Draw to Print: A Gelliplate Adventure

1. Introduction: You are thinking of trying to do something different for your chelic mad 'cause you're tired of just rolling around the paint and hoping for the best. This class is going to shake things up. And draw to print a jelly plate adventure. We are going to experiment with different drawing materials like charcoal, oil pastel, ballpoint, pn, acrylic markers, and so much more, all those techniques to make beautiful prints and have fun making them. Hi, I'm Anna Brin Falune. I'm an artist. I'm a professional mess maker, and I'm a teacher. And I love to experiment and play. And, yes, I love mess. One thing you know with jelly pad is that you're going to get a mess. But other than jelly play printing always comes with surprises. You never know what you're going to get until you actually pull that print. There's something magical about it. This class isn't step by step, do like I do, class. No, not at all. Just see it as some creative challenge, because, yes, I'm going to show you some of my techniques. But I'll challenge you to go beyond them, to experiment with them and have fun with them. Use your drawing materials in a way you've never used them before. That's why this class is for beginners as well as seasoned pros. The only thing is that I don't go over all the jelly pap basics. So with this class, I'm sure you already know the basics of jelly printing. And other than that, we're just going to pay and see what happens. This class is structured around the different drawing materials. So in each lesson, I will show you what materials you need and how you can use them and how you can go beyond them. And of course, you're going to need your brayer and your jelly plate and some paper. But I encourage you just to use the things you have at home and just pick and choose the drawing materials and the lessons and the techniques that suit you. Or maybe that suits you. Maybe that pushes you beyond the boundaries that you thought that the jelly plate or your drawing materials actually. As a class project, I encourage you to pick one of my techniques and upload them to the project section. Or, no, better not. Go and experiment with those techniques and find your own technique, maybe a technique that I don't even know about. Upload that one to the project section. Not only I can see them in common on it, but you can inspire your classmates as well. Oh, I'm so excited to see what you had made in the project section. So grab your plate, grab your brayer, grab your drawing materials, and I'll see you in class. 2. Supplies: The supplies you're going to need is, of course, a jelly plate. This is just a small jelly plate just because it looks better on camera, but you can use as large or as small as you like. You can even make your own jelly plate. Hop over to the resources section, and I will have a link there so you can have my recipe for making your own jelly plate. This is an older one has some stains on there, but that's absolutely fine. We are going to need a brayer because sometimes when we draw something on our plate, we have to get it from the plate to the paper. For example, with paint or with something like a met medium, and then we need a brayer to roll up the paint or to press the paper onto the plate. Speaking of paper, it's absolutely fine just to use regular printed paper. I use it too, but I also use drawing paper. You can use regular drawing paper. You can use a little bit stiffer drawing paper like this one. You could even say, Well, no, I'm going to use some leftover papers like I have in the recycling bin. Or music sheets or book paper, as long as it's paper, with this course, it's important to use the materials you have at hand. The only thing you need to have is a plate, some kind of paper, some kind of medium to get the drawings to the paper, for example, the met medium or the paint, you need drawing materials. I use several drawing materials, everything from watercolor pencil to, for example, the charcoal or many other mediums and it doesn't really matter what kind of material you use, I will give you different kinds of options. This class is just to inspire you to use your art materials, your drawing materials differently. With each lesson, I'll show you what materials you need besides the jelly plates. And other than that, we're just going to have fun, explore, experiment, and play. 3. Acrylic Markers: One of the first drawing materials we're going to use are the acrylic markers. Why? Because these markers have acrylic paint in them, and that's what you usually put on your jelly plate. The difference is that an acrylic marker has a nip. And with a nip, you can actually draw whatever you want to draw. It's more precise than when you use a brayer or a brush. The downside for some people could be that the paint dries fairly fast. I cannot really put paper on there and then pull your print directly on the paper because it's probably dry at that time. That could also be an upside because you can take your time drawing. You don't have to rush in order to pull your print because it's going to be dry anyway. Take your time, draw whatever you want, and then take some paint or met medium or glass medium, or whatever medium you like to actually pull your print from the plate to your paper. Well, if you think, like, I'm not really a drawing expert, I got you covered. Because you don't always have to draw, you can also print an image you like. Choose one from splash, for example, or one of your own pictures because they're like, write free. Put them onto your plate and start drawing. I will give you lots of tips along the way. So, uh Mom, join me in the first technique. I got this one from my printer. I like it. But I rather go for this one just because it has a little bit more contrast and will probably be a lot easier to draw. So I'm going to put this underneath my plates. And as you can see, I can see the petals there like contrasd through the background. So this is the one. With my plate, you see, it's a bit dirty. I don't mind because it gives a grungy look. Of course, you can clean it with baby wipes, but no, I think I'm going to keep it. I like the look it actually gives me and I'm a lazy printer, so that's why. When I'm going to draw, I'm going to start with the things that I will see on top of the print because I'm going to work with layers. When I put my paper on top and I pull the print, the things that I draw on there first will be on top of the paper and the things that I draw in last will go directly on the paper. So it will actually be some kind of background. So that's something you have to keep in mind where you're going to draw on your plate. So that's why I'm going to start with the center of the flower. I'm going to pick a little bit of a darker color. And I'm just doing it. I have a creative freedom here. I mean, I'm using this as a reference this photo, but I can do it in a way I would like to do it. I don't see this but really good, but again, my creative freedom. I think I'll have the on here. On top of this, I'm going to use a regular nip and I'm going around it, but I don't really have to. I can go over it as well, but I don't see that much paint coming out. With a brush nip, you can actually start brushing immediately or drawing immediately on the plate. But with these regular nips, you have to shake your pen and then press the pen to get the acrylic paint flowing from the pen. Let me see. Yeah, I got some paint coming out. Yes, I'm ready to draw with this one. You see, it's a lot better go around the centers. This is just a regular, easy, cheap marker. This is a better one, and you can actually see it because it's more opaque than the other one. I don't have any special preference. I just use the colors I like. This one has a little bit of a bigger nip on top. And this one that has the brush nip. That's for the painterly feel. I think for jelly plate printing, I love those the best. But again, that's a personal preference. Well, I'll go over it with the yellow. You don't see the orange anymore, but it's still there. But that's just because I just want to have the yellowy orange glow on the center. Again, that's what the picture said. So that is my reference because I'm working in layers, it's still a bit wet, so it has to dry a little bit, so that's why I'm going to go to sites now so I won't interfere with the paint, and I'm getting a pink now really precise. That's just because if it's still a bit wet, I can blend it with my other marker that goes on top. That's why I'm doing just one flower at a time instead of all of them at the same time, what I did with the centers. I'm going to go over. Again, you don't see the other pink too much anymore, but it's still there. I blends a bit. I'm going to get a lighter one. It's almost white. I think it's a bit too white, but I'll adjust it probably later. But the flower that's in the foreground and the foreground are lighter, like you saw in the photo. When I use this, I'm cleaning my nip now. But when I use this one, you can actually see the contrast, you can see the depth in the picture. It's easier to clean the nip while you're working because now it's not tried in. If you just go over and see your pen is just getting too pinkish, take it to the side. You can use an extra piece of paper. I'm using just the paper that covers my desk. It's just a way of working that I like, at least in this projects. But I'm a mess maker, so you do. I'm going with this one. Again, I'm taking more or less the same steps. And my lighter color is going to be in a little bit more pinkish than I did with the other one. This one actually has a chiseled nip, and I like this nip because you can make small lines and broad lines with this one. This one is the liquitex marker. You can see the nip a bit better. And and I think the contrast is just a bit too big with the other one. I'm trying to give this an extra layer underneath the cream color I put on there. You would still see the cream, but it's just tone down a bit more. I can start with a darker pink here because it's more in the background and it's behind the other petal. Now I have to think, which petals do I do first or last or how am I going to show the difference between one flower and the other flower? Usually it's just because I'm doing them darker when they're further behind. I'm going to speed the process up a bit, so it's very similar as I did with the other flowers. Well, now I'm going to do the branch, and that's a bit more behind. Since it's almost the same color as the background, you don't really see it. I'm just winging it and thinking, what would be a logical place to have a branch on there. I'm just connecting the bud and the flowers and I'm making the branch a bit irregular because that's what they are in the original photo as well. I'm going to add some leaves. I know there are some leaves somewhere. I have no clue where, but I love to add a little bit of green, just another pop of color. So I'm just having some creative freedom and deciding where I want to have the green. In order to see if it's dry enough, if it's still glossy, it's still a bit wet and if you put some paint on there to pull the print, it will probably just mess everything up. I have to wait just a bit to let it dry. And usually it dries really quickly, but now it says a bit wet because it just multiple layers on top of I'm taking it off the image you can see it a bit more clear. Now when it's more or less dry, I have to put something on there to pull the print and I'm actually thinking of doing it with paint. And I have to be really careful how I going to smudge brayer this over the flowers. So I have to be really sure that it's dry enough. And when I'm brying it, I'm just bring it, like, really softly and roll and pull, roll and pull, roll and pull. I know it's a different color background, but I think this will suit the image, and I'm going to do it really careful. Don't put too much paint on there and certainly not too little, otherwise, you cannot pull the paint or the print. Since I'm doing the roll and pull, roll and pull it off, I will get an even layer of paint and it will create the best possible pull as well. I'm going to put this on top, and I'll have to make sure the paper won't move, and I'm making sure the paper or the paint will stick to the paper. And it doesn't only have to be like be firm on there, like you could do it with a brayer or you can actually do this with a ban as well. But the paint needs to dry a bit too, because if the paint doesn't dry, probably your print will fail a bit. It could be the charm, but it could also go totally wrong. I've shown you the different options just to press the paper to the paint with my hands, the brayer, or the barn. But I can't really see what it looks like, and it's hard to pull it when I do this because it's sturdy paper I have right now. I think it's 250 GSM card stock paper. So what I'm going to do instead of pulling the paper, I'm going to turn it around. Oh, I can see the result already. Is it looks nice. But still, it can still look different when I pull the jelly plate. Oh, it looks nice. I'm pulling the plate instead of the paper. You don't have to, but that's just what I do with this kind of paper. I'm taking it slowly. You can still see there are some marks in there where the paint didn't really stick to the paper, if I just waited teeny bit longer, it will probably be better, but I still like it a lot. Yeah, I can fix this. I will be final. I can fix this. I don't have to because I like it. Yeah, this is how you do your acrylic markers and you see that it's blend already. Still fix it for you with acrylic marker. That's the advantage of using acrylic markers instead of using acrylic paint. I just putting this on and maybe smudging it with my finger. I do this until I get the color I like and you don't even see there were, like, mistakes in there, and I don't like to call them mistakes. I like to call them happy accidents because they really work and give a certain feel that you won't get if you just only draw them. This is the thing you get when you draw on the jelly plate. I think it's a total unique vibe, and I can't wait to see what you draw and what your project will be. 4. Charcoal: The second material we're going to use some charcoal. You could use, like, then box from my grandmother. You can use those charcoal sticks. You can make them yourself as well. Or you could use those pencils with the charcoal led or you could even use some soft pastel. I'm not going to use the soft pastel in the same way that I'm going to use my charcoal. I think you could, but I'm going to use it in a different way. And if you're like, I don't have any soft at all, and I don't have any charcoal, you could try almost the same thing with a pencil, but it should be like a really soft pencil, graphite pencil. Yeah, I think that will work well for this class as well, this lesson as well. Come in and we're going to see how you can actually draw and print with the charcoal. With the charcoal, you cannot really draw on your plate. You just won't see I see some, you see some smudges, but you don't really see anything. I'm just grabbing some baby wipes and you can see how you can clean this a bit. A little bit of flour left. Okay. But if you want to use your charcoal, you need something to draw on in order to put this on here. Well, one of the things that you can use is just regular paper, and I'm just using some printer paper. I'll have to put this aside and get the sprinter paper. Actually, I'm not going to put this aside because when I draw on here, it's different size than my jelly plate is. I have no clue where I need to draw or if I go outside the lines. I'll put this on here and I'm just Outline is it's more or less outline and I know where to go. And I can draw something in here. I can, for example, a tree go out here, bushes out here a tree being more abstract. If you don't like abstract or you want to be more precise or you have trouble with your drawing skills, you're just not confident. Well, you can either grab an image like this one I printed. I see if you can trace it. It's hard to see. So then you don't use this paper. You're going to use some tracing paper, and you can just outline and use this image to put on your gil plate. I like just to do some wonky stuff for this time. So I'm going to leave with it like this. I'm going to grab my gel plates, and I'm going to see where it's my plate here, my plate, where I have to position it. And if I can't see it where to position it, I already put it on here. I can't see where to position it. And when I stay within the lines, you don't it doesn't really matter if you do. And you can also put this down here and put this on top, and you're like, Yeah, that's where I want to have it. I want it like on the top off like this, I'm going to use my hands or I'm going to use my brayer to make sure that's on here. Well, it gets on here really easily, but I'm going to take this off, and you see my weird whatever it is I drew. And this doesn't only work with the charcoal or the pencil with charcoal. It works with regular pencils as well, even especially when you use a soft one. But with soft one, it's a lot lighter. So the lines aren't as well as contrasting as this would be, or you have to work really hard. You can definitely on here. I'll show you. See? So if you don't have charcoal, just use your pencil. You can also do this with, for example, some soft pacels. These are RM brand, but any brand will do. I can't really draw on it a bit. You see it maybe a bit, but not much. W pen Pacel you can because then you have a smarter to put it on here. You can draw exactly the same way like you did it on paper and get it on here. But what I like to do is use this for splash of color. For example, I want to have some green on here. Maybe I also want to have some blues. Just some fun play. I'm playing well, I'm doing this course. I have a little bit of a plan, but not much because I don't want to have a plan. Plans never work out when you have a jolly plate. And now it's on here, it's still since it's like a powdery stuff, you can get it off and you don't want to get it off, you want to keep it on here. But it doesn't if I go here, it doesn't really transfer. So again, I need a medium to put over this in order to print. I can do the paint again. But I can also use met medium. You can also use gloss medium, but the reason why I use mat is because the charcoal and soft pastel are both medium, or met drawing materials. So that's why I'm using the met medium. You can use gel medium as well. I don't want to put too much on there, but definitely not too little because otherwise it wouldn't pull. And I'm going to bray it over. You still see a little bit of blue and a little bit of greenish, just subtle hints on there. Then I can use regular paper to call it, printer paper, but I have some book paper here as well. Let me see if it works. Does it fit? Yeah, it fits well more or less. Let's see if it works. And be careful because it's really liquid, this medium. You can really move the paper. You don't want to move the paper. And I think with medium, it's better just to let it dry a bit to pull the whole print, but just a bit. I'm not I don't need anything heavy on this. That's also because book paper is more porose and it really absorbs the moist. I think this is dry. Et's pull the print. Ta I pulled the print. You actually don't see this one. Not too bad. I thought maybe because I already took a bit off. But you see the colors, you see the blue, you see the bit of the green in here. I definitely did something. When you do this with paint, you can actually get sharper lines. It's still a bit on here. I don't know if there's still some medium left here. Well, I hope so. Let's see what this does. I can just grab the back of this one. See, it's not smudging anymore on the paper, the charcoal. See like this, you can still have a fun ghost print. And now all of a sudden, maybe it was still too wet, get the little birdie or what is it? Sitting in. I like this one better than this one. You see? This one is still too smudgy. I should have let this dry a little bit more. The ghost print is a lot better. Yeah. Now, well, it's dirty. Like I said, I like to leave some of it on here for my next print to see what happens. But maybe this is just a bit too much. I want you if you're really clean, I'm a clean person, but not clean with my chilly bread. I'll show you how to clean. A bit too much, I think. And I'm just going to use my fingers and just going to rub it. You see, when I keep on rubbing it, it dissolves a bit. Sometimes it can take a while. And actually, I think it's doing pretty good right now, pretty quick. So you can also see if why I prefer the charcoal because the liftof is just a little bit better. But that's something you should experiment with too and it would be different if you have paint on top of it. It would be different if you had a matt gel medium. Be different if I had different pull of paper. Now, it's a mess. I still have some baby wipes here. I'm just going to take it off with the baby wipes. Wow. And it's clean or as clean as it can get for now. And we're on to the next project. 5. Oil pastel : The next coloring tool we're going to use is a pastel as well, but this time it's an oil pastel. And again, we're not going to draw on the plates. We're going to draw on paper, and it goes on the plates and goes back to the paper again. Why would you actually fuss about it and go from paper to plate if you go back to paper? Well, just because I love the way it looks. It looks less polished. Well, it looks less polished anyway when you use an oil pastel. We're going to make a coloring book image just on your plate. And we're going to color it in with neo Color two crayons. And these crayons are water soluble. You don't need to have neo coolor. I love neoclor. I have all the colors, but you can use any water soluble crayon you have. You don't have it. Painting on it is completely fine. Come on. I'll show you how to make an oil resist or your jelly plate. This is a panda pastel, and I'm using a black one, but color doesn't matter which one you pick right now. And you'll see why. I think I'm just going to make a simple flower with flowers, the petals are all different sizes, shapes. Well, so you can go wrong. It doesn't matter what you draw. You can probably draw this too if you're not you're really insecure about your drawing. If you're secure about your drawing, please draw something. It's a lot more fun than this. But now I've drawn this on here, I want to have this on the plate. And something that's different than with the charcoal. With the charcoal, you're going to put it on and will be pressed. Now I'm going to do something different because now I'm going to grab my plate and I'm going to get some paint. Let me see. Yes. I'm going to take this one. But it's on here, one of my prayers. And rolling and lifting, rolling and lifting, rolling and lifting pull, roll and pull. I don't know how you say it, but if you just roll and pull instead of this, this is what you do when you want to blend the colors. But if you want to even distribution of paint, you just go like this, well, I think it's even layer, and then you grab your flour or whatever you've drawn on here. I mean, you've done this with a tracing paper as well. I'm going to put this on here, and I'm really going to rub this. Again, you can do this with your head. You can do this with a brayer, or with a barn or even with a spoon. And the reason why I want to do this because I want to pull the paint. Yes. And how can you get pulling the paint? Get the flour on here? Well, it's pretty simple because when I pull the paint, but the flour is still on there. Why is the flour there? Because oil but still is oil based, and acrylics is water based. So on where the oil is, acrylics just won't attach. That's what you see when you put like in a cup, you put your water and olive oil, for example, in there, you have like two layers lying on top of them. They're just you get to resist. And over here with resist is something that I really want. So now you can see that it doesn't really matter if you use a black flower or a pink flower or blue flower, turn out the color of the paint because the flower doesn't come on here, the paint just never leaves the plates. All those pieces of here? Yeah, I can if I want. I can take them off, but like I said, I like that actually look. I like the grungy look. Since I've been using crayons on here, I think I'm going to use crayons to color this in as well. But I'm taking different crayons. I'm getting my Oh, let me open this my car Dagon Color two. I have a lot more of those. But you don't need many, I'm going to show you. But when you draw on this, you don't see anything. But the fun thing of these No Color two, water soluble crayons, Aquarel is if you like, water activate them, for example, in cup of water, put them in there. You can actually paint them on your chili plates. I do this with this too. The only thing is, it's really wet, you have to wait for quite some time just to dry. But the fun thing is when you have enough time to mix your colors if you want to. Water again, if I use too much water, you get those over here, you get cracks in your paint or your crayon. And you have those little see throughs to the paint that you put on top. Could be fun if you want to. And with too little water, it just won't draw on there. This is like being your child again. His coloring my color book. I made my own color color plate. This is really mindful. I don't have to be really fast because, why should I? It's wet. And I think I get darker color just to color in here. Here because those are the petals that were bent a bit. Since it's still wet, I can actually mix it. I think I'll take this one. Just going to wet mix it through, get colors. Let see get a different color combination, and now I've filled it up all the way, but you can also say, like, I'm not filling it all the way. I just want to have it. The inner part of the flour. And if you do the scratches, you would actually see them the scratches as a texture on your paper. Actually, I like this. I do this and see if I can make this, probably can make it a lot lighter. I think I'll leave it as I have to let it dry. While you're letting it dry and if you're impatient like me, but you're really neat, you can now take your baby oil or your baby wipe just to rinse this off or just rinse it off, but polish it off. But I don't want to, I'm going to leave it on here. But now I have to wait. Since waiting is not my strong suit, I'll think I'll have a tea break and I'll be right back. You want to know when it's dry and you just lift this off and you just see where are the glossy parts. The glossy parts aren't dry yet and the met parts are a little bit more dry. Drink more of my tea then. I put on some of my paint because I'm going to lift it, it's a little bit moist still, but I think if I do it really careful, it will be okay and otherwise, Oh, oh, yeah. No, I should have let it just dry a bit more. Oh, why am I so stubborn, so impatient. Maybe it gives a cool effect, but at least now you know why you should let it dry and take your time and take a break, taking breaks for an artist for anyone is a real good thing. Oh, even this and I'm just grabbing a piece of paper. Creamy paper this time. Rub it. This is actually drawing paper. It's I think 160 GSM, drawing paper. I'm going to show you different kind of papers as well. Let me see if I just flip this. Well, actually, yeah. You see, it's not as tight as it should be, but I'm not pleased. Take this one off. And actually, it took most of it on there. I don't mind. Anything I would have liked if it wasn't smuch here. Other than that, I actually like this look. Otherwise, it would be to, you could actually draw it on paper instead of printing it on paper. No, I'm pleased. I'm curious what you are going to draw and how you are going to fill in the colors if you have more patients than I have to make a lovely piece, I'm looking forward to seeing it in the project section. 6. Alcohol markers : Next dryer material are some markers. We already have acrylic markers, but now we're going to do the alcohol markers. Alco markers, you said, Yeah, they work on a jelly plate as well, and I'll show you. And if you're like, Oh, I'm getting the hang of it of those markers, I'm even going to show you what it looks like. When you use these permanent markers or Sharpie, they all work on a jelly plate. You just have to know how to use them and how to get them from your plate to your paper. Okay. Well, now get back to drawing on the plate again. Actually, drawing on the plate. You can do that with different kinds of markers. For example, if you use this is Ohh but I have different brands as well, like the pro marker or the cheaper brand. These are all alcohol markers, alcohol works really good on your plate. Let me show you. I'm just going to make a texture on here because even if it's called drawing on the plate, that doesn't mean that you actually have to draw. Well, draw on the plate, but it doesn't need to be anything fancy. The fun thing is, it looks like here, not seeing a thing. But you will see this later on this light blue, just in case I'll put this darker blue next to it. And we can make some circles. And of course, alcohol markers have to dry as well, but they dry really quick. Actually, these are not the only markers you can use. You can use permanent markers as well. I mean, regular permanent marker you can use to draw on the plate as well. Able to draw with them on here. But then again, you have to get this on the paper, but you know to drill by now. You can do this with paint or you can do this with met medium, for example. What should we do? I'll try met medium, I'll do paint again because I need something just to see the light blue. Okay. Man. Yeah, this dries really quick. A little could do with a bit more paint. To frugal. And you see me using Amsterdam paint all the time. That's just because I love Amsterdam paint. It's really easily accessible for me. It's affordable here. Amsterdam is our capital here in the Netherlands. So I'll put a layer on there, just get a piece of printing paper. Put this on top. Uh Let me pull the print. You see, even the light blue that you thought it was not even there. The alcohol markers you can have these are dark effects, but this one you can really make a watery effect, especially when you combine these with drops of isopropyl alcohol or something, you can make cool effects. But you see why should you just constrain yourself to Paint. If you can use those alcohol and permit markers as well. Wait to see what you can make out of it. 7. Waterbased markers: When you think you are done with a markers, think again because now we're going to do the water based markers. Marks like this is like a brush pen. It works something like for lettering or drawing your coloring book. It has a nice brush tip. It is water based, but it's not really something you use with. Water, for example, the watercolor markers because we're going to use those two and they will look totally different on your plate and react totally different on your plate. I'll show you in this video. This is a brush pen. You use it for lettering or your bullet journal. It's water based and you can coloring your color books and you can activate it a little bit with water, but actually not too much. And the other one, you can actually use in a coloring book as well for leathering. But this is watercolor marker. With this one, it looks the same if you like the other brush marker, if you just put it in a coloring book or if you do the lettering. But if you put it on here, you see this one's already drying and this one isn't really drying yet. It takes a very long time to dry. You see those little marks that's like the water that reacts to the jelly plate. And you can use it on your jelly plate. It's totally fine. But if you pull a print like this, this one, yeah, it would actually go. It won't be everywhere because yeah, you have those marks in between. This one probably wouldn't go because this one is dry already. I have a different watercolor marker. But to get this off the plate, you use medium. You could use met medium, gloss medium, or you can actually use acrylic paint. But probably will just lift off right in the way you put it there because it's dry right now. But this, even when it's dry and like I said before, it takes forever to dry. It will reactivate with the paint or the medium you put on top because it's liquid and liquid is the same thing like water is and it immediately reacts and it wants to get liquid again just like watercolor does all the time. What do I do? I get some paint, so I'll show you. Put aside here and why I do this? See the green will stay. But the other ones, now I didn't let them dry but get the picture. The ones will activate and we'll smug through the paint, which is absolutely fine. But that means you cannot really use it to coloring in like a stencil, for example, or use it to make drawings because it will all get smushed. But if you use it like a background, it works perfect. Now it's all mixed up all the colors. Just put it down. This is a drawing material that doesn't really give you the opportunity to draw. Well, you can draw on the plate as much as you want, but you won't see the drawing on the paper. Because when I take it off, You'll see it's actually mixed. Still see the green spot here, but I went with all the other paint on top. So it does work on a jelly plate. But for coloring in, you could probably use one of the other markers like the cric mark or the alk marker. I will probably work a lot better. But if you still want to have a drawing on top of this, I'll show you in the next video, what you can do with it. 8. Ballpoint Pen: Maybe you're fed up with Marcus right now. Now we're going to use the bollpointPen. With BipointPen, we're going to make something that looks like a bossing stencil, and we're going to use that for your jelly plate. We're going to draw on the paper, and then you guess it for the nine year jelly plate. But in order to see where I can draw one, not on the wet parts, I'll just put my jelly plate back on. Oh it's a little bit bigger. Let's take these sides. And I'm going to draw on the paper. But what I'm going to do one I press really light. So that's the one you probably won't see on the jelly plate. The only parts that you will see are the ones you press firmly on the paper. And that's why I use drawing paper because it's a little bit thicker than, for example, printer paper. You can use printer paper, but if you use printer paper, take, for example, about five sheets, four, five sheets, put them all on top of each other and then draw on the top one because otherwise, when you press too hard, you will go through the paper, this way, you have the most chance it will work. So now I'm using just regular drawing paper. Let's see. Let's make a vase. Now press it down firmly. You can actually make this as elaborate if you want. You can draw whatever you want, because it doesn't need any drying time or anything. But I like to keep it simple. Why? Because since you have to press, like, really firmly on here, my hand just gets really tired. That's why I choose to do it like this, but this is just a bit too simple. Put it on a table. Maybe you put a chair here. Just make some tablecloth. Why? Just because it's fun and I can show you the different lines in this drawing put on the jelly plate. And put the line. This What? Yes. I made a drawing. And now we cannot really put it on here and then print it like this because nothing will stick. So what we do, we are going to put some paint on here. Well, no, I'm not going to use the medium. I think I'm going to use the paint, and why? Because otherwise, nothing from the painting will actually go on here. This one will work. Because o a bit too much. Went a bit overboard. Put on here, just a thin linger. And again, I'm rolling it by putting it down, lifting it off, putting it down, lifting it off. And hopefully, it's thin enough right now. I'm going to put this on but positioned it right. And now I'm going to press it lightly. I'm not going to use my barren. I'm not going to use my brayer. I'm going to use my hands, but lightly. I just want to take the paint off, but I don't want to take my stencil off, actually, an embossing stencil that I made. So I think it's good enough, and I'm going to pull the paint. Let me see. I just put just a little in mini teeny weenie. Too much pain on there, or I didn't press enough, but I think if I press too hard, the lines will just go off. So you can leave it like this if you want to. Otherwise, you just take a baby wipe and you can wipe the excess clean. But be careful because you can wipe the lines off as well. Now, this is not something I like to do. You know what? I'll think I'll take it off on the top side and I'll I'll leave it where the tablecloth is and where I'm going. I have to be really careful. You could also use a cetick to do this. The thing is if I put paper on here right now. I'm just too afraid that I will take off the flowers or the drawing as well. And you know what? This is what happens with jelly printing. Either you get too impatient, either you don't press good enough, well enough, maybe you press too hard. Anything can happen. And I like that the jelly plate isn't too predictable. That's why the results always different and you get loads of happy accents, and you get loads of accents that aren't really happy and you wanted something really different. That's fine. I think I'll leave it as it is. And now I'm going to put usually I would put a new layer of paint on top, but I think I'm going to use the one that we made in watercolor lesson. So now I'm putting this on. I'll take a brayer that's a bit more clean. It doesn't look clean, but believe me, this one is clean. More. It's hard to see if you put enough met minium on, I think I've done so. And I think I'm going to lift this because otherwise you cannot really position it right unless you may have a guide where to put your jelly plate or the right size of paper. And if it's not really center, I'm okay with it, too. Turnover because I can get more firm rub on it. The thing is with met medium, we have to wait a bit longer for it to dry to get lift off. Let's see what happens. You know what? Wiping it all off. It looks okay, but I actually like this feel to it. T on the background. Yeah, with the met medium, you see it gets smudgy easy easily. It's fine if you don't put too much on there and if you wait long enough and I just didn't do both of it. But you see, you can actually put your drawing on here. And this is a fun thing because you can draw in a different way more precise with a ballpoint. If you're like, Oh, I'm missing a line here probably because I just think I got a ghost print on the air. Probably because I wiped it off. You can just say, Well, you know what? Let me see if I got a marker. I didn't expect doing this. But like I said, it's like that's the thing that's part of making a jelly print. You never know what you're going to get. A You know what I like to do? I think I'm going to make a totally different class on this. I can actually get a piece of paper. I don't think I have a pair of scissors here. You can actually make a different vast too. You can make it more of a mixed media piece. That's what I love about jelly plate. It always brings you to new ideas, brings you to something you want to brainstorm about, want to make something totally new. What can I do? What can I make of it? So Yeah. What are you going to make? 9. Final Thoughts: Thank you for watching this class. And, yes, I have just hit the top of the iceberg. There's so many more drawing materials. And actually, most of them you can actually use on your jelly plate. You can use your Stabilo. You can use your China marker. You can use your woodies. They're so much fun. I encourage you to try them out, go and play with your jelly plate. Play with the kinds of paper. Maybe a tissue paper works for you, maybe a piece of paper from old book works for you, maybe even media paper. Just try and see how everything reacts with your medium, your drawing material, and your papers because the jelly plate is an adventure. And I'm so glad you went on this adventure with me, and I hope you're going to continue this adventure. I can't wait to see all of your results using one of the techniques, maybe a new technique that's fun for all of us, and put it in the project section so we can comment on it and enjoy what you made. And I would love it if you would leave a review leaving a review doesn't only help others to find this course as well because it makes it more visible, but it will also help me become a better teacher and make the classes that you like and you want to see. There's another class on the jelly plate I make. It's a class that's called painting on the jelly plate or paint print. Please check that one out because it has the same vibe. It has different techniques on how you can paint with your jelly plate. There are more classes to come. Of course, also on the jelly Blade. If you want more inspiration, check me on Instagram or just follow me here, and I hope to see you soon. Bye bye.