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7253Re: Re: RE: Re: [Marbling] freestyle questions

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  • Laura Sims
    Oct 29, 2013
      You can try thinned carrageenan.  It should work.  As Sue responded if you are going to do more authentic suminagashi you can use sumi calligraphy ink on plain water with sumi brushes.  Other surfactants that will work are tea tree oil in water and a pine resin surfactant that Colophon Book Arts might still sell.  The rice (general term) or kozo paper doesn't need alum.  Once you lay down the sheet you may want to put a dowel under one side edge of the paper to pick it up to prevent the paper from pulling apart. 


      On Tuesday, October 29, 2013 1:16 PM, "Karen.ruane@..." <Karen.ruane@...> wrote:
      Thanks Laura, this is very helpful. Do you think it would work with thinned carrageenan? And when you print on rice paper, do you alum?

      I will definitely look into a workshop at Arrowmont. Don't know if I can wait a whole year, I'm totally obsessed! 

      ---In Marbling@yahoogroups.com, <marbling@yahoogroups.com> wrote:

      When I teach I sometimes share a method I call sudo-sumi since I'm acrylics.  I add some methyl cellulose to plain water to give the water a little "body" then using a dropper or sumi brush alternate Golden (1part paint, 1 part GAC 800 if on paper and 1 to 2 parts water) with Flow Release (15 to 30 drops per cup of water).  Print on calligrapher's rice paper, mulberry paper or  alummed paper/fabric. The tray we use in class is a 28 quart storage container that is approx. 17 x 23 x 6 inches so your container should be fine.  

      With time to plan ahead I invite you to consider Arrowmont School of Arts and Crafts October 2014 to take a class with me (arrowmont.org).  It is going to be a great class with the added bonus of a little shared time with the class next door that will be exploring surface treatments on fabrics.  The teacher, Karen Tunnell, is an accomplished quilter and former marbling/hydro-printing student of mine.  She has combined all of her skills to create some fantastic art quilts using the marbled fabric as the foundation for some of her imagery.  Check out Karen's website.  As for samples of some of my hydro-printing go to archives and/or accessories at www.indigostonestudio.com.  I'll have new work up this winter with fresh imagery on natural dyed backgrounds.  Though I also do other surface design techniques marbling has been my first and longest love since being introduced to it in 1985.  

      Laura Sims

      On Monday, October 28, 2013 11:28 PM, irisnevins <irisnevins@...> wrote:
      As far as I could tell the paint we used was not thinned...
      Iris Nevins

      On 10/28/13, Karen.ruane@... wrote:

      Thanks for the responses!

      I've tried Latex on water, with poor results. The colors were very washed out, despite using high quality paint and thinning with latex conditioner. I feel like I've tried everything, but just cannot replicate this look! Perhaps my tank is just too small (20x26) to encourage the rings of color to flow and compress properly.

      If I were to thin the size (I work on Carrageenan), would I still be able to float the paints, while adding to the fluidity of the size? Should I try different pigments (currently using Goldens and Galen Berry's acrylics)? I've studied Pernille's videos and website closely, and I know she's working on thickened size, though it doesn't seem as thick as mine is. Just can't figure out what she's using for pigments! Tried to contact her, but no luck.

      And while I'm throwing out questions; it looks as though I'm going to need to travel to receive marbling instruction as there are no marblers in the Bay Area who teach. Please let me know if you teach courses, when and where. Thanks!

      ---In Marbling@yahoogroups.com, <marbling@yahoogroups.com> wrote:

      I have seen this done with Latex house paints! Exactly. On plain water. I think you need to work fast as I recall because it starts to air dry. It works well on fabrics and wood. I tried it with someone once, long ago.
      Iris Nevins

      On 10/28/13, Sue Cole<akartisan@...> wrote:

      I looked at the website you had and I would consider that more of a suminagashi method because the inks/paints are not moved once they are dropped in. If you will check in the archives, you will find several notes on Pernille's work. There's a youtube video also where she talks about her work. It looks like she makes the original designs, then somehow digitizes them on to the wood, since they are all the same in appearance.

      To do the work that's in Write Robinson's work, you would need a very large tank on a stable surface.

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