Monday, November 19, 2012

Wipe Out Monoprinting

Create unique monotypes by wiping paint OFF your Gelli® plate. Watch this fun video to see some great effects you can achieve using the fabulous new Catalyst Wedge tools for printing with Gelli®!

This is a subtractive, or negative, method of monoprinting. That means you start by applying paint to your plate — and remove some by wiping it off to create your image.

Combs and scrapers can create an exciting variety of highly individual mark-making resulting in original and unique Gelli® prints.

Wiping combs and scrapers across the Gelli® plate is a fast and easy way to create dynamic patterns. I'm using Catalyst Wedges, made by the Princeton Brush Co., for these techniques — and they work beautifully! I am loving these tools!

In case you're not familiar with the new Catalyst Wedges — they're made of silicone and ergonomically designed to fit in your hand. Fun to use. Easy to wipe clean … and dried paint peels right off.  How perfect!

And did you notice that the prints in this video are created on our NEW biggest Gelli® plateYES!  That plate is 12"x14" — so for those of you who are looking for a larger Gelli experience … it's now available :)

To make your print:
  1. Apply paint to your Gelli® plate and roll it out with a brayer. Using several analogous colors can give your print added interest.
  2. Swipe the comb tools into all kinds of patterns. Use a scraper tool and remove some of the paint to make your marks. Be spontaneous and have fun!
  3. Cover your painted plate with paper. Rub to transfer the paint — and pull your print.


Layer comb lines in different and crisscross directions to create complex patterns!

Layer one wiped print over another!

Comb into the paint before you add stencils and masks for another element of pattern in your prints. Love that!

Easy! Fun! And totally addicting!

And since we're talking about wiping out … let's not forget the ubiquitous pencil eraser! It's a perfect tool for making dots! Just press into the paint and it will leave a nice round mark! Try it! Cotton swabs also do the trick :)

Wiping paint off the plate creates prints with areas that are perfect for working back into. It's fun to doodle in the blank areas!

Write journal entries along the swirly combed lines! Add collage elements!

Fill in wiped out areas with watercolors, sprays, Distress Stains and more! The acrylic paint will act as a resist. (See blog: Are We There Yet — for ideas and info!)

So many possibilities!

This Contest is officially CLOSED

Eager to get your hands on these fabulous state-of-the-art new Catalyst Wedges?

Here's a truly AMAZING GIVEAWAY to get you wiping out print designs like crazy!

And hey, who says the number 13 is unlucky???!!! Not us!

THIRTEEN! — yes, 13 — lucky winners will be selected at random to each win a set of three (3) new Catalyst Wedges.


ONE lucky GRAND PRIZE WINNER will ALSO win a 6x6 Gelli plate in addition their set of 3 Catalyst Wedges. *GIVEAWAY NOW CLOSED*


To enter to win all you need to do is leave a comment here on the blog....

**If you announce our giveaway on YOUR blog or Facebook page, your name will be entered TWICE — doubling your chance to win! Just make sure we know you've done it :)**

This Contest is officially CLOSED 

A HUGE Gelli thanks to the wonderful Princeton Brush Co. for contributing their ultra-cool wedges to our blog giveaway!

The winners will be announced on (this Friday - November 23rd, 2012) here on the blog … and by Nancy on the Gelli Arts Facebook page.

Good Luck! And Happy Printing!

Wednesday, September 19, 2012

Intaglio-Inspired Printing with Gelli Arts®

See how you can achieve an intaglio effect — without a press! — using a styrofoam
printing plate, a ballpoint pen, acrylic paint … and a Gelli® plate!

Intaglio (pronounced in-TAL-ee-oh) is a printmaking process using a plate that has been inscribed or etched. Ink is applied to the plate and pushed into the grooves. The plate is then carefully wiped to remove the ink from its surface, so that ink remains only in the incised areas. When the plate is put through a press, the high pressure pushes the paper into the grooves and transfers the ink to create an intaglio print.

We’re taking the basic concept of intaglio and adapting it to printing with Gelli®! With the Gelli ® plate, there's no need for a press! You won't have to meticulously wipe the plate for printing :) And there’s no need for special inks — acrylic paint works just fine!

Follow these step-by-step instructions for creating an intaglio effect:

1. Use a ballpoint pen (or pencil or stylus) to inscribe a design into a styrofoam printing plate.

TIP: Once the styrofoam plate is ready, I like to stick it onto a piece of Press ‘n Seal (food wrap) to keep the back of the plate clean. Doing this is not essential to the printing process. But it keeps things from getting messy :)

2. Apply a generous amount of acrylic paint to the styrofoam plate.

3. Use a squeegee to spread paint across the foam plate. Make sure the paint is pushed down into the incised lines — while the surface is wiped as clean as possible.
Note: An old credit card or piece of mat board will work as a squeegee.

TIP: After you squeegee the paint onto the foam plate, you can roll the surface with a brayer. And instead of wiping the plate to remove surface paint — just pull a relief print! To do this — quickly cover the plate with a piece of paper and rub — and pull a print! The image in a relief print is reversed.

4. Flip the styrofoam plate onto the Gelli plate, paint-side down — and roll over the back of the plate with a clean brayer. The paint in the grooves will transfer to the gel plate. Remove the foam plate.

5. Cover the gel plate with your printing paper. Rub to transfer the paint — then pull your print.

Good things to know:

One of the wonderful benefits of this technique is that the final print is right-reading! That means the printed image is not reversed — and written words will read exactly as you wrote them :)
  • The styrofoam plate is durable, so you can use your image over and over!
  • Perfect for printing fabulous art journal template pages — creating lines and spaces — and you can work back into your prints!
  • If you are working in layers, try an intaglio layer as your last one. That will give you a line drawing over a background image!
  • Clean styrofoam food trays and plates will work for this technique! What a great way to upcycle those products :)
Foam printing plates, like those seen in this video, are available at Dick Blick, Daniel Smith, and many other art supply retailers.

Intaglio-inspired Gelli® print (black lines) —
embellished with Distress Stains, Inktense pencils, Neocolor II crayons,
rubber stamps and collage.

Happy Printing!!

Tuesday, July 31, 2012

Monoprinting with Rubber Stamps

Here's a fun way to incorporate rubber stamped images with monoprinting!

  1. Stamp an image onto a Post-it® Note.
    IMPORTANT: Make sure part of your stamped image is over the sticky part.
  2. Cut out the Post-it® stamped image. This is your mask.
  3. Stamp the same image on your printing paper.
  4. Align the mask over the stamped image on your printing paper to cover it
    completely — and press to adhere.
  5. Apply paint to your Gelli® plate with a brayer or soft paintbrush. At this point,
    you can add pattern to the paint with various texture tools.
  6. Place your printing paper onto the Gelli® plate, rub to transfer the paint — and
    pull your print.
  7. Remove the mask to reveal your stamped image.
  • Use a stamp pad if your rubber stamp is a detailed image. StazOn® (Tsukineko), Archival Ink™ (Ranger), VersaFine™ (Tsukineko), Distress Ink (Ranger) and Colorbox® Fluid Chalk Inkpad (Clearsnap) are among my favorites. Use the inks you like best!
  • For bold or solid rubber stamp images and hand carved stamps you can apply acrylic paint to the stamp with a brayer or cosmetic sponge. Be sure to clean any acrylic paint off your stamp right away. Or try water-based printing inks, such as Speedball® block printing ink.
  • Cut your mask just inside the stamped image to avoid a halo effect on your print.
  • Stamp and cut a mask for each image you're using on your printing paper.
  • Instead of Post-it® Notes, you can use low-tack frisket (a thin, clear film with removable adhesive) — such as Grafix Frisket Film — a product made for airbrushing. Or, stamp your image on thin paper, cut out your image, and apply double-sided removable tape to the back of the mask.
  • After you remove masks from your print, stick them on a piece of paper — and save to use again!
  • Sometimes a mask will stick to the plate, so carefully remove it.
  • You can stamp multiple images on the same print and mask each image.

Using stamps and masks this way adds another creative dimension to monoprinting! Try it — and have fun!

Thursday, June 28, 2012

The Painterly Monotype

One of the many exciting advantages of the Gelli® gel printing plate is how simple it is to create a painterly monotype without a press! 
This video shows how to create a painterly monotype using a reference photo under your plate! 


Here's the info … and some tips:

1. Place your reference drawing or photo on your work surface and tape in place.

2. Place your Gelli® gel printing plate onto a plastic sheet — position this over your reference picture, and tape the plastic sheet in place. Mylar, plexiglass or acetate are great for this. (I use an inexpensive piece of styrene from the craft store — intended for faux stained glass.) 

Note: Do NOT place your Gelli® plate directly onto your reference picture.

3. Use a soft paintbrush and paint your plate with slow-drying paint, such as Golden Open Acrylics

4. When your painting is complete, cover with your printing paper, gently rub to transfer the paint — and pull your print. 


  • To retain the beauty of your brushstrokes — apply the paint in a thin layer. Thick applications of paint will print as blobs.
  • Slow-drying paints, like Golden's Open Acrylics, will give you time to develop your painting.
  • Adding an extender, like Golden Open Medium, Open Gel, or Glazing Medium to your regular acrylic paints will slow their drying time. They will also add transparency to the paints.
  • Remember: Your print will be the reverse of your painted image.
  • Using a guide under your plate is an excellent way to work in a series. You can create different and unique prints based on the same image.
  • Painterly monotypes are often great beginnings! Consider working back into your prints with watercolor, pencils, ink, pastel, and collage!
  • The clear nature of the Gelli® gel printing plate is perfect for using a reference picture under it. If you prefer creating spontaneous images — place your Gelli® plate on a piece of regular white paper. That way, your plate is a blank surface for painting.

Either way, have fun creating painterly prints! We hope you'll 
share your prints with us on the Gelli Arts® Facebook Page! Thanks!

Monday, June 4, 2012

Monoprinting in Layers: Step-by-Step

There's something curious about monoprints created from multiple layers. They draw you in — inviting a closer look to decipher "how" they were created.

Watching this video will demystify the process! Here we go, layer by layer… so easy!

TIP: To get an approximate registration when printing consecutive layers ...
Place your Gelli® plate on a piece of paper that is the same size as your printing paper. Use this as a guide. When you are ready to place the printing paper on the Gelli® plate, line up the edges with the paper under the plate.

You'll notice I've taped the paper under my Gelli® plate to the craft sheet to keep it in place on my work surface :)

To help visualize the effect of one color over another, I am using Golden Open Acrylics in highly transparent colors for this demonstration. Using masks on each layer creates the complexity in the image. (for a tutorial on masks, please take a look at my previous blog post, "Who Was That Masked Man")

This time I've cut some very simple "donut" shapes from Tyvek to use as masks. Tyvek is a perfect mask material: thin, strong, easy to cut, and reusable. Shipping envelopes are a good source for Tyvek, so save them! Cutting your own masks is a great way to upcycle those envelopes!

This process yields two multi-layered prints. One print is the layering of each paint color. The other is a layered ghost print of each layer. Very different effects!

Hope you have as much fun making layered prints as I do!

Wednesday, May 9, 2012

Watch Your Back!

In my last blog post I talked about using different media to add color to Gelli® prints that aren't quite "there yet".

What I didn't mention is that there's “another side” to the story. Literally!

Back of overdyed Gelli® Print
On a number of prints, where the print surface was saturated with dye, the color seeped right through the paper to the back. And the acrylic paint from the original Gelli® print created a resist! Talk about a cool effect!!!

Just like when you're working with fabric — sometimes the wrong side feels more "right". You may discover the back of an overdyed print is quite wonderful. Don't be surprised if at times you prefer the subtle, blurry, watercolor look.

The incidental images on the back of my spray-dyed prints inspire me to keep exploring! I'm hooked on this process :)

Following the same basic steps from my previous blog post, I applied additional color to Gelli® prints and blotted or wiped it off with a damp paper towel.

To keep things simple, this time I only used Adirondack Color Wash Spray to overdye the prints.

Here's what I learned in the process…

1. Gelli® prints created with a heavier application of paint — using stencils, masks, and drawn or blocked out images — often create more dynamic reverse-side prints.

In other words, you want to be sure there’s enough paint and pattern on your print to create an interesting resist :)

Gelli® print created with stencils as masks, then overdyed.

2. Thinner paper works better. I was especially pleased with many of the reverse-side prints created on plain computer paper.

3. Dampening the gel print with water BEFORE adding the spray dye helps the colors blend together and absorb all the way through the paper.

Back of damp print

TIP: When the front of the print is saturated with water, flip it over and look at the back (or hold the print up to a light source). You'll see where the added dye is going to seep through on the back.

 4. Wet, saturated prints will buckle as they dry.

So, you might want to iron the prints flat once they’re dry. It's important to cover the print with parchment paper or a press cloth to protect your iron! (I use a piece of muslin)

5. This is an intuitive process. On some prints, I add water to the front and back to encourage the colors to spread. You can’t always predict how the colors will react — so experiment!

6. And if you’re like me and can’t decide which side to use — scan both sides! Then use the images in art journals, collage, ATC's, and any paper, mixed media or digital art project! Perfect!

And the best lesson of all? Spraying dye onto Gelli® prints is a crazy-fun process!!!

In fact, we at Gelli Arts are having such a good time with this easy technique, we want to give one of our readers the chance to win a set of six Adirondack Color Wash Sprays to play with!!!

Just leave a comment on this blog and you'll be entered to win the Adirondack Color Wash giveaway!

The winner will be selected by a random drawing on Friday May 11th. Nancy will announce the lucky winner here and on our Facebook page. Good luck!

I hope you'll find some inspiration in this slideshow! And thanks for watching my backs!!!

Accompanying music - Sonatina in C Minor by Kevin MacLeod

Thursday, April 19, 2012

Are We There Yet?

Layered Gelli Arts® Print
Reprinting over a Gelli® print is a great way to build an exciting image. It often takes several layers of printing before achieving a result I like.

But not always.

There are also those Gelli® prints, created with acrylic paints in a single pull, that say — STOP NOW.  Maybe the image is a beautiful leaf print, or a swirly design created with string, or a crisp pattern from a stencil or mask.

And while I like these images, they still need "something" more — but not another printed layer.

There are so many ways to deal with prints that “aren’t there yet”.

This time I'm going to experiment with adding more color!

Acrylic paint will act as a resist to many mediums. So, the idea is to apply color to a dry print, then wipe it off with a damp paper towel (baby wipes would work too) to reveal the original paint. The added color remains in the bare paper areas and makes the print “pop”!

Here’s what I’m going to add …

Spray Dyes!  
A fast and easy way to overdye a print is to spritz it with Adirondack Colorwash Sprays. After spraying on the dye, wipe the print with a damp paper towel. The dye absorbs into every tiny little unpainted area — with the most gorgeous results!

Using a soft brush, apply a watercolor wash to unprinted areas and watch the color seep into the blank paper. Blot off the excess watercolor. Luminarte's Twinkling H2O's are particularly beautiful! Nice effect!
Acrylic Glazes!
I'm a big fan of Golden Acrylic Glaze — slow-drying transparent colors. Excellent characteristics for this purpose. Apply some color glaze onto a paper towel or sponge and rub onto the print. It leaves behind a tint of unifying color. Wipe off as much or as little of the transparent glaze from the print as you like.

Stamp Pads! 
Swipe dye-based ink pads onto the print and smoosh the ink into the paper. Using a damp paper towel, sponge, or baby wipe, gently wipe away excess ink off the paint. Unpainted areas on the paper will absorb the ink. I love using Ranger's Distress Ink colors for this purpose. Ranger has a line of juicy Distress Stains in dabber bottles that should work beautifully on Gelli® prints.

Acrylic Ink! 
These usually come with an eyedropper, so use it to drop or draw ink onto your print. Some colors can be pretty staining or opaque, so — once applied, rub them off the print with a damp paper towel. I used Liquitex Acrylic Ink and loved the result!

Watersoluble Crayons and Pencils! 
Scribble on your prints, apply a wash of water with a brush, then blot or wipe with a damp paper towel — and you'll get a very cool result! I love using Caran d'Ache NeoColor II crayons and Inktense pencils and blocks! Try adding a black Gelato (byFaber-Castell) to a pale print to create a nice contrast!
Walnut Ink! 
A mist or wash of walnut ink makes just about anything look great! No exception here!

Rubber stamps! 
Most dye-based rubber stamp inks will rub right off the acrylic paint while leaving their image on the blank paper surface. Intricate patterns can be added to the negative spaces this way! Some permanent inks, like StazOn, will leave an imprint on the paint. Different inks will give you different results. Explore the possibilities!
I find all the above methods for adding color work especially well on prints made with metallic acrylic paint. Gold, silver, bronze, pearl, and so on. Try it … you'll see what I mean!

Sometimes all you need is the tiniest touch of additional color to make a print sing! Use a small round paintbrush and selectively add vibrant touches of color!

Bonus Time!
Here’s an added bonus! Those paper towels you've used to wipe off the colorants (dyes, inks, glazes, etc.) become quite beautiful as you mop up the excess colors! Save them and use them for collage! 

Hopefully, these techniques for adding more color to your prints will result in additional excitement and direction for those prints that aren't quite "there yet” — and help them artfully arrive!

I'm sure you'll think of more ways to apply another layer of color to your prints … and we'd love to hear about your ideas and experiments! So please feel free to comment here, or post to our facebook page!

Meanwhile, please enjoy the following slideshow featuring "color-enhanced" prints! 
I think we're getting there!

Thanks to Kevin MacLeod for allowing the use of his composition "Shades of Spring"!

Tuesday, March 13, 2012

Plan B

Sometimes when you're printing with a Gelli® plate, you'll pull a print and observe a very cool design left on the plate.

Sometimes this residual layer of paint will allow for the opportunity to pull an interesting second (ghost) print.

And sometimes the paint remaining on the plate is too dry or too thin to pull a good ghost print. So you wipe the plate, or apply fresh paint and keep printing. C'est la vie!

But wait — there's a technique for releasing that thin layer of paint to produce wonderful, ethereal prints. And it's so easy!

I tend not to clean the plate between prints because I like the surprise of residual color from previous prints showing up here and there as I continue printing.

But when I see something on the plate that I really like, and know it won't print as is, it's time for … "Plan B".

Here's how it works…

To start, I've created a Gelli® print. I'm using Liquitex Basic acrylic tube paints —but any acrylic paint should work.

As you can see, there's a strong image left on the plate — and, in this case, no chance for a successful ghost print. The paint is simply too dry.

The good news … this is the perfect set up for the next steps.

1. Using a brayer, roll a layer of heavy-body acrylic paint onto the plate — right over the leftover paint. I usually use Liquitex Titanium White Heavy Body tube color for this technique. Viscosity counts here, so any heavy body paint should work.

2. Now pull a print on a piece of regular computer paper. The print will usually be solid white. Toss that print aside.

On this print,
the white
paint picked
up some of
the paint left
on the plate.

That doesn’t
often happen
— most likely,
your first print
will be solid

3. Quickly cover your plate with a new piece of printing paper. Rub as usual to transfer the paint. In fact, you can give it a little extra rubbing time. Then pull the print off the plate.

This time, the ghost print will pull up most, if not all, of the paint remaining on the plate! How cool is that!

Note: You may find that the paper sticks to the plate on the second print. Just pull the print slowly and firmly and watch it transfer the paint off the plate.

Also, if there was any paint left on your plate from previous prints, this print may pull it up!

See the small turquoise blob near the center of this print? That was leftover paint from a previous print! I love these little surprises! Who knew?!

Images left behind on the plate after a mask is removed can yield particularly beautiful prints. These make the most wonderful ghost prints.

Sometimes, after the ghost print, there’s still an image left on the plate — but the paint at this point is too thin and/or dry to pull a third print. It’s often just an outline of the original mask shape. Usually, a lost printing opportunity.

 Here’s what happens when you go to Plan B!

 Nice print! A little magical, right? I think so!

One of the things we all love about printmaking is its inherent unpredictability. There's a thrill in pulling a print — and you don't always get what you expect. Will "Plan B" work every time? Probably not. But you'll usually get some very cool surprises and some truly wonderful results. It's fun! Try it!

Creating a print this way is also a great way to get a head start on cleaning your plate :)

And now ... for the NEW Gelli® giveaway!!!

I have one kit that includes: a 6”x6” Gelli plateAND a 4.65 oz. (big!) tube of Liquitex Professional Acrylic Artist Color Heavy Body Titanium White paint — AND a 4” Soft Rubber Speedball Pop-In Brayer to give away to one lucky blog reader!

There will be a random drawing on Monday, March 19th — and all you have to do to be included in the drawing is leave a comment on this blog! Nancy will announce the winner here on this blog AND on our Facebook page!

Here’s one more tip I'd like to add: My new favorite paper for printing with Gelli® is Staples #110 Card Stock! It has a super smooth surface that grabs the paint off the plate. Paint colors look true and clean on this bright white heavy card stock. I love monoprinting on it!

All of the prints in the following slideshow were made on this paper.

I hope you'll find some inspiration in this slideshow of the "Plan B" process. The music selection,"Ghost Dance" by Kevin MacLeod, suits the work so perfectly — as "Plan B" prints are, technically, ghost prints! How fun!

Thank you for watching — all comments are welcome!

Tuesday, January 17, 2012

When Gelli® Meets MagicStamps™

... good things happen. (including a giveaway!)

Maybe you've already discovered some of the amazing things you can do with MagicStamp™ moldable foam stamps. Such great stuff! But if you haven't explored the design potential in these versatile blocks — you’re in for a ton of fun using them to create your own unique patterned Gelli® prints!

These foam blocks are heat-moldable, which means when you warm the surface of the foam with a heat gun and quickly press into a textured object, the block will mold to that texture and retain the impression. Voila! Instant stamp!

Don't like the impression you got? No problem! Just reheat the block and the foam will return to it's original smooth surface. You can use a block over and over — or decide, like I often do, that a block is a keeper. I have favorite patterned foam blocks I've been using for years! Here's a few of my faves .... I love them!

Potential stamp textures are all around us! Things like burlap, lace, buttons, doilies, cheesecloth, feathers, leaves, shells, cut crystal, paper clips, string, rubber bands, rubber stamps and stencils can create great MagicStamp images.

The foam surface is quite sensitive and will hold surprising detail. Relatively shallow textures will work best.

You'll find your favorite stamp textures. Here's mine:

I like to draw patterns with a hot glue gun to be used as a mold. Many of my hot glue designs are drawn onto coffee filters or medium-weight Pellon interfacing. I began using these porous substrates years ago as a way of making molds for creating deeply debossed handmade paper. But that's another story :)

The point being, I have a collection of original, durable, dimensional patterns drawn with hot glue. Perfect for making into stamp images!

To create the glue design, simply draw with hot glue on a substrate, such as paper, cardstock or chipboard.

If you'd rather not draw freehand, or like to plan ahead, you can start with a line drawing on paper or chipboard, and follow that as your guide while using the hot glue gun.

Let the glue COOL before the next step!

Using a heat gun, heat the surface of the MagicStamp for about 30 seconds. Immediately press the foam block firmly into the glue pattern and hold for around 20 seconds.

That's it! Easy peasy. A new custom stamp! Very cool. Especially for those of you who want a new stamp ... and want it NOW.

Here's where the real fun begins! The gel printing plate and foam stamps are perfect partners.

Simply follow this easy printing process:
  1. Apply a thin layer of acrylic paint to your gel plate with a brayer.
  2. Press your stamp(s) into the wet paint. (Stamping will remove paint and reveal a negative of the image.)
  3. Cover the painted Gelli® plate with paper. Gently smooth your hands over the paper to transfer the paint.
  4. Pull your print off the plate. That’s it!

Keep in mind, the recessed areas of your MagicStamp are what will become the printed image!

And remember — while you have wet paint on your foam block — this IS a stamp :). Have a piece of paper or fabric handy to stamp the paint off! I often use deli paper for this purpose (dry waxed paper). This is also where I roll excess paint off my brayer. By the end of the printing session, I have a few more fabulous and colorful complex printed pieces!

Keep layering images: Use multiple colors, combine your Magicstamps with other texture tools on the same plate, include masks! Build up your printed images. Go anywhere your imagination takes you. It's so much fun!!!

Images from hot glue patterns are perfect for additional embellishment.

Add stitching, writing, doodling, collage, beads, etc. to your prints!

(These doodles were done with Sharpie Water-Based Paint Pens — which write smoothly over acrylic paint!)

And then there's clean up.

While printing, you can toss your paint-covered stamps in a container of water and wipe them off later with paper towels. The manufacturer suggests washing them with soap and water.

Honestly, I don't usually bother with that. After I've stamped the wet paint off onto paper, I toss them aside and clean later with a dollop of gel hand sanitizer. They clean up just fine.

True confessions ... sometimes ‘later’ is after I’ve used the stamps over many printing sessions — without cleaning them. Then, at some point, when the stamps are caked with dried paint, I get out the Purell and gently scrub with a paper towel or soft toothbrush until they're practically good as new.

Looking for MagicStamp foam? Can't wait to try it? You'll find it at numerous sources on the Internet, including Dharma Trading Co., Artistcellar, and Joggles — to name a few.

But WAIT!!!!!!!
I'm excited to announce … we have a GIVEAWAY!!!
Gelli® has three packages of MagicStamps to give away! 

Each package has 8 stamp blocks waiting for you to, well, — do your magic!!!

All you need to do is comment here on the blog and you'll be entered to win! Please describe in your comment what you might like to "impress" into a MagicStamp to create your own unique stamp!

We'll announce our 3 winners here on this blog and on our Facebook page next Monday, January 22nd!

Happy stamping! And please share your images using the stamps that YOU cook up!!! We love to see what you're creating, so please, go ahead and post your prints on our Facebook page!!! 

Show me yours ... I'll show you mine! You can see them in the following slideshow, which features MagicStamp images on fabric! The vibrant paint is BioColor — thank you, Jane Lafazio, for telling us about it!!!

Enjoy! Thanks for watching! 
As always, your comments are appreciated!!!

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