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jeanne3579, how long have you had your Gelli plate? I ask, because i was told that the recent Gelli plates are not as good as the first ones that came out. I was told that either they are now made by a different company, or that the actual recipe has changed, and that the new ones do not perform as well as the original ones.
I have a couple Gelli Plates from Gelli Arts (which has the cool, two-minute videos) and an original, and they perform identically for me. (I learned by watching early Patti Parrish videos. Then I attended a little workshop at my LSS where I was the only student, so got a private lesson.)
As I read about struggles, I keep thinking how sometimes having a good teacher or coach can help us tweak what isn't working when we veer off course.
Sometimes practice does the trick, and videos can be amazingly helpful, but when veering off course, now and then nothing can beat an actual human with eyes on us. Just my take. : )
I would really like to find a good template for making a "Magic Card". The "pull out" sticks on the sides, the picture isn't in the center. Really a cool card, anyone have some suggestions? I would really grateful.
Thank you, BevieBee
I have a couple Gelli Plates from Gelli Arts (which has the cool, two-minute videos) and an original, and they perform identically for me. (I learned by watching early Patti Parrish videos. Then I attended a little workshop at my LSS where I was the only student, so got a private lesson.)
As I read about struggles, I keep thinking how sometimes having a good teacher or coach can help us tweak what isn't working when we veer off course.
Sometimes practice does the trick, and videos can be amazingly helpful, but when veering off course, now and then nothing can beat an actual human with eyes on us. Just my take. : )
I had a problem w/ the paint drying to fast. I became very disappointed w/ the results. Then I read an article on the best paint to use & an agent to add slow the drying process. Haven't tried it yet, card making is #1.;)
Silverwolf,
I have had my gelli plate since April of this year. My friend and I gave each other one for our birthdays. (Guess great minds think alike!) We both had trouble, following a gal (I can't remember who right now) who did marvelous things with hers. BelieBee, the paint drying too fast was exactly what we had a problem with. What is the paint and agent you discovered? I'd love to try it. Card-making is #1 with me, too, but I would use the results for cards, as that is what the video was suggesting. Thanks for they help. You guys are the greatest.
I would really like to find a good template for making a "Magic Card". The "pull out" sticks on the sides, the picture isn't in the center. Really a cool card, anyone have some suggestions? I would really grateful.
Thank you, BevieBee
My personal suggestion for making sure the images match exactly: I started making these so long ago that most of mine aren't even in my gallery here. With dies for apertures, it's all much easier now. But I still stamp the image on a larger piece of acetate than I need, and then position it very carefully over the cardstock panel and trim it to size. I find that much easier than trying to stamp it precisely on a piece of acetate already cut to size. Centring the image on the cardstock shouldn't be an issue if you use a StampamaJig or any other positioning system. I've never had a problem with the pullout sticking, so no suggestions there.
HERE is a link to Barbara Gray and her Gelli plate videos, she really is very good.
Also, one to Lavinia Stamps Tracey Dutton. She has ones on Gelli plates, and on brayering in general.
I had a problem w/ the paint drying to fast. I became very disappointed w/ the results. Then I read an article on the best paint to use & an agent to add slow the drying process. Haven't tried it yet, card making is #1.;)
A bit of paint retarder could help. And sometimes not using enough paint is the culprit. If the layer is too thin, it will quickly dry out. Moving quickly matters too.
I mostly use Liquitex and Michael's Basics. I also use Studio Calico's paint because I happen to have a lot of their teeny tubes. Any craft acrylic paint can work.
A little trick: if you have leftover dried paint on the plate, and cover it well with white paint, you can pull a print that will remove all or most of the dried paint, and it's sometimes neat looking, or parts of it will be.
I also have trouble getting smooth blending with distress inks. I've watched lots of videos and have tried using a lighter touch, starting off of the paper, using the round rather than the rectangular blending tool, and holding the tool at an angle, but I often get lines/dark patches from the blending tool. I keep trying, though. ��
I also have trouble getting smooth blending with distress inks. I've watched lots of videos and have tried using a lighter touch, starting off of the paper, using the round rather than the rectangular blending tool, and holding the tool at an angle, but I often get lines/dark patches from the blending tool. I keep trying, though. ��
The paper itself can make a difference. Your technique may be fine. : )
Beth is right, paper makes a huge difference, but it doesn't get mentioned often. I've had great results with Neenah Solar White cardstock - smooth blends, even coverage and the tool just glides over the paper. I used a different cardstock (something that came from a kit) one time by accident, and it was a streaky mess. I couldn't figure it out until I realized that I grabbed the wrong cardstock.
To jeanne3579...I use really inexpensive acrylic paints for Gelli plate and usually are too heavy handed and learning less is more. They will dry quickly so I add a small amount of Golden Soft gel to keep them more fluid. If I add water, it does not get a good result. I also find that you need to use stencils, or objects for various designs that have detailed surfaces; improves the look. I just used leaves from my garden and really enjoyed the look. Using lots of hand pressure and smoothing out your paper over the plate increases the design also. Not all pulls are the same, some are surprising and others just go in the trash. it is a process for sure. Enjoy
__________________ Have a creative day, every day.
I have not been able to master the blending of distress inks either. Practice I guess is the key. It looks easy and I don't get the nice even blended look.
__________________ Have a creative day, every day.
Watercolor and using distress inks without blotches and circular images from the sponge! I have so many supplies for both and I'm bound and determined to get through my water color classes that I signed up for from Craftsy, Jennifer McGuire, etc. I want so much to make smooth transitions in color using distress inks. Some day!
__________________ ShariW
Trust in the Lord with all thine Heart-Prov.3:5a
I struggle with making beautiful one-layer cards with just an image and a sentiment. I think mine look amateur.
I want to master that so I can make several at a time and have a stack of quick cards.
Another thing I suck at is sponging backgrounds with Tim Holtz distress pads. I think it's the sponging that sucks, and I've tried it using the nonstick sheet he sells and just plain paper and sponging from outside in, but I never get the color to fade into another prettily like everyone else seems to do. I want to master this technique to emulate the beautiful backgrounds one can make with a piece of white cardstock and inks.
Try Laura Bassens tutorials. She spends a lot of time and adds very little ink bit by bit in layers. The pressure has to be almost not there when you start. I've been able to do a good job when following her instructions.
I struggle with cards that are anything other than a fold in the centre eg: a centre step card, gatefold etc! I get so messed up with measuring and scoring and 9 times out of 10, it's a bin job :( I check and re-check my measurements too! It frustrates me no end! I do like cards that are shaped differently but they certainly challenge me: I shall NOT give up!!
What you need to do is find the measurements and mark them on your scoring board. For gatefold especially, the measurements are always the same. For other styles, work on printer paper until you get it right then save it as a template to use in the future!
I have not been able to master the blending of distress inks either. Practice I guess is the key. It looks easy and I don't get the nice even blended look.
Altenew just sent an email about a new 6-session blending class they're offering starting October 21st with their inks and Distress inks. Very inexpensive and code EIBEB20OFF for 20% off. Their inks are dye inks, btw, so other quality dye inks should work, along with Distress.
I can apply and blend Distress inks if it's heavy, darker coverage, but am not good at the airy, light look, which really bugs me, so I registered. My sense is that the inks are being applied with a very light touch, but don't go by me.
You know....I have the embossing buddy and that powder tool Jennifer and Kristina uses but I still end up with flecks! What's up with that? LOL
Like Rebecca Ednie mentioned, a paintbrush for the last few stubborn flecks. Even Jennifer McGuire uses one, and links to the paintbrush she uses, but you just need is a really tiny, thin brush so so you don't dislodge powder.
I struggle with drawing and making my handwriting look pretty. I can do calligraphy but it's slow and only looks good with a dip pen. But dip pen isn't good on some Cardstock and I prefer to not spend all day writing my message in a card.
As for coloring white objects there is a difference between shading and shadows. Shadows should have a hard(ish) line and reflected light as someone above mentioned. However, depending on the type and angle of light you are depicting, you may have shading to do as well. For instance, a pot with flowers in it. And your light is coming from the top right. (Most people show light as being from above and on one side.) Unless the flowers and leaves are tiny, they will cast a shadow on the pot. That would leave a hard edge to their bottom left in the rough shape of the flowers and leaves. If the pot has a lip, that would also make a hard shadow. But as the pot curves away from the light, you need a blended, gradual darkening of the pot to the left. Put a can next to your lamp and really look at it. You'll see what I mean.
The reflection of light occurs when light bounces off other objects. This is most often depicted to the far left of an object as a slightly lighter (but not pure white) line. If your pot sits on grass and you want to be very accurate, the reflection might be pale green. And the bottom of the pot would probably have a pale green reflection too. And if it was next to a tree, the reflection would be brown etc. The shinier an object is, the more distinct the reflections are and the more you need to make it look realistic. A diamond needs far more reflections than a pearl for instance. An object can definitely (and usually) have shading and shadows at the same time. It can get complicated! I tend to shade first and sometimes I leave it like that. If I want more realism, I add the hard shadows.
Most people don't add enough contrast to images. Try taking a photo of your coloring and look at it. Cameras have a limited range so will show you if your colours are too pale or lack contrast. So if your white objects don't look right, try adding more colour.
I prefer to use cool greys only on metal objects or snow if it's a night scene. For most white objects I use BG 10, 11, 13, 15 which are aquas or warm greys. For ivory I use E 40s or 50s. The aquas are great for snow. If you use warm greys on snow, it looks dirty. Hope this helps!
Last edited by Rebecca Ednie; 10-11-2016 at 12:39 PM..
That just leaves the odd bit...AI is famous for having a white bow tie or belt or plate under cake-and it just looks iike you missed coloring a part. I am wondering if doing a light outline of the whole image would help with that if it is an exterior piece to the image. I dont know what to do for when it is in the middle of the image.
Obviously-I dont have to leave it white just b/c they did in the index...I am just using that as an example hopefully a lot of people recognize. Maybe I want to leave a section of clothes white or whatever. Sometimes the piece is so thin it is hard to do any shading but it still sticks out visually. I hope that makes sense.
wavejumper, assuming I'm following what you're saying, would it help in that case to use an off-white/cream/ivory card stock instead of bright white?
I'm not a big colorer, but when watercoloring or even piecing together die cuts or scissored shapes, sometimes a bright white card stock like Neenah Solar White is too stark and "contrasty" in the negative space or areas that aren't a color.
Muscrat - Try and find Barbara Gray's youtube. She is a master brayer expert. She owns Clarity stamps and brayering is her expertize.
AGree, she's amazing. I watched hr Clarity brush videos several times. I wish i could sign up via email to get her video updates, but haven't been able to.
