Gelli Plate Excavation - Dig 1-8 - Gelli Plate Marbling

[Music] and their quarry here the art archaeologist and welcome to the very first excavation this is the jelly play excavation and this is dig number one marbling on your jelly plate so we're gonna do this sheet today from start to finish and we're gonna do a few more things and talk a little bit I wanted to show you I did this law sample I did not film this I just wanted to I wish I would have filmed it but I wanted to just reacquaint myself with marbling cuz it's been a long time and I've never marbled on the jelly plate before so this is really fun and exciting so here's my sample one and then I did a lot of this in the video but it was getting so long that I went ahead and did not do the veining on this one and I'm really not all that impressed with this one so you're not gonna see this whole thing being done but you will see this being done here okay so let's go ahead and get into it alright here we are ready to get into dig number one marbling on your jelly plate so a long time ago I took a bunch of professional faux finishing classes and I did a lot of jobs back in the day and I wish I could have continued on with that longer but it is so brutal on your body so anyway I took a marbling class - faux finish marbling and I did quite a few marbling jobs when I was doing that and I've got to say that you know in my opinion of course God is the greatest artist of us all and when I'm not mesmerised by flowers and butterfly wings and things like that I am just mesmerised by stone and marble and I could practice stone and marble for a lifetime painting it and studying it and I would die still not knowing everything about this topic so it's a very near dear topic to me and I went ahead and pulled a few pictures off the internet a few sample pics about the stuff that I have learned from my class and from my practicing now and I want to pass those tricks on to you today so here is a really nice example of veining and you've got some you've got a lot of things that are buried deep in the rock so they've got layers of stone over them and then you've got these more prominent veins on top and one thing you will a few things that you'll notice is veining generally does not spiderweb okay so you don't have very rarely do you have a bunch of veins coming off of one from the same point it's just not a natural way that veins work so you want to guard against doing that and then veins of the same layer do not cross over one another like you'll see here that this crosses over this okay there's a big X right there those are two separate layers of veining that's very important to make your bait your marbling more believable and then down here you'll notice that sometimes it will look like they're crossing over like right here in this area but if you look closely let me get you in here real close if you look closely right here at this intersection you'll notice that at a glance it looks like it's crossing over but this line and this line are actually two separate points off of this line so that's just something to make your veining more believable this is just one of those topics that takes a lot of attention and another trick about marbling is and I only have the satin version of this I they have a Glaus high-gloss version of this dura clear and I am NOT a fan of glossy finishes but when it comes to marble I am and when you get done painting your marble your marbling if you topcoat it with the highest gloss finish that you have and you can use a spray or a brush on however you decide what's best or based on what you have what happens is is it really brings the depth of all of those layers together we're going to do a few different samples now I pulled this it's got the dreams time a thing on it but I like the veining on this this to me looks like a painting the way the veins look but it's a very beautiful painting and I could be wrong it could be real and look at this there is so much marbling out there and stonework that really comes in stripes of color or stripes of all of these different layers of minerals so you know some of it just you wouldn't believe its natural but it is now these pictures here I took snapped these in Epcot in Florida when I was visiting my father we went to Epcot and this is the Italy area in Epcot and see how this artist the this is all painted marble here but they did this darker layer of marbling and then they smooshed it down with some translucent paint and then they were free to go ahead and cross right over it with this new white layer so just it's really helpful if you're into marbling like I am it's very helpful to go and get some samples okay and there are better ways to do marbling than on your jelly plate but I wanted to see if it was possible and I painted a little sample for us and I'm going to show it to you in a minute and I like how it came out it's a little bit different doing it on your jelly plate but it's still really fun I took these last two samples to show you some examples of what I think is really good vein work I love how they cross over and make these circles because this happens naturally all the time and this little triangle they won't cross over and through but they'll definitely crack into and make little areas within the veining like that and I think that's just beautiful I think whoever painted these just did a beautiful job and they kept it very simple okay and you can easily overwork veining and you can easily under work veining it's one of those finishes that is beyond tricky but so fun it's such a it really is digging up treasures you know so we're on this marbling dig to have dig up some treasures so here's the sample I created and something I like to do is vary the color in let me back up I like to bury the color for the background and then make the veins follow the variation of color it just adds a little bit more believability to your marbled painting and this is not top coated jet I need to topcoat this I want to start off by doing a background so I'm working on counts and mixed media or counts and yeah mixed media paper and these are 7 by 10 sheets let's talk tools for a minute here of course you're gonna need your brayer and your paper your brayer paper your printer paper to run your brayer on and your pants I've got an array of paints here neutral grey the burnt umber the Titan buff I like this espresso color here by deco art and I like this folk art vintage white because I'm running out of my tighten buff so just grab the colors that you like and that will be perfectly good and then I've got some brushes here I've got a softening brush which is really invaluable to doing work like this this one in particular is a symphony and I have it's a faux finishing tool specifically and I have quite a number of softening brushes from my faux finishing days so these are a really great tool to have around if you don't have one just find the softest bristled brush that you have and you can use that ticket to buy until you can get one now here's just an array of chip brushes I get these at Walmart in the paint area and these are some of my all-time favorite paint brushes when you first get them they shed like crazy and that's really annoying but when you just don't wrap it just pull on that and and you can pull all those loose bristles out and it's no fun to get them in finishes like this because it really can mess up your finish so take the time to do that you can even put some tape on your hand and touch it to the tape but the great thing about these brushes is the more you use them I know a lot of people that just use it once and throw it out these are the best brushes if you keep them the older they get the better they get okay just like us women that's the key here I always have some water handy now I always used to do stone finishes I did quite a number of marble pillars back in the day and one of the greatest tools you can have on hand it does not work so fabulous with the jelly plate that I've found yet but I haven't tried it a whole bunch so I could totally be wrong about that so let yourself experiment and dig up these treasures the bottom side of your sea sponge is going to give you on or subtle look okay so you want to use the bottom side to get that subtlety now the top side is going to give you that stone spatter look on it okay so you get a very different look from the two sides of your sponge very important to know I just keep a squirt bottle of water handy for whatever comes up all right so the first thing we want to do is I found it best to have your background completely covered and paint the white showing through interferes with the finish it just doesn't help the finished result on this marbling so what we want to do here is oh my pants are getting old what we want to do is dig out the chunks of our old paint first anyway you want kind of a thicker coat and I'm just gonna go ahead and mix in some of this espresso and with this vintage white here I'm making this bottom layer quite juicy okay and the reason you want that is because you just I just said it you want to get rid of that darn paper okay so I'm taking very little of this paint off and that's the worry of some of the Browns mixed with the creams is you can end up getting a pink seeing on your paper so you want to guard against that but there's a lot of pink stone in the world too so if you like pink that's a good way to get some subtle pink colors is to blend Browns and creams together okay I'm always flirting with papercuts the way I jelly print I laugh about it now cuz I'm not suffering from my own behavior hopefully I won't have to I've just got a bunch of printer papers set aside here and they're coming out really cool I like them so I'm trying to fill them in as I go okay now I have this variation of coloring here which is great for marbling you want this you don't necessarily need it on your under coat but when you get higher up on your other coats it's a good thing to have so we've got a little white and we've got a line here I'm not going to worry about this top part right now because that can always be cut off but I am concerned about these parts right here so we'll just take a little little smidge of this vintage white again okay and roll it out way too much on my plate get rid of some of that and then I'm just gonna come in here and just kind of spot it on my page get rid of that now it's looking a little contrived so mm-hmm not the best idea but it's okay you want that you really do want that I can use that to my advantage you really want the white of the paper gone this is better than having the white of the paper showing okay and you can always take a paper towel which I need to have handy anyways you can run it along there and kind of smooth some of that blend some of that out this is your first layer of color but it is going to show through so blending on those harsh lines out is a great idea okay so you just want that be now we've got some more white in this paper so I'm going to just tone this whole thing down and use some of my beloved Titan buff and I'm just going to knock the whole thing back with a thin coat of the Titan buff it's actually a pretty thick coat but that's okay you know you just want full coverage on that on your background to start at least I found that to be best the way I've been doing it so my idea is to show you how I do it and then for you to venture out and experiment and you know add to what I've shown you and of course develop even more powerful ways of doing these things oh yeah okay that knocked it back beautifully and gave us a really gorgeous background to work with and all the white is covered we've got a little bit of paint chunks on here those are so chunky I'm gonna pull them but this is a really nice background to start with you just want that full coverage okay so now you want to let this kind of dry and set up a little bit so I've got this one which has a lot of potential and a lot of challenges so we're gonna tackle this one for sure and we're gonna tackle this one this one came out this is probably the best background I made for this segment and you know I need some supplies and I need a little bit of practice so let's go ahead and tackle this now this is really bizarre up here so what I'm doing first is I'm taking my round and you want to have the tiniest bit of water on your brush it's thinking about going back to my old set up because I'm very concerned that it's not lighting up in here I'm looking at my cam monitor and it looks darker than I want it to be in here which amazes me because I've got tons of lights on this table here but I may just have to make another change so this is gonna give me some bigger lines and I want to load that paint into that brush and then I just twist it and spin it out of the puddle that's how I do mine and I keep trying to keep the paint out of the ferrule and then you just want to start moving your hand across the page before you bring your brush down and I'm just going to use those lines to accent my meaning and you want to come up and down we're gonna take advantage of these marks here and we're just gonna use them so then I'm going to come in here offload a little bit more let's go ahead and come from over here and we'll follow that line up we're gonna kind of make that this this part disappear cuz I'm really not liking it at all but you want to be careful now this I'm gonna get wide bands out of this brush so I'm going to come in here and kind of follow along some of these lines that are in here but we want to come in with a smaller brush and get narrower beening so you don't want to do all your veining all at once with the big brush and then I'm gonna take my softener while those are a little wet and you can blend that out I think I waited too long I got a little of it right there and then we can always come in with a smaller brush too it's gonna come together you'll see so let's throw a couple more big veins in and I found with this kind of marbling that less veining is more what I really want to do is I want to come up with a segment on marbling much more subtle finishes and do a lot more veining but for this here we're just getting some lines in there and see how it comes together more when you're following the contours of the colors that you already have in there that's why it's good to have a variation of color and I really do want to practice this more with my jelly plate because I think I can do much better I always have to you know pick a starting point you pick your starting point and you go for it and then you come in and you learn from your starting point and then you come in and perfect it so I had two cups of coffee so far this morning and coffee always helps with your veining so that's enough big veins for me now I'm gonna come in with a script liner and I'm actually gonna come in with some black for the veining we're gonna do some smaller veins and I'm gonna go ahead and wet that again just because it gives your brush a little bit more flow to water down that at least have your brush watered down a little I really don't want my paint watered down because I want thick strong well I don't want thick but I want strong lines for these veins so now I'm just gonna come in and I'm gonna come off of here just kind of let that fade out you could take the bigger areas and kind of blur it out I wanted to say too that when I get all the babying down I kind of want to push everything back and make it a little bit blurry I'm gonna see how it comes out first I could change my mind on that I'm just gonna come out of here with a little bit here and a little bit there I might push it all back and I wanted to share with you you know I know we all use a lot of people use golden matte medium or liquitex matte medium and all those things I used float all when I was a faux finisher and what this does is it's a medium to add to your paint to lengthen the your work time it opens up your work time so that stuff doesn't dry on you too fast which this would probably be good to add to this black veining paint but the price of this is so much better than that other stuff and honestly I cannot tell a difference between this and that other matte mediums I've used this is designed for latex paint but I have used this for years with acrylic paint and it it provides the binders you need to add translucent layers to your finishes so I wanted to point that out to you don't always have to have the top name Brad it's nice to have that stuff but I when I find something that works really well for me I really do tend to stick with it so I'm going to come in here and kind of what a very your pressure to kind of really come away from it with a thin line and you can always come back and reattach it to another vein if that's what you're doing you can always come back and kind of smooth that over these big lines are not looking so great to me right now but that's okay this is with finishes like this when you're doing layered finishes a lot of the times that I'm I've already said it a lot of the times they just look terrible until you get that magic layer laid down so don't let yourself worry too much if it's not looking so good it may just require another layer or to come in here and kind of follow this the script liner I'm finding is not my favorite veining tool I'm trying to get a thinner line is why I'm using it and it works okay for that but not great do a couple more now I really don't like to cross my veins over each other in the same layer once I put another thin translucent layer over top of this then it's really perfect timing to do that so I'm just going to come in here maybe throw in there blur that out a little you know it just play because I always when I start getting uptight and it's a very easy to get up tie it with a finish like this that nice then I quit having fun so it's really a good idea to keep in mind that you know you're playing and you're learning and you're experimenting and you're getting a feel for what works and you're getting a feel for what doesn't it's been a very long time for me that I have done marbling so I'm having to kind of read educate myself on it so there's very little I want to add a tiny smidge more black up here somewhere just to kind of follow it through that's why I think I've always come back to our Timon again because I can play and I can learn and I can have a light-hearted approach to art I understand the feeling of mess and a piece of artwork up I have messed up many many many pieces of artwork over the years and you just come to realize that you know what it's part of the deal and it's perfectly okay and when you let yourself mess up then you have it just opens up a whole new world of freedom for you that you didn't necessarily have before so let's come in here and break some of this up because remember we had that really weird shape in there that just doesn't didn't lend itself well to stone so let's go ahead and break some of that pure I'm even gonna come in and follow that it really does add a nice touch to have these different layers of color because we're making that awful shape in there disappear now okay and then let's go one more coming off the hair and come up this way I'm really gonna have to take a look because the jobs I've done have been so huge with the marbling that I never ran into issues with using such a big brush like I'm using right now and I'm using are actually a really small brush but it's not small enough so that's where your pen comes in let's go ahead and throw in a little bit with the pen so you just kind of want to put yourself okay that's way too jagged it's okay and then throw in I always like to throw these in where they're like these recesses where they reattached to each other now you're getting that really thin line and doesn't that help to make such a difference we'll attach it there so you can really go a long ways with this this is one of those finishes where you can literally be at this for weeks weeks this is not even I mean stone is just one of those things you can really go jump and down the rabbit hole far which I like but I also like to complete stuff too I'm gonna take another vein and right in there but look at the depth that you can create just by adding some pen marks in there it really makes such a huge difference it's row another little I don't know what you would call those fissures I'm not sure see now you want to be real careful that you don't cross over your meaning because that is it just doesn't happen in nature very often it it happens all the time on different layers like I said earlier of course I try not to repeat myself and I am not so great at that I really want to be better at that so just keep rooting me on and don't get better him badder most funny one of the ladies commented that she was shocked to hear that I feel so socially awkward in my videos and it was funny because to me I perceive myself as coming across socially awkward and for her to say I was shocked to hear that kind of was like wow okay well my perception of how I'm coming across is not the same as how I'm coming across so I found that to be quite interesting but I do I do feel it's just weird because you're sitting here with the camera going and you're by yourself and you're talking away and it takes some getting used to and it it's just one of those things that doesn't to me feel natural you know and so it's it's jumping out of your comfort zone once again I really like this down here I like that black over the white I like that look I think it really adds a lot to it so yeah it's just funny to be sitting by yourself filming because yeah it's like you're talking to yourself which I do that anyway I don't know why I feel weird about that I always get the answer I want to I love it almost like talking to myself more than I like talking to the people in my life because I answer myself the way I want to be answered oh good grief okay that's looking a little much and a little contrived but it's alright you can add a little in there parts some parts can be more than others so you know we started off with this really awful shape up here right here I didn't like it at all myself and it's pretty much been abolished so I'm going to quit there now something you can do that's really cool is take a little bit of white I'm just going to use my script liner and I think that this does need another layer so we will push this back this gonna be a long video my goodness I keep telling myself I lay in bed at night and think I'm on a mission to make my videos shorter but when I'm trying to teach something takes time you know it really takes time so what you can do is just come into these Browns here and there and just add the tiniest bit of white I'm telling you now add a little bit of medium to your veining paint because I'd be having an easier time but you really don't want to add a lot you just want to add a little bit because you don't want to lose the opaqueness of your veining you want it to be pretty strong look at what a difference that makes to add that little bit of white I hope you can see I'm I can't believe I have five lights in here and I'm still struggling with shadows it's amazing to me okay I may have to just go back to my old setup you know I set up in here because my idea is a what a film whenever I want I don't want to have to be beholden to daylight and I keep finding myself beholden to daylight and you want to use cool lights because you don't want that orange tint so I've got cool lights I've got a couple really kind of pricey studio lights in here with the big filters over top of them and then I've got a couple lamp clamps with light bulbs in it look at that white it really just makes a makes it pop some and to use a white pen I'm sure I haven't ever done that see I talked about five different things at once to use a white little jelly pen on this would be fabulous too but back to the lights you know I've got a couple clamp lamps and I've got a floor lamp with white cool light bulbs in it so you know what I thought oh that's gonna be so nice I'm so wonderful and I don't know you guys tell me what you think because this about bringing you a really nice experience here with the videos so I love to hear your comments and I love to hear your tips you know I know a lot about art but I surely completely do not know at all of course no one does so it's fun to get new tips and tricks this paint is fading as it dries which is kind of irritating to me so it's not the greatest it's really important to I think I would go over this I'll have to hunt up my jelly pens but I'm also going to bury this so look you can take those weird shapes and you can really transform them into something totally different so and look at what a difference that little tiny bit of pen mark the veining did on here and you know I want to do a little bit more of course I especially like how it's looking on the white how it really shows up in the white like that kind of making it look a little like broken glass so you want to just look at your reference photos get some reference photos before you start and that will go a long way to help you out and then you know don't cross over and don't make spiderwebs those are the two really powerful things that I have learned you want to be careful about how your pen mark lands so look at what what depth of that little bit right there adds and then I would even take a brown sharpie and add some smaller Brown lines see how the thick lines give the the pen marks even more of a highlight it's like the pen mark has become the star of this piece so you just water practice let's do one more real quick and I'm just gonna start off I'm not even gonna use that round because I don't want my veins that big I'm gonna have to play around with a few different brushes the problem with the script liner is is it doesn't have the ability to hold a lot of paint I think I said that too so I'm just gonna come off here but if you follow the lines of your and then you can trail off if you follow the lines of your pillar you know you want to go thicker and thinner I'm also not getting the right kind of shake out of this script liner so that's bothersome and you'll just get comfortable use different brushes try different stuff that's what I you know I love that about and and I don't consider this filled artwork but I've had a lot of failed artwork in my life and I like to talk about it because I think it's important nothing is failed it might not be a great piece but the fact of the matter is is that what you learn from doing something wrong is that is a treasure in itself you know even when things don't work out the way you want them to I always look I always like really take an inventory about a lot of my artwork and I say okay well what did I learn from that and and what did it work you know and then you end up with this vast amount of knowledge from everything you do and I just love that art is such a mysterious friendship in my life because there's always more to discover there's always more to learn and have an and do and try and and it's all okay in the end you know you're never the only punishment I've ever had from artists oh well I've had a lot of frustration over the years from heart but I happen to throw something out which I don't generally throw anything out what I do is I just paint over stuff you know so there's always an opportunity for redemption it's not like where you totally blow up the bridge in a relationship and there's no going back ever again it's not like that with art you know and I do have relationships one of my most powerful relationships in this life is with art that's how I like to look at it so see how thick this line is I'm gonna have to invest get some I want to get some fine line or color and I just don't have them right now but if you really want to take your stone work and your marbling and your veining to a huge new level get yourself some of them sharpies and let yourself do that thin lining is really gonna make a difference so this is coming out okay and you can blend a lot of that out I'm just trying to follow a lot of these shapes here and I'm not getting the jag like I want you know what lightning you got to be careful there's a I don't know a lot of marbling can look like lightning it's just it's all about the practice it really is I like the color variation in here you really can go far I think we'll just do these two because you guys get the idea and then I will do a stonework excavation because it's truly and easily one of my favorite topics let's hit some white in here so easily one of my favorites and I'd like to do it some different stone and we may do it a few different sub like things of marble I may do a couple marble digs within because I love the drama of the dark marble - and just remember to get yourself a nice opaque white and if your white is too translucent use it anyway and just do a couple of go over it a couple times the only thing I don't like about that is you run the risk of thickening your lines I'm gonna stick just on the bottom side to me of these like you don't want to they think I did it a minute ago and kind of told myself not to you don't want to have them on this side and then that side you want to stay consistent there's such a magical consistency and rhythm in nature that continues to astound me all the time and you know every time I leave my house I see art in everything and it's because I'm looking for it and we get what we look for you know and I used to be a very angry young woman and I won't go too deep into that but I was angry all the time because I was kept finding evidence of things to be angry about because that's where my focus was you know and I constantly found things to be angry about like I just said so I've trained myself over the years and the more art you do I think it comes very naturally to those of us that do are and so you probably know exactly what I'm talking about when I say that I see art everywhere I go and everywhere I look you know because we're constantly thinking about what to create next and what to come up with next and we're constantly getting inspiration from everywhere and I just love that so much and it's such a relief to not waste my precious time on being mad because that's it's so easy to fall into it I think I look at it as a trap you know the anger trap there's so much to be angry about in the world and if I look for stuff to be mad about I'll find it everywhere you know there's things that are bothering me today but I'm more concerned with putting out good art and putting my attention on my art okay so that really highlighted it a little bit now I want to show you and I held it up at the beginning me grab it real quick and show you again I really think that this one came out the best I knew this and it was my quickie I got to get this figured out peace came out the best in my opinion so I didn't do any black marks in here and I wish I would have but you can I hope you can see the sheen I went over this with that satin of varnish and it really adds a lot of depth and I hope you can see that I hope the camera is picking up all the depth you really get to see all the layers that are underneath when you do that top coat of Sheen and I wish I had a high gloss you can use sprays to I have some sprays I try to stay away from the sprays because they're really toxic and so I try to just stick with the less toxic the better is always my approach to any kind of art supply so but top coating it with a sheen is just going to bring out all those layers so I'm going to do a few I wish I had a brown the pen I almost don't want to add black but I'm gonna cuz it'll bring black always brings drama always I'm just gonna do a tiny bit here and there I like the look of the black but when you're trying to do something a little bit more subtle like this piece you know that's the thing some people will be all oh I love that and others will be all if I don't like that black so this is another one of those opportunities at you know it becomes a matter of personal taste here again when you highlight these little areas of color I think it brings a lot to your piece so you can just keep going and going and go in with this so I hope you guys are liking this and wanting to try it I'm definitely gonna do some more practicing because I think that stone work really does deserve an excavation of its own and I hope you're excited to hear that because I'm really excited to say it makes me wanna okay now that curve right there is not the best that's okay I will just come in and we'll change it we'll take the focus off of it it's so nice to add all these and you can add little tiny ones you can real get detailed in your work and it's fun I think the black kind of adds something cool to this but it's hard to get that trail of like you can with paint so I think I need to really practice with some other brushes and try to get myself a really fine thin line because I like the small veining the thick veining is necessary because it highlights the small veining but in the spirit of us not being here all day long I'm gonna quit right there and I want to mix up a little coat of I'm gonna just do some tighten buff and a little towel oh my god I'm almost out of this I'm gonna cry okay nothing's open yet and I don't wanna I haven't done the curbside I don't want to do that I just want to go in I want to touch my paint I want to put it in my basket I want to take it to the register I don't want to pay for it and I want to come home and I want to paint that's what I want and I can't have what I want right now dang it dang it buying it so let me get this together I'll be right back okay so staying true to our Gelli plate marbling I'm gonna use my jelly plate to do this layer here and this is already translucent but it's about toast oh [Music] here's your translucent gauge on the golden paints right there you guys probably already knew that I didn't notice that right away it took me a little bit of time and I've got paint covering mine so this is pretty translucent but it could stand to be better give that a good shake I love float roll this has created I'm I've made a lot of money off of this product if I could get it open I'll be back is just telling my flow trial bottle you better open I just talked you up a bunch okay so I'm gonna do like one to one I think that'll be good and if it's too much then we'll find out but I have made a lot of money after using this product and it has made this product has helped me create so many beautiful finishes so if you want to do your wall you know I'm here to answer questions for you and there's a lot of faux finishing videos here on YouTube so check those out but if you want to do a wall then that is the product to use you mix it with your latex paint okay that's gonna be a little thick I'm afraid still no I luckily it worked okay so okay we're gonna now we're at two to one I'll leave it open and make sure now the trick to thing to know about this flow trawl is and I think this is probably true for a lot of mediums out there I even want it later we're gonna go maybe three or four to one is that this opens up your work time okay so this is going to take longer to dry so just know that ahead of time and you know when whenever I did faux finishing jobs it was you can get away with two coats of paint in a day but no more than that and so you know there I always I was constantly having to go back it was just part of the deal you know having to let walls dry overnight that's the way it worked so that's that's looking pretty translucent there I'm gonna roll with this and I hope it's not to be too opaque and all I'm gonna do is get as much of this on my plate as I can I didn't want to use water because you get this breakage apart here and I was hoping I wouldn't get that with the flow trial but there it is and that's okay I might just really add plus I can come in and soften out my page while it's still wet too okay so now that you've got that going you want to come in with your brayer and I I like to get rid of the brush strokes I do not want to see those brush marks oh no my poor brayer is so mistreated [Laughter] soak it in some hot water and let it heal from all the stuff I've done to it okay now I'm trying not to get lines and I've got so many chunks in my brayer that yeah alright get enough for who it's for here we go that's my dad's favorite saying good enough for those four and it's really funny coming from him because he's a massive perfectionist so it's like kind of ironic for him to say that because then he turns around and does the most amazing stuff I installed full tables he's a pool table jukebox guy he was a firefight he's a retired firefighter and oh what a wonderful man he is and he's we had a family business where we installed pool tables and jukeboxes and I would always install pool tables with him and it was really fun okay so that knocked stuff back and it didn't knock it back too far I'm gonna take my softening brush and just kind of smooth it all out but look at what that added to this now I've got this chunk of brown here I'm going to try to get rid of that what I can do is just throw some of that on there softening brush is such great thing to have around for so many things you can really use this softening brush for a lot of stuff so I recommend having one and these I am not sure the brand they have here's my - I did a job where I was having to soften so much that I didn't wasn't able to rinse this brush in time' when I finally washed it it was destroyed the paint wouldn't come off of it so I had to whack it and but you'll find just look for faux finishing softening brushes and you don't have to have you know we all think we have to have all this fancy stuff and we really don't we can get by with I ninety-nine out of a hundred times can get by with something I have in my home you know so it's just a matter of going through your stuff and see I'm trying a few different things so I think that improved the look of this greatly and it's it's quite busy and it could even use let's just throw one more in okay so that really pushed things back and made it so much nicer in my opinion I'm just gonna set that for a quick sec see how I got all that dendera craning I want that hour there I do not want that on this finish I love that look but it just doesn't lend itself to this so look at how you can transform that and really turn that into a gorgeous stone finish now what I'd like to do is I'm gonna stop the camera and let this dry for a few minutes and then I want to come back in and just go over my black and pull that up to the top okay so this is pretty dry for the most part and then will ruin your pens if you don't let it dry enough so you want a guard against that you really kind of want to walk away for longer but I want to get this edited and up and I there's no way I'm gonna be able to match this completely but I'm gonna try but look at how quickly and easily you can pull a layer up to the top okay and then that just really adds more layers to your piece so I'm probably going to need to continue on with this corner it actually looks pretty cool but top coating this which I will do and you will see really makes a difference too so I hope you enjoyed this and I'm gonna hurry and get this video edited and uploaded so that you don't have to wait to see it have a great day and I will see you soon [Music] you

Channel: Art Archaeologist

Views: 2,802

Rating: 4.9344263 out of 5

Keywords: Gelli Plate Excavation - Dig 1-8 - Gelli Plate Marbling, Art Archaeologist, Painted Marble, Faux Finished Marble, Art Excavation, Dig 1 Gelli Plate Marbling, Gelli Plate Stone Finish, Gelli Plate Painting, How to marble on a gelli plate, Gelli Plate, HAnd Painted Paper, Secrets Of Marbling, Marbling Paper, Marbled Paper, Marble Painted Paper, Kory The Art Archaeologist, Marbled Faux Finish, Secrets of faux finishing, Mixed Media Marbling

Id: D5L6n0Xouco

Length: 58min 4sec (3484 seconds)

Published: Sun May 10 2020