Gelatin plate print

I have been working on creating the 100 Print Project class for a while and I have made lots of prints. My studio is in my dad’s machine shop.

With hundreds of prints spread over several walls and tables, Dad asked, “What are you doing with all this stuff?”

Great question!

I am not sure. I really love the process of creating prints and classes.

I am encouraged by seeing the hundred or so prints on my studio wall.

Working this way gives me a feeling of cohesion in my work. It is also very easy to frame, display all these 5″ x 7″ prints.

I was encouraged by the early collage installation of Rex Ray to hang all my prints on the studio walls as an installation.

Ideas for what to do with these 100+ prints:

• Look for a gallery to have an exhibit
• Frame a few in easy standard size frames
• Mat them to 8″ x 10″
• Sort them into sets
• Just enjoy them for a while
• Store them in a small box
• Put them in handmade portfolios

I am hopeful for this project. In my early days of gelatin printing, I played and printed a lot. I am still playing and printing, but now I feel like I have a cohesive body of work that I would like to do something with.

If you would like to create 100+ gelatin plate monotype prints with a little support, then check out the details of the 100 Print Project Class, an online printmaking workshop.

Happy Printing!

I am so excited to share the new class that I have created. It is the 100 Print Project.

I think that this gelatin printmaking class will appeal to veteran printmakers and newbies alike. We will use some fundamental design skills, like value and shape to create 100 or more pleasing prints.

I have always believed that the more prints you make the happier you are with the results. And in this 2 week online workshop we will make delicate layers and bold shapes to create a gallery worthy installation of monotype prints.

We will use the homemade gelatin and glycerin plate, water based block printing inks and 5″ x 7″ paper. The combination of these tools works to keep the ink alive and to transfer delicate details to the paper.

If this sounds interesting to you then, read all the details on the printmaking workshop page and join us today.

I am playing with cyan ink and some paper stencils of bottles to create some cyanotype like monotype prints.

It is so addictive. I pull a stack of prints and then think of something else to try.

It is a back and forth of inking the plate and allowing the ink to build up and how to transfer it to the paper. I am using the speedball water based inks, so they stay alive and can be re-awakened with water and transferred with mere hand pressure.

Recently, I was inspired by the japanese ceramic technique, kintsugi. It is a lovely process that takes about a month to repair a bowl with a gold seam. So I “repaired” some paper cracks in my printed bottles with a bit of gold paint.

If you want to make your own gelatin plate and play with printing your own cyanotype like prints, then get the FREE gelatin and glycerin plate recipe here.

I have been playing with torn stencils and making monochromatic abstract mountains.

It has been fun using simple torn stencils from copy paper to create an abstract mountain range.

I am relying on the concept of atmospheric perspective to create the illusion of space. The further away the range the lighter it would be in the image. The closer to the viewer, then the darker it would be.

I have been enjoying working with simple stencils and just one color and distinct values and the gelatin plate. Sometimes less is more.

Get support from an online class. Check out the current offerings on the printmaking workshop page.

I am still pursuing the idea of simplifying my studio and printmaking process.

I started by cleaning my space and limiting my tools. This helps to clear my mind and start fresh.

Once I get printing it is a challenge to keep the tools and space clear and clean. But I think that the time spent staying organized may create a fresh perspective.

When I first started gelatin printmaking, I started with simple stencils like threads and circles. These stencils still appeal to me. The “boundary” of these limited stencils open the way for a new level of abstract design.

Ask yourself:

• Have you wondered away from your roots?
• Could benefit from cleaning your workspace or tools?
• Does the idea of simplifying appeal to you?

Get support from an online class. Check out the current offerings on the printmaking workshop page.