Gelli Plate Printing for Monoprint by Katherine Jones

Featured

‘Gelli’ plate print reveal

BEFORE YOU START

PLEASE TAKE A FEW MINUTES TO READ THROUGH THE FOLLOWING GELLI PLATE CARE AND USE INSTRUCTIONS:

Three key points:
• Avoid using sharp objects on the plates
• Clean the plate after use as instructed
• Place back in original packaging to store cleaned plate for your next project!

Important cleaning note – plate cleaning materials: Avoid using white spirit to clean the plate; instead smooth sheets of scrap paper, newspaper etc over the surface until any remaining ink has lifted off. Cleaning with white spirit will degrade the surface of the plate. If using water based ink you can wash the plate with water and mild detergent.

I am very excited to try using these plates too. They seem to have enormous potential for a variety of very exciting off press outcomes. A big thank you to Katherine Jones for introducing and writing this project for the Rabley Printmakers.


Introduction Katherine Jones

Gelli Plates are amazingly effective and pick up even the most sensitive detail. They are ideal for making monotype-style images without a press and are malleable, allowing you to print onto all sorts of materials including paper, fabric and even rigid surfaces like wood or cardboard.


Materials

• Gelli plate (on loan from RDC)
• Paper (any)
• Roller – any size or hardness
• Glass or flat surface (a large ceramic tile is good)
• Printmaking ink (relief or intaglio, oil or water based)
• Brushes – Something to thin ink for painting – For oil based ink use thin plate oil or a small amount of white spirit can be used if necessary.
• Leaves, feathers, string or alternative to use for printing


‘Gelli’ Plate Printmaking for Monotype – Part 1

Method

1. Remove ‘Gelli’ plate from packaging and remove protective acetate film (keeping the film for storage of your plate).

2. Roll out ink very thin and even onto your surface and transfer onto the plate. The ink often takes a few rolls to stick properly.

3. Arrange leaves onto the inked surface.

4. Cover with paper and smooth the paper firmly over the surface of the plate.

5. Gently pull away the paper to reveal the print.

6. Turn the leaves or flowers over and place down on the plate without re-inking.

7. Take a new piece of paper and push down firmly again.

9. The result will be the ghost image (second passing) of the leaves and the silhouette.


Idea 2 – Monoprint and Ghost Monoprint

‘Gelli’ Plate Printmaking – Part 2

1. Roll ink out again and use a dry rag to remove the ink.

2. You can also paint directly onto the plate using thinned ink to make positive marks.

3. When your image is complete place paper over the plate and smooth over with your hand. Gently pull back the paper to reveal your print.

4. You can quickly develop a sequence of images using the trace of the last print to inform the next.

4. Again you can take a ghost print of the plate (second passing)

6. To clean the plate – smooth sheets of scrap paper, newspaper etc. over the surface rather than cleaning with white spirit, which will degrade the surface of the plate.


Suppliers

‘Gelli’ Plate and general print supplies

General print supplies: Ink, drypoint plastic, paper, tools, rollers etc.


Download worksheet


Table top Print Projects have been written by the Rabley Drawing Centre tutors for Rabley printmakers. They are free for anyone to use and we have included useful supplier links. All images and texts are copyright of Rabley Drawing Centre CIC and the authors. We plan to launch have new project each Monday for the coming weeks.

www.rableydrawingcentre.com

Card Printing by Nik Pollard

Featured

Card Printing. The print (left) and the card plate (right)

Introduction

Card printing is a simple inexpensive method of printmaking that can be used alone to make simple designs/images or combined with other printmaking or painting processes. The basic nature of this printmaking process allows it to be easily adapted and developed to create a range of results. It can be used as a bridge between drawing and printmaking.


Materials

  • Card (provided) or cereal packets
  • Ball-point pen
  • Rollers x 2
  • Wooden spoon
  • Ink

Method

1. Draw your image/design on the white side of the card (when using a cereal packet, the printed side).

2. Add further marks to your image/design using a ball-point pen – pressing hard! This is important as the pen will create a groove that, when printed, will produce a negative line.

3. The next stage is cutting out the image/design. It is important to remember that the cut edge is itself a part of the design. You can either: faithfully follow your drawn lines; cut the card into a different shape around the image/design – or a combination of both.

4. Ink the card plate using a roller, taking care not to damage it, especially if your image/design has any intricate pieces. The ink does not necessarily have to be applied evenly; this is equally a part of the creative process as the initial drawing itself.

Note: At this point you can see the negative lines. Any that have filled in can be re-drawn using the ball-point pen.

5. With the ink side facing upwards, carefully place the paper on to the card plate. Hold in position with one hand whilst burnishing/rubbing the back of the paper. For this, a roller, wooden spoon or the ball-point pen can be used – each will produce a different result.

Note: Throughout this stage it is a good idea to have a look now and then, to check how the print is transferring, remembering to keep one hand holding the paper in position.


Further Information and Suggestions

o The weight of the paper that you choose to use can vary, bearing in mind that thicker paper requires more pressure when hand burnishing.
o Instead, or as well as the roller, a brush can be used to apply the ink to the card plate. The brush marks add another dynamic that works well as a foil to the cut edge of the plate.

Suppliers

General print supplies: Ink, drypoint plastic, paper, tools, rollers etc:
https://intaglioprintmaker.com
https://www.lawrence.co.uk

Download Documents

Table top Print Projects have been written by the Rabley Drawing Centre tutors for Rabley printmakers. They are free for anyone to use and we have included useful supplier links. All images and texts are copyright of Rabley Drawing Centre CIC and the authors. We plan to launch have new project each Monday for the coming weeks.


Review

More brilliant prints from Rabley Printmaking students – keep making and sharing!

www.rableydrawingcentre.com

NEXT TABLE-TOP PRINT PROJECT > MONDAY 6 APRIL

Plaster Bandage Cast for Intaglio and Monoprint Printing by Meryl Ainslie

An inked drypoint plate and a plaster bandage cast print.
Inked drypoint plate (left) and plaster bandage cast print (right)

Introduction

Plaster bandage or ‘modrock’ will take print into the surface of the plaster from an inked intaglio, drypoint or monotype plate using oil based inks. This is a great method for printing a plate without a press.


Materials

  • Drypoint/monotype plate for making image (supplied)
  • Plaster bandage (supplied)
  • Oil based printing ink
  • Scrim (supplied)
  • 1cm of water in a shallow dish
  • plastic sheet or tray to work on

*do not wash plaster down your sink as it will block the drain!!

Method

1. Make your image onto the drypoint plate (not shown) – this could be either a monotype or a drypoint, or a combination of both.

2. Ink the plate ready for printing as you would if you were using an etching press.

drypoint plate – inked and ready for plaster cast printing

3. Place your printing plate onto a plastic sheet

4. Put water into a tray and dip a piece of the bandage quickly into the water, shake off drips.

5. Lay bandage onto the plate and smooth.

6. Add a second layer of bandage in the same way and smooth and gently cream the plaster with your fingertips.

7. Leave to set for at least 30 minutes without disturbing.

8. 30 minutes later

9. Gently lift the plastic plate away from the plaster print

10. Leave to dry.

Further Information & Suggestions

• Use coloured inks when inking up the plate.
• The dry plaster surface of the print can be gently sanded to remove areas or alter the image.
• Draw onto your print with a pencil or crayon – the smooth plaster is a lovely surface.
• Add 3D elements to your plate before printing with plasticine – these will cast indented shapes or patterns.


Suppliers

Modrock – plaster of paris bandage

General print supplies: Ink, drypoint plastic, paper, tools, rollers etc.


Download worksheet


Table top Print Projects have been written by the Rabley Drawing Centre tutors for Rabley printmakers. They are free for anyone to use and we have included useful supplier links. All images and texts are copyright of Rabley Drawing Centre CIC and the authors. We plan to launch have new project each Monday for the coming weeks.


Review

We’ve had an amazing response to our first table-top project. Thank you everyone who participated and shared their experience. Here are a few photos of students’ fantastic table-top creations…

Table Top Project 1 – Student Slideshow – Plaster Bandage Cast for Intaglio and Monotype

NEXT TABLE-TOP PRINT PROJECT > MONDAY 6 APRIL

www.rableydrawingcentre.com