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2640Re: [Marbling] Re: Without alum

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    Dec 26, 2004
      my only problem with acrylics is that I have not been able to get good Stormonts or French Shells. I have mixed the base with watercolor too, same problem. I prefer the watercolors any day, except for the alum need.

      Iris Nevins
      ----- Original Message -----
      From: hamburgerbuntpapier_de<mailto:hamburgerbuntpapier@...>
      To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
      Sent: Sunday, December 26, 2004 2:15 PM
      Subject: [Marbling] Re: Without alum

      That's why acrylics are favoured by many craftsmen and artists. Good acrylics simply can
      take a load off your shoulder.
      Pure acrylic dispersion is a powerful binder. If a pigment is stubbornly refusing to adhere
      to the paper and stay there even if, say, a bookbinder applies glue or paste, i. e.
      something containing water, you can trick your pigment into docileness by adding a dollop
      of acrylic dispersion.
      Several chemists whom I trust have assured me that adding acrylics is okay even as seen
      from the archival point of view. Nevertheless I restrict its use to the rare cases when
      nothing else helps as I want to stick as near as possible to the materials of old. Besides, it
      takes ages to clean the brushes, and as paste is a binder in itself, the need for an
      additional binder crops up about once in a year in paste paper-making.
      Kremer Germany has a wide range of acrylic dispersions for many purposes. I seem to
      remember that the range is smaller at Kremer USA, try their website www.kremer<http://www.kremer/>-
      pigmente.com if you're interested. They are very generous in providing additional
      information. Dr. Kremer himself is a brilliant chemist, specializing in, of course, paints
      Susanne Krause

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