How To Create A Painting
With Gelli Printed Papers
In this tutorial, the second instalment of my three-part series, I’ll show you how to transform the beautiful Gelli-printed papers we made with stencils and stamps in Part One into a stunning layered background.
We’ll cover everything from selecting and mounting your Gelli prints to adding layered, drawn, and painted design elements. I'll share plenty of helpful tips to enhance your artwork while keeping the composition balanced and harmonious.
This tutorial is all about experimenting, playing, and letting your creativity flow. By the end, you’ll have a beautifully layered composition that’s ready for Part Three, where we'll add the final touches.
Let's get started!
Watch the full video tutorial here:
Materials You’ll Need:
Gelli-printed papers:
I'm using a selection of the Gelli printed papers we created with stencils and stamps in Part One. You can use your own collection of gel prints, but try to choose papers with colour palettes that complement eachother. You'll also need scissors to trim your papers to size.
Wood panel:
This will be used to mount your papers. Pick a size that suits your project. In this tutorial, I used a 12 x 12" wood panel.
Acrylic Paint:
We'll use acrylic paint for layering and for detail work. Pull colours from your Gelli printed papers to keep the composition harmonious plus Titanium white (heavy body). My palette includes Prussian blue, duck egg blue, and pink from Part One.
Tools for Painting:
To apply the paint, you'll need a selection of small paintbrushes, a palette knife, a small brayer, and a sponge. I also use a clay tool called a Ball Stylus for carving designs into the wet paint, but you can use a pointed clay tool, a bamboo skewer, or the end of a small paintbrush. You'll also need a palette for mixing and rolling out the paint.
Clear drying adhesive:
I used a combination of matt medium and matt gel medium. You'll also need a paintbrush and a silicone spreader or old credit card to smooth the papers and to avoid wrinkles or bubbles when applying the adhesive.
Wet strength tissue paper:
I used Maruishi paper, but you can use any art tissue. This paper is brilliant for adding delicate layers.
Painter's Scrim or woven mesh fabric:
I use small pieces of fabric to create texture in my pieces. I like using Painter's scrim, which is a woven mesh fabric very similar to cheesecloth (which you can also use, but it's a little more lightweight).
Tools for Drawing:
You'll need coloured pencils and a Posca pen to create decorative elements on the tissue paper. I also really enjoy drawing into my papers with a multi-surface pencil like Stabilo's All pencil, which adheres to just about anything including paper, fabric, dried paint and adhesive. I used orange to add a little pop of colour.
Stencils:
Stencils are an easy and interesting way to create layered patterns in your paintings. I'm using the same script stencil from PM Artist Studio that I used on my papers in Part One. Adding a layer in the same pattern and colour will help keep the composition balanced. (Check the end of the blog for a discount code in case you fancy trying these stencils yourself!)
Other Tools:
You'll need disposable gloves to keep your hands clean during painting and gluing. Masking tape is used to protect the panel sides and to mask off areas of the print for painting. An emery board (for your nails) files down the paper along the edges of the panel for a nice, neat finish. I really like using a silicone spreader (I use a Catalyst Wedge) for smoothing out the paper after I've adhered it with glue.
Step 1: Build Your Background Composition
First we'll create the base layer of our painting using our Gelli-printed papers. Remember, selecting which papers to combine is an intuitive process, so take your time and let your instincts guide you.
Start by laying out all of the papers out in front of you. As you sort through your prints, keep your colour palette in mind. This will help you create a harmonious and balanced background.
Begin cutting out interesting areas of your prints, laying the pieces on your work surface to see what colours and patterns harmonize. A viewfinder can help you find magical little details by framing sections that catch your eye—it’s a simple trick but so effective!
TIP: If you feel a bit nervous about cutting into your prints, don’t worry! Take a quick photo of the full print before you start, just in case you want to refer back to it or even reprint it later.
Next, take your cut pieces and play around with how they look. Mix and match, move them about—it’s all part of the fun.
Try not to overthink things; this stage should feel playful and relaxed. Experimenting with combinations is part of the process, so have fun with it!
TIP: For added texture and a more natural feel, try tearing the paper instead of cutting it with scissors. Those uneven edges add such a lovely organic quality to your composition.
Once you’re satisfied with the layout, it’s time to start attaching the pieces to the panel. Apply a generous layer of glue to the panel, then carefully position your paper, smoothing it down with your hand and then with the silicone spreader. Once the pieces are securely glued, leave the panel to dry overnight.
The next day, tidy up the edges for a polished finish. I like to use an emery board to sand the edges flush with the panel, but you can also use a sandpaper or file block. If you wish, place the panel face down on a cutting surface and trim away any excess paper with a very sharp utility knife to avoid tearing.
And there you have it - your base layer is ready to embellish!
Step 2: Embellish the Background Layer
Now that the background is complete, it’s time to bring it to life with a range of techniques. These embellishments will add texture, depth, and character to your artwork, and the beauty of these methods is their flexibility – you can experiment with different colours and elements to personalise your Gelli-printed composition and make it truly your own.
TIP: When adding embellishments, try working in groups of 3—this helps create a sense of balance and harmony in your composition. Turn your artwork around and view it from different angles to spot any areas that might need a little extra attention.
Finishing the Edges—3 Options:
There are a few ways to finish the edges of your piece, depending on the look you’re after:
- You could extend the collage over the sides, creating a seamless, unified effect.
- Alternatively, painting the edges makes for a crisp, clean contrast.
- For a more natural finish, you can leave the raw wood exposed. I've decided to go this route, so I tape off the sides to keep them clean as I work.
Rolling on Paint:
Begin by rolling a layer of titanium white paint over the seams where your Gelli prints meet. This is a brilliant way to soften any harsh join lines and minimise a blocky appearance, giving your piece a smoother, more cohesive look.
Once you’ve applied the paint, gently rub it while still wet with a gloved hand or a soft paper towel to blend it.
Carving Designs into Wet Paint:
Carving patterns, like circles, squiggles, or abstract lines, into the wet paint is a fantastic way to create texture.
The pointed end of my ball stylus clay tool makes lovely, clean marks on the paint surface.
Layering with Tissue Paper:
Tissue paper adds a beautiful layer of texture! I’ve gone for maruishi paper here, but any art tissue paper will do.
I've drawn random designs on the tissue with blue coloured pencil—handwritten scribbles, circles, or playful squiggles all work well. I position the tissue pieces on my artwork, moving them round until I'm happy with the layout. Then I lift each piece, brush a little adhesive onto the surface, and carefully place the tissue down. I smooth it out with my brush and my silicone spreader so it adheres nicely.
Once you apply the tissue with the glue, the paper will essentially dissolve and all you’ll be left with is the markings. I love how the tissue paper allows you to add graphic elements while letting the layers beneath peek through. This technique also helps to break up any large blocks in your composition, softening the overall look.
It gives a lovely, subtle look which I really like.
TIP: Place the tissue face down before applying glue to avoid smudging your designs. It’s a simple trick but makes all the difference for a neat, polished finish!
Filling in Gaps with a Paintbrush
To fill in any gaps in your artwork, use a complementary acrylic paint to fill them in. Here I'm using our duck egg blue colour from our palette in Part One, carefully brushing the paint onto any spots that need a bit of extra coverage. This is a great way to create colour balance in your piece.
For an extra bit of detail, I use my clay tool to carve circles or lines. These subtle details add texture and movement, so don’t be afraid to play around with them—you can always paint over and start again.
Using Stencils in Your Artwork
You can use stencils on your tissue paper, as I’ve done here with a sponge in Prussian blue, using my script stencil. It's a brilliant way to incorporate a bit of colour and tie in some of the graphic elements from the Gelli prints we created in Part one.
The beauty of stencilling onto tissue paper, rather than directly onto your artwork, is that it gives you the flexibility to move the design around. This way, you can experiment with different placements before settling on the final one.
It also means you can trim the tissue paper to the perfect size for your design, so it fits exactly where you need it.
Once you’re happy with the placement, apply adhesive to your artwork, then place the tissue paper with the painted side down.
Brush more adhesive over the top and use a silicone spreader to gently smooth the tissue out.
You’ll notice I’ve applied the "rule of 3" again with the stencil elements, bringing balance to the piece.
Embellishing with Fabric
Fabric adds a subtle, interesting, and textural element to your artwork. I like using small pieces of printer’s scrim, a loose, woven fabric that’s similar to cheesecloth but with a bit more weight to it.
As with the stencils, I start by placing small pieces of fabric around the artwork, moving them about until I’m happy with the layout. Then I brush on a layer of adhesive to secure the fabric in place.
For an added touch, you can roll a bit of paint over the fabric, just as I did here with white. This helps to highlight the texture and adds a little extra dimension.
Masking Off Areas to Paint
This technique is all about masking off specific areas to add painted elements to our piece. Here I’ve taped off a small section in the lower right corner and for the paint colour, I’ve mixed up duck egg blue – a lovely, soft hue that we used in our Gelli prints from the first tutorial.
Instead of a paintbrush, I'm using a palette knife to apply the paint. This creates a rougher, more interesting texture. Then I use a small piece of plastic (a bit I’ve cut from an old credit card) and gently scrape some of the paint away for a scratched effect. It’s a quick way to add a different element to the piece.
In the end, I wasn’t keen on how it was working in this area, so I paint over it again and use my clay tool to carve some lines instead.
TIP: Don’t be afraid to experiment here – if you’re not happy with the result, just start again! Art is all about trial and error, and sometimes the best ideas come from trying something new.
I carefully peel away the tape, using a palette knife to tidy up any rough edges for a crisp, clean finish.
I repeat this technique in other areas of the artwork where I feel it could use more colour and texture, experimenting with the look by spreading the paint with my palette knife and using my clay-making tool to carve in lines for added detail.
In the end, I decide to go for a more blended effect, scraping away much of the paint with the palette knife, leaving a few carved lines, and gently softening out the edges with a paper towel.
Embellishing with Pencil
Once the paint has dried, I use an orange multi-surface pencil to fill in areas that need a little pop of colour. It’s such an easy way to introduce another layer of texture and colour.
For this, I love using the Stabilo All pencil – it’s wonderfully versatile and sticks well to paper, fabric, dried paint, and even the dried adhesive. I can use it to create fine, delicate lines or bold blocks of colour. I can also leave it as is for a bright, eye-catching effect, or for a softer look I can simply smudge it with my finger or a paper towel. I tend to use both techniques, depending on what the artwork calls for.
Step 3: Fixing Mistakes
At this stage, I decide I'm not fond of the area in the bottom left corner, so I shift gears. I pull out a piece of the print I made in Part One on dressmaking pattern paper, which I’ve torn for an organic, textured look. Once I’m happy with the placement, I use adhesive and a brush to apply it, smoothing it out with my silicone spreader.
The dressmaking paper is quite delicate, and I accidentally tear a small piece while smoothing it out. If this happens, not to worry – just tear off another small piece and apply it over the top. I actually love the layered look it creates, so I add a few more torn pieces to fill in other spots.
That’s the beauty of collage – even when you make a mistake, it’s easy to turn it into something better!
I continue working with more dressmaking paper to cover areas that got a bit too messy, playing with the layers, adding and removing elements, softening edges, and adjusting until the composition feels balanced.
Our painting is not quite done yet!
Stay tuned for Part Three, where I'll walk you through the final steps—adding texture, building up layers, and sealing your painting (and its edges) for a professional finish.
I can’t wait to share the next stage with you soon! In the meantime, if you'd like to try out the stencils from PM Artist Studio, they’ve kindly offered a 10% discount with the code SMAFAN10 at checkout when you spend over $35.
And to learn more, sign up to my newsletter so you never miss what's new, or take a peek at my tutorial How To Resin A Gelli Print.
I also offer a FREE course called The Essence of Landscape, where I teach how to turn your prints into finished paintings.
Happy printing!