Testing, testing...

...1, 2, 6.

When I create a new stencil (see previous post here), I do a test run to see whether it works, needs altering, or will hit file 13.  And no, I won't tell you how many are in the latter category.

Using Golden Open Acrylics, I do a first print on the Gelli plate, using plain white paper,

 and then pull a ghost print.

 If I've used enough paint, I can pull what I call a 'haunt'.

Then I test it over another Gelli print (this one was a blue/green ghost print created using the Balzer Tiny Circles stencil).

I pulled the ghost print over top of a fern leaf print (first print).

Then I managed to pull a haunt print over top of the first pull at the top of this post, just off register.  I could tell you that was planned, but that would be a bold-faced lie, wouldn't it?!

I tested it underneath a commercial stencil, like this.

This first print will need at least two more layers using other stencils before it starts to look interesting, but I can see some possibilities here.

The ghost print already looks like fun.  I rather like the space on the right caused by the paper I used to mask off part of the stencil.  It could be used for text or the start of a frieze.

This haunt, over top of another haunt print in gold is starting to build some soft pattern.  It will be interesting to see what develops with further layers.

How do you make stencils and masks?  What tools do you use?  How do you test them?  If you send me a link to a blog post or video, you'll go in a draw on November 15/14 to win a monoprint by yours truly...just put your link in a comment below for a chance to win!

It's all about the texture!

I'm always very vocal in my playshops, never expecting anyone to actually listen to me.  This past weekend's playshop was the exception to my expectations!

When I demoed the use of texture plates (and the students subsequently made their own), I made it clear that they were to use my texture plates (15 of them) to the max, and ensure they were beautifully painted at the end of the weekend.  Look at their response to my instructions:

Gears

Numbers

Trellis

Dotty

Dots and Grids

Grids

Crackle

Grids 2

Catalyst

Hoops

Roadmap

Lace

Cobblestone

Aren't they gorgeous?  Don't you think those colour schemes look planned?  While some of them need more layers, many are frame-ready right now.  Tell me your favourite in the comments below and we'll see if one or more of them meets your criteria for framing!

One of the most frequent queries this past Sunday was 'What do I do with my texture plate?  Parts of it aren't printing.'  Helpful Hint for texture plates:  When your plate is completely dry (about 24 hours), hold it at eye level to view any 'sticky-uppies'.  Lightly sand these to make the plate as level as possible, yet still retaining the gorgeous texture.

Oh, wait - I've not done a tutorial on these yet...stay tuned next week for that, so you have some idea of what I mean!

 

Leaves, and more leaves

Honestly, I am aware that most people view gardens as 1)  a source of wonderful summertime vegetables, or, 2)  an oasis for the soul, filled with flowers, butterflies and the scent of heaven.

For me, it's that time of the year when I'm in the garden checking out the foliage for artistic possibilities.  The virginia creeper has a beautifully shaped leaf,

and my resident 'money tree' is filled with purply green coins.

The quack grass is tall and stately,

and even the other weeds are looking as though they have possibilities.

 The peony bushes, while not yet in bloom in our yard, are rampant with potential,

and the strawberry leaves surely wouldn't be missed if I picked just a few?  (After all, John's already been eating the strawberries, without sharing!)

Look at these gorgeous carrot tops

and the serrated edge of the currant leaves.

Can you tell what's coming up in the Tuesday Tutorial?  Well, of course, we're going to be printing with leaves!

Chaos everywhere

These days, the studio looks as though it's not been shovelled out for months, and the overflow of my wildly experimental phase is everywhere.

From stacks of altered books and alcohol play (the ink kind, not the drinking kind),

to pseudo grass, more altered books, and 'grass in the making', 

to piles (literally) of monoprint mania, I am frightened I'll never get clear of the debris.

While I love, love, LOVE experimenting with techniques, mediums and different media, I have decided it's time to call a halt.  Today marks the day of studio clean-up, finishing the notes that outline the second and all-new mixed media workshop (debuting in Claresholm in May, and then presented at the College of the Rockies, Creston in June), and a long overdue blog post.  And I promise to prep for the mixed media class that starts next Wednesday at the Wynndel Arts Centre (registration at the college).  Have you signed up yet?

And then?  Back to the chaos, glorious chaos!