Faux Sun Prints Using the Gel Plate | Daniela Mellen | Skillshare

Faux Sun Prints Using the Gel Plate

Daniela Mellen, Artist & Author

Faux Sun Prints Using the Gel Plate

Daniela Mellen, Artist & Author

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11 Lessons (50m)
    • 1. Class Intro

      1:32
    • 2. Class Supplies

      2:53
    • 3. Pressing the Leaves

      2:15
    • 4. Acrylic "Sun" Prints 1

      7:19
    • 5. Clean Up Print

      2:48
    • 6. Acrylic "Sun" Prints 2

      5:25
    • 7. Acrylic "Sun" Prints 3

      8:12
    • 8. Watercolor "Sun" Print Part 1

      7:19
    • 9. Watercolor "Sun" Print Part 2

      5:10
    • 10. Class Wrap Up

      3:47
    • 11. Bonus Class - Faux Gel Plates

      3:08
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About This Class

Sun Printing is the process of using sunlight as the developing agent to obtain a print of an object. The object blocks out the light from reaching the chemically treated paper. When the light reaches the paper, it creates a gorgeous blue “negative” shape that imprints the unique contours of the object. The results are distinctive and beautiful, however it requires precise timing, appropriate sunlight, and chemicals. In today’s class, I’ll demonstrate ways to create similar results using acrylic paint and/or watercolors and a gel plate, essentially, a Faux Sun Print!

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(For those students that want to try the process, but do not have a gel plate, I have included a “Faux” Gel Plate DIY as the Bonus Class. The Faux Plate isn’t an exact dupe for a gel plate, but will suffice to try the technique. You can use everyday materials to put this together for less than $1)

This class is geared towards intermediate art students or anyone willing to get their hands covered in paint. It’s an enjoyable process that creates intricate looking results. 

In addition to the faux sun prints, we will make additional prints or “pulls” using the gel plate process. Some prints will be extraordinary and some will need more work, but all will yield unexpected results, and that's  the beauty of gel printing.

When you are done with this class, you’ll have a few faux sun prints, some beautiful mono-prints, and some papers that you can use for collage or drawing background pieces.

Meet Your Teacher

Teacher Profile Image

Daniela Mellen

Artist & Author

Teacher

I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com or my YouTube Channel for additional c... See full profile

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Transcripts

1. Class Intro: son prints are printing process where sunlight acts as a developing agent to make the prince, you may be familiar with the beautiful blue backgrounds based on the Scion, a type process of the 19th century. Some prints are characterized by bold images that block out the sun, almost creating a shadow of white on the paper, which captures the objects unique shape. Normally, chemicals are used that allow the sunlight to turn the paper blue. But in today's class, folks son prints using the gel plate will create the sun print like image using either acrylic paint or watercolor. I'm Daniella Melon and author and artist, And in today's class I'll demonstrate methods of both types using either acrylic or watercolor paints, and will also use organic materials that you probably have around your home. The results are bright and cheerful, and it's enjoyable process to create a very intricate result. We'll use gel plates to achieve this result, and in addition to the phone son, Prince, because we're using a gel plate, will create extra prints or, as I call them, bonus prints with each segment of the process. Let's get started right away. Thank you for joining 2. Class Supplies: the supplies that will need to make our foe son prints include just basic supplies and then just a few specific ones. So I use my standard paper towels in a brush. This is just a paint brush so that I can add paint to my leaves as well as my paper. I use a Breyer. You can also get away with using a brush if you don't have a Breyer. A. Breyer just is a quick way to fill up the gel plate, as well as paint the leaves and have a even surface. But that could be done with a brush as well. I have my palettes, and for the watercolor method, I'll use a smaller palette, and I'll mix my paint on this and for my larger ones, I want to use the krilic paint and so use the pallets according to what medium you use. I also use a gel plate, and right here I have it taken out of the box and set onto a piece of plexi glass. You can use a Ziploc bag like a freezer bag stuffed with paper towels neatly stuffed, and that's another option if you don't have a gel plate. This will be a really nice way to you Make the prince today. I also have paper either eight by 10 or just standard copy paper to make my prints. And I'll use the appropriate paper for the medium that I use once again. So for my watercolors, I'll use my watercolor paper and for my acrylic paints, I'm just gonna use copy paper. You could use cards, Stark stock as well. And then I have my organic material that I'm gonna use to make the prince. And for that I'm just I went to my garden and just chose a bunch of leaves. And I like the big, waxy leaves that have the vein ing and you can use any kind of leaves you want. I also went to my refrigerator, and I got some of this kale that nobody really eats anyway or some herbs. I have some parsley and some dill and just some little lettuce leaves, mainly because I just think they're beautiful and they give a nice silhouette, beautiful contour and the shape here You could also cut your own out of paper. The result is not the same, but you will get results that way, you could also use feathers or shell or even silk greenery or flowers that you have around your home. So experiment with that and see what you like. I also like to use just a few sheets of wax paper throughout my process as well as a heavy book here. It doesn't matter what the book is. This is just a thick, heavy book that I used to press things in. The next chapter will begin our process of making our foe son prints. 3. Pressing the Leaves: regardless of what medium you use to make your foe son prints, you want to take your leaves and if these are fresh leaves in particular, and you could also press fake leaves or silk leaves, but definitely with the rial leaves or herbs. I like to press them now. Here are some leaves that I've already pressed and I've already used and some of them I can reuse. This leaf is particularly waxy, and it's still fairly pliable after a day of sitting there. These leaves, however, are lot crispier. And so I don't think I'll get the same results out of thumb, but the ones that are still pliable, I can reuse again and again. What I did was I just took my leaves and I took some wax paper and I pressed them so that they be nice and flat, and this will help give me a sharper image. If you don't have time, you don't have to do it that way. You don't have to press them, but I do feel it gives a nicer image, particularly for your results that you want to get so all I do to press them, they take a sheet of wax paper and I'll take my leaf and I'll set it aside and I'll just make sure that things aren't sticking under each other that I don't want them to be. I can also cut my leaf up if I want. And here I'll take another sprig here, this herb Rosemary and I'll put it in now fold over the top or you the second piece and then I'll stick it inside my book or I'll just place the book on top of it. And here I'm already drying is pressing and drying some eucalyptus. So I'll just open to a separate page, and I'll place my current ones here that I want to press flat and I'll do my best to make it exactly as I wanted. Then I'll put a heavier weight on top of this book, and this way we'll have flat herbs or plants or leaves to work with. In the next chapter will start our painting 4. Acrylic "Sun" Prints 1: Navid or leaves that we're gonna use or flattened. The next thing I want to do is mix my color. And because I'm using acrylic paint, I'm gonna mix a blend. Now, typically, some prints are various shades of Prussian blue. And so I'm gonna try and recreate that, and I'm not worried about getting the exact color, but I'm gonna just makes a bunch of blues that I have on hand a little bit of turquoise, a darker blue and a lighter blue. I just put that in my palette Quite a generous amount and say, this is about, um maybe a tablespoon a little bit more than a tablespoon. And I have my Breyer and I'm just gonna go back and forth, just mixing that color somewhat. And then from here, I just roll it out with my Breyer just so I can get it on my Breyer here, and then I'm gonna take the leaves that I want to print with. And I'm not worried about placing them where I want them on my print yet. I'm just worrying about now, actually painting the leaves, so I'm just gonna set them on my plate. I'll just do three leaves for this print. Take my my paint on my Breyer, and I'm just gonna paint the bottom of these leaves. And I want to get a good, thick coat, not blobby where it's falling in gloves anywhere. But I want TEM completely covered, and I'm gonna try and work quickly because the acrylic paint dries rather quickly. So now that I have that covered fairly well, I'm gonna take a piece of scrap paper. I just got a lightly press it on the leaves just gently to pick up some of that paint. And as you can see, the leaves there still colored. And the impression that I get is nice veins here, and that's good. So I'm gonna take the leaves and very carefully I'm gonna set them aside. Good. This is my paper I'm going to use for the print. So I'll set that aside and I will remove my leaves here, carefully setting them down on my surface. This is where if I have my paper towel, I'll dry my finger off. Then I'll take some more paint on my Breyer and I'm gonna cover the entire gel plate. And my goal here is to cover it neatly, not too thick, but not thin either. This pain is opaque, and I like the way it fills it out and covers it completely. So I'm gonna continue to add more paint covering my entire gel plate. This will give me nice, crisp edges. If I used too much and it rolls off the plate, it's not a problem. If I don't have enough paint, I'll go back in and add some to my palette. So just quickly work that way once again, blended all, then brush it, rule my palate, and then I'm just gonna continue to add paint. And then I'm gonna very carefully place the leaves paint side up on my plate so that I get the inverse of this when I make my print. Think up with this great up here, and I'm trying not to drag the leaves across the paint or across the print here. The gel plate. Now I'm gonna take my paper, and before I set it down, I'm just gonna kind of eyeball it. I want to make sure I'm covering the entire plate. Good to set it down. Trying to make sure the center of the paper hits the plate first, and then it just gonna let it drop gently and then with my hands, I'm gonna very carefully burnish it. I'm gonna start in the center and push my way up, and then I'll start in the center and push my way down. And you could barely make out the shape of the leaves and I can actually see some vain ing , and I like the way that looks. So I'm just gonna carefully press my finger to make sure all parts of the paper recovered again, burnishing as I go making sure I go around each leaf as well as on top of each leaf. Then I'm gonna carefully pull it up and I have my print get a carefully set this aside to dry. I wanted to dry flat, and then I still have paint here. So I'm gonna take another sheet of paper and see what I can lift one more time. So again, put my paper down. I fold it so that the center of it hits the plate first. Then I push it out. Then I'll push it out to the side. The entire plate and I have a few pieces of paper here, so I'll try and get back to here and again. I'm pressing out everywhere, trying to pick up and absorb as much paint on my paper as I can again. I'll go over each leaf, being careful to burnish it. The edges and the top minnow pull it up and I have a second print here, and it's not as crisp or clean is the first, but it's still effective. And what I like to do here is I'll put this down next to it and I'll very carefully pick up these leaves, and I know they still have paint on them. And so I'm gonna press them, flip them over and press them down on that paper again, just like that. And so now I'll take another paper and I'll press it down on my jail plate, and this is to clean it up. Sometimes I get a surprise that works an image that I really like, and sometimes I don't. But that's the beauty of this print, so I pull it up. I have three fairly nice leaves, so L now will take another piece of paper and I'll press it right on top of this one. Can I go down holding that paper down? Try not to let it slip. I want to pick up a much paint as I can. And the reason they put it down on the existing leaves is to see if I got any rub off on here and I don't think I really did. So now that it's stuck to this piece of hyper, pull it aside, I'll set it down and I'll peel these leaves off. And that came very nice print, as did this one and here. So I'm gonna let this paper dry, and I'm gonna use this these prints in my work somewhere. So I get this is a bonus and I'll let this dry. So now I want to clean up this gel plate and I'll show you a little trick that I use in the next chapter. 5. Clean Up Print: now to clean up my jell plate when the paint on it is dry, or at least fairly dry. What I like to do is I look for a contrast in color, and this is just to see what I'll get here. And so in this case, because it's a bright blue, but it take a little bit of white and I'll put it right directly on my plate just a little bit here. And then I'm just taking a little off white just because I want a little contrast this. You don't have to do this. Then I'll take my Breyer just roughly clean it off on my paper towel, still have a little bit of paint on it. But I'm not worried about that. It will coordinate, and I'm just gonna press my light color all over the color. That was there, the blue shapes that dried on my jell plate. I'm gonna go back and forth. I'm trying not to move the paint that's dried on the plate, but it might blend it somewhat. And once I have that entire we covered, I'll take my piece of paper, press it down and burnish it very well. I like doing this because it uses up everything that's left on the plate and with a light color is the background. Now, if I pull up my image, I might see the leaves that remained on the gel plate. And so now I pull that up and you can faintly see the leaves. I'll take another piece of paper and see what comes up with that over here and these prints , I call them bonus prints. I'll use, and I can continue to add cleaning up my palate. And sometimes I get the most enjoyable and unexpected results this way. This is a good one. So here we have very interesting results. We have modeled background, and we have those leaves. The reason the leaves didn't pick up on this one is because we had layer of paint that this the original leaves remains stuck to the plate. But once we took off that layer of paint, we got them here. So I really like this print, this one I'm still gonna continue to use and print on. So I'll set these both aside to dry, and we'll come back and try another version using acrylic paints 6. Acrylic "Sun" Prints 2: So now for our second technique, I'm gonna use this piece of kale here, and it is broken, but I still think it'll give interesting results. So I'm gonna take the piece of kale. I have my paint already on my palette. I'll just mix it roughly puts him on the Breyer, and then I'm just gonna go over my piece of kale here again. I'm covering it up with a paint not too much so that it's gloppy. But just so all the edges are covered, or at least most of them when I'm happy with the results Now, this is a little bulky, so I'm not really certain what it's gonna bring. I know the flat working with the flatter pieces or better, but I'm just gonna move it off my paper and off my plate onto the side here. Gotta cover my plate with my acrylic paint again. I'm looking for a nice even coding. Not too thick. I'm gonna take my leaf here, Gonna set it down gently. Gonna take my paper again. I'm gonna try and go gently right to the center and then just gently press it. I'm holding it down because it's both year, it's giving a little bit of a challenge. I'm gonna hold it down on one side so it's paper does not slip, and I'm gonna burnish all the way around again because it's bigger. And both year it will produce a little bit different results. But we'll see if we can't get something salvageable out of it. So then I lift up my paper, set it down here, gently remove my kale by Ken and I have quite a beautiful prints there. Gonna let this dry, I'm gonna set this down and this is the weather side up. And then I'm gonna come back here, impress this print here, see what happens. So for our second print, and then I'll pull that up and we got a fade to result. And then lastly, I'm gonna see if I can't pull this up with a little bit of that white color. Blend the sin, trying not to make too much paint. Little press this down. I've got a few extra pieces of paper there, and I have absolutely no leaf. But I do have a pretty background because there's a lot of paint there. I'll try and pull it up again. See if I get the leaf so pressing down. We did get the leaf very faintly. Move the plate. I'm here. We have the leaf. So now I'm gonna take this leaf. I'm just curious what I'll get as a result. And I'm gonna place it right down here just off our existing print. I'll take some more paper and I'm burnishing the leaf. I'm hoping to get the image of the leaf on the paper on the bottom. Some of the pain will rub off on the top piece of paper as well, and I'm not certain what that result will be. But again, I'm being careful to burnish it. So there I have a really nice leaf and I'll see what this provides, if anything, and it's fairly faint, so that's an interesting effect. So I have this as well as this 7. Acrylic "Sun" Prints 3: So now I want to create a little bit of an arrangement with the pieces here again, I take my acrylic paint on my palette. I'm gonna mix it together with the Breyer. And then it just grew practice setting up just a little arrangement here, and I'm using the different pieces we have. And I don't always plotted out ahead of time, But in this case, I think I will just like that. So the first thing I'll do is I'll ab my paint to my leaves here and again, I'm just gonna brush it around. And if I feel like the pain is getting on there too thick, I'll just take a little brush and brush it over. I can also use this to brush on the little delicate leaves as well. Set this aside, put a little paint on the ko again is that gave such a nice effect and then I'll take this and I'm gonna try and recreate it over here just so I have my design in mind, the way I set it up trying. Maintain that again. I'll add my pigment to my break played here just a thin layer covering the entire plate evenly. And then I'm gonna recreate that design that we had. I think I'll actually start with this one in any areas that scratch the surface. I'll just go in there with that brush and just gently painted out just like that. Then I'll take my paper and I'll press my image again. I'll start in the center, just making gentle burnishing, and then I'll work my way out and up again. I want to try and see the veins, if I can, from each of the leaves, feel for the exterior of them, just so that I know I have them captured on that paper and just gently play with the paper . It'll fold in some spots, and I just don't want it to tear. But paper is a little bit flexible. Go over the area with the kale, and then I'll pull this off a nice little image there. And so we get a nice son prince there or a foe son print, and I'm gonna try and pick up some of it from this paper as well, and we have something. It's not quite defined, but it's a nice, interesting background paper, so I'll continue to work on this and we'll see if we can't pick this one up. And here we got a very interesting effect. If we were to put the color on the background over that layer, we would have had the background modeled as well. But for now, we got some beautiful leaves. I want to try one more thing while we're here and while my leaves still have paint on them and I'm gonna take them and I'm just gonna press them, flip them over and set them down in just any old fashioned, the inverse of the way they were set up before. I'm gonna press this down and I'm not really trying to make a print on my paper. I'm trying to press the leaves onto the jail plate so that whatever paint they have on them will transfer to the plate. And again, I have a few sheets of paper. Really? Make sure I burnish over each leaf. No, I got very interesting effect that Kale is really impressive and that will remove this and see what I have on my plate. That's a good impression. So these are some interesting impressions. I'll let this dry for about 30 to 40 seconds and then I'll come back and put my lighter colors on top of it and then pull a print. So I'm just gonna go in there with my lighter colors and making very light layer on top and again because I want it modeled. Add white, but I'll also add some of this beige little, very carefully in lightly rare my color on top, my acrylic paint, and this will cover any areas that don't have that blue paint on them. Pick up that layer of paint. And so, as we know, the first layer isn't very detailed at all. But it does give an interesting layer. And now, for this layer, let's see what we can pick up. So I'm burnishing it right to the very edges of the Joe plate, and here we have a very interesting effect. The kale leaf didn't show up very detailed, but the rosemary and these to leave shorted. But I still love this effect. I'll let this layer dry, and I'm gonna clean up the gel plate just by spritzing it with some water and then going in over it with a damp cloth. And when we come back, we'll work on the water color version 8. Watercolor "Sun" Print Part 1: now to use watercolor instead of acrylic. It can be done, but it's a lot trickier, and there are a lot more steps involved. The results are also far more unpredictable, mainly because the watercolor runs and has a mind of its own. So to start with, we'll go through the motions here. I'm just taking to watercolor blues. I have an indigo in oppression, and I'm just mixing them. And I'm just choosing these colors because that's the look I like. It reminds me of the son Prince, the blue of the son Prince. So I just put that on my palette. And then I want to mix enough water with it so that it's runny but not super super loose. So I'm just putting in a little brush full of water here, in addition to what I deposited. And this is a very deep, intense color, very blue, and that you could only really see that it's not black when I pull this side and a little bit of a lighter color shows through. So this is a very thick consistency, like heavy cream. I'll put in just a drop or two more of water, and so now I have my watercolor paper, my jell plate. I'm gonna move my paper for now, and I'm gonna go through the same steps that I did with the acrylic where I'm first. I'm actually gonna print paint on the bottom side of this leaf. Now, this is very messy, because this paint is so loose, so it will stain if it drops on the carpet or on you. So if you want to wear an apron or an old shirt or smoke, and I'm just really trying to get the water color everywhere on that leaf, then I'll set this aside again the same procedure I did when we used the acrylic paint. And here I'm taking this leaf here. And this is one that I had already used with the acrylic paint and it dried, but it has beautiful vein ing. So I want to use that. And then I'm gonna take this one piece of parsley here, and the parsley in the herbs are very delicate. So I got to be very gentle with, um, put the pigment on, and as you can see it, it beads up. It doesn't stay in a cohesive layer like the acrylic does but to take this and now I'm gonna paint it on and again, you can see it beating up does not produce any were near the same results is the acrylic So I'm gonna take my time and make sure I cover the entire plate with these beaded up acrylic beated up water color. Gonna keep whatever remains of my palette. I'm gonna use that later because we do have additional steps to make this work, but it does produce an interesting result. So here I have water color paint all over my palate. Take this brush and just set it aside. And now I'm gonna put my leaves exactly how I want them. So maybe I'll put this one up here, this one like that. And finally this one here using the same procedure. I'm gonna take my watercolor paper, my heavier paper, and I'm gonna set it down right on top of my plate again. I start with the center and now behold it down the centre and worked my way out, and I'm gonna go slow and steady here because this watercolor papers thicker and it can be more absorbent. It's also harder to feel all the different leaves underneath it. And so then this is what I have. For a result, you can see it's nothing like the acrylic. It's very inky. Pull that leaf off. Now I'm gonna set my leaf back on my palette. Makes a little bit of water in here. Just a few drops, and I'm gonna try and pull a second print. But in order to pull a second print, I have to paint another layer over the entire gel plate as well as the leaves. I really like the modelled background. I think that's a very interesting effect, and we're not done with it. But I still like the way it looks. Really. It's very indicative of the water color. Now when I think I have my watercolor done takes a quick look at that can see where it's beating up. I'll take my watercolor paper again and pull a second print again. The same procedure again, the delicate leaf sticks. And it gives a result very similar to our 1st 1 There might be even a little more depth, so let these layers dry partially, and with this I'm gonna put my leaf back on. Not gonna add any more ink just yet or anymore water color. But I am gonna take a regular piece of copy paper instead of the watercolor paper, and I'm gonna set it right on top of these leaves and I'm gently gonna press down Now, there's not very much water on these any longer. So that's why I'm not using another piece of watercolor paper. I think the standard copy paper. We'll pick up something and then I'll just pull that up and again. The leaf sticks the parsley, and so that's a very interesting effect. It looks very inky. Remove these leaves and I'm gonna take another piece of copy paper and see if I can't get this leaf prints here very much like the skeleton of leaves. And there we have a beautiful effect. Now I'm gonna let the current prince dry, and then we're gonna come back and add some layers to them so we'll save our palate on our brush and our two prints that we made on the watercolor paper 9. Watercolor "Sun" Print Part 2: So now with our water color prints, we have the initial print and we have made two sheets of this. I'm gonna leave one as it is, because you can stop here if you want. I think it's a beautiful print, but I'm gonna show you how to enhance the other one using the same watercolor from your palate. I'm just gonna add a little bit more water color to my palette. I want the color a little more intense. So just gonna add a teeny amount. And I'm just gonna add this Prussian blue, the darker or the the more blue of the two colors here could add a teeny bit of water to that as well. Just a few drops. And so now I have a really super intense blue. And now I'm just gonna very carefully outlined the leaves here, and I'm gonna go with the biggest lee first, and I'll be very careful going around it not to interfere with the leaf right next to it. It will make my outline, and I'll just pull that color aside again, adding more pigment to try and make it a somewhat even wash. And I can outline my other leaf. These shapes aren't very, um, intricate. We'll pick this up and I'm doing this. It provides a lot of contrasts between the leaf and the background here so that the negative image here the negative space really stands out. - Canada , any harsh edges. Then I'll foot my piece over and continue going around with my deep color here, my deep blue, Really emphasizing those shapes over here. Go right around. No, Here I went over that. So rinse my brush, get a smaller brush and some clear water and just try and pick up some of that pigment from where I colored the actual leaf, which I did not intend to dio. Then I'll go in with my smaller brush and really emphasized these ruffles of this kale leaf . So then I have my painting and I'm gonna come over here and I'm gonna mix a very pale blue . So just make some water and take a little bit of the blue from that. So it's nice and pale. I'm just gonna go in and go over our leaves here, trying to color in the entire leaf, avoiding capturing some of that darker blue from the outside and I'm not trying to change the blue marks. I love that texture, and I'm just being cautious and then I'll just go over, overlap the edges. Here. We'll do the same thing on all the leads again, trying to get a very pale blue just like that. And there we have our watercolor faux son print. 10. Class Wrap Up: so to wrap up class, I want to show you all are prints that we made and then set aside the ones that I really liked, as well as the ones that were very indicative of sun prints. So here we have the one that I think is most indicative of a son print with our three leaves. And not only do we have the outline of the major shapes, so we have the negative print, but we also have a little bit of detail of the actual leaves, and I think it's beautiful. Then here we have the inverse, so we have the detail work from the print, the leaves on the plate. Here we have the background where we pulled up some color using the background acrylic paint, the additional layer here of the two colors, and then we have additional ones. Here's Ah, print here that wasn't very detailed. And so while it has nice shape, it needs more work. It can be salvaged and each part can be used individually. And then we have this one, which is really the negative images really stand out. So I would say that this one was the winner here for me, and it really does look like a son print for our next one. We did. We took a piece of kale and that really showed up beautifully. Here. We got the very beautiful image with white detail ing and the vein ing great image. Here. We got the inverse of that. So we just got the print from the actual leaf, and that's quite interesting as well. This one was kind of cloudy. It's there. There's the basis of something, but it just doesn't stand out on its own, at least to me and the same thing with this print. So from this batch, I think we got two winners from these prints. We got nice contrast here from our son, print or focus on print. My preference, though, is the background here with the modeled two colors, the white in the off way. I just love the way that looks, and we also got some variation in the actual blue, so we've got different graduated colors from the existing colors. We have more of a detail print of a vein ing on the leaves. That's intriguing by itself, and I think this would make nice collage work here we got a much more intricate image, but not fully defined, except maybe this leaf in this leaf. And then we have this and it's not at all detailed. But it is an interesting background, and it can be used for collage. So just a few pieces were really successful on this print and on the last one that we have , we have our water color prints, and to me, these had the highest rate of success, Shall we say, Here's the initial print that we pulled and I love it. There's detail work. There's a little halo around the objects which really make them stand out. And then there's contrast and interest within each leaf. Here's one that looks more of a negative or a blueprint, and that's intriguing in itself as well. I also like the prince of just the Leaves and the details that were given there, and I love how this copy paper absorbed it as opposed to the watercolor paper for our initial poll. And here's another version again. I'm gonna use these in my collage work. So here we have our four completed faux son Prince. We did get a few other really good prints out of this whole ordeal. But for the what we're trying to go for, Which was the actual making the sun print or the sun print lookalike? The copycat? I think we did a great job. Please be sure to follow me here on skill share to get notified of future classes. Please consider leaving a review and thank you for taking the time to join me. 11. Bonus Class - Faux Gel Plates: to make a faux gel plate. I'm gonna show two methods. Now they're not exact replicas for an actual gel plate. They don't have the same characteristics, but they have some characteristics. And for price point, this will cost you under a dollar as compared to a gel plate, which can run you $40 mawr. So here's what I do. I take standard one gallon Ziploc bag and I just fill it with paper towels. And I have about four layers of paper towels here. The more layers you add, the more give it will have, which is what you want. And I put it in the bags that there are no wrinkles and no folds in the paper towel. I seal the bag, and then I have one version of a faux gel plate, and so from here, I just treat it the same way as I treated my jell plate where I went over my leaves, adding pigment to each leaf right on top of it. It has enough gives so that the paint can really go in the crevices of the leaf. I continue to add more paint, and with this faux version of the gel plate. You will need more paint than you would if you were using just a gel plate. So just keep that in mind. You might need a little bit more acrylic paint to do this technique. And then I pressed my paper over it here. I just cleaned off my Breyer and then went over the paper again. So here I went, just like I did on my original prints, and I removed the paper from the jail plate. It came out fairly well, and I was pretty pretty pleased with the results. I was very curious to how it would react with a second print, my ghost print here, bonus print, and I didn't think it came out very well. So I think if I was going to do this again, I would have to re ink it with more paint before I did a second poll, as you can see it at the texture of the paper towel in there, which I didn't get quite as much with the first poll for my second technique, I used to Ziploc bags, and I put one inside the other, and I fill it with water and try and remove as much air from it as I can. The water plays and bounces around, kind of like a waterbed, and it still has the give that I'm looking for to make that gel plate again. I went through the motions. It's a little more precarious than the one with the paper towels, because that water really wants to move. But it does have to give, which is what we want with a gel plate. I would just say it has a little too much give. I continue to add my paints and my leaves. And then I added my paper layer, and then I pressed it out and the bag did flop around a little bit, so I just kind of went with it. It gave a nice result. Even though it was more difficult to work with again, I wanted to try what the second print would look like. So I pulled all the leaves off and then took my paper and pressed it right on those that bag full of water again. I wasn't happy with the result, but it wasn't bad. I hope you find these methods to make a fake gel plate just as successful as the methods for making faux son prints