Oh poo. My camera batteries have died and they take HOURS to recharge so apologies for the not-many, not-great photos but I think the process is a good one so I’ll share them anyway and hope to have another play later.
While working on the circles yesterday it occurred to me that the surrounding cardstock (where the circle had been cut out) works perfectly for a reverse mask to pull a round print on a larger piece. I would say it is important to cut it from very heavy cardstock so it can stand up to the repeated applying and removing you will be doing.
My goal was to get something like the sample from Gelli Arts. Of course I don’t have any plant-type stencils or masks, so for my first experiment I went with simple geometric patterns, which I like. Since I don’t have the Open Acrylics either, getting the sheerness to the prints also took a little doing. I first squeezed out a small dab of paint on the plate then added another similar sized dot of Glaze Medium.
I mixed up the paint and glaze right on the plate, using a plastic palette knife. Metal might damage the place, but an old credit card would work just as well.
Then I did the Gelli pattern, laid over the open mask and pulled the print.
I believe the sample was pulled on smooth card, but as far as BIG, I only had a 12.5 x 16 inch watercolour paper pad, which is very textured. The prints were still OK but maybe slightly less defined.
Lots of photos that COULD go here but one thing about low batteries on my camera is that sometimes I take a photo and it doesn’t get saved. So you can only se the final piece. It has issues LOL!
I can see I had the stencil not perfectly aligned and got that thin line right in the middle, from the edge of the plate. Also, somehow I managed to get the two smaller circles almost perfectly aligned when I didn’t WANT to.
While I can appreciate the whole organic process, I think I might at least plan my print a bit next time. I think it would really help to maybe draw circles on the back as I want them placed on the front, and maybe even number them, or at least mark the first layer and the next layers, or note LIGHT v DARK. As I have said before, if you get a print you are not over the moon with on plain paper or card, no biggie. You can always use it for something else and it’s no real loss. BUT if you get a HUGE print on a more expensive piece of paper or a canvas, for example, not so cheap or easy to reuse, except maybe as a collage background.
One advantage of doing it this way is the ability to vary the size of the circles. Of course if you have the round plate there is no reason you can’t pull full-plate ones, then use a mask over the outside edges so you then get a smaller circle! But this way you can actually pick the area of the plate you like best, rather than having to pull the full-plate print. If there is a bit that you don’t like, or a bit you REALLY want to highlight, just mask around that!
And of course you can expand this to other shapes – stars, hexagons, chevrons … I hanker after a print that is a long line of massive chevrons down one side.
And sorry my post yesterday wasn’t as clear as it could have been about the stencil. It’s from Stencil Republic, a book that comes with 20 stencils from various graffiti artists. I saw it first on Marit’s blog during a WOYWW hop (and yes, that was Weds, and I had it in my hands by Friday noon, thanks to Amazon Prime!) and loved the couple she showed. Here is the back cover so you can see all that it contains: