Creating Abstract Landscapes With Gelli Printing and Collage | Froyle Davies | Skillshare

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Creating Abstract Landscapes With Gelli Printing and Collage

teacher avatar Froyle Davies, Mixed Media Artist

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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 52m)
    • 1. Introduction

      4:43
    • 2. Material List

      8:30
    • 3. Preparing Backgrounds

      4:37
    • 4. Creating Painterly Effects

      10:14
    • 5. Making Interesting Texture

      7:13
    • 6. So Many Stencils Ideas

      12:56
    • 7. It's All About The Trees

      8:13
    • 8. Creating Great Shapes

      8:52
    • 9. From The Aerial View

      6:34
    • 10. The Misty Mountains

      10:43
    • 11. Bonus Lesson: The Beauty Of Collage

      12:35
    • 12. Part 2: Continuing The Journey

      9:43
    • 13. Part 3: Finishing The Masterpiece

      5:31
    • 14. Thank You & Farewell

      1:35
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About This Class

In this art class, we are going to create a beautiful abstract landscape mono print and during this process you will enjoy learning many different techniques for creating texture. The Gelli printing technique is a fun and easy application that can achieve great results fast! That's one of the reason why I love it so much!

You will first learn how to print simple backgrounds, then we will explore with painting directly onto the gel plate. You will gain courage by experimenting with ordinary items from around your house to create texture, and then I will show you the possibilities of using stencils.

We will create shapes with overlay techniques and then we will use different images to gain inspiring perspectives. As you experience these simple printing techniques, you will be amazed at how easily you can gain the confidence to create an abstract landscape that will be ready to frame.

Of course, I just had to add a bonus lesson! We will use parts of our prints to create a mixed media collage and I can’t wait to show you this fabulous technique.

After finishing this art class you will know how to use the Gelli plate to create unique prints and how to use those prints to create beautiful collages. You can create artworks in an art journal, on paper or even make a finished collage on canvas. You will have the skills to continue your creative development and I really hope that you do. You can make beautiful artworks as gifts for your friends & family or you could even sell your art. 

This art class is not just about creating techniques, it's about allowing yourself the freedom to really explore your creativity in a fun & friendly environment. Making art and allowing yourself the freedom to express your creativity from the core of who you are, can be liberating and affirming to your sense of self.

I would love to see what you create, so please post a photo in the project section, of your favourite print, your finished collage, or even a photo of the most interesting texture you found to print with.

Join me in my studio and let’s make art!

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

Make sure you check out my other classes for developing your creativity, especially if you love the Gelli printing application View My Profile

Meet Your Teacher

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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 Ferroni here. Welcome to my studio. I've been painting and exhibiting for over 25 years. I absolutely love creating art. It's the sheep pleasure and adrenaline. I'm seeing something form out of nothing. It's that energy that inspires me and drives me to create. I'm most passionate about color and texture, which is wide. I love mixed media application. It's all about the layers. And jelly printing is one of the most creative forms of making art. You don't know what a jelly plate is. I'll give you a hint. You can eat it. This is not it. The jelly play is the soft gelatin like printing surface used to create Mano prints which are unique one of a kind, artworks. And we are going to create an abstract landscape using a number of exciting techniques. Jelly printing is a very accessible form of art-making. Anyone can achieve great results with this fabulous thing. You don't have to be an artist. This class is perfect for beginners. You just have to be a little courageous, definitely adventurous, and allow yourself the freedom to explore. When you allow yourself the freedom to create. And you can make out from the core of who you are as a person, it validates your sense of self. And I feel that everybody needs this kind of freedom and beauty and application in your life to really explore and understand who you are as a person. Because our encourages your sense of identity. So it's not just about creating techniques, It's about allowing yourself the freedom to really explore your creativity in a fun and friendly environment. You can't get this wrong. So if you want to develop your creativity using the pipe paper and textural applications in this class is for you. I would take you through every technique step-by-step, showing you exactly what to use and how to use it. You're going to love this. It's so much fun. And at the end of the class you're going to be amazed at the beautiful artwork that you can produce. You will first learn how to create simple background and techniques. Then we will explore painting on the genome plane, you will gain courage by experimenting with ordinary items from around your house to create texture. And then I will show you the possibilities of using state source. We will create these shapes with simple overlay techniques, and then we will use different images to gain inspiring perspectives. You allow this, It's so much fun. There's so many great techniques to learn. As you experienced the simple printing techniques, you will be amazed at how easy it is to create a beautiful abstract landscape that will be ready to frame. Of course, I just had to add a bonus lesson. I absolutely loved colors and we will use parts of our fruits to create a beautiful mixed media class. And I can't wait to show you this fabulous technique. After finishing this class, you will know how to use the jelly plate to create beautiful and unique traits and then had a tape those proofs and put them together into a fabulous Mix Media colors. You can create artworks either in an art journal or on paper, or even on a canvas that you can finish and hang on the wall. Absolutely fabulous. You can create artworks for yourself, for your friends, with your family. You can give your artworks away as gifts or even sell them. These techniques that I'm showing you in this class, you'll be able to repeat and expand as you gain confidence and develop your creativity using the jelly printing process. Jelly printing is so endless the possibilities. And what I love about it in his immediate results, I absolutely loved the gratification of being able to see your print immediately take form. So deeply satisfying, right? So let's gather our material. Let's get messy, and let's make that. 2. Material List: So here are the materials that we're going to be using. Now. You don't have to use exactly what I use. You can use what ever you have. So don't be stressed out about trying to get exactly what I've got here. You don't have to. If you want to know exactly the colors that I'm using or the materials or mediums. I will have a full material list in your resource section. So if you want to purchase the same colors, you are able to. Now the most important part is your gel, like this is my job. It's absolutely fabulous. I love it so much because I'm totally obsessed with jelly printing. I think it's an incredible invention truly. I've had this job plate six or seven years. This is the brand that it is. It's a jelly apps Joan printing plate. You don't have to use this brand. Isn't couple of other brands on the market? This is the first one I bought. It's the only one I have an I just love it. It gets a lot of use. Of course. This will be the most expensive part of your kit, but it's well worth the investment because like I said, I've had mine six or seven years and I absolutely loved it. I loved the whole process. I think it's such an incredible way of creating and doing different techniques because some possibilities are endless. So get yourself a really good job play. One of the decent brands minds, a 10 by 10 by 8. There's a few different sizes. There's all sorts of different shapes now compared to like six or seven years ago, there was really quite limiting now this huge variety. So you might want to look at all those different sizes and shapes. You will need a Brian. This is the one I have. It's a speed people, Brian. It really doesn't matter to me what brands are. I like this size because you can get a good coverage. I also like to use a second Brian. Sometimes I like to roll onto small parts or I like to roll the paint on with one and then firm over the paper was another. You don't have to have to breath. That's just what I have I loved. Whereas now you'll paint on using optimally acrylic pipe for this class, the brand doesn't really matter when you just want to find colors that you are really happy to work with. I'm using a selection of blues is a Payne's gray and then as cobalt blue in the raised pipe. These are very affordable pipe brand that I get from office stationary. Like the warehouse, the Italian brand. Also, I'm using a few of the PESTEL colors, pretty nice when mixing them together. And then there's also Liquitex. This is the Liquitex artists rides. There's also and Liquitex basics. The basics. There's nothing wrong with the basics that absolutely fabulous. I use them a lot, especially for Joe printing. Because you don't want to stress out about using up your expensive pipes when you're experimenting and testing ideas, I'll put a full list of the colors that I'm using for the whole class and which section of the class I used them so that it helps you. Paper is the next thing that's important. You can use, of course, standard copy paper, which I used for printing all the time. Then I loved to use watercolor paper in different thicknesses. Cards, doc or kraft papers really good to work on. Also, one of my favorites is rice favorites. This is a Chinese rice paper and you'll see me use this a lot because I have a fabulous big pad of rice paper. I bought it from a Chinese store online. Pretty inexpensive lays fabulous or so. I like to use music paper or music notation paper. Pretty much anything in the paper variety that you want to use will work really well. Also, another one of my favorites is white tissue. I love using what tissue for job prints. It posed off all of the paint, especially for a ghost print. Also because it becomes quite transparent when your collage it, it just makes another layer on top of your mixed media which looks absolutely stunning, fabulous, love white tissue. I use a lot of recycled what tissue? Cause I happened to buy a few things online and it comes wrapped tightly excited about using recycled tissue. Also Econ by INO tissue sheets from the dollar store very easily. I think this is a path from the dollar store, not a problem at all through the class, we're going to use some stencils. So whatever you have, you'll be able to use. You can purchase stencils quite inexpensively. I have bought stencils from my local store. I bought them online. I've gotten from Chinese websites, from American websites, like get them all over the place because I absolutely love using stencils, but use whatever you have. First of all, if you don't have any at all, Have a look random local area, you might find some really cheap. Like in the big department stores. The warehouse has 10 sold off a stationary as stencils. And then if you want to get more adventurous, type in by stencils on, in Google, and you'll have 10 thousand hits to be completely overwhelmed and loves dead souls are ethnic or one of my favorite things will also be creating some texture. You don't need fancy pants texture. But if you have them, fabulous, this is a texture plate. I love it. I can't remember where I got it from. It was so long ago, but I'll show you in one of the classes will be using draw liners, bubble wrap, textured paper. They all make fabulous texture plates. So have a look around your house and see what you can find that it can create beautiful marks on your job. Like just remember, don't use anything was sharp edges to it or dig into your plight and it'll leave a date that you won't be able to get out and you'll cry forever. Seasons where you want a brush and a pay per flight for the matte medium. When we get to our bonus lesson, to show you that, but we've ancient them lessons. I will show you what we're using an exactly how to use it. So don't worry, nine feet and no stress. Jelly printing isn't the most beautiful way to create artworks without stressing, without fear and allowing yourself to truly create from just the experience and the pleasure of the colors and textures. They love it. And I truly hope you really enjoy this AP class. Young thing in a materialist will be inspiration. Now, I'm using a collection of images that I sourced from unsplash.com. I absolutely love this particular website. It's royalty free. You can use the images, which is amazing to me because the resources are endless. I didn't have to use these photos or images or inspiration. If you don't want to, you can create your own. You can go to other websites and fine and the images really. So endless what you can access online for free. It's incredible. It just amazes me. Anyway, I've got a selection of beautiful landscape images that I'm going to be using for inspiration. We use the inspiration to bounce from so that it gets out creative energies flowing to create our prints. So I'll put these in the results section, but if you don't want to use them, don't stress out you don't have to. You can source your own images. This is going to be so much fun. I just can't wait to get into the printing. 3. Preparing Backgrounds: Right thing. Now you've got some your selection of pints, you've got a selection of papers, you've got your brain's ready, your gel plight, and you're ready to go. Now the first thing we wanna do is create some backgrounds. This is a fabulous way to both warm yourself up and warm your plate. Because sometimes it takes a little bit to get into the swing of printing. So you want to give yourself the best possible chance of success and start with some backgrounds. Now we want to have some basic solid color backgrounds because then we're going to do multiple layers. And we're going to add all sorts of different textures and shapes to the background. So you want to just print off quite simply some solid colored backgrounds that we can then put multiple layers on. Now, you can do one color backgrounds like this. You can do multiple colored backgrounds like this one. I've added a couple more onto the gel play. You can blend that in so that all of the colors mix. Or you can leave your colors more abstract with shapes on your plate. It's entirely up to you how you want to create your breath grounds. There's so many ways that you can create beautiful colors and textures with the gel printing technique. I think that's why I just love it so much. It's so versatile, It's so experimental, and it creates immediate results, which Hello? We all love Emilia results. So this one, I didn't mix the colors entirely and I like the abstract shapes that it's leaving on my background that will add more texture to the layers. You want to give yourself a good selection of colors, both light colors and more mid-tone colors, so that you've got two more to work with later on. At the moment, I'm just using some full body acrylic with different brands because this is what I've got in my studio. I'm not too worried about what the brands. I'd just like to use. Anything that's water-based acrylic. And especially if I like the colors, you once you're definitely give yourself a whole heap of background papers. So that when you've got a lot to choose from and a lot to work with as we create the different layers for your abstract landscape. You also want to use some of your other textured papers. I've got some music paper here, sheet music. You can also play with some text. Put some solid background colors over a few different variety of papers. You want to keep creating until your studio space is covered in prints. Now if you start with a lighter background, we can put DACA light is on it as we go through the process, but it really is good to have a variety. So you want to have some mid-range colors and also even a few darker prints. Because we can do some fabulous effects on top. Keep everything. Don't be stressed out if something didn't work the way you want or you put your paint on and it was all old and a cause problems. Or you didn't like the color or it didn't print, Hey, you wanted, don't worry about any of this. Cape is everything that you'll printing because we're going to find different ways of using all of the traits. So just keep printing, keep creating your back grounds and keep everything. 4. Creating Painterly Effects: Right, so are you all warmed up now after printing your backgrounds? Fabulous. While those pages a dry, we're going to move on to another technique. Now. You can put your Joe plate portrait or you can turn it around and make it a landscape orientation. It's totally up to you how you want to work on this process. So you wanted to draw from one of your images that you've chosen from Unsplash. I'm really liking this one. Now I'm not going to paint this picture exactly. That would be boring, but we're going to use the images for inspiration. Now my roll-off sheet, I like to use recycled packaging. It's free. I don't stress about it and also it makes fabulous collage papers when I'm done. So I use it to roll up my brayer. I also use it as a palette when I wanted to put pipe down. So, you know, it's pretty cool. It's a good way to use up that recycled packaging that comes wrapped around all the amazing things that I purchase online. So I'm just going to put out some kalos. I'm not a complete representation or Alice debts not how I like to work. I'm more, I more tend to favor abstract designs, so I'm not going to stress about making this a perfect picture. I just liked the idea of using inspiration, right? So what we're going to do is we're going to paint onto our gel plates. Put out some colors here on the side and using your inspiration paints some shapes. Say look, there's a mountain up here. Don't get stressed out about making the colors perfect or the shapes even perfect because that's not what we're all about. I'm just going to put that kind of mountain shape up the, I might put some water down the bottom here. I'm definitely not going to paint in that resting, Kevin. Cause I just don't want to. What I want you to do is say how amazing this texture looks when you just paint it straight onto the gel plate. Now you don't want to muck around too much or about how it's looking because your paint will dry and it won't take a good break. You're just wanting to get a bit of an impression. A mountain, Mountain sky. All right, so don't get stressed out about making it too perfect because then you're piled OB or dry and it won't take a good impression. Anyway. Start. You just want to roughly, this is called abstract landscapes. Remember? You just want to roughly put the paint on and then take a proof on just using ordinary copy paper. Let's put that down, give it a good route. You can Briar it sorry that it actually gets more contact with the pipe just to make sure that it gets good connection with the piping. Give it a good ramp and see how you go. Now remember I said you have to keep everything even if you hate it. So don't stress out if you're on exactly how you want them. Look at that. That's pretty fun really for just putting the ink on the gel plight. That's not, that's a mirror, mirror image. Fabulous. So let's have a little play with this technique and see what you can create. Remember what I said, don't get too stressed out, taking too long to get it perfect on the plight because then your paint will dry. Just put down a few different colors like your speed painting and see how it comes out. You can just vary your colors. You can have really crazy we'd colors. You can mix up all sorts of tones. When you look at one print, you can see what you're not doing like our realized I wasn't connecting my sky. So there's time. Look at that beautiful, beautiful, beautiful. Think I'll just throw in a fluffy white clouds, The Lucky white clouds. And see how we go. Now this time I'm going to pull up with tissue. White tissue is fabulous book pulling prints. I use recycled tissue. Again, it comes around the numerous things I like to purchase online. Resources. Gotta love free resources. But it's fabulous for pulling up all of the pipe that's on your plate. So if you did leave it too long and I did get a bit dry. The tissue will help to pull that paint off the plight. Now remember, it is white tissue and if it's recycled like this pace, then it will be a little friend, Joe, you do have to be a little bit more careful with pulling it off. Set up today. Beautiful abstract landscape. Gotta love it. Okay, so because I had quite a bit of pile left on the flight after the last print, I decided to throw this piece of standard copy piper on and see what the ghost print looks like. The guys print is the print that's with the left. I have a paint on the plate. It looks pretty cool. I mean, seriously, Let's go some nice windy day thing happening in that sprint can looks pretty Nox right side because we've still got a lot of pipe list on our palette here. We're going to do a similar technique, but with going the opposite way. So what we're going to do is put a heap of paint on the plate. And then we're going to take off our shapes. So pretty much what we were doing, but in reverse. I wanted to really put it on with the Brian because then you get an old ova and cover. Because I wanted to use the brush to actually take off the paint. So that's pretty cool. I'm like in those colors. So that's got a nice carting off the pipe. And now what we're going to do is take off the shapes that as inspiration, we're going to actually remove the paint from the plight to create our shapes. So it's pretty much just going in reverse. It's using the negative shape to create the texture. You do have to have a nice handful of tissues so that you can wipe your brush if you have one of those rabbit holes. This is really good for that. I actually don't have any, but I've seen them of seeing people use like rubber catalysts tools for doing this. But you know that brush works fine. And the more you push on the plate, the more the paints removed. So if you only slightly push on the plate, then you're kind of just making smudgy rather than removing it. But that's cool because you can make all sorts a max with that. So let's see what that looks like. You can have some real fun playing with these techniques. And you can make some really interesting marks like that. That's pretty cool. I cannot abstract, but it is abstract. So I'm going to leave that on there and I'm just going to add, so what? I'm going to add some more white up here and add some more blue look at that. Yeah, I know I like it. I really like that. So it's that looks pretty cool. So this time, I'm just going to was in a different bras, different brush. Let's try this brush. I like this. I don't want to do too much to it. What about if I just do some outline, shape? And I'll be cool, that'll kinda create textural marks without removing it completely, because it's pretty cool. There's my mountain, there's my other mountain. There's texture of the mountain. Yeah, I'm liking that. Let's see what that looks like. Hi. Yeah. That's pretty nice. 5. Making Interesting Texture: Thank you. So why were on a tangent of pulling that texture from the plate? I'm thinking we need to pull out the actual texture plates and have some fun with that right now. So I'm just adding some more paint to my job. I think. I have added a little bit much by the time we're very bad. Bet you didn't pay it. Okay, That's why we've got a roll off the shape or revolts the APOE. So I've got the pipe. Why too much paint on the job site. And then I'm going to instead of painting on the plane or removing the paint like we were doing, what's, you know, you could still do that. Let's put a little mountain. They are still going with the mountain and the string. There's the mountain and a stream and another mountain, right? Well, what about if we create those mountains and streams and other mountains, some texture? So this is one of my favorite Hello, easy and simple, bubble wrap and look at that. But this one is a draw line up. Tightly, love it. So you don't have to have super fancy tips to plate if you don't have any. If you've got some awesome, but if you don't Hawaii, you can make your own texture planes. That's a draw line up lambda. And then this is a piece of paper that has liked this texture wave on it, which I'm really loving. So I'm just pushing it into the areas that I've really liked some of that Hansen and texture to be in my kind of mountains shapes. Right. So let's see how vet printed. I'm just going to print it onto ordinary copy paper and see what that looks like. Wow, that is really dramatic. Look at that. That looks like the C that's been blown out by the waves and the winds. And I I got it. Right. So I'm liking where this is headed. Let's keep going. I put the color on beautiful. I'm going to play in with this idea. Let's put some bubble raft. I just want to show you how impressive it is for creating texture, especially landscape type texture. And this is the fabulous texture paper that I love. Love this textured paper. That's all it is, is textured paper. So simple. Well, yeah, I like that. Look at that. That's nine. You can see flight Mach of the bubble wrap. And he can say some outline there if the ticks to play. And then he can see some of the draw line up. And the ticks and Python, I'm loving that, that went really well. And you'll probably say some of this background speckle in it as well as it dries. Pretty nice. The gusher do that again. And how that looks. If you've got paint every way and you've got prints everywhere, and a smile on your face, then you know, you're doing this class, right? Beautiful colors and textures. What do we got books? There was a blog, I didn't even know there was a blob on there. There was a blog on name, but that's okay, look at that. That's got some really nice shapes to it. Now remember, keep everything. We're going to keep adding layers right out. That looks fabulous. Okay, So we can also create back the other way and take the negative shapes. Which means we basically put the paint on the plate and then type the shapes of the image we want to create off the plate in the negative. So in this way, we were taking the pipe off the plate and using that to create the shapes in a negative print. So have a go with that one. Wow, that looks pretty cool. I like that. So you can see my brush marks, they were I've removed the pipe with the actual brush. And then here you can see the bubble wrap marks in there and then the textured marks there from the piece of paper and the drawer liner. Yeah, it's pretty fun. That's really fun and highly experimental. So you want to have a play with this technique and see what you can create. Of course, you can now take that and add to it. You could add some pencils or some watercolors, or you can even add some collage to it. So, you know, if you don't like it at this stage, you can still develop it some more. Which is fun. Yeah, That's cool. I like that. Of course, there are so many ways to create texture on your jump, like I've just shown you a few of my favorite ways. So have a look around your home and see what you can find. You'll be amazed at the different elements that you can use to create marks on your gel play. Just make sure you don't use anything that is to shop or that will permanently did your plate because then it will forever affect your printing. But have fun, experiment with different textures and see what you can create. 6. So Many Stencils Ideas: So now we're going to create with some stencils. I absolutely love stencils. They're so versatile. They're fabulous tools for creating immediate impact. You can buy stencils from so many different places and all sorts of shapes and sizes and textures. You can of course, even catch your own stencils. The beautiful part about using the job printing technique is you can create so many multiple layers. So if one layer doesn't work, don't stress out because you can create another layer on top of it. And stencils are perfect for creating multiple layers. So let's go and have a bit of fun and see what we can create for k. So hello, clean up, I feel a lot better. Stead working in total chaos. You're beautiful. Background. Papers should now be dry and we're going to do some stencils. Now you want to start with wanting your backgrounds that you don't like the most like this one. I don't know what else thinking with those colors there are little scary. So I'm going to use that first. Use what you don't like first because then if you takes you a while to get on a roll and to work out how you want to do it, then you won't have destroyed your best backgrounds. Sometimes it just takes a little bit to get into the swing of things also work out exactly what you want to do. So I have a whole stack of different stencils that I'm going to use. I get them from all over the place and I love stencils because it's such an immediate response. Now, the most simple, basic way of using a stencil is to put paint on the plate, put your stencil on it, and take the print. There is definitely nothing difficult about it. It is very simple process and that's why I absolutely love it so much. So I just put three different colors here on leaving the abstract shapes in them because I like that. I'm going to put this abstract looking rose stencil on it. I'm using this because I just hate that color. So I don't know what else thinking. It's on rice paper which is nice and absorbent. And then I'm just put the stencil on, rub over the back with a brass or that it gets a good contact. And we're good to go. This is the easiest way to use a stencil. And then we're going to get out a little bit trickier from here. But not teach her key. I know you can handle it. Right. There we go. That's beautiful. Look at that. It makes that background a lot more bearable. Write up. Then when you type your stencil off, you have the what you call the ghost print. Underneath. The ghost print is what's left on your plate when you take the stance or off. So I'm going to use this lovely turquoise background to print that off. Now if you are very particular and you want to line up your backgrounds with the job plate so that your steps always be exactly Good for you, are not going to, I'm not that pedantic on making things perfect. I'm more like getting a crazy frenzy of activity. And once it's all over and done with, I look and see what we've created so that you do you if you wanted to line up exactly on your gel plied you go ahead and do that. But I pretty much just put it on and hope for the best. There we go. That's the ghost print. Look how nice that image has transferred there from the remains of the stencil. I'm really liking that. That's really nice. Then. Okay, Awesome. We're off to a good start. Let's make some more. You can also use the stencils. Another way. You can put stencils on the plate like this and then put height on the stinks. So sorry, then you're just putting onto the flight the actual design of the stead sold. So that is absolutely beautiful, that covers the whole background. With the paint and then stronger areas where you've pushed it into the stem to max. Now, when you pull this one off, this time, the ghost print is just the math that has been lift from the stencil because we put the stencil down first and the paint on top. It's just going to leave that mark on the plate. Now if we wait for this to dry, which we're going to, we then going to put another pipe layer on this and pull this print. So using this technique, you want to wipe for your stencil print to dry. And then we're going to use another column to pull the prayer, right? So this has dried now. And I'm going to use another color to pull that print. Now you're going to want to experiment. You need to try different ways of using stencils. You put the paint on the gel play first and then put your stance alone. And you can try this way as well. Make sure you have a little play and experiment and do it on your prints that you're not fast on if it doesn't work. So this is what you call a two column one I prefer because you've got a third color down, first with the pencil and then you pulling it with a different color to create a print. Give it a good Brian. Right? So I used a silver for the stencil and then I put over the top, so cobalt blue. And look, that's come right off the gel plate there. So the cobalt blue or the second color has pulled the stencil of the jump like, looks rather beautiful. Don't you think it would work really well for an abstract landscape? I've turned my plate around. So it's important triangle again because I just like variety. I like mixing it up. And I've got some Payne's gray on the job. And it's a tiny bit darker. We might add a bit more of the cobalt just to lighten that up a bit. Raw night. So this time I'm going to use these two stencils on the plight. And what I want to do is I want to leave the beautiful maps. So I'm going to take this print of these two beautiful steady source. This is a parchment rice paper. It's very absorbent, as you can see. It's already sucking up the pipe freely. It's quite endless what you can do and it's totally up to you. That looks quite nice, very dramatic. Love the look of that. For hold it that way. It's definitely got some tree fields to it. And we'll add to that later. Now what I want to do is blotted out all of the paint that's on the gel play in-between the stencil and I just want to leave the ghost print. The paint that's trapped under the stencil is what I want to leave. So I'm purposely robbing all of the paint that's in-between this, the positive shapes to move it off the jump like. That gives me a print of the two stencils. That's just fabulous. So then that's just leaving me with the ghost print, which looks fabulous. Now I'm going to white again. I'm going to wait until that dries, and then I'm going to pull that print in a different column. Okay, So this is dry enough to now print. I'm just going to use a PESTEL color. Doing a 2D column when I print my piece with a stencil, gives you an opportunity to create another layer on one of your prints that you're not happy with or it didn't work as well. All the colors not match. I'm going to print over this one. And also, what can happen is some of that previous background color can come through on your print and it can create a really interesting effect. So I think that's what I love also about this particular application, is you're not quite sure exactly what you're going to get. And it's just so exciting. Give it a good firm rows with the brass or just to rub with your hands. And let's see what we've got. Okay, so that's pulled up that stent, so texture really nicely. I like that. Look at that result that looks so interesting. I can definitely use that. Free or the wrong, That's quite a beautiful print. What I love about stencils is how immediate layout you put them on and then you can pull the print straightaway. And it's fabulous. So I've got this denser. It's like rocks with lines and some lichen. And I'm just going to put it on this side of the frame. And then this is another mom with kind of rock looking shapes. Then I'm going to put this one, got these kind of leaf patterns and see how that looks. I'm using this painted backgrounds. Putting another layer on all of the layers. Everything is about creating the textures and the layers. To create a beautiful finished result. Look at that. That looks fabulous. Loved these textures. 7. It's All About The Trees: I'm really loving this image from unsplash with the trait. I liked the way the limbs are all kind of stretched out like that. It's really fun. I love the textural look of it. So I've got this tree stent, so which is nothing like the picture. But I'm going to do something with it because I'm inspired by that. Really col again, Dre, oops, my stencils a bit beaten up. But I'm not too stressed about it. I'm just going to put on some paint and take some prints and see what I can create. It might work, it might not. My stencils a little beaten up, so it might be a little smudgy, right? Exactly. Perfect. But if you've noticed, that's pretty much how I row. So it's OK. And let's see what that looks like. Yeah, that's not too bad for us. And I'm going to put it onto this beautiful piece of blue paper right here. This is a nice pace of textured paper. Nice thick. We've pretty cool. It's got a pretty blue background. Let's throw a tree on it. See what it looks like. See how it prints out. It'll be fine. So what I'm gonna do with that now then is create that stencil I few times in different positions on this piece of paper so that it gets more of that kind of feel to it. So of course I'm going to have some way for it to dry boring. But, you know, that's how it is. Now there's that then goes to print length. I'm going to see if people can get some of it onto this piece of background that goes pretty printed off or off. I'm going to put some more trees onto this one as well. I'm going to put this debt, so back on here. Take and put some more Schekman in a different position. And put it on this place. And see how that prints. That's pretty cool. I'm going to keep doing that to this face and see what kind of nice bronchi tray looking texture I can create. Yeah, it's getting some more images on this one as well. I'm going to keep going with this. Now if you noticed everything's kind of wet. But I'm labored to perturbed if it doesn't turn out exactly right. I like that cluster branches. That looks really cool. So I'm just going to keep experimenting and putting it on until it stops smoking cold. So what I'm gonna do now is I'm going to let this dry completely. And then I'm going to pull a print off with another color. I'm just going to put them one more. This section here. Then I'm going to leave it to dry and pull the print with another color right out. So I'll let that one dry now. And that's okay. That's kind of got this feeling of the cluster branches. Yes. Yes, I can work on that. Hype the left the white and say, Okay, well, I think it's mostly dry. Might be a little width still in some areas, but I'll give it a try. Let's give it a print, see how we go. It can not only not work, right, That's the worst thing that can happen. It's so if that's the worst thing that can happen, it'll be or it might not print completely properly. If it's still wet. That's though. So nothing life-threatening. Put it on this bentgrass and we'll see if it will pull up. Or if I've just saying too impatient yet again, there are look, how bad is it going to be? Not too bad. Look pretty happy with that. It's got the impression of the trees. That's what I was going for with this was my inspiration. And it's got that impression of trees. That unlike the times, like the subtlety, an IG subtlety very often. So hub pretty excited and then I'll see if I can pull off that ghost print with this case of tissue. But the pipe is a little on the joke like because it's probably just still a fraction with where the thick of bits with that I wrote on continuously with that stencils, that print. I think that was pretty not I like the feel of it. Let's see if we can pull up anymore with the guys. I gotta love the trustee tissue. Don't forget, you've got to try making some prints on white tissue because it with it, look at that. So that's pulled up the ghost print on white tissue, which works really well for getting up the fine details and the left eye height on your gel plight the tissues really good for that. You do have to be a little bit more delicate when putting it on and off. But hey, look at that. Beautiful. There's my trees. Happy now I've got my trees. Yeah. Very nice. 8. Creating Great Shapes: Of course you don't have to just used commercial stencils book creating shapes on your gel play. You can create shapes and textures using what you have lying around at home. Okay, so I've got some beautiful color on there. I'm going to put some shapes that I've just cut out of paper onto the gel play loops. I'm pretty much just use these shapes to create another beautiful layer on the print. I'm also going to add some string and say what kind of mocks I can create with that. I think it will be very interesting. You have to allow yourself to make mistakes. You have to allow yourself to experiment and to try different ideas. All your ideas won't always work successfully, but that's the nature of creativity. But you have to at least try. Now, I'm going to use the background, this one onto this. See how that looks. You want to give it a good firm round on the string section so that you can get that math on your face. And experimenting with putting your own shapes and textures on the plight is a right way to use up all of those fabulous backgrounds that you've created. Again, I have to tell you, you're only limited by your imagination and how willing you are to experiment. All right, so let's have a look and see what that did. So print from those shapes that I put on the plight and that looks really cold. You also will have the ghost print that's left behind from what you've put on the plate. That will also create a really interesting print and it will look really different. So pull your shapes off and say how that prints. I'm going to white for this to dry so I can print that with another color. So that should be dry enough now to pull that print, I'm going to put it onto just rice paper so you can see how beautiful it is. As you can see, I have it being much cleaning my plight in-between these prints. You do get a little bit of Blache maps from the different tight thought. I'm really not worried about things like that because it just adds to the lightest of the texture. Give it a good rub, a little bit of a Brian. Let's see what we've got. Look at. That really is quite fascinating. This looks like an aerial view, you know, lack of the lens guide where you're looking down on something when you're flying overhead. Yeah, that looks pretty cool. I like that. So wherever you put your paper or your stream or your shapes, that's going to stop the paint. That's going to leave these beautiful textural shapes. So you need to have a little experiment with this and see what you can create. Don't forget, you've got to keep everything you print because we'll be using a. So this prints had to live. The background color is this color. And then I put a turquoise over it with the shapes and the strength, and it looks pretty nice. So I'm going to put a third layer on it. Now. I'm just cut out some shapes from wherever I put the shapes, the color that is on the print will remain. And then the rest of the print will be the new color of pipe that I'm putting on. Sorry. Remember that when you're adding these shapes, what you want to keep, you want to create a mask full, which is what this is cold and what you don't mind painting over. I've got a mix here of some paint might actually be a little thick. And I am always willing to try these things. This is just ordinary copy paper that I've created the shape set of. Pretty easy to use, right? Let's say have that prints. That's pretty nice. I like that. It's group. Yes. You can say the two other colors that I printed previously. And I think that's pretty cool. I like that. Yeah, just one more, I promise. I've got this great and it's really dark. So I think it'd be fun to put some light on top. I think that would show up really well. So I'm just going to use this piece of pipe and push it down to the plight. Because I actually think that ghost print will be better to use either this dark background. Now you know, that turned out better than I thought it would look really nice. It just never know what you're going to get. That is the BUT tight enough. And this is the dark fat grams. Let's see what that does. Right? I oh yeah, that's nice. Look how beautiful that looks. So and that's that light out over the darker background with code looking like an aerial view of roads. That's fantastic. I like that. 9. From The Aerial View: I was so inspired by the last lesson using the string and then the cord. I just thought it was fabulous. The way we use the corner looked like roads from above. So that gave me an idea of finding some more aerial shots to inspire the next round of traits. So this is my inspiration for my aerial views. I've found these fabulous photographs on Unsplash. So now we're going to bounce off the inspiration of these beautiful photos and see how we can create that kind of a feel with a gel pipe print. Now remember these photos are just bouncing off point or inspiration. It doesn't have to look exactly like the image. We just want to get a rough idea to get those creative energies flowing. So I'm really inspired by these beautiful aerial views, especially with the wrote. Love it, love the texture, I love the shape, beloved the lines. So I've cut myself a road. Edison can't dock. And I'm going to use this to take on one of my background's. Now you want to try these ideas on backgrounds that you're not that fast on anyway. So if it doesn't work, it doesn't really matter as much. Because you don't want to Rick backgrounds that you like. I think I'll put it on one of these phases and Plato, cause I've got quite a few of them. Put your ride on the plight. They enroll over some pint and say what awesome prints you can create. I'm going to leave it little splattered with paint because I liked on looking for that texture. I'm wanting to create those different Marx with the texture. So I'm going to leave those splotchy bits on the job. I'm also probably going to, yes, I am adding some more texture, texture place. I just loved the way these create the patterns. And let's see how it looks. So I've got my pint on and my texture. I'm going to right off and print it on this piece of paper. The benefit of having free major backgrounds as you can get on her role with some creative ideas and trial Hall, he did different things. Let's see what we've got. There. We are. There's my road inspired aerial view. Hence pretty fun. I like dang and do that again. You know, pulled this ghost print. I'll see how this goes. Pretends up. That came up pretty nice as well. Put all that paint off the gel play. It really is quite endless. What you can do with some shapes on the jump, like such a simple process, but such incredibly satisfying results. So I just had to do my beautiful road again because it was so fun. But you can't just, Hey, these things once now. I've got a different shape on here. Nice and thick chunky pipe because I like the texture. That's just fine. I'm going to put some fixed applied on there again because that's when they're really cool. So asi Como right off and take a look at this phrasing on a music shape, although you can't see it anymore because I've already put a background. I've read fast and still makes the paper. We got to look at that. Absolutely fabulous. See if we can get some more of these guys to break. Yeah, that looks good. And it goes print, come up nice. It really does become quad. Is just wanna see what you can create names. Look at that. That's pretty nice. I like that. And the possibilities are absolutely endless. The more you create with your geom fruit, the more layers that you add to your paper's, the more relaxed you'll become and the more adventurous your principal B. And then you'll find, as you keep layering, texture upon takes jump, your principal look, absolutely fabulous. And to her worry is they died. We can fix that too. 10. The Misty Mountains: Right now the two have all of those techniques in your tool belt, you know, had a creative background color. You know, how to add interesting textures, how to use the stencils and the mass to create shapes. So now we're going to move on to creating amnesty mountains. We're going to create this print on one sheet of PIPA. I'm going to just keep adding shapes until our print is complete. So this is the inspiration that we're going to bounce from and we're going to create the prey. A one-piece of pica printing eight section of the mountains in different shapes. First of all, we're going to create the background color and you know, halves and do that. So go on and paint yourself some beautiful backgrounds. Then what you need to do is just cut the mountain shape out of a piece of paper. I use standard copy paper and it worked perfectly fine. It's a very simple process. You already know how to do all of the steps. So it's a matter of just putting it together and creating this beautiful print. I know you can do it. It's so much. Now if something goes wrong and it doesn't work out exactly how you want, don't stress about it and put it aside and try again, create another background, cut out some more mountains and read prints it. The beautiful aspects about jelly like printing is that you can just pull out another piece of paper and take another print. So nice dress, so much fun. And I know that you can create something beautiful. Now when you are creating your Mountain View, make sure you give yourself quite a few different backgrounds to start with so that you've got quieter. Choose from. I ended up with aquatic youth. Very different looking back grounds. Some that are more abstract and design. A plan and other ones that are more blended like this one. So make sure you have a play. Create yourself a heap of backgrounds. Now this is the pines bride, the magenta, and the Bronze. You can see it more here, more separated there, and this one's more blended. So have applied and see how you go. Yes, I know I did get a little carried away, but that's how I am somewhat addicted to create roses of gel imprinting. So give yourself I hate to play with because you can always use them for other projects. Now when you look at this image of these beautiful mountains, you'll notice that the further east mountains is the pilots in color. So you want to put down your pilots tone of the mountain range first. And then with each consecutive shape you make it a little darker and darker. Quite a simple technique, but really effective. You gotta love this. So here we go. Let's create our beautiful misty mountains. Now remember, your inspiration is just you're bouncing off point or the place where you want to start. It doesn't have to look like that. Doesn't have to be like that. And anyway, we're creating abstract landscapes, so it definitely doesn't have to look exactly like that. As you noticed from all of my interpretations of my backgrounds, they're all different. So I'm going to use this one and I'm going to put the first mountain range towards the bottom here. Like that. And remember, the furthest mountain is going to be the palest color. So I've mixed Payne's gray with this color here, has to poach moraine, which is pretty nice color. And I'm gonna put this mountain range in fixed. The other, I'm going to put another mountain range below this one and it will just be darker. So putting the lights on first is easy. And then you just keep getting DACA with it. I'm not the greatest at lining up my three-eights. Exactly right, because that's just how I am. This is on a parchment, nice paper. So you can see the little five is in the yellow. We conduct color, which I think works with the tide of my painting. And we'll see how that guards. It will have to drive it before you can put your next mountain range on. What was my favorite products. And oops, there we go. That looks beautiful, pretty happy with that mountain, right? Say, I'm not good at lining things up, but I'll be cutting it out of writing it. Or doing anything else with it. So it doesn't matter, don't stress about it. So I'm going to put a another mountain range here in a dipeptide, not show up from gonna put one at the bottom. Haven't decided. But I will let this dry before I do the next mathematics. But I'm liking this, I'm liking this guy. Liking the feel of it. Yeah, that's good. It's pretty nice. Okay. I think this is dry enough. Have a guide, have a guy that's kept myself. A little. Mountain range. Next slide down. I want it. That's the question. Look at many, say in a car measuring, I'm laughing because high tight really measure that. Great. And then I think maybe I should have anyway, right column, we just have to be darker than what's on the nail. That's data that are worth. Because if I do another one, it will need to be done for again. So that's okay. I don't mind that. I like the way the masks were quite simple, like seriously. Because I'm measuring so precisely what can possibly go what can possibly go wrong with my such exact measurements? Let's say. All right, let's see how we go. Yeah, that's pretty cool. This mountain range. That's come up nice. I think my rice pipe is getting a little beat up with its numerous layers of big pipe. But that's our chi that's worked really well for trim the sides. I'll trim it up and show you and you'll think I'm amazing. But I am tempted to do one more little one down here. Stay in this darkest tone, I reckon, are in one mole in the straight Payne's gray along, they're going to do it. And then I'll show you and I'll trim it up and then look amazing. Okay, that's what I'm gonna do. Okay, so I put the last little bit of the mountain range at the bottom here in the dark and time. I think it looks really cold. Hunger, really happy with this. I didn't trim it up like a pseudo was going to, but you could stay have unaligned my print. So I'm not too worried that that I'm pretty happy with it. I liked the why when you put down the warm tones and the bronze first, then when you put the mountain range over, you still have that bronze coming through. That looks really nice. I like that. There's my inspiration. It's not too far off, but it's got the same kind of feel. And that's pretty cool. I can put some stars in the sky. Maybe you can always add to your prints and put some highlights or do some more. But basically, I'm showing you now how to do a full painted print on the gel play on a single pace of rice paper and you can do these. It's fabulous. I didn't actually trim it, but you can see if I put this mat frame around it like this, look how cool that looks. You look at it looks fabulous with this mats around it that could now be framed, could hang quite happily on the wall. That looks pretty cool. So then if I added a frame to it today, it looks fabulous on quite happy with that. I could quite happily put that into a frame and hanging on the wall. And now you know how to create a full print on one sheet of paper with the misty mountains. Just beautiful, pretty happy with this print. But they are a heap of my Princeton I'm not happy with. So what we're going to do next is layer all of the prints and have a look at what's you're happy with and what you're not happy with. And then the ones that didn't quite make it, we're gonna rip them to shreds. And it is so incredibly satisfying because now it's time for class. And I absolutely loved collage. You're just gonna love this. 11. Bonus Lesson: The Beauty Of Collage: Now this is how your workspace should be completely covered in prints. Hope cause yours don't have to look like mine and they don't have to be the same colors. But now you want to put them all out and decide which ones you want to keep to develop and which ones you want to rip to shreds, full collage. Have a look at what you like, what you don't lie, because you need to make yourself two piles. You need a pile that you really happy with. And you might develop further into something successful on its own and another pile, you think no, this print could actually make better collage paper writes there. Have you got your two piles of prints ready? The pile that you're really happy with that you want to keep create into a finished print and the pile that you'd like to collapse with, or even just rip to shreds, which is perfectly fine. Not all the prince will work successfully, especially first time, you can go over your prints again with another layer using all of the techniques that I've already showed you. So if you've got some prints that are potentially going to be more successful with another layer. Make sure you do that, experiment with them and see where else you can take them. Now I have a huge pile of prints that I'm really happy with. And then I went to collage. Sometimes that can be a problem. You have way too many brings them what you can possibly put on your substrate, and that's usually how it goes for me. Now, what are you going to use to glue your prints onto or your substrate? I'm today going to use this watercolor piece of paper. It is 42 centimeters or 16 inch by 29 centimeters, or nearly 12 inch. It's actually an raised eyes piece of watercolor paper. And I'm going to use that to collage onto. You can of course use an art journal or a different type of paper or what? You can use a canvas and create a fully finished collage painting is completely up to you what you want to use for your substrates. This is just what I have decided to use for this project and I'm pretty excited about it. Now, I'm going to use a matte medium to adhere my prints to the watercolor paper because I like the feeling of brushing and put the matte medium onto a disposable paper plate and I brush it on. That's personally just how I like to do my collage paintings, but you don't have to do it like that. You could use PVA glue if you want to inhibit your prints with that, or if you want to go even more simpler, you can just use a glue stick, especially if you're doing your work on paper. It's completely up to you what you feel more comfortable with using. So make sure you choose the adhesive that works best for you. So you've got your pile of prints, you've got your substrate or the thing that you're gluing your prints onto and you've got your adhesive ready. You need a couple of pairs of scissors. I've got a bigger one and also have a smaller Paris diseases. And then we're ready to get going. Now what I like to do is start with big up pieces first and then move onto layers and get smaller and smaller and smaller with the pieces. Now you don't have to do your collage exactly like mine. I'm just going to show you from start to finish how I create a collage using the jelly brains. And then that will inspire you to use yours in this particular application. Because I am a prolific, this digress really loved domain Delhi phrase, I always have way too many prints and I can possibly use anyone colors. So you can just keep creating these beautiful artworks, don't you don't have to put all of your prints into the first collage and put together. So don't worry about that. But there are some of these friends that I really just have to use. I'm loving my trays. I'm loving the music nerds. I'm also loving the feel of this was the ghost print of the painterly application. And I just love that. I'm also really liking these Misty Mountains. This was one of the misty mountain prints. The top part didn't really work successfully. So I've cut that off because I want to use the mountain section and that's another thing you can use. You can use parts of these prints. You can cut shapes out of your prints. It's absolutely endless. What you can create with the jelly prints and the collage. So make sure you allow yourself some time and some experimentation. And seriously, you can do a few of these collages. It's absolutely fabulous. I'm loving this one. It looks like a lunar landscape. This was from the putting down the papers shapes and the string. I love that. And then I just loved the textural elements of Islam. This was just for background. I put a heap of paint on, took some prints. With a stent saw, some would say too much paint, but I loved that textural painterly application. So I have to use that. But then I also absolutely love this aerial view using the chord. So somehow all of this is going to come together. What I praise of water kept Lefebvre. We'll see how I go. Now I have a vague idea of what I want to put on my collage, but I don't exactly know how the composition is going to go because I like to work more intuitively. So I like to put down a piece and then respond to that piece and then keep creating until I'm happy if our stock something down and I don't want it to be there and unlike arm and what they would just create something over the top of it. I don't stress about making those decisions. I just keep moving forward. That's just how I like to create. You might like to lay your colors out completely organized, have all your papers exactly, and then glue it down. Now if you do that, make sure you take a photo because you will have to take off everything to start with the bottom layout. So if you plan it all out and you've got to glue it down, you will need to take a little snapshot on your phone. So you remember how you put your composition together because you're going to have to take it all off so that you can get to the bottom layers. I actually want, I'm more likely to create as I go and just move forward in the decisions I make. Sometimes I am not happy with those decisions and I have to go over pieces and that's okay. I really don't mind that for me. I like that creative process of the journey that just keeps moving. And I also know what cut a lot of edges unless it's on the side. I preferred to rip them because I like more of the organic torn inch, but it's totally up to you. Also, I find I like to use a ruler would tearing because it just makes it a lot easier. Especially with Joe Prince on rice paper, then very soft anyway, and they're easy to tear with a ruler that just makes the edge a little bit more organic and soft. And I prefer that. Just allow yourself to create, to play, to have fun, and to see where each decision takes you. Another tip that I like, especially if you're using matte gel medium, is I like to use junk mail to actually do my gluing on so that my Eric working area doesn't get all sticky. I don't like being or sticky pads, just me. So I'm just going to put this piece down here. I'm pretty happy with that. So I will use this piece of junk mail. She really stand out to do the gluing on. And when my junk mail paste becomes too sticky and full of matte medium, then I just throw that away and get enough pace. And then my working area doesn't get all stuck with glue or matte medium and that just makes me happy. Like I said, I'm not too stressed. They're in the choices that I make aware I'm going to put it because I would just keep working on it until I am happy with the composition and how the colors looks. If you go over the edge with your pieces, you can always trim that off lighter. Or if you're putting your colors onto canvas, you want to read those papers round the sides of the canvas. That always looks really good. So I will, I always like to start by blocking out shapes of color. Just to get that foundation sorted. I think the hottest pod is deciding whether or not you want to cover up, sit and prints that you really live. I find that half. I liked that lunar landscape and then love and his music as well. So maybe I just started with a big canvas. And I put my misty mountains over my music. That's why I told you to keep everything you print even if you don't like it or didn't work. Because it does make absolutely fabulous class Haifa. Even sections of it like this is a section of the misty mountains print. One of them just went to ride, didn't go so well. But this section, I'm absolutely loving. And when you're printing and creating makes sure you keeping everything, you just never know how you might want to use it in a collage. Now you can create shapes out of your prints. I've got one of these hole cut is that I love. And I caught some of these round steak goes out of one of the gel prints, MANOVA, the aerial view job prints. And this is how it looks fun stuff cut to circle out. And I loved the circles, but try also I love this shape here with the search was that of cut out. So I'm thinking, I'm going to put that here. And then I could put some different papers in those holes. 12. Part 2: Continuing The Journey: Now what am I going to put a half to use? Some of these texts? Just loved this text. So I think I like this one to my fluxes, do the same for this. I'm not going that that'll work. Then what should we put? Um, you know, I actually might cut of my beautiful lunar landscape because then it would repeat that color down the page and that would look really good. So I'm going to cut a piece of sine pieces that, and I'm going to put it down here. And then this line repeats down there. I liked that. Probably blue, well that down. And then seeing where we're at. Now, I better check and see if my bits are in the right spots because you're not good at measuring. Well, if we cover the pieces, how our one covered pretty Clyde to look at that tiny little gap up the, which I can fix a easy peasy, lemon squeezy. Now I likely that on yet because something that needs to go under their needs, something he and probably a doc, a piece of paper on thinking saying these are the decisions that you have to make. And you just have to ask yourself, Do I like it? So I'm not lying, Can't do I want to this shape or this color? And it's just a continuous questioning on whether or not something's going to work for you. And it is for you. This is your creative expression. This is not pleasing anybody else. So as long as you're happy with how it's looking and the progression you're making. Just keep at it. Would collage is all about the lice. So that looks good. That's gonna go on them. It's good to repeat some of these shapes and patterns and colors in different places that helps to unify your composition. So I've got the text up there and I'm going to put a little bit of the text down heel. Don't stress out if your pipe is get a little wrinkled. Sometimes my mind do because I used the medium. But it's a collage and it's a work of art. It's our cave. There's a little few wrinkly bits. That looks cool. I'm happy with that. I like that one day on my misty mountains. I'm liking this with the aerial view. Great. I love that. I'm liking that circular stripes, so I'm going to put one of these in the spot, but I'm just going to decide which 01:00. Am I going to put it right there in the circled area or like that? Pretty cool. That one all the dark one might be better. A little bit of drama. I like a bit of drama. And then I could repeat that shapes down here. Yes. So then I'm repeating the circle shapes and then the circular shapes of there. I've repeated the lunar landscape underneath here. I've repeated the text in here. This is flowing nice. I'm loving my misty mountains. I like that piece of collage run across there that looks good, loving my trees. You know, you can always go over something if you decide, once you've put it in, you decide now. And I really like it. You can just collage something over the top. Bricolage is just really beautiful, multiple layers of texture, paper and elements. So, you know, nothing stops you from just creating another layer or texture on top of something that you're not happy with. That's why you can create with no fee out because she can change it if you don't like it. So I'm put those simpleton. I do have to put a little stopping. The excellent didn't get to the edge. And I was close looking. Especially liked a real estate is the cyclize. Gu You know what I could put up there? I could put a piece of this pipeline. They are, so it cool, yeah, it's a good idea. So then that continues this column up in that corner. See how that would work really well. Yes. Then that's continuing that color up there. I like that. So I've done stress out. If you do something that doesn't, doesn't exactly line up or goes wrong or it crinkles or TAESE my gosh, digesters have a TE is because you can fix it, didn't go over it. Because it will push you on to finding other ideas. Because you'll have to. That's the thing that makes us create other ideas. Necessity is the mother of invention. So that pace looks good up there because I needed to fix that little two millimeter gap and look at that. That's much better option. So that carries the color from here. Guys, luck there, and we're looking good. So I'm loving the line of these aerial view. Joe print with the chord, love it, absolutely love it. But of course I can't just punk and on they cannot because me. But I'm thinking of cutting around the lines and putting that some of that over it. So how do we liked this idea? I don't mind this idea. The colors working with my circles. It's just a matter of you that looks cool. It's just like working out where exactly to put it. I like the way it's touching the bronze. I like the dark tone inside that shape. I like the way it's encroaching on the mountains. It's connecting these color to this color to this color is over a similar. I'm liking that. Combat. If I cut out this shape, I still love this lunar landscape. Drink. Okay, so unlikely this shape, but not that much of it. This kind of shape is similar to this shape and this shape. So then it would be mirroring it in a triangle, which would be really good compositionally, that works really well. So when you're doing a prince, if you repeat your shapes, it really helps when you're putting a collage together because you'll have lots to choose from in similar colors and similar shapes. That looks like. But how much do I want? I don't want to cover too much of my trees because I love my trees. And then yogic, that works better like that. So just a little bit of it and maybe not so high there. So then that repeats that. And then that's connecting that and that shape is all connected. Yeah, I'm liking this. I think that that's shapes probably going to be the last pace because really put anything else on there? You just going to be doing too much and over cluttering it. So thinking I mean, I like it. No, no, stop it. I don't like it there. I like it. I think. Yeah. I like that there. It's a great color to a nice shape. It's connecting with these that the next one. 13. Part 3: Finishing The Masterpiece: Right, So I think that the only bit that really annoying me because that's what you need to do. You need to go and your collage and look at all of the areas and the shapes and the colors. And see if it sits well with you. If you're happy with how it looks. Because if you're not and if it's annoying you, then you want to change it. I think for me the only thing that's annoying me is just this edge here. It's a little harsh and messy. So I might put some of, this was a ghost print of when I painted on the job plate and took a print and then a ghost print. I'm thinking, I'm going to put some of it here because it'll just create another layer and another texture without anything to crash or demanding. Well, that's the plan. I'm just tearing a bit off the tissue. I love those goes prints from those from the painterly tissues. I think that absolutely beautiful. And tearing off a bit of tissue, tissues very transparent and soft side. Dr. White create too much throughout LA and I think I'd like to just put it there like that. That's better. Okay. Put that off. I'm bringing the tissue. Just dissolve. Sit for a little bit of a color overlay. And you gotta, you can have, you can see them a little bit. How cool is that? We've got that. So make sure you tries to minimize the pain to late jail print lung tissues because even if it doesn't work out exactly how you want to, you can use them in class I and beautiful, that is really cold. I just wanted to soften that there. So I'm pretty happy with this. I'm pretty darn, I'm thinking really can't add anything else to it without overdoing it. My papers filled up. All right. With all of the matte medium, It's not dry yet. When it does dry, I'll give thee into a trim of the paper and then level four, nice and neat. I'm thinking that that's unkind for my beautiful abstract landscape. But jelly printing call knowledge really, really. So. The way that looks, I'm just going to put no pay to the stem with time theta. You really gotta do some of the tissue is fabulous. Tf's automatic just here. That these beautiful. Right. Okay. Did time I'm still feed backing away from the pipe, but yeah, I like them. I think yeah. That really does look just fabulous. Oh my gosh. I love using that tissue. Okay, this time I am stopping. I truly hope you have enjoyed watching me create this collage. I absolutely love it. I love the colors, I love the textures. And I loved the intuitive approach of applying the papers one after the other and choosing the direction you're going to go next. I absolutely loved the spontaneity of that and of course, the possibilities with collage, the possibilities are endless. You can create an abundant amount of collages with your own jelly prints. And I really hope that you do. You can create beautiful artworks for your friends or your family. You can create the collages in an art journal or on Canvas, really, it's quite endless. The beautiful things that you can do with your prints. So if somebody, your prints have been worked out as well as you'd like, don't give up. Just try again, put another layer on them and see what you can create. There's no wrong way of doing this, especially with the collage application, because you can just keep putting another layer on top until you're satisfied. And it really is up to you. If you're happy with your collage, with your process, with your colors, with your shapes, then that's what makes it a beautiful original artwork. It's all about makes you feel. 14. Thank You & Farewell: Thank you for joining me in this art class. I truly hope you feel inspired. You've learned new skills and gain courage to continue developing your creativity. I would love to see what you have created. So post a peak in the project section and show me, you can view my paintings and find out more of who I am on my website as well as receive a free 3. So have a look at Freud black.com. Also have a look at my other Skillshare. As I know, you would love to learn some more techniques. And if you've enjoyed the jelly Printing Application, have a look at my other classes because I have quite a few others. I'm totally obsessed with jelly breathing right now. Make sure you join me again in the studio. There's so much to explore it, so exciting because this application is continuously developing and endlessly possible. You never know what we might come up with next. And you can also join my private Facebook group, creative adventures making art. We can hang out and chat. You can show me a beautiful artworks. It's a very friendly and positive affirming group. So much to explore and develop, especially looking at other people's artwork. You're so very welcome to join us there all the best with your creative adventures. And I really hope to see you again soon.