gandha – Gandha Key

Working with Gelli Plates

My own experience of working with gelli plates includes single and multi layer printing and a failed attempt at image transfer using ink jet printed photos – I can’t get image transfer to work at all and in fact the information I have found states that only laser printed images work with transfers. Below are two of my attempts at multi layer method. Using flora from my local park. Image transfer is where you transfer a printed photograph onto the plate and use it as the base for an image. There are lots of tutorials on youtube on this method.

Gelli plates are about half an inch thick and have a soft surface on which is rolled Acrylic paint with a soft brayer/roller. It is an excellent medium for making prints if you don’t have access to a press.

The size of my plate is 10 x 8 ins. Acrylic ink is rolled thinly and evenly onto the plate using a good quality rubber roller, don’t use those cheap school type rollers, they are too hard. Then leaves or other surfaces such as paper strips and shapes, etc. can be laid on the colour and a print taken. You can use plastic or paper stencils or work into the painted surface with soft scrapers.

Paper: the paper can be quite thin Japanese paper or cartridge which is laid on the plate and then you can press down with your hand or use a baren, which I use for a more even print.

Ghost prints: once a print is taken you can remove the stencils and take another print, in this way you get a nice ghost print which works well with other layers. Try to use colours that complement each other.

The prints dry very quickly. Clean the plate of excess paint; then apply the second colour and continue in this way. I don’t tend to water clean the plate in between colours but you could, as long as you make sure the plate is dry. For final plate cleaning I use washing up liquid and water with a sponge.

Leave to dry overnight and store between tissue paper. One of the most interesting uses for gelli prints is that if you print on a thin enough paper you can collage them into new designs. Or, as I do laminate them with pva and use them for book covers.

Gandha Key, zyarts2011@gmail.com

Drypoint with Perspex

Drypoint is the name of a method of printmaking in that marks, lines and areas of tone are made on a plate; in this case perspex, usually about 2mm in depth. It is similar in some ways to etching but there is no acid used to imprint lines into the etching metal plate.

Perspex is best for long editions, as opposed to the fragility of Tetra Pak and Enviromount. It is worked with a drypoint or etching needle. You need an etching press to print these; it won’t work by hand.

Making the image. Lines are made with a drypoint needle by scratching into the surface. For dark areas you need to cross hatch; the dark areas in the print above were made by lots of cross hatching. It is probably the best surface for drawings as you can make wavy and circular lines more easily on perspex than other surfaces. You can also get mid tone areas with light cross hatching.

You can place your drawing, photo or copy under the perspex to work directly.

Inking the plate: I recommend Akua inks which are quite liquid and spread easily. Ink the plate as you would an etching, applying ink evenly with a brush or piece of card, working the ink into the lines. Clean off with tarletan, newsprint and tissue paper for a good plate tone. Use cotton buds for inkless areas. Paper: I use Somerset 280 gsm paper soaked for 30 minutes. I don’t recommend lightweight paper as it won’t be soft enough to pick up detail.

Chine Colle: you can attach pieces of thin Japanese paper or strong tissue paper to the plate before laying on the paper; I used prit stik and also Japanese rice glue, both worked equally well.

Leave overnight under weights with tissue paper to flatten and dry.

Perspex drypoint with Chine Colle.

Size A4.

Gandha Key, zyarts2011@gmail.com

Creating Tetrapak prints

What is Tetra Pak printmaking?

And… how do you go from the carton on the left to the print on the right?

See instructions below for the whole process for using a Tetra Pak carton. It has a metallic interior surface that can be used as a printmaking plate. The metallic surface can be cut and removed or lines can be created with a drypoint tool.

Tetrapak carton and the resulting print

First: Wash the carton and then cut the carton open at the back on the seam, carefully so as not to damage the fairly fragile inner surface. Flatten the carton under weights overnight.

Transferring a drawing: To do a drawing on the plate, you can draw directly with the drypoint needle, or a nail or any sharp pointed instrument, or you can use carbon paper to transfer a drawing onto the plate for accuracy, which is what I did in my print above.

Tools: Use a drypoint needle, rather than a sharper etching needle. This is to create lines, outline shapes and cross hatching. In order to create dark areas you need to cut away the shape with a scalpel. The top will peel off and leave a soft underlay which will pick up lots of ink and create tonal areas. Which can be seen in the print above.

Printing: To print your plate you need a soaking bath and good thick paper; I use Hahnemulle or Somerset, at least 280gsm; soak the paper for 30 mins and blot fairly dry. Hand printing does not work for these prints; it won’t show the fine lines or create an even print. You do need access to an etching press. Print as you would an etching, get the pressure right on the press. Lay the soaked and dampened paper on top of the plate and run it through the press. Let it dry under tissue paper and boards for a day or so to dry properly.

Inking the Plate: I use soft Akua printing inks rather than the normal etching ink which is too heavy and sticky for this fragile surface. Apply the ink over the whole plate using a dabber or a piece of card. Making sure you get ink into all the fine lines. Then remove as much ink as you can with soft tarletan or scrim, then use phone book paper/newsprint and afterwards, tissue paper to get a good plate tone. You can use cotton buds to pick out highlights.

Warning: Tetrapak is not recommended for long editions as it is fragile and needs to be printed with care. For longer editions I use Enviromount, this is a laminated card which works in the same way as Tetra Pak, whereby you can cut away areas and get nice dark areas. You would not get this even dark area using perspex.

Tips: You can cut the material into shapes and print those, or stick shapes together using strong tape on the back to make larger shapes.

Chine Colle: during the printing process you can apply lightweight tissue or japanese paper which glue on the top, in order to achieve colour layers.

UK Suppliers of drypoint media and paper: Handprinted in the UK and also Intaglio Printmakers in London.

Gandha Key, 2025