I use the cheap crappy Folk Craft or Ceram Coat it works like a charm...BUT you
have to figure out a good red, yellow, blue, black, white from their many
colors, that works and mix from them. I can't give names etc. because I rarely
use acrylics, and I won't remember. Plus, manufacturers change formulas all the
time, or different lots work a little differently, so you have to experiment a
little each time. Using fewer colors and mixing also narrows down the problem
solving if you do have a problem, you just have to pick the offending one from
five rather than 15. My scarves stay soft, and I never bother to wash out sizing
before aluming, or use odd chemicals or treatments. I don't use a dryer to heat
set, just the ironing process to get the wrinkles out. I use carrageenan....like
the result much better than MC, and besides the size is so muddy looking at the
end with either size, I wouldn't want to save it anyway. Try to keep it simple,
use as many short cuts as possible. I am self taught so no one ever told me
things like hard water won't work, so it works for me fine, or you need all
these washings and chemical treatment, so it works without for me, LOL! I just
never knew you "had to" do all these things, but it worked just fine anyway.

Happy New Year to all!
Iris Nevins
www.marblingpaper.com



On 01/01/13, Deluwiel<deluwiel1209@...> wrote:

have been using Golden with the GAC additive for heat setting, then dilution
with distilled water. I get good color intensity and they float well; however, I
don't like the fact that it does affect the 'hand' of the fabric. I found these
new colors at Dharma Trading:
http://www.dharmatrading.com/html/eng/7060419-AA.shtml?lnav=paints.html and I'm
going to try them. Will follow up with how they work. My concern is opacity - is
it going to be a trade-off - Will these maintain silk softness and sheen at the
expense of bright colors? We'll see...

--- In Marbling@yahoogroups.com, George Reynolds <georger1998@...> wrote:
>
> Hello Karen
> The formula I use which works very well for me is Liquitex heavy body acrylic
with Golden medium about 60/40. I use the liquid medium and then add water to
make it the consistency of whole milk. Golden also makes a Fabric Medium which
I'm going to try very soon in hopes of making silk scarves more silky but the
basic one works well. I tried the Liquitex medium but that simply didn't work as
well and it's possible I simply did not find the right ratio. Also I know people
who use Photo Flo with great results but possibly someone else could speak to
that. BTW I just use tap water.
> George
>
> What is the use of a fine house if you haven't got a tolerable planet to put
it on. -Henry David Thoreau
>




------------------------------------

Yahoo! Groups Links

what kind of papers are you using for the marbling?
Great work!,
Sue Cole


[Non-text portions of this message have been removed]

I have also had success with pre-dyeing scarves, and or taking scarves that
were marbled that I didn't like and either over marbling them or over
dyeing them to salvage them.  You just have to keep experimenting.

Also, you have to experiment with the type of silk you like.  To me, the
habotai was too thin and transparent.  The satin feels nice, but the design
only shows on the front, so there are pluses and minuses to them.  My
current favorite to use is Flat Crepe from Dharma.  The design shows on
both sides, which my customers like better.
Sue


[Non-text portions of this message have been removed]

I also dye my silk before marbling.  Acid dyes work well from Aljo or Pro
Chemical and Dye or wherever.  The companies will provide their suggested
instructions for using them.  The charmeuse and crepes also drape better than
habotai and have a weight and feel to the touch.  Best to you as you learn.

Be Well,
Laura




________________________________
  From: Sue Cole <akartisan@...>
To: marbling <Marbling@yahoogroups.com>
Sent: Wednesday, January 2, 2013 4:35 PM
Subject: [Marbling] scarves


 
I have also had success with pre-dyeing scarves, and or taking scarves that
were marbled that I didn't like and either over marbling them or over
dyeing them to salvage them.  You just have to keep experimenting.

Also, you have to experiment with the type of silk you like.  To me, the
habotai was too thin and transparent.  The satin feels nice, but the design
only shows on the front, so there are pluses and minuses to them.  My
current favorite to use is Flat Crepe from Dharma.  The design shows on
both sides, which my customers like better.
Sue

[Non-text portions of this message have been removed]




[Non-text portions of this message have been removed]

Hello to all dedicated and hardworking marblers,
First of all I wish you all a very happy new year with lots of good results in
marbling. I am originally from Turkey. We moved to Western Australia from
Istanbul about 5 months ago. I do marbling here using natural pigments from Ayan
Ebru. Nowadays I am trying to have a marbling tank done for marbling silk
scarves. I will have it done stainless steel like my paper marbling tray.
However my concern is about the size of it. People who I got into touch told me
that the most popular scarf size here in Australia is 160x28 cm. So, may I list
my questions down in case you would like to guide this young marbler through the
rocky way of marbling.
1. If I aim to marble silk scarves which are 160x28 cm wide, what is the best
size for the tank? Shall I have the tank slightly larger as we do in paper
marbling?
2. When I want to marble fabric, first attempt comes out very beautifully. Paint
spreads nicely and size works wonderfully. Then I lay the sheet of fabric on the
size, I take it out and rinse it and I clean the surface of the size with
newspaper. However when I try to drop paint on the size for the second fabric
the drops don't spread, they form stars. It seems like the first marbling ruins
and spoils my size. Does it happen to you too? I believe it happens because of
the alum. I don't know what to do about it? Any suggestions?
I will be very happy if you can help me with these.
Thank you very much:)
Vesile
Mandurah Marbling
www.marblingart.com.au

I built a tray for marbling scarves out of 1/2 inch plywood and coated the
inside with 2 coats of epoxy over fiberglass. I actually don't think the
fiberglass was necessary as the epoxy dries very hard but it came as a kit so I
used it and it works very well. It's not very heavy and I can carry it outside
to wash it out. Also I  drilled a hole and put a small dish drain in one corner
that takes a rubber stopper. When I'm done I pull the stopper and drain the
size. Here is a link to a picture of it

http://www.flickr.com/photos/georger1998/7943483344/

If you do this install the drain before you apply the epoxy so it gets sealed in
the tray.

Finally you MUST skim the size a couple times after each scarf with newspaper to
clean the surface. I have seen the the problem you are talking about when I
don't clean the surface. However the ghost pattern you get after pulling the
scarf is sometimes more interesting than the original. I frequently marble paper
with the ghost image and use it in other projects.
George

[Non-text portions of this message have been removed]

Hi, George!
Thank you for the picture of your tray;  a handy may built mine of sheet metal,
and I have a drain hole in each corner as Itake it with me when I teach and I
seldom have knowledge beforehand on the classroom setup.


It appears that you have a roller apparatus at the end nearest the camera; 
could you please say more about that?


Best wishes for a good year!
  Caryl Hancock, in snowy and cold Indiana, USA



-----Original Message-----
From: George Reynolds <georger1998@...>
To: Marbling <Marbling@yahoogroups.com>
Sent: Thu, Jan 3, 2013 9:21 am
Subject: [Marbling] Re: Marbling in Western Australia





I built a tray for marbling scarves out of 1/2 inch plywood and coated the
inside with 2 coats of epoxy over fiberglass. I actually don't think the
fiberglass was necessary as the epoxy dries very hard but it came as a kit so I
used it and it works very well. It's not very heavy and I can carry it outside
to wash it out. Also I  drilled a hole and put a small dish drain in one corner
that takes a rubber stopper. When I'm done I pull the stopper and drain the
size. Here is a link to a picture of it

http://www.flickr.com/photos/georger1998/7943483344/

If you do this install the drain before you apply the epoxy so it gets sealed in
the tray.

Finally you MUST skim the size a couple times after each scarf with newspaper to
clean the surface. I have seen the the problem you are talking about when I
don't clean the surface. However the ghost pattern you get after pulling the
scarf is sometimes more interesting than the original. I frequently marble paper
with the ghost image and use it in other projects.
George

[Non-text portions of this message have been removed]









[Non-text portions of this message have been removed]

Hello all,

I've just received the first delivery of a new edition of Hikmet Barutçugil's
basic work.

It is a thoroughly revised and bilingual (German and English) version of the
first edition, published originally in Turkish and English in 2001. Contents:
development of the art of ebru, brush making, preparing pigments, extensive
instructions for making the traditional Turkish patterns with many pictures. An
important book with many new pictures (incl. barut ebru, although this technique
is not being explained in the book) for everyone interested in the unique art of
ebru. New typography and design. Sewn, hard cover, high quality picture printing
paper, ribbon bookmark. 197 pp., ca. 200 pictures, 21 x 27 cm. Euro 96 plus
shipping.

As the book is heavy (over 900 gr), mailing it costs quite a bit. If you're
interested to have the book I imagine forming a 'shopping society' wouldn't be a
bad idea.

Susanne Krause

Vesile,

I also use pigments from Ayan Ebru, but never with alum.  When I learned
marbling in Istanbul we used the Ayan Ebru pigments with no preparation for the
paper.  We also did not rinse papers.  I don't use the Ayan Ebru pigments on
fabric, and the Turkish marblers I've worked with don't either.  Do they bond to
the fabric well enough that you can wash the scarves?  I have always assumed
they would not.

At the end of Ramadan I spoke with a marbler from Uskudar who said that she uses
Pebeo Marbling paints on fabric.  Her marbled scarves were bright and beautiful.
One of my Turkish friends and I had been searching for alternate marbling paints
for fabric that we could get in Turkey, and after trying various ones and
importing a few from the US we settled on these.  I have used a variety of
different types of paint for marbling on fabric in Turkey and the US, and I
really like the way the Pebeo paints give an even color on both sides of the
fabric.  I marbled some sample fabrics in Istanbul in September with the Pebeo
marbling paints and carageenan from Ayan Ebru and they turned out quite nicely. 
Unfortunately the Pebeo marbling paints aren't available in the US, but I did
find some Australian suppliers, so perhaps you can get them there.  I brought
mine back from Istanbul.

I strongly prefer Ayan Ebru pigments for marbling on paper, but I'm skeptical
about them for fabrics.  If you are having good results with colorfastness and
washability I would like to know.

Also, I agree with the previous poster that it's important to clean the size
thoroughly.  Are you using oxgall with the pigments?  I have had problems with
polluted size in the past as well, and I end up having to throw it out.  You can
get interesting effects by sprinkling OxyClean or spraying hairspray or olive
oil over the pigments or adding turpentine, but all of that will pollute the
size, so I never do any of that until I'm done with all the marbling I want to
do.  When the size has been polluted by things like this I do sometimes get
weird effects like the stars you are talking about.

Also, what are you using to drop the pigments onto the size?  Rose and horsehair
brushes?  If you are using these, you need to be sure that they are completely
clean when you start to marble, with nothing else in them (no soap or acrylic
paint or alcohol or anything else on them).  I only rinse mine with water when I
am done marbling.  Also, all the combs and styli need to be completely clean. 
If you aren't sure whether your tools are clean, you can wash them with water,
cleanse them with rubbing alcohol, and then rinse them again so nothing stays on
them but water.  All of my tools for use with the pigments stay separate from
any tools used with any other kind of paints.  I think I'm overly particular
about this, but I've had tanks of size ruined by pollution from the tools
before, so I'm cautious.

I also use a large tank made from plywood.  I line it with pond liner plastic. 
My tank is about 2-3 cm larger than the scarves I marble on all sides.  That way
if I don't get a scarf down exactly straight it doesn't run into one of the
sides.

Hope that helps.

Suzanne

--- In Marbling@yahoogroups.com, "yilmazve"  wrote:
>
> Hello to all dedicated and hardworking marblers,
> First of all I wish you all a very happy new year with lots of good results in
marbling. I am originally from Turkey. We moved to Western Australia from
Istanbul about 5 months ago. I do marbling here using natural pigments from Ayan
Ebru. Nowadays I am trying to have a marbling tank done for marbling silk
scarves. I will have it done stainless steel like my paper marbling tray.
However my concern is about the size of it. People who I got into touch told me
that the most popular scarf size here in Australia is 160x28 cm. So, may I list
my questions down in case you would like to guide this young marbler through the
rocky way of marbling.
> 1. If I aim to marble silk scarves which are 160x28 cm wide, what is the best
size for the tank? Shall I have the tank slightly larger as we do in paper
marbling?
> 2. When I want to marble fabric, first attempt comes out very beautifully.
Paint spreads nicely and size works wonderfully. Then I lay the sheet of fabric
on the size, I take it out and rinse it and I clean the surface of the size with
newspaper. However when I try to drop paint on the size for the second fabric
the drops don't spread, they form stars. It seems like the first marbling ruins
and spoils my size. Does it happen to you too? I believe it happens because of
the alum. I don't know what to do about it? Any suggestions?
> I will be very happy if you can help me with these.
> Thank you very much:)
> Vesile
> Mandurah Marbling
> www.marblingart.com.au
>

Iris,
Ah that all "emergencies" would be the type that can be resolved with soap ;-) 
I do love marblers.
Suzanne

--- In Marbling@yahoogroups.com, irisnevins  wrote:
>
> Anthony, this is why I recommend to dilute the PhotoFlo or soap (PhotoFlo
preferred, soap in an emergency!) in water, THEN use with a dropped as you would
the ox gall. You have more control over it this way.
>
> Iris Nevins
> www.marblingpaper.com

you'll probably get several answers to this, but I would think a steel tank
would be expensive, plus heavy to work with.  I have found a small wet/dry
vacuum that works perfectly for emptying the tank, other people have a hole
with a cork or spigot built into the end.  Mine is about 2-3" larger all
around than the largest scarf I plan to use.  otherwise, you have problems
with it hitting the sides and not printing there.

Mine is wood lined with heavy 6 mil plastic that is doubled and stapled
down, you could also tape it with duct tape which I used to do and still
tape the sides down.

Other people use pvc pipe lined with the doubled plastic which is easier to
use and store and you can put it together in different sizes.  Right now I
have several wooden ones built to acommodate different sizes of fabric, for
instance 26" square for bandannas which are 22" square and one that is 38"
square for a 36' square piece of material and my scarf tank is 16" by 7'
long. My drying rack is pvc pipe with horizontal pipes that I can move
around or you can use a diaper drying rack or clothesline.

If I were starting again now, I would make all the tanks out of pvc pipe
that you could take apaprt.  The wood ones take up a lot of room to store
them when I'm not using them.

I usually use a human helper to hold the other end of the scarf, but I also
built a wooden "helper" with 2 clamps on it on the scarf tank for when I am
alone.
HTH
Sue


[Non-text portions of this message have been removed]

Would you please post a photo of your PVC tank and clip device.   Would help a
great deal.  Thanks
Zia

On Jan 3, 2013, at 2:26 PM, Sue Cole <akartisan@...> wrote:

> you'll probably get several answers to this, but I would think a steel tank
> would be expensive, plus heavy to work with. I have found a small wet/dry
> vacuum that works perfectly for emptying the tank, other people have a hole
> with a cork or spigot built into the end.  Mine is about 2-3" larger all
> around than the largest scarf I plan to use. otherwise, you have problems
> with it hitting the sides and not printing there.
>
> Mine is wood lined with heavy 6 mil plastic that is doubled and stapled
> down, you could also tape it with duct tape which I used to do and still
> tape the sides down.
>
> Other people use pvc pipe lined with the doubled plastic which is easier to
> use and store and you can put it together in different sizes. Right now I
> have several wooden ones built to acommodate different sizes of fabric, for
> instance 26" square for bandannas which are 22" square and one that is 38"
> square for a 36' square piece of material and my scarf tank is 16" by 7'
> long. My drying rack is pvc pipe with horizontal pipes that I can move
> around or you can use a diaper drying rack or clothesline.
>
> If I were starting again now, I would make all the tanks out of pvc pipe
> that you could take apaprt. The wood ones take up a lot of room to store
> them when I'm not using them.
>
> I usually use a human helper to hold the other end of the scarf, but I also
> built a wooden "helper" with 2 clamps on it on the scarf tank for when I am
> alone.
> HTH
> Sue
>
> [Non-text portions of this message have been removed]
>
>


[Non-text portions of this message have been removed]

Hi George,
Thank you very much for your reply.
Yesterday I went to steel fabrication companies and they asked for AUD $ 410 for
two trays: 50x70 and 160x28. That is a bit expensive for me I will make my
husband build something for me like you did. Epoxy is a great idea, I heard
about it but I haven't used it. So it will be nice to try. I also loved the
rubber stopper idea. You are right about ghost image.Sometimes I just do new
paper marbling design on it. Regarding the roller, I am curious about use of it.
Every bit of information is very valuable. Would you please explain that as
well?
Cheers
Vesile


--- In Marbling@yahoogroups.com, George Reynolds  wrote:
>
> I built a tray for marbling scarves out of 1/2 inch plywood and coated the
inside with 2 coats of epoxy over fiberglass. I actually don't think the
fiberglass was necessary as the epoxy dries very hard but it came as a kit so I
used it and it works very well. It's not very heavy and I can carry it outside
to wash it out. Also I  drilled a hole and put a small dish drain in one corner
that takes a rubber stopper. When I'm done I pull the stopper and drain the
size. Here is a link to a picture of it
>
> http://www.flickr.com/photos/georger1998/7943483344/
>
> If you do this install the drain before you apply the epoxy so it gets sealed
in the tray.
>
> Finally you MUST skim the size a couple times after each scarf with newspaper
to clean the surface. I have seen the the problem you are talking about when I
don't clean the surface. However the ghost pattern you get after pulling the
scarf is sometimes more interesting than the original. I frequently marble paper
with the ghost image and use it in other projects.
> George
>
> [Non-text portions of this message have been removed]
>

I also have that book and I can share the info if required. However I was
disappointed to see that he doesn't even mention about Barut Ebru, there. I
don't understand why he keeps this secret for himself. Anyway everybody has
secrets;)
Cheers
Vesile

--- In Marbling@yahoogroups.com, "hamburgerbuntpapier_de"  wrote:
>
> Hello all,
>
> I've just received the first delivery of a new edition of Hikmet Barutçugil's
basic work.
>
> It is a thoroughly revised and bilingual (German and English) version of the
first edition, published originally in Turkish and English in 2001. Contents:
development of the art of ebru, brush making, preparing pigments, extensive
instructions for making the traditional Turkish patterns with many pictures. An
important book with many new pictures (incl. barut ebru, although this technique
is not being explained in the book) for everyone interested in the unique art of
ebru. New typography and design. Sewn, hard cover, high quality picture printing
paper, ribbon bookmark. 197 pp., ca. 200 pictures, 21 x 27 cm. Euro 96 plus
shipping.
>
> As the book is heavy (over 900 gr), mailing it costs quite a bit. If you're
interested to have the book I imagine forming a 'shopping society' wouldn't be a
bad idea.
>
> Susanne Krause
>

Hi Suzanne,
Thank you for all explanations and info. First of all it is right that Turkish
marblers don't treat the paper with alum and they don't rinse. That's how I
learnt form my teachers.
I used Ayan Ebru pigments when I marbled fabric. In order to try it for the
first time, I had a cotton sheet which is cut into rectangles. The paint
transferred there but with little tiny gaps like it has been punched with pins.
I probably used too much alum and that ruined my size. Because I also didn't
like the pattern on the size. I mean it wasn't smooth either. On the other hand
when I used a chiffon kind of fabric which was very thin and transparent, all
the paint transferred very beautifully without any problem. It looks very nice.
That encourages me to do silk marbling with Ayan Ebru pigments. I washed them,
too. They didn't lose any color.
I tried Pebeo Marbling Paints however I didn't enjoy them much. Because I like
the way drops spread with Ayan Ebru Pigments, quickly and just right size.
However Pebeo spreads a lot, no matter how tiny I drop, it opens in big blobs.
On the contrary, sometimes they spread too slowly that takes my enthusiasm away.
I don't like waiting.
I use ox-gall and after reading Galen's reply I figured out why the problems
occurred on my tank. Of course I will keep in mind to clean my horsehair and
rose branch brushes. I never used acrylic but I am very curious about them. So
after reading the messages and having enough confidence I will try them as well.
I will certainly share the results with you. I am thankful that you are around.
I love this group:)
Take care
Regards
Vesile

  --- In Marbling@yahoogroups.com, "Marared9"  wrote:
>
> Vesile,
>
> I also use pigments from Ayan Ebru, but never with alum.  When I learned
marbling in Istanbul we used the Ayan Ebru pigments with no preparation for the
paper.  We also did not rinse papers.  I don't use the Ayan Ebru pigments on
fabric, and the Turkish marblers I've worked with don't either.  Do they bond to
the fabric well enough that you can wash the scarves?  I have always assumed
they would not.
>
> At the end of Ramadan I spoke with a marbler from Uskudar who said that she
uses Pebeo Marbling paints on fabric.  Her marbled scarves were bright and
beautiful.  One of my Turkish friends and I had been searching for alternate
marbling paints for fabric that we could get in Turkey, and after trying various
ones and importing a few from the US we settled on these.  I have used a variety
of different types of paint for marbling on fabric in Turkey and the US, and I
really like the way the Pebeo paints give an even color on both sides of the
fabric.  I marbled some sample fabrics in Istanbul in September with the Pebeo
marbling paints and carageenan from Ayan Ebru and they turned out quite nicely. 
Unfortunately the Pebeo marbling paints aren't available in the US, but I did
find some Australian suppliers, so perhaps you can get them there.  I brought
mine back from Istanbul.
>
> I strongly prefer Ayan Ebru pigments for marbling on paper, but I'm skeptical
about them for fabrics.  If you are having good results with colorfastness and
washability I would like to know.
>
> Also, I agree with the previous poster that it's important to clean the size
thoroughly.  Are you using oxgall with the pigments?  I have had problems with
polluted size in the past as well, and I end up having to throw it out.  You can
get interesting effects by sprinkling OxyClean or spraying hairspray or olive
oil over the pigments or adding turpentine, but all of that will pollute the
size, so I never do any of that until I'm done with all the marbling I want to
do.  When the size has been polluted by things like this I do sometimes get
weird effects like the stars you are talking about.
>
> Also, what are you using to drop the pigments onto the size?  Rose and
horsehair brushes?  If you are using these, you need to be sure that they are
completely clean when you start to marble, with nothing else in them (no soap or
acrylic paint or alcohol or anything else on them).  I only rinse mine with
water when I am done marbling.  Also, all the combs and styli need to be
completely clean.  If you aren't sure whether your tools are clean, you can wash
them with water, cleanse them with rubbing alcohol, and then rinse them again so
nothing stays on them but water.  All of my tools for use with the pigments stay
separate from any tools used with any other kind of paints.  I think I'm overly
particular about this, but I've had tanks of size ruined by pollution from the
tools before, so I'm cautious.
>
> I also use a large tank made from plywood.  I line it with pond liner plastic.
My tank is about 2-3 cm larger than the scarves I marble on all sides.  That way
if I don't get a scarf down exactly straight it doesn't run into one of the
sides.
>
> Hope that helps.
>
> Suzanne
>
> --- In Marbling@yahoogroups.com, "yilmazve"  wrote:
> >
> > Hello to all dedicated and hardworking marblers,
> > First of all I wish you all a very happy new year with lots of good results
in marbling. I am originally from Turkey. We moved to Western Australia from
Istanbul about 5 months ago. I do marbling here using natural pigments from Ayan
Ebru. Nowadays I am trying to have a marbling tank done for marbling silk
scarves. I will have it done stainless steel like my paper marbling tray.
However my concern is about the size of it. People who I got into touch told me
that the most popular scarf size here in Australia is 160x28 cm. So, may I list
my questions down in case you would like to guide this young marbler through the
rocky way of marbling.
> > 1. If I aim to marble silk scarves which are 160x28 cm wide, what is the
best size for the tank? Shall I have the tank slightly larger as we do in paper
marbling?
> > 2. When I want to marble fabric, first attempt comes out very beautifully.
Paint spreads nicely and size works wonderfully. Then I lay the sheet of fabric
on the size, I take it out and rinse it and I clean the surface of the size with
newspaper. However when I try to drop paint on the size for the second fabric
the drops don't spread, they form stars. It seems like the first marbling ruins
and spoils my size. Does it happen to you too? I believe it happens because of
the alum. I don't know what to do about it? Any suggestions?
> > I will be very happy if you can help me with these.
> > Thank you very much:)
> > Vesile
> > Mandurah Marbling
> > www.marblingart.com.au
> >
>

Vesile,

this book is about the traditional Turkish techniques. Barut ebru is not one of
those and therefore has no place in the book. Barut ebru is mentioned in both
editions, however, in that Hikmet's personal style has been dubbed barut ebru by
his American friends and colleagues. As opposed to the first edition there are
many pictures of barut ebru in this revised edition.

The text has been thoroughly revised by Hikmet or in accordance with him before
and during translation and editing, particularly in the section about historical
development.

As to keeping a secret: it is a matter of course that a person who has developed
a personal style and technique keeps quiet about it while they make their living
on it; no one can expect different. What is to be avoided is to keep the secret
later on. Too much knowledge about paper decoration in any conceivable technique
has gone to the graves with the paper decorators already. That his has been
happening for centuries doesn't make it any better.

Susanne Krause

--- In Marbling@yahoogroups.com, "yilmazve"  wrote:
>
> I also have that book and I can share the info if required. However I was
disappointed to see that he doesn't even mention about Barut Ebru, there. I
don't understand why he keeps this secret for himself. Anyway everybody has
secrets;)
> Cheers
> Vesile
>
> --- In Marbling@yahoogroups.com, "hamburgerbuntpapier_de"  wrote:
> >
> > Hello all,
> >
> > I've just received the first delivery of a new edition of Hikmet
Barutçugil's basic work.
> >
> > It is a thoroughly revised and bilingual (German and English) version of the
first edition, published originally in Turkish and English in 2001. Contents:
development of the art of ebru, brush making, preparing pigments, extensive
instructions for making the traditional Turkish patterns with many pictures. An
important book with many new pictures (incl. barut ebru, although this technique
is not being explained in the book) for everyone interested in the unique art of
ebru. New typography and design. Sewn, hard cover, high quality picture printing
paper, ribbon bookmark. 197 pp., ca. 200 pictures, 21 x 27 cm. Euro 96 plus
shipping.
> >
> > As the book is heavy (over 900 gr), mailing it costs quite a bit. If you're
interested to have the book I imagine forming a 'shopping society' wouldn't be a
bad idea.
> >
> > Susanne Krause
> >
>

The roller looking thing toward the near end is just a dowel I use to shorten
the tray for smaller scarves. It saves a bit on paint. It turned out that it
helps collect the paint when I am skimming the surface with newspaper and
because its round it does a good job of directing the paint to the bottom of the
tray. The drain and its stopper are between the dowel and the end of the tray so
the rakes and combs don't hit them as I work.
George

the pvc pipe tank and scarf drying rack I found in a couple of books on
marbling.  I would have to look through them to find them again  Also, I
believe it's Pat K Thomas that uses one, she might send in a photo of hers.

The clip "helper" idea I got from the photos on Lucille Scelfo's website.
  I first used clothespins, buyt they were rough and snagged on the scarves
and broke easily.  Later, I used some plastic and metal clamps I got from
Home Depot in a bag of 11 clamps for $11.00 - all different sizes.  Those
have worked much better.

I'm not sure how Lucille does it, but I clamp one end of the scarf to the
clamps, wrap the other end around the back of my neck for a minute to keep
it out of the way, then stretch and put the far end down, the QUICKLY
unhook the clamped end and put that down.  I say quickly, because as soon
as you let go of the loose end, the scarf starts to move down towards the
other end and if I take too  long, I get "hesitation" marks.  I'm probably
the only one that knows what they are, but i don't like them to be in the
finished scarf.

you can see the helper in the 3rd photo here:
http://www.silksbylucia.com/hand_painted/marbling_process

She has told me she uses paints by Pro-Chem which are pre-mixed to do her
scarves.

I can't find the photo of the pvc pipe tank right now, but you just use
elbows for the corners and short pieces of pipe for the two ends, then use
a reinforcing piece of elbow and pip in the middle of the longer sides.
HTH
Sue


[Non-text portions of this message have been removed]

Funny that's exactly my term for it…I don't have a contraption. But when I work
with my "helper"  thats how I explain what we "don't want"  to move in a
continuous  motion.  I also get "ghosties" from the gathering of alum which will
happen when drying on the line (contrary to paper I think) or in storage. Just
experiment ,experiment,experiment…solve,resolve…and then when everything comes
together…its so cool
On Jan 4, 2013, at 9:28 PM, Sue Cole <akartisan@...> wrote:

> I get "hesitation" marks. I'm probably
> the only one that knows what they are, but i don't like them to be in the
> finished scarf.



[Non-text portions of this message have been removed]

Here are some pictures of my "tinker toy" PVC pipe scarf tray.  Go to my
Facebook fan page:   Facebook.com/seenmymarbles?  Click on the "Photos" button. 
Find the "Arrowmont, March, 2012" folder.  Photos 5, 6 & 17 show the tray.  The
size is really trashed, but you can get an idea of its components & high-tech
construction.  Different sized rails allow for many configurations for tray
dimensions.

If you also go to the "Event" button, you will find my current teaching schedule
as well.

Will try to find some better pictures of the tray to show.

Creatively,
Pat K. Thomas

Hi All,

Please forgive me for my ignorance, but can anyone explain to me what "barut
ebru" is? It seems to me that it's a specific style of marbling attributed to a
particular person...and not necessarily a traditional/historical pattern or
practice.

Many thanks for any insight!

Cheers,
Barb Skoog
www.BarbSkoog.com 


[Non-text portions of this message have been removed]

I'd have to look for it, but I saw a video on youtube somewhere where the
person had taken the top from an old crank style wringer washing machine
and attached it to the short side of the tank, then pulled the scarves
through that to get the excess stuff off of it.  It looked like it worked,
however, I used to squeeze out the excess stuff from the scarves in the
tank before rinsing them and someone told me that would put too much alum
in the tank, so I stopped doing it.  Now I just lift them out and
immediately dunk them into a bucket by my feet and swish it around, then
into a second one and swish it around in that one, then hang them to dry
for 24 hours before the final wash, dry and ironing.

I think the roller would work well for paper.  I've noticed the turkish
people all use the same steel tanks with a knurled edge and pull the paper
off and out of the tank against that, then don't appear to rinse it.

Also, in this video, he doesn't rinse his papers, so I guess it's whatever
your're used to.

http://www.youtube.com/watch?v=vk-Ta7ichz4

Sue


[Non-text portions of this message have been removed]

Barb,

barut marbling is the special technique and style developed by Hikmet
Barutçugil. Definitely not traditional, but can be beautifully combined with the
traditional patterns and styles.If you pay a visit to his website, ebristan.com,
you'll see many examples.

Susanne Krause

--- In Marbling@yahoogroups.com, Barb Skoog  wrote:
>
> Hi All,
>
> Please forgive me for my ignorance, but can anyone explain to me what "barut
ebru" is? It seems to me that it's a specific style of marbling attributed to a
particular person...and not necessarily a traditional/historical pattern or
practice.
>
> Many thanks for any insight!
>
> Cheers,
> Barb Skoog
> www.BarbSkoog.com 
>
>
> [Non-text portions of this message have been removed]
>

Thanks, Pat, I was hoping you would send in a photo of your tanks
Sue


[Non-text portions of this message have been removed]

http://www.dharmatrading.com/html/eng/7060419-AA.shtml?lnav=paints.html

Couldn't be happier!  Good variety of colors that float really well just diluted
with a little distilled water on methocel for nice crisp patterns and good color
intensity.  A bonus is these don't require heat setting and leave my silk soft,
supple, and shiny.  I ordered the charcoal pearlescent just to see what it would
do and to my surprise it leaves a lovely glint of sparkle without looking too
glitzy-glittery.  I'm pretty excited about these paints and at literally a
fraction of the cost of other fluid acrylics.  Haven't tried the metallics yet.

Happy New Year, Everyone!

I've recently been presented with the opportunity to travel to India next year ~
starting out in Mumbai and then heading north with likely destinations such as
Rajasthan, Delhi, and Uttarakhand. Absolutely nothing is planned as of
yet...just that we're going and that we have a year to figure out what we want
to do.

And what I want to do is to make sure I incorporate marbling! I cannot imagine
going to India and not taking time visit important marbling sites/museums or
visit the studios of marbling masters.

I would very much welcome any information or any connections/contacts you may
have that would be helpful to me as I start planning my trip. While my travels
will primarily be in the north, I am willing to consider flying to the south if
there is something (or someone) I absolutely should not miss. The person I am
traveling with is Indian artist (lives in Mumbai) so I will be with someone who
will definitely appreciate the marbling adventure as much as I will!

Many thanks in advance for any info you can provide.

Cheers,
Barb Skoog
www.BarbSkoog.com

http://youtu.be/9ir2vkDJxBo

http://design-milk.com/marbelized-wood-flooring-by-snedker-studio/?utm_source=fe\
edburner&utm_campaign=Feed%3A+design-milk+%28Design+Milk%29

thought you all might enjoy this.
Anyone know what kind of inks/paint she is using?

I watched this several years ago.  Suminagashi is normally done with inks.
It looks likes she is using acrylics for the papers.  Maybe some kind of
stain for the wood?  Maybe if someone contacted her, she would tell you.
Sue


[Non-text portions of this message have been removed]

Yes Marbling group I'm sorry I was "Hacked " this morning  Please don't open
link..I'm SOOOOO Sorry.. Peace G

Dear members,
The message #6975 with the questionable web link is deleted.

Moderator
John Ang ;)


--- In Marbling@yahoogroups.com, gretchen vansant  wrote:
>
> Yes Marbling group I'm sorry I was "Hacked " this morning  Please don't open
link..I'm SOOOOO Sorry.. Peace G
>