Transcripts
1. Hello: Hello everyone. I'm Gabriele. I've been an artist and illustrator for 30 years now. On an auth, I've worked as a product manager at two and a greeting card designer in-house working only on Christmas cards for an 18 years in my mid-twenties. So that's a long time ago. This course is about printing with your jelly plates. And I have never done it before until just now. And it is absolutely, it's just so easy is really, really good fun. And I could have done it all day. And as it as it was, I think I probably spent about an hour and a half with maybe ten or 12 sheets of paper. And I only used, let me think. I think I used four or five colors will see for the CMA film. But these are the resulting greeting cards that I made. I printed out my blanks beforehand on the imprint I've got my branding for my greeting card business, which is from a place of wonder. And I had some white paper and some brown paper, white paper of different sizes. I'll see if I'm on the phone and my favorite, which is quite subtle in a way that I love these block shapes which obviously looked like all balls that wasn't intentional or at least not consciously intentional, but maybe subconsciously it was. And but I really, really enjoy it how they, they worked out. So I've got a lot here and I will show you them all at the end. But essentially this in this, during this course is very short. I'm just going to hope that I inspired you to get your critics out. Get your card blanks. If you've got any some sheets of paper and an eugenic plates, and the only other thing you need is some wet wipes to clean your jelly paint with at the end, which is really, really the easiest way to do it. I've found. In fact, that's the only way I could do it in my studio because I have always had white wipes to hunger. They're so useful. And that's one of the things that you can clean the width. I think you can use sort of quasi salt water. I think you can use soap and water as well, but I didn't have running water in my studio. So like that wasn't open to me. Here's another very bold one. And yet it's quite delicate. And I just simply cut out the paper once a UDL dried and stuck them on with PVA. So I hope you enjoy creating Once you've seen what I've done. And if I think of anything else important to tell me, I shall do that at the end of the class. I hope you enjoy it. And I'd love to see what you get up to. This is such a simple project. And obviously, you could do this with colors for Easter, I deliberately chose. You'll see what I used to inspire my color choices in the film. You could do eastereggs in exactly the same way. So think about if you're, if you're, if you're watching this in the spring or just before Easter season and Yamasaki person that likes to send Eastern cards, you could just cut out oval shapes and maybe use really lovely candy colors like your painting, yellows and turquoise, and minty green and pastel pink, those are the colors. They could look really amazing with some neutrals, particularly if you use this sort of color paper, neutral page with the candy colors look really lovely and some white like waves. From enough. This is a piece I, I, I didn't actually use at all. But you do get some wonderful abstract effects. Because of course you can layer your, you can print from one printing, leave the page to dry, and then go back comparing law and achieve a really rich textural effects. So I hope you have fun with it when you get around to doing it.
2. How to set up your Gelli Plate and start..: So this is my jelly plate. And if you've got one like this, you will have a simple construction leaflet like I have. So I've knit up and have a read through. And you can be fined. We might find that in several languages there really isn't. An awful lot of, the most important thing is probably that you need to have a completely smooth, flat surface for your jelly plate to rest on. When you're working. A nonpolar surface that's flat. Like a teflon sheet or a baking tray or piece of glass, which is what I'm calls. So then once you've got it all such new acrylic paint on it. And you could either spread it out with a prayer, as in the second picture, or you could use a paint brush. And obviously here it's showing you the rest of the stages. I'm gonna take mine out of its plastic box and remove the two classic covers. But first I'm gonna put the glass down on this piece of classes quite a bit bigger than my actual Jennie plate nudge that painters the way. Open up the plastic box and take the first layer of plastic off the front. And this point, if a sensible me probably flip it over and put it straight onto the gloss. But I'm not doing that here because it's the first time I've ever opened and I wanted to see quite how wobbly it actually is and show you too. She's taken me a while to get the other side of your ego because you see how potentially stretchy it is. But it's fuel surprisingly robust considering how wobbly really is. So you can just plunk it on your glass fairly carefully so that it stays quite straight. Well, just manage my paint, just wait. And then next, pack away those plastic because you'll need to put them back on once you've cleaned your jelly Plato end. People are nice and safe. I've thought about the color palette I'm going to use. And it's not exactly like the images I got around the edge. But I do love that bright orange and that was the first color that I decided on. And I've also got a dark, very contrasting purple. And several pinks and that lovely paleo, metallic green, ie blue. Next, I'm gonna get my paper. She, you type can be using lots of simple white cartridge paper from my sketchbooks. That's literally pages from my sketch book. So that's a bit of more of a creamy white and some thicker sort of creamy Beijing card as well. So we'll start with whitepaper. And I've got a lolly stick here, and I'm dipping into that lovely orangey red. And I'm just drawing anything. I'm not even thinking about what's I'm drawing, just making some squiggles. I'm just curious to see what will happen when I use the white paper to print from this. And if you remember in the instruction leaflet, there was an image of somebody using a prayer to spread the paint out all over the jelly plate right up to the edges. You can do that if you want. You don't have to do this. This is by fandom and I am the boss centered or anything. I shall move the whole plate shortly, I think because then you can see it. But I just put the paper down. And then I'm going to take my hands and rub it. Really simple and it's very satisfying feeling when he got thicker paint. Obviously, you can actually feel it squelching underneath the paper. But it's a really, really lovely effected surprised me actually seeing come out later. This is much more peaceful, I think on the paper. And of course there are still some left on the Jennie plate. So you can take another print and you'll find it's, it's softer. And obviously as less paint on the paper, but it does get progressively softer because you're squashing the actual paint. Every time you do it. You can see how much it comes off and how little is actually left on the jelly plate. And it's quite fascinating how the GDP holds the paint and releases it onto the paper. And yet the paint does not get absorbed into the Jennie plate. This would be much easier here to see. Still really vibrant. But again, it's almost like you're cleaning the jelly played each time you put a piece of paper on top of it, you take more elifs, more, more paint off. So you can see how it becomes. It will be very easy to clean Ashley at the end. And now just, just grabbing the loss of obeys. That really looks like a kind of red SEO something. Let's try and get as much as possible. And you'll be able to see how much softer the image is progressively, the very last image I took is just always like seeing something through goals. It's just become really indistinct compared to the very first image. At this point, you might want to get your things prepared and you could paint along with me because I'm just I'm just having fun. You know, I'm not doing anything groundbreaking whatsoever. And you could easily just have me on in the background while you're creating your own Marx and scribbles. Or using your prayer, or maybe even using your fingers to plaster paint all over the Jennie plate. He might fancy gain write-ups the edges and creating something, an image that's really requests around the edges. You could do anything you like. You could even just draw some simple paintings of birds or something that you want and then see how they turn out towards what you want to achieve. If you're just looking to do patterns, then taking the approach that I'm taking could work really well for you. When you may want to do specific shapes. You could even make cut out stencils with card and then you use a standard sling brush to staple all the paint through the cutouts and then take print, liftoff your stencil, and then put the paper over the top. So there are lots of different ways you could do this. I will, I particularly love doing sort of scribbling shapes like this and doing a very intuitive to the random passing like painting. And I'm just, just, you can see, I'm just doing a very casual thing is I've just taken a piece of scratch paper that's not even straight, just to see what happens. And it's amazing how much paint lifts off really is. And this is the first as I'm talking to you about is this is, this is the first time I've actually seen the film. And I'm just marching through. And of course this is going to blend the paint just like it would if you were working on a mixing pallet. So you're going to get, because I've got orange and purple here, I'm gonna get some brownie looking colors as well as the pure colors starting to mix. I want to say pure colors. I know that I've got orange, orange and red and yellow in the orange and in the purple is I mixed up purple said As pink and blue. Possibly even some that might even be a tiny bit of red in there, but maybe more of a, an Alizarin crimson Tibet. And now I'm using paint straight from the tube. This is a really bright pebble, pink cotton. Members of my head know what it's called. But it's a really, really bright pink is not fluorescent, but it's just a happy sunny in your face. Pink, which looks fantastic with orange. I seem to be merging it. Oh, please take a minute. So I'm taking that piece of paper that already printed on. It's probably not quite dry, but that doesn't really matter because it'll just blend haphazardly and that's, that's kinda find, that's what I'm interested in. This particular instance. And an extra lovely isn't always prices may have any white gaps there are actually in the printer itself, as well as lethal paint is left on the on the jelly plate. Now I'm just gently scratching three because I'm quite nervous about maybe rerunning the surface of the Jenny plate, but it does seem to be quite strong. I'm getting a fresh piece of paper. And see what happened here. Ooh, nice. I'll probably use it again and print more color onto it. It's funny is I can see now I have been influenced by those magazine images to the far left, but a strong stripes, even though that is not the same colors. Here's my trusty Breyer. I forgot to actually wash of strategy list, but it's very, very good at smudging all this paint. That looks like a painting itself is this lovely. She will subtle textures and softness of it. It's really pretty. And obviously I've created a really much lighter purple as well. So just using a piece of my sketchbook paper, just avoid Billy was lovely. We like that. I very much am treating this like an abstract canvas, really. Just scribbling paint onto it. If I feel. And that's liberating about this, is it just doesn't feel a series as painting on the canvas. Because you know, it's kind of a femoral and you're just going to be taking a print from it. But equally, it's got huge potential because you could create a series of prints quite quickly, but very beautifully. So has gone to the valley. Here I'm using the really pale. I think it's portrayed pink. And now a much cooler pink. But because this is the Sincerely a pouch that has a kind of round. Rigid opening. You can toss it on, as you can see here and then smudging all with the Breyer creates Justin as Bh for person. Lovely image. This is actually really summary looking even though ultimately I'm going to be using these, these princes collages with Christmas cards. That's such a beautiful free person that he couldn't really achieve in any other way. I mean, you could do something about the old paper with a prayer. But the potential for doing a few prints like this, obviously that you get softer the more you take the paint off is very exciting, really is. Because it's quick. It's very inspiring. It doesn't feel, as I said before, isn't fail. So serious because you're using the same surface every time you're reusing a surface. So you're not wasting anything other than the paper opposite your printing onto. But most of the work is done on the jelly print over the on the Jennie plate. More purple. Since we're very keen on this mistake. And partly it's because it's so wide. And I'm not nervous of making a dent in the jelly plate. Could be interesting actually from those of you that Don Cherry play work before, if you want to comment in the comment, in the comment section about any findings that you have when you do this projects. If you do it or if you turn something like this before. And he happened to be watching it, be really great to have your thoughts because that will help everybody who's watching this. I'm just thinking about building up a passion on the same piece of paper. Obviously, I'm going to be merging wet paint from what I've just taken a parental. And you'll see actually some of the pages coming back out onto jelly, jelly plate, which is interesting. That's what I find so exciting about it is because I hadn't done it before, but didn't really know what to expect. Ajahn printmaking before. Agenda soccer PHP and I don't etching, it's very different. And that's because this is a bit closer to photography. But the way we as a social cueing and throwing of the paint from the paper back onto the jelly page is really interesting. You could do. First is so much more differently from the way I've approached it here. I've been very random and sort of haphazard with API could, could really plan sections of paint. Very much more contrasting colors in terms of tone. So you've got much more difference in darks and lights. And perhaps you, you, you play with proportions far more. I'm really doing much more of a kind of all over hand effect. I really fancy doing some simple portraits. We just drawings of people in a really loose manner. I think he could create some absolutely gorgeous advisor me front for those of you that are illustrators. This would be a really lovely way to free up and do several alternatives to one of your bricks and try things out. And chances are your stumble on something you really love, could be a whole new way of working. And that one's a very simple sort of backgrounds that are probably U2 later on using the other colors. And now I'm just going to scratch away at some of the paint with the end of the paint brush. I do this for quite awhile. And we'll see you when I do the print whether or not that shows up. I'm going to take a page level already done a print on. And I know so much this'll get covered up. It'll be like a veil of colour over the top. See my peel it off. And you might want to pause this one addicted up because I move it away pretty quickly. And you can see some of those marks, but not all of them. And I'm going to take another piece I've already worked on and press that into the jelly plate and lift off some more of that color, which will soften it, of course. Next I'm going to take a small piece of Sketchbook paper and take off as much of this paint as I can from the Jennie plate. And it really doesn't matter at this point, but it looks like because you can always build up on the top. But as it turns out, it makes a really lovely, very abstract backing piece. Now I'm going to be using the metallic blue for the first time. And this bachelor obviously has a hard plastic edge, but I'm using it really lightly. You don't need to press harder tool. And I'm sort of Homer's cutting some groups into the paint to get this kind of loop effect. Vesta. And I'm taking the purple on the, right at the beginning. And I thought I'd just see what it's like, build up a different pattern because I know that I'm gonna be cosine, cosine this paper out. So I'm not looking for finished artworks as such. I'm just looking for interesting shapes and textures and effects. And they can see how different it is when it goes through or over the white area. You can really see the direction and the shapes that I got on the jelly pad plate. And I'm doing the same now with another piece of paper I'd already printed on to you. Smoothing out the bumps. I got really wrinkly hands because I had terrible X-Men. When I was pregnant with my first child. I really, really stretched my skin on my hand. So they feel very old. Nevermind, you can't have everything. So I'm going to keep those two pieces of paper drying somewhere on the flow or the side on this on the table. And I'm just building up more color onto jelly plate is still an area of the Jenny plate. You can you can see at the bottom right where I haven't I didn't actually print onto those TVs paper. So this thicker area, that's kinda undisturbed. Whereas the other three sections have got lot more in quotes, white, clear area. So if I were to do different print, now just on a plain piece of paper, then there will be a much denser area at the person and it will be on the trans think it would be on the bottom left. So again, I've taken what the second piece of paper that I used, and I'm just choosing a random section to print on. This is where I feel they got more exciting because I built up really interesting textures and shapes, which will be lovely for making Christmas trees out of, as you'll see. I'm just doing the edge now. You'll see how the activities when you try that, if you can hear it's pouring rain as I'm recording. It's actually really lovely. Sitting inside and cosy womb looking after the gray turned. So again, I'll remind you tool the fact that I've got some paint on my hands and it's getting on to the backend. Paper really doesn't measure. Does locks not second, you use in that. We'll just let it dry now think. And here we have that simple red piece. Would what's going to happen if I use that? I think I'm probably smoothed it down enough. Well, yeah, I love that. That's a really great base. You can really see the metallic paint level. There's a kind of gleam to it. And I think we, jelly tried, looks fantastic, just unassigned lie that also perhaps because I've got such a messy table underneath, I did give it a really good clean actually with some GIF or something similar to other brands. And I was amazed actually have much paint. I got off with the scouring pad of the table. Term. Still just picked up a little bit more. Onto that paper, you can see it's quite terminal, was carrying a lot how that pale pink looks over the purple. It's fantastic for that metallic painters, just absolutely perfect for this. I rarely use metallic paint, and I don't remember even buying that one. But it works really, really well. For why need to deal with, it. Definitely has a festive filter. It at this point, I'm going to speed the film up because I've done an awful lot and It's a bit much to expect you to watch through it at real speed. But of course you could just take your time and slim the speed down. And watch what I do. Obviously in I will work and I, I feel that some of the most exciting stuff is in this bit. But it's not hugely different to what you've seen already. And really this is all about you discovering or you can do with it. So enjoy watching this high-speed version. When you've got time or you could be painting along and just habit up on your screen. You want to do it? Correct. Right, it's time to clean up. I'm using baby wipes here, which are incredibly useful for me because I didn't have access to running water. In my studio side, sometimes I will have a large jug of water and a j cloth, something like something that's quite linked tree. I can just squeezed out into the jug. And he used to clean up. And I also use a cross like that. If I want to maybe draw onto painting with white glaze or another thin layer paint. It really helps to get some expressive marks or to create a much thinner layer of paint. Ideally overpayments already dry. But then again, that really depends on the effect you want. So that's all safely packed away, ready to use an all-time. Now let's have a look at the patents I made on the papers. So we nearly at the end of this lesson. And in the next lesson, I'm going to show you how I used these papers with scissors, PVA, and of course, my cod blanks that I'd already printed, the backoff.
3. How will you use your papers?: Here are some of my preprinted card blanks for my brand. From a place of wonder. I think I made about 2000 galleries and the sample of them. But I've got my scissors, all my paper, and slightly off screen, I've got PVA glue and some scruffy brushes. Should I need them? And now I've got to decide where to start. I like the look of this lower left-hand section. Those red blobs, like red bubbles. But a fluffy version. It's actually quite tricky to get a sharp point. So yeah, make sure your sins is a really good this is the best one I have that I could do with embezzlement. I think it's a bit of a struggle. And then decide obviously way you want to trim the base of the tree. Now on to the next piece. I'd like to look at this one. See roughly what society like that size as well. When I hold it on, on a card. So I'm just working out roughly the area I need to cut out. And now I'm going to speed this film up because watching it in real time is not that exciting. But I'm literally just going to show you my process where I cut out all the trees that I felt I needed for this project. And you will also see that I could my PVA glue onto a piece of code. When I come to stick the trees on and I rub the triangle shapes into the ACLU. And I had quite a bit of difficulty squeezing them out. So you might want to get a reasonable amount of glue on your card before you start rabbit in. And then carefully place the triangle shapes on your card and pressed them down firmly with your fingers. I would suggest that you wash your hands thoroughly before you begin this project. And it's quite messy. And inevitably you're going to get little bits of blue attaching themselves to your skin. So this is why I'm using my backup my fingers to gently press the mom. I'm now going to speed this up dramatically. And I hope you have a lot of fun when it come to the urine. And here are the finished Christmas cards. This is one of my favorites. I really like the crazy Stan. It's just two pieces of metallic green paper. As you can see, I've already started writing some of these. I need to get them in the post. This one I love for its poeple shapes at work so well. And this one is very effective for the same reason. And the ones at the far left or business like a totem tree. Again, strong, bold, single tree. And here on the right, two very contrasting trees. And on the left my favorite. And that's it folks. I hope you were inspired to make your own version or jelly play cards, whatever the occasion.
4. Show me your work! Thanks for watching: Hello, I really hope that you have been inspired by what you've seen. And if you have a jelly plate in your studio that you haven't used yet, you're itching to have a go. I know I'm certainly going to be doing a lot more experimenting. And I really feel that I could do some colored ranges throughout the year that are based on this approach. I would love to see what you create. So do post something in the project gallery, or you post something on Instagram. And you can tag me at Gabriele backing him. And you can even use the hashtag, brave in paint. I have a free Facebook group called brave in paint. And I encourage all my, all its members to use that hashtag. So it's one that I always see. I probably use it more than anybody else. But you're very welcome to use that. What else is there to say? I think that's it. Other than if you have any questions, then do come and ask me and I will get back to you since I can. The quickest way might be to DM me on Instagram because I tend to be there a little bit more often, but I do answer the skill share questions as soon as I see them, basically the emails coming through. But if you haven't heard from me within maybe two or three days from when you post, then do come to Instagram and and nudge me and hear a fly. Isn't it just the way when you start recording, if you've ever done it. There are some strange noises. Nevermind. I go into a tiny bit more detail about what I've done during this course in the bonus lesson after this. But all I'm doing is showing you some close ups of some of my favorites and why I like them. And you just hear a little bit more and my thought process, that's also it's maybe one to watch when you've got time, if you're itching to get, get on with your own version of what I've done. Then do that. Bsd and Happy New Year, 2021 has got to be better, hasn't it? By
5. Bonus Lesson - optional: Here we are. You can see my beautiful, well used and well loved table that used to be pristine light. And here we have one of my favorites. Unfortunately did get a little bit of glue on the Boston, but something like that, you could actually afford to just trim the card again if you wanted to, if you, if you have been great perfectionist about it. What I love about this one is this textural bit here. And the lovely metallic he blew, she can really see gleaming. Here's another one I really like. The puppy blobs. Again, a gleam is great. And have the gleaming one. This one's really feisty one. And if I just pass them through now you get the idea. Really is very effective. I feel quite lucky ident by metallic paint very often I have got one other metallic which would have been lovely with essentially, which is a sort of raise gold, coppery color. Whoops, coppery color. This one against God, that lovely mark on it, which almost looks well. It's, it's a very organic shape it exactly. But of tree branch Really. This one really makes use of that metallic. And of course I didn't put trunks and all of them. But that's a design decision. This hit, this one shows you three tankless trees. This one's rather bizarre, not sure about that one. Slightly odd composition. This one has got such an amazing texture in, in the green paint. And this is really different. I tried to choose three very different colors and papers for those that are similar, such a thing. This one's quite subtle, really. It has got a trunk, but it's really delicate and mean that is the beauty of collage is that you get less natural, natural edge for the textures are just lovely. And that lovely, lovely red ball, ball almost. It's just so fluffy looking, even though it's flat. It's just got such a gorgeous shape is not really, it's not regular, irregular, round shape. It's a lovely kind of squished to it. Say these happy accidents, I actually loved them. It's so exciting because ultimately you are, you're a conduit for all this. You're not you're not. I haven't designed as i haven't thought right. And whatever bit of green up here in a bit of red there. And I want these little tiny pink blobs. It's all random and it's a beautiful, that's what's so exciting about it. But where your skill comes in is doing it in the first place. Being expressive, using the motion that you make with your hands and your arm, and then your decision about where to cut and what to placed on the paper. That's where the skill comes in. And as I've shown you, a few that are not too great. This one, I really like the color point of view is just absolutely stunning. I go send that to my best friend from art college. Would use out her. And she probably won't ever see this because I don't think she looks at Scotia. I absolutely love that. That's one of them that I must remember to scan in before I send it away because I could use that and print a card like that next year, but obviously I wouldn't have the metallic effect on it. That's the only thing. That's what's lovely about handmade things. This one, I absolutely do this star, this really crazy if you look at it close up and see if I can fix on it. Just area. You can see that the stars made up of two pieces of the metallic, the blue paper. And we'll call it smaller vertical triangle, which I've cut into, which takes care of the two points at the bottom. And then a horizontal, very long, narrow triangle across the top. And I think it's really bold and strong. And it really makes the most of that lovely gleam on this particular design. I think that's where I'll end the show. You've seen enough to inspire me now. And I really look forward to seeing what you do by hyphen.
Gabriella Buckingham, Artist - Illustrator
