Colour-coordinated Gel Printing with StencilGirl® Masks

Hi there! It's Marsha Valk here today with a new column!

For the past 11 years, I've started the new year creatively, spending time watching the Creative JumpStart videos and creating alongside them.

If you're reading this, you're probably familiar with Nat Kalbach's Creative JumpStart, and perhaps you've even seen me mention it before.

However, if you don't know what CJS is: it's an annual monthlong online mixed media art event meant to inspire and motivate you to get creative.

It's like an advent calendar with a new video every day in January (this time it went into February) by outstanding teachers like Mary Beth Shaw, Kristin Williams, Martice Smith, Rae Missigman, Carolyn Dube, Gwen Lafleur, Jane LaFazio, Kae Pea, Nancy Curry, Seth Apter and Tina Walker.

So on January 1st, I grabbed a new art journal and started to follow along and/or create inspired by what each teacher shared in their video.

And this year, I really took stock of what supplies I enjoyed working with, which techniques made me want to dive right in, what I liked and did not like doing and what aesthetic I liked and did not like.

I tried to create one page after watching each lesson; however, I did allow myself to skip a few. Creative JumpStart isn't a challenge, and I did not want to make it into one either.

Besides, I was in the middle of (another) studio reorganisation, which did not allow me to pull out every supply needed.

Anyway, the lessons I enjoyed most were the ones that involved painting with acrylics. You know, the kind you do with a brush and perhaps a palette knife. Which surprised me, and it's something that I could potentially explore more.

The second realisation was that I love colour (no surprise there); however, it turns out that some colours fail to make my heart sing, no matter how hard I try.

Watching the other teachers and participants use colour palettes outside my comfort zone somehow convinced me to experiment with different colours. And… it didn't work. They don't feel like 'me', and I struggle with making them look good.

So… just for my enjoyment, I decided to take cues from a vintage magazine I found while decluttering. These colour combos excite me, inspire me and make me sooo happy!

Watch me gel print with a limited 70s colour palette and StencilGirl® masks by Mary Beth Shaw and Martice Smith!

   

Until next time!

Marsha Valk

Featured masks and stencils: 

Graphic Mod Mask 1: 70s Play by Martice Smith

Graphic Mod Mask 2: Hole in the Wall by Martice Smith 

Modern Monoprint Shapes Set by Mary Beth Shaw

What's the Point? Stencil by Nathalie Kalbach

Mini-Dots Stencil by Andrew Borloz

Paint colours used: Deep Turquoise, Mixing White, Phthalo Green (Yellow Shade), Process Magenta and Titanium White.

Monochromatic Gel Printed Art Journal Spread by Marsha Valk

Hi there! It's Marsha Valk here today with a new column!

What do you do when your creative mojo has left the building? Well, one of my top tips is to watch a film. In my case, any movie will probably do; however, if you need ideas, I suggest you start with a Wes Anderson film.

I went to see his latest, 'The French Dispatch', at the cinema the other week and it was marvellous!

Without giving anything away: 'The French Dispatch' is about the French outpost of a fictional Kansas newspaper in the 60s/70s. The plot follows different storylines, each reported by one of the journalists.

I've included a link to a YouTube playlist with trailers and clips at the end of this blog post, just in case you haven't seen it yet.

I'm always in awe of the typical Anderson choice of colours in each of his films. 'The French Dispatch' is no exception; however, I was intrigued most by the black and white parts of the movie this time.

So I decided to challenge myself and use only Paynes Grey, with Titanium White or Mars Black acrylic paint.

To lure my mojo back, it's essential for me not to get fixed on the outcome. So one of the things I do is that I start with mixing paint. 

A gel printing plate is an excellent tool for colour play and colour mixing, so in this case, I just started gel printing in one of my journals to see what would happen. And… this is what happened:

The stencils I used are ones that I picked because they somehow felt like they suited the film's vibe. 

The collage pieces are typewritten and notebook papers from my collage stash.

The blackbird is a nod to something in the film.

And, the text I wrote in pencil is the lyrics to a song by Charles Aznavour that is on the film's soundtrack. 

So is my creative mojo back after I created this page? Hmmm… the jury is still out on that one. But I know I can always try watching another film!

Until next time!

Marsha Valk

Stencils and mask used:
Art Deco Wallpaper Stencil by Nathalie Kalbach
Granada Stencil by Nathalie Kalbach
ATC Mixup Stencil by Mary C. Nasser
Circuit Stencil by Nathalie Kalbach
Manhattan Stencil by Nathalie Kalbach
Hamilton Stencil by Nathalie Kalbach
Stencil Font 4x4 Stencil by Mary Beth Shaw
Emotions and Feelings Alphabet Stencil by Carolyn Dube

Link:
'The French Dispatch' playlist on YouTube

What I do with my gel printed papers by Marsha Valk

Hi there! 

Recently I had the privilege to watch Mary Beth Shaw's fab and inspiring new online workshop: Painted Paper Party!

In one of the lesson intros, she says something along the lines of being addicted to creating painted papers. Mary Beth has a lot of them, and she uses them in all of her art.

Now you may know that I gel print a lot. So I don't have a collection of painted papers like Mary Beth does; however, I have an ever-growing gel printed stash.

And, unlike Mary Beth, I'm much less inclined to use those gel prints in everything I create.

So whenever people ask me what I do with my gel printed papers, I honestly never really know what to answer.

Because in the ideal world, I would only have finished monoprints, or I would have a stash of gel printed papers that I know I need and use.

The gel printed papers that I use fall into two categories: thin pieces, like computer paper (or similar weight), go into the collage bin. And even lighter papers, like deli paper or tissue paper, go in another collage bin.

The problem is that I tend to pull the majority of my prints on paper that's around 200 gsm. This weight is perfect for finished prints, for making cards, and for using the prints as a base for mixed media art pieces.

Unfortunately, I've learned over time that I'm not a substantial 'background prints' user. And I'm not a vast cardmaker either.

I do like to make little journals. However, not all of my prints are suitable for the purpose. So that's where I run into trouble…

In a final attempt to make a dent in my (gel printed) paper stash, I've started to cut all of my remaining painted papers down to postcard size. Not just the gel printed papers, but all promising looking brayer clean sheets, misprints, practise pieces etc. too.

These papers can be pasted onto a card base; they can be turned into books or pasted into journals. And, whenever I feel like doing something other than working in a journal, I can dive into my box of 'postcards' and work on top of what's already there.

Is this the be-all, end-all solution? My box of postcard-sized printed papers is already overflowing, so the jury is still out on that one. However, I can see the potential. So let me show you how I use some of these gel printed postcard-sized papers to create a little book!

Until next time!

Marsha.

StencilGirl® stencils used:
S874 Terrazzo Stencil by Lucie Duclos
S869 Abstract Botanical Grid Stencil by Jennifer Evans
S770 Snakeskin Repeating Pattern stencil by Jennifer Evans
S730 Brilliant Start by Mary Beth Shaw
S677 Stone Tilings stencil by Valerie Sjodin
S383 Sea of Grapes by Rae Missigman
S374 Stone and Mortar Version 1 by Mary Beth Shaw
S172 Runes Stencil by Jessica Sporn
S094 Slices 6 Stencil by Terri Stegmiller
L661 Hamilton stencil by Nathalie Kalbach
L659 Exchange Place by Nathalie Kalbach
L652 Garden Montage by Cecilia Swatton
L591 Vintage Typewriter Numbers by Carolyn Dube
L467 Amsterdam stencil by Nathalie Kalbach
L458 Toledo stencil by Nathalie Kalbach
L446 Kunst Masken 1 by Andrew Borloz

Creating a Zine with StencilGirl® Stencils by Marsha Valk

Hi there! It's Marsha here today with a new column!

When you read this, I will be a couple of days away from finishing my '100 day project'.

#The100DayProject is a global art project. Every year, thousands of people all around the world commit to 100 days of creating. Anyone can participate. The idea is to pick something creative, work on it every day for 100 days and share your progress online.

I did not make a big deal out of starting. I did not announce it on social media, and I did not use the hashtag. I did one week of testing on a couple of my close friends, and then I just started posting.

What did I start posting? Little one minute Instagram TV videos of my daily life. I call them 'mini vlogs'.

Remember what people shared on Instagram when the platform just started? That's the best way I can think of to describe it. It's like old school Instagram: all the things I like, plus snippets of my daily life, however, in video format.

I did not think I would be able to keep it up. However, I did! Now, it wasn't always easy. There was one week where I barely left the house because I had so much work to do. And on other days, I felt I had walked around the same block for the seventieth time.

The mini vlogs did motivate me to keep going outside and to keep looking for things to capture. From the middle of winter all the way through spring. Around the neighbourhood. Around the city. On bike rides. In the woods.

I documented lots of things I had never noticed before. Small things. Like the way the sun sets outside my studio window. Or all the birds that like to hang out in the tree in the front yard.

And, I learned a lot about the history of the city I live in.

I'm sure my mini vlogs would have looked totally different if we had not been in lockdown for nearly all of the 100 days. On the other hand: maybe I would have been way too busy to take on a project like this if it hadn't been for the lockdown.

Anyway. What does all of this have to do with art or printmaking, you ask?

I don't know yet. However, I know it will have an effect. Or maybe it already has. Because this is the longest time in years, I haven't travelled, visited other cities, visited museums, or saw family and friends. I haven't read much in the past three months. I haven't watched a lot of films or TV either. I was just concentrating on my work and making the mini vlogs.

It's amusing to me to hear from viewers that they enjoy watching them so much. Because to me, what stands out is the lockdown routine: coffee, work, a walk, more work, dinner and then maybe some more work or a Zoom event or watching something short on YouTube.

So that's what I decided to document in a zine—my current daily routine. Watch the video to see me create the tiny booklet with the help of all the stencils in my stash that I felt needed a little love. Perhaps I can inspire you to make one too!

Enjoy your day! Until next time!

Marsha Valk

StencilGirl® stencils used:

ATC Mixup #1 Art Marks by Rae Missigman 

Spoked Wheels Collage by Jennifer Evans

Signals by Nathalie Kalbach

Planner Words 4 by Mary Beth Shaw

Planner Spiral Notes 4 by Mary Beth Shaw

Exploded Fan by Mary Beth Shaw

ATC Mixup by Mary C. Nasser

Impressionist Water Lily Background by Margaret Peot

New Orleans 4 by Nathalie Kalbach

Noodles by Daniella Woolf

Moroccan Doily Stencil by Maria McGuire

ATC Mixup #2 Botanical by Rae Missigman

Trapezoid Squared by Mary Beth Shaw

Tapestry by Kristie Taylor
 

Mixed Media Gel Printing with StencilGirl® Stencils and PanPastel by Marsha Valk

Hi there! It's Marsha Valk here today, and I'm excited to share a new StencilGirl® Column and video with you!

I often share something about my latest little solo expedition or something that I've seen or read recently in this column. However, it's been months since my last visit to a museum, and by now I'm kind of bored of just strolling around the neighbourhood. 

All I want to do is to create. Something. Anything!

Luckily for me, there are online courses and events to help and inspire me. I'm still able to fill my 'creative well' even in lockdown.

One of my favourite past-times right now is Creative JumpStart. If you are reading this blog, you've probably heard of it before, and you may even be one of the participants!

If not, Creative JumpStart is an annual online event that is hosted by StencilGirl® designer Nathalie Kalbach. This years edition is even bigger and better than ever because of its tenth anniversary.

I'm lucky to be one of the 45 teachers this year, along with Mary Beth Shaw, Seth Apter, Nancy Curry, Carolyn Dube, Rae Missigman, Gwen Lafleur, and Jane Lafazio, Kae Pea, Kristin Reese Williams and Tina Walker.

I always try to create along with at least some of the daily video lessons. Some years I fill a whole journal, other editions I only manage to do a couple of projects. And, that's totally OK. CJS isn't a challenge. Its purpose is to spark inspiration!

This year's theme is 'Storyteller', and for some reason that prompted me to dive into some of the art, I created as a child. So for my video lesson, I kind of did a collab with my younger self.

The fun thing is that my childhood art came in handy for the embroidery project Kristin Reese Williams shared in her CJS lesson too.

So with the StencilGirl® Creative Team theme 'Mixed Media Pastiche' in mind, I could not help but wonder what would happen if instead of looking at the style or character of the work of one or more other artists, I would look at the style or character of my art as a kid.

Watch the video to see me create a mixed media gel print using a technique I learned from my friend Birgit Koopsen, combining lots of StencilGirl® stencils and PanPastel.

I realise I'm super lucky to have access to the art I created as a child. However, I feel the need to stress that even though I'm happy that my mom kept these, I don't want you to feel sad because you haven't hung onto every single item of kids artwork you've ever made or received.

Most of my childhood art only exists in digital form these days. The physical artworks are long gone. I did not enjoy them half as much when they were collecting dust and taking up space in my attic!

You can always use your (grand) children's art or create something new in the spirit of your younger self instead! Have fun!

Until next time!

Marsha Valk


Stencils used:
Interesting Dots Repeating Pattern by Jennifer Evans
Oval Grate Stencil by Mary Beth Shaw
Fragmented Line Columns stencil by Cynthia Silveri
Mid Century Modern Rocks and Leaves stencil by Jennifer Evans
Stone and Mortar Version 2 by Mary Beth Shaw
Ornamental Floral Screen stencil by Gwen Lafleur
Deconstructed Cabbage Rose, designed by Traci Bautista
Stitch a Doily Stencil by Maria McGuire
Midcentury Modern Elements #1 by Kae Pea
Central Ave stencil by Nathalie Kalbach
Teardrop Doily Stencil by Maria McGuire
Seeds Doily Stencil by Maria McGuire

Batiking with StencilGirl® Stencils

‘I have never tried that before, so I think I should definitely be able to do that.’

Apparently, Pippi Longstocking never said the above, nor did Astrid Lindgren.

Whoever else came up with it, was, in my opinion on the right track though. It’s undoubtedly a rule I apply to most of my creative adventures.

The Creative Team theme for this month is ‘Wearables’, and it made me think about methods to print on fabric.

Over the years, I’ve stamped, stencilled, gel printed and screen printed fabric.

On my bookshelf, however, there’s an old (second-hand) book on batik. I have never really tried wax-resist dyeing before, so I grabbed this chance to give it a go.

How hard could it be?

From what I read, the minimum of what I needed was: wax, brushes or sponges, fabric, dye and some household items like a bucket, something to stir with, rubber gloves, an iron and ironing board, plus absorbent paper.

I also needed a pan to melt the wax in, however, when I went online to order wax and dye, I found a jar of cold wax. It seemed more manageable than the hot wax, so I ordered the cold wax.

I thought that I was all set, but once my order arrived, I realised that the cold wax meant that the temperature of the dye bath needed to stay under 50 degrees Celsius.

Which would not make things easier at all! And, I would need to buy a thermometer…

Let the experiment begin!

Once I got the thermometer, and I had my white cotton washed and cut (I cut it to the same size as my favourite shawl), I went to work. Watch the video to see how I got on!

Applying the cold wax through a stencil with a sponge was entirely doable. Sometimes a bit of the wax seeped under the stencil, but I decided just to go with it. 

Because the wax was a bit hard to see on the fabric, I wasn’t sure if I had applied enough of it. I was relieved to see the design appear once I got the material into the pink dye bath.

Rinsing the paint from the fabric was more challenging than I expected though. And, although I made sure the water was never too warm, I already suspected that some of the wax dissolved due to the rinsing.

I decided that it would be OK if the second dye bath would cover the white design and went ahead.

Unfortunately, the second dye bath covered more than just the white design. It also covered everything I wanted to stay pink! For some reason, the second wax application hadn’t permeated the fibres as well as the first time. 

While the fabric was still wet, I was hopeful that it would turn out OK. Unfortunately the next day I found the result super disappointing.

Even ironing the fabric to get rid of the wax residue did not provide a better result.

Can I still make this wearable?

I figured I had two options left to turn my craft fail around. One: I could do one last dye bath. I still had one pack of very dark dye left.

Or, two: I could up the contrast by adding bolder strokes to the fabric with another type of fabric dye I had in my stash.

I did not want to risk the chance of investing more time and effort in another dye bath. I would instead save that pack of dye for another time.

So, I opted for the bold move and painted a big circle pattern all over the fabric.

Because this dye was very wet, I could only paint a couple of circles at a time and had to let the paint dry before I could move on to the next row of circles. 

It took me a whole day to paint the circles and then the textile dye had to dry for another 3-6 hours before I could fixate it by ironing the fabric for 5 minutes.

The result is very loose, splotchy and irregular. I love how it turned out, though. You can see the stencilled pattern peeking through, and this colour combo is one that I can actually wear.

Once I was happy with the fabric, I hemmed it. And, in an attempt to finally get rid of the last of the wax residue I threw my new shawl in the washing machine.

When I took it out again, I realised the backside actually looked better. 

Oh well...

At least now you know. Sometimes I know what I’m doing, and sometimes I just fly by the seat of my pants. And, though I rarely show my craft fails online, like everyone else, I do have my fair share of them.

Anyway, there’s no turning back now. Luckily I do love my new shawl!

Until next time!

Marsha Valk

Stencil used:

ATC Mixup Missigman #1 Art Marks by Rae Missigman

Art Journaling Summer Memories with StencilGirl® Stencils

Hi there! It's Marsha Valk, and I have a new column to share with you today!

As you know, English is not my first language, and sometimes I come across words that do not seem to mean the same thing in Dutch (anymore) or for which we have other, more frequently used, words.

The word 'passage' seems to be such a word.

When I think of 'Passages', the current theme, I first and foremost think of either an excerpt of a book/poem or a specific kind of mall. And, secondly of a murder trial in the Netherlands, the passage trial.

The Dutch dictionary tells me you could also use it in terms of crossing water by boat, however, maybe I don't go on enough boat rides, because in Dutch I would never use 'passage' in that context.

Lastly, there is the meaning of traffic and traverse. Again, in Dutch, I would never speak in terms of 'passage' here, however, somehow the idea of people passing by or passing through something (a narrow passage?) stuck with me.

Funnily enough, searching for images of the mall type passage online lead me to pictures of mountain passes, alleyways and archways in the digital archives of the Rijksmuseum Amsterdam. And that's how I came up with the journal page I eventually made!

Passages like that always make me want to know what lies behind it. And, when I find one on my path, I'm bound to photograph it, especially when I get a glimpse of something stunning through the archway!

I only had to leaf through one or two photo books to find a splendid example. And, because I took the photo in sunny Spain a couple of years ago, I felt the urge to dig out an older but not completely filled art journal that I had used one summer.

One of the things I enjoy is gel printing directly into an art journal. The way I go about it is that I mount the gel plate onto an acrylic block or a sheet of mylar and then basically use it as a giant stamp.

In this case, I'm using the photo (printed on computer paper) as a stencil and the gel plate as my stencilling tool.

However, I'm starting with collaging torn book pages to the page in an attempt to tone down a bit of the neon orange that was already there.

Then I'm gel printing through the mask onto the page. Sometimes with a stencil in between, sometimes without.

Please note: I turned the photo face down on the page. This mistake means that I will end up with a reverse image of the original photo! Oh well. It happens.

Next, I'm using the cutouts to mask the already gel printed sections.

 

I had to add a couple of neutral coloured print layers before I was happy with the coverage.

Then I added lines. My reverse gel print was driving me nuts at this point, so in the end, I also printed a reverse version of the photo help me figure out where the lines should be.

I stencilled in the light and dark parts of the image, this time with the help of a cosmetic sponge.

Lastly, I retraced the lines and added colour, shading and a couple of details with coloured pencils, paint marker and acrylic paint.

That's it!

I loved making this art journal spread. It transported me right back to that moment vacationing in Spain! What summer memory or summer dream would you like to record in your art journal?

Until next time!

Marsha Valk


Stencils used:
Oval Grate by Mary Beth Shaw
Brilliant Start by Mary Beth Shaw
Fragmented Line Columns by Cynthia Silveri
Stone Tilings by Valeri Sjodin
Mid Century Modern Rocks and Leaves by Jennifer Evans
Layers of Scallops by Mary Beth Shaw
Diamond Facets 1 Small by Carol Wiebe 
Face It by Daniella Woolf