She transferred quite well visually for a magazine page, I think she come up quite good. I'm going to try this one and see how we go. I find the magazine pages to be a little trickier than the printed images center. I don't know whether it's the image or the paper or the print quality. I don't know if I find the ones that printed images from the coffee sense to just be more successful more often. So just know that if you're having trouble with magazine pages yes. Me to travel with them as well. I'm not sure if it's the ink, the magazine, or what. Thin coating of paint is absolutely vital. Good contact, and hope for the best. Now as transfer, I'll let that dry and see how she prints. Just thought I might try adding a little bit of stencil around her for a bit of extra texture. That looks pretty cool. I'll leave that to dry. I'm going to trace. There we go. Nice. So that's a three column monotremes with a magazine page. I think that's very successful. Little grungy, kinda like grungy. But the stencils worked well. The image transfers come up nice and I like the whole grungy feel. I think it suits her pose and her attitude. So I think that's pretty successful. I'm happy with that. Why? 9. Part 2: Using Magazine Images: So I'm going to try this image. He just pulled this out of the sign. Values magazine. At the moment, it seems to be working for me, so I'm going to have another go at a different image. See, sometimes it does take a little bit to get into the swing of things. And if you have trouble getting your images to work, just don't give up. Keep trying. Try and vary the amount of tight you're putting on. Z can even vary the magazines. Well said the temperature of the diet methods. If it's too warm, it can dry too quickly on the plates and not transfer. If it's too cold, it doesn't draw on the plane. And then you say Come layer gets a little smudgy. So there are lot of elements that can be contradictory to what you're trying to achieve. So just realize that you do have to be experimental. You have to try and being persistent if you want to achieve a successful image transfer. So she has transferred very nicely. I'm very happy with that transfer. She looks great. I'm going to let her dry and then I think I'm not try putting an extra layer on this one because, you know, it can only not work, right? So I waited a few moments for this first layer to dry. And then I'm going to try putting another layer on it before I pull the final print. So I'm going to put a little bit of stencils. This'll be fun to see how this looks. That looks kind of interesting. She wasn't totally dry enough because some of the image off. But a kind of like this. I like this look. So that's the thing that you got to do. You just want to experiment, taking this line off here because that's a bit harsh. Just having a little fetal. Mind that all right. So I'm going to wait for that to dry, to pull the funnel print. Right? Hopefully that's dry enough. We know I'm not very patient that way to some beautiful bronze here. We'll use that for the final print. Okay. Now I'm in a tree. Hey, she turned out rather nice. Tiny little. Didn't they? Actually think, and I've got something stuck on my plate. But that's a pretty nice prints. I like that. So that's the image transfer within a state. So put on and then a final poll column. I'm liking that. I think we're going to have to play some more with this. I really liked the way that looks. I'm the jelly playing. I think it just has such a beautiful text until it said because this transfer is small, just thought on China's idea. She's got a really beautiful face. She comes up, well, hi, Yeah. That's pretty nice. It's crooked. Besides my crooked. Beautiful faces come up with the bronze. The bronze of Liquitex basics bronze. That's pretty nice color. That came up really nice with the trait from the magazine. And then they stent so wiping out the pipe. So it's a negative print. And then with the bronze looks pretty nice. This time. Instead of doing the two color monitor, right? I think I'll try and see if I can get the magazine page to print onto different PIPA. It's what? Well, on the Ross paper that I've been using, I'm like, I wonder what else print on. That's quite a nice clean image transfer. And I'm going to try printing it onto these scrapbooking paper. And say how that creates up. Wanted to get it on straightaway onto the pipa so that paint's still nice and wet so it transfers well, the image on the joke light was looking pretty good. Magazines pages and never client and the host enzymes. You think you've got it. And then it doesn't have a quiet celebrate until we lift the page. Here we go, the moment of truth. Well, they he guide, that's rather interesting. If face kinda ended up in the texture of the paper. But I could really do something with that as far as I could put some, most stencils on this side that mimic that kind of shape. That would look really cool. If I do that, I'll have to show you, of course, because I think I have yeah, I reckon I could possibly do that. And it printed all right onto the scrapbooking Python. It was not overly think it's not a thick card stock. It's just a really affordable book of pages of papers that you get into department stores. Quite shape. Printed out quite well. Yeah, that's okay. 10. Trouble Shooting: There will be a few reasons why your image transfers are not as successful as you would like. My biggest problem is too much paint. I am notorious for putting too much paint on the jelly plate, and this really doesn't serve me very well. The image would just not pregnancy. Also, if you leave the image too long before printing it, the paint will dry on the plate and then it won't transfer. Of course, you can fix this by adding another layer of paint, but it can have a very disappointing result. The other problem that I tend to have is not waiting for the first layer to dry before I do the second layer in a two-column MammaPrint. To create a successful to color Monoprix, you really must wait for the first color to dry before adding the second layer. Also, personally, I've found that magazine images are a lot harder to transfer the laser printers. They can be many more variables and problems with his technique. It can be the temperature of the day. It can be either too wet or too dry. It could be the magazine itself, the type of print, the paints you're using, and the image from the magazine can be particularly difficult when trying to create the transfer process. You have to make sure you have a glossy magazine. And some magazines will work a lot better than others. Giving yourself grace can mess up and allow yourself to experiment. You can't be afraid of things failing. You can always rewrite over prints that aren't successful, and you can use them for backgrounds to try again with another image transfer. Often that myself, many times. It can take a little while to know how much paint to use and which images are going to work best. You don't have an image with enough contrast, it won't transfer very well. You need images that have strong contrast. They don't all have to be black and white images, but the colored ones must have a good variation of light and dark areas so that the printing process can work well. For these particular image transfers that I've been using in this class, I've pulled my images from a Vogue magazine and that's worked quite well. I know that some other magazines are a little more hidden nice in how the page is transferred. But don't let that discourage you is highly experimental and this process does require some practice. Some patients and some perseverance. Allow yourself the freedom to experiment knowing that this is a creative process. And soon you'll get the hang of it and become as obsessed as I am. It's creative application. The image transmitters can create incredible mono prints that you can never reproduce again. And that can make for beautiful artwork. You just have to have patients and give yourself time to really come to understand this particular application. Don't throw anything away. You can use everything, especially in collage. You can paint over your own successful prints or you can use them as backgrounds and you can print on them again. I have many successful job spreads that have had two or three applications of paint. And they create such beautiful modern prints that you can never create again. And the layers of paint just add more and more interests to the texture. So don't give up and keep trying. And I know that you'll be able to achieve beautiful successful image transfer. 11. The Project: So how did you go? Show me your favorite image transfers in the project section because I'd love to see what you've created. Here are some of my favorite image transfers. I personally like the laser prints because I can specifically choose the image. I've just used portraits with this art class. But of course you can use any image as long as it has a good, strong contrast. Do you like the laser priests or do you like the magazine pages? Have you had success with Magazine image transfer is I'd loved to say, I find them a little hit and miss. The miss. Part of it really frustrates me. I think maybe that's why I put also prefer the laser printed images. I have found the laser printed images to be far more successful consistently. And the only problems I've really had with the laser printed designs is putting them onto backgrounds that are too textured or too dark that have overwhelmed the actual image. Other than that, I've found them to be very successful. Next, I'm going to show you my process from start to finish of how to use your image transfer in a beautiful collage painting. I hope you enjoyed this demonstration. I absolutely love this process and I'm really enjoying sharing this with you. 12. Bonus Lesson: Putting It All Together: Okay, So I'm really happy with quite a few of my image transfers. And I've decided that I'm going to use this particular one for a mixed media class. So I have some paints to use. I'm going to use met Joel medium for the adhesive, all heavy gel or PBA, depending on the thickness of the paper I want to use. I also have some beautiful jelly prints here. These are all jelly prints. I also have some other textured papers that are pulled out of my box. I in my studio in the right color tones that I might put into the collage as well. This, this one. He is actually a painted papers Hale. I absolutely love using leftover paints and I put them onto paper tails to use them in class. And I think these colors work beautiful with this particular image transfer. I'm also loving these, these textual paper that might work really well. Then there these other jelly prints that I have printed before and now I've got leftover pieces from this one by obviously printed this jelly print when I created the background for this one because that's in the same times and it's got the same backgrounds dead. So, so I'm definitely going to put that one in it. I also like this one here with this stencil. I really like that as well. There's so many that I've got that I like I think my hardest problem is going to be deciding on which ones to put in because my canvas is not that big. So it's a 30 by 30 centimeter Canvas. And I'm going to use that for this class. And my hardest part is going to be decide which of all these beautiful elements I'm going to put with this gorgeous image transfer. I'm going to go step-by-step through this process of how I would approach this particular project. Because I want to inspire you to use your beautiful image transfers and turn them into collages. So I'm going to show you how I would approach this, what I'm going to use and how I would make this happen. My first decision is going to be where am I going to put the image transfer? Am I going to have it right in the middle? Or do I want it off to one side? I usually prefer to put my images off to one side, but this is not a very big canvas and she's tends to dominate the space. So maybe I'll put her rod in the middle. I like the way this jelly print is the same colors and stent source. So I'm going to wrap that RAM size. I like putting the color, continuing the colors round the side. When I'm doing a collage, I think it looks really good. So I think I might put for in that position There's only slightly to one side. And then I'm going to put this print around that side. I like that idea. I like the way it continues at color. And then I think I might put some of this print at the bottom here because that would be really nice. So I think I'll do the sides first with these, that print there. And this print here. Put that ran the side. I guess. I'll stop with that. We're going to use some met gel to add my image transfer because it is just on rice paper so it's quite thin. Sometimes it can be helpful to use at all credit card or give can't flatten your pipe is damped. He gets all the air bubbles out. I've got so many beautiful papers. The hardest part is deciding which ones to use. So it's quite intuitive approach to collage what I'm doing, I'm just putting each color or shape or paper onto the canvas. And then deciding from day which one I'm going to use next. If it doesn't work or put something over it, or I can change it, or I can add something to it. So I'm not too worried at this stage exactly how it's looking because I know as I develop a loan, the colors will change. I'm just going to make choices and put papers on the collage. And then if I don't like them down the track, then I can change them. With collage. Things can change very easily. And if you don't like something or you change your mind on something, then you can rearrange things as you go along. You just have to keep moving. Already loved this color that's beautiful there. But as I go along, I might change my mind about that and put something else there instead. It's o part of the creative process. All of my pipe is have been jelly prints. Love this particular technique. So versatile and so creative. So the question is, do I want to continue that color down to the end, or do I want to change it up with something else? And so he's good, coming along nicely. So the next tough decision is what left and up. I'm really liking this chunky piece of paper towel. Love using paper towel for collage is one's quite thick. Clearly I had a lot of leftovers. So I don't mind this army, the colors definitely work. It's just a matter of getting the shape right of a piece there are this pace might work better. I could stick that right there. And then my think, I could add some of these onto this edge. I could add that nice torn edge there. There. See it's quite soft and easy to manipulate the tissue. Although vein thick, I think I'll have to use the PVA glue, stick it down. You then cowork. Do that. Breath that random size. I'll give that a go. What I like to do when I'm gluing, I don't like my workspace thick and sticky with. I often get a jump myo Russia and use that to glue pieces on. Then I can move it again in my workspace is nice and clean. I'm using PVA with this particular paper because it's a lot thicker and we'll need that extra reinforcement of a thesis. Then when you BlueJ a piece on, you can move the sticky junk mail and your workspace is still nice and clean. Yes. So what's next? I'm loving this pace. It looks fabulous. With color works well, the texture looks great. So what am I gonna do next? I've got so many options, so many beautiful pieces of paper and jelly prints. And I'm like a net and that's pretty nice. I could put that day like that, that was my key. Happy. So what to do next is the question. 13. Finishing Touches: So what to do next is the question. I'm liking this paper underneath that was the background for the image transfer with this dead souls of the Fed is on it. So I'm thinking then I might perhaps put a stent so of one of these fingers onto the front of the canvas that I don't know if it's going to work or not, but I can paint over it or wipe it off if it doesn't. So that's what I'm going to try next. I'm going to try putting a fittest stencil onto the canvas because I really liked the way it looks in the background papers. Now if you try something and it doesn't work, you can just take it off. You can wipe it off or you can call us another piece of paper over it. So you do have to try your ideas. And not all of your ideas will be as successful as you thought they might be. You've got to at least have the courage to try, right? How does that look? That'll come up more bronchi as it dried. I put some liquid six bronze with some heavy gel gloss because I wanted my states ought to be a little bit thicker so that it would pop up and stand out and be more fate chump. Sorry, that's what I did to make that such a nice, strong, crispy image which I'm liking really well, I think that'll be fine. The kalos beautiful, the shite words. Well, the stent so has come through perfect. So, you know, you're going to be happy with that. Now, I do need to fix this edge here. I need to fix that edge. So I think I'll do that next. Why that's drawing because otherwise I'm likely to stick my mom in it. And that has happened before. So I'm doing this edge. I got some, another piece of this background jelly print. Then I think would look great. Actually, that's the same fear, the stencil as what I've just put on top there. Consistencies key. Actually, this is what the inspiration was that started this pace. I just loved this and used it for the background of the image transfer. So tame him with a theme here, people. Anyway, I'll put this pace on this side. I think go a rapid ran from day out because it's continuing via which looks really good. I'm really liking this denser line D. I'm thinking I might add some shapes to this side. Just stay like that. Could be a bit risky. But I'm going to give it a try. Today. I think it looks really good. I'm very happy with this class. Now I think I might be finished, so I just need to stop and have a little look. And now I've got a tunnel beautiful pipe is, but really, it's a not a very big size canvas and we don't want to and do it. Well, I'm pretty happy with this. The sides look beautiful. Image transfer came out well, the collage has come together really nicely. The stencils are successful, are really don't think there's anything else I could add to this that would contribute to it without overwhelming what's already here. So I'm going to leave it now like this. I'm very happy with it. I think it's beautiful. And I really hope you've been inspired by watching this collage come together so that you can use your image transfers in your own collage. And I would love to say what you do. So I'm going to let this dry and I'm really happy with how it's come up. 14. Thank you & Farewell: Thank you for joining me in my studio. I'm really hope you've enjoyed learning that the image transfer process with jelly printing techniques, I think they make such incredible Mano prints, so unique and beautiful. It really is worth the effort for you to keep experimenting and developing this creative process. It really does come back to a little bit of practice to know your materials, particularly how much paint to use. I always get that wrong. You can't use to being played and work out what you personally like the best. Do you like the layered prints? Do you like adding the stencils? Did you like that idea? And what particular textures can you find around your home to add to those designs? I would love to see what you've created. So put something in the project section and show me your favorite image chance votes. I'd also love to see what particular downloaded images you would choose and how you would use them in your own collage design. The resources really are endless when you can use royalty free websites. I'd like to try some architectural shots or some bridges, awesome doors. They would be really called also as an image transfer. Maybe in another workshop. Let me know if you have any questions. If you're really stuck on something gets not working for you, reach out and I'll try and help you to see if you can get a better result. Sometimes it can simply be the paper you're using or the magazine you're trying, or even just the way you're applying your paint. So you can contact me directly and I can help you solve those problems so that you're creating successful image transfers. You can also check out my other classes here on Skillshare. I have another workshop on Jelly printing where I start at the basics and go through a whole range of different techniques and applications with the mono printing technique, I absolutely loved this process as you can tell. So have a look at my other classes and join me again in the studio. You can also find out more of who I am on my website and you can join my private Facebook group where you can show me more of your artwork and learn more of my secret techniques. I would love to have you join my art class again. All the best for your creative pursuits.