# Creating Expressive Backgrounds for a Bonsai Woodblock Print

- Link: https://www.reekersart.com/creating-expressive-backgrounds-for-a-bonsai-woodblock-print/
- Published: 2026-06-29T23:00:29+00:00
- Author: reekersart

[⌊Ota Azalea woodblock beside monoprint background⌉⌊Ota Azalea woodblock beside 
monoprint background⌉[

**Ota Azalea Part 3 – Gelli Plate Monoprint Backgrounds**

When most people think of a woodblock print, they naturally focus on the carved 
image. But before the first impression of the bonsai is ever printed, another important
decision shapes the final artwork—the background.

For the Ota Azalea YouTube series, I wanted backgrounds that were alive with movement
and color rather than the woodblock itself. The bonsai already possesses remarkable
rhythm through its branching structure and flowing silhouette. The background needed
to support that energy without competing with it. Rather than painting directly 
onto paper, I chose to work with a **gelli plate** to create a collection of one-
of-a-kind monoprint backgrounds.

[⌊Pulling a gelli plate print.⌉⌊Pulling a gelli plate print.⌉[

**Why a Gelli Plate?**

A gelli plate is a wonderfully direct printmaking surface. Pastel drawing and Acrylic
paint are rolled onto the plate and manipulated with stencils, texture tools, or
simple mark making before the image is transferred to paper. Unlike traditional 
relief printing, every pull from the plate is unique.

This unpredictability is exactly what makes the process exciting. Unexpected textures,
soft transitions, and subtle color changes often appear that could never be planned
completely in advance. Instead of fighting those surprises, I try to recognize opportunities
when they occur. The result is a background that already contains its own visual
life before the woodblock image is added.

[⌊Layered gelli plate monoprint background with pastel transfer and acrylic paint⌉⌊
Layered gelli plate monoprint background with pastel transfer and acrylic paint⌉[

**Building Layers**

One of the strengths of gelli printing is layering.  Each new layer can partially
reveal what came before while adding fresh color, texture, and depth. Some layers
become almost invisible, yet they still influence the overall harmony of the finished
print.

During this process I experimented with:

* Controlled color harmonies inspired by “A Dictionary of Color Combinations”

* Transfer of Pastel to Gelli Plate

* Stencils that introduced both organic and geometric shapes

Rather than trying to duplicate one successful print, I allowed each background 
to develop its own personality. Some became quiet and atmospheric. Others became
energetic and bold. Those differences will later influence which woodblock impressions
work best on each sheet.

## Planning for the Final Print

At this stage, I am not trying to finish the artwork. Instead, I am creating possibilities.
Each background becomes a candidate for the final woodblock print. Once the carved
azalea is printed over these surfaces, completely new relationships begin to appear
between the image and the underlying color.  Sometimes a background that seems too
busy on its own becomes perfect once the woodblock organizes the composition. Other
times, a subtle background allows the bonsai to become the clear focal point. This
dialogue between background and foreground is one of the aspects I enjoy most about
combining monoprint and relief printmaking.

[⌊Part 4 woodblock overlay on background print.⌉⌊Part 4 woodblock overlay on background
print.⌉[

## Why I Enjoy This Process

As both a painter and printmaker, I enjoy working where planning and discovery meet.
The woodblock provides structure, craftsmanship, and deliberate design. The gelli
plate introduces spontaneity, texture, and surprise. Together they create images
that neither process could produce alone. It reminds me that printmaking is not 
simply about reproducing an image—it is about exploring possibilities. Every pull
of the press becomes another opportunity to discover something unexpected.

## Watch the Process

In Part 3 of the Ota Azalea series, I demonstrate how I create these monoprint backgrounds
using a gelli plate, pastel drawing and acrylic layered textures. You’ll see how
experimentation becomes an essential part of the creative process and how these 
backgrounds prepare the way for the finished woodblock prints.

In Part 4, the real transformation begins as the carved Ota Azalea woodblock is 
printed over these expressive backgrounds, revealing how relief printing and monoprint
come together to create the finished artwork.

—

**Have you experimented with gelli printing or combined different printmaking techniques?
I’d enjoy hearing about your own experiences or answering any questions in the comments
below.**

Other blogs in the The Ota Azalea Woodblock Series:

> [Finding a Strong Bonsai Image for Exciting Energized Woodblock](https://www.reekersart.com/finding-a-strong-bonsai-image-for-exciting-energized-woodblock/)

> [How to carve a relief Bonsai Woodblock to exciting Artist Proof.](https://www.reekersart.com/how-to-carve-a-relief-bonsai-woodblock-to-exciting-artist-proof/)

If you’d like to support this work and get deeper insight into my studio practice,
you can visit my Patreon here:
[https://www.patreon.com/ronreekers](https://www.patreon.com/ronreekers)