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Re: handmade papers for marbling

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  • mpmh60201 <milena@interaccess.com>
    I agree with the previous message about hm papers. However, I ve also had exceptional results with very cheap hm papers from India and Tibet. The type of
    Message 1 of 7 , Dec 21, 2002
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      I agree with the previous message about hm papers.
      However, I've also had exceptional results with very cheap hm papers
      from India and Tibet. The type of pigment and marbling size must be
      taken into consideration. Concentrated acrylics on carragheenan made
      with distilled water work the best for me on both purchased hm's and
      those which I have (poorly) made.
      Supreme results are guaranteed on the expensive hm's from Japan.
      Also- consider the level of expertise of the person doing the
      marbling. Hm paper variables can compound problems for a novice.
    • athena_2547 <athena_2547@yahoo.com>
      Although I am fairly new to the practice of marbling and only have a few months accumulated experience to speak of, my mother has been marbling on her own hand
      Message 2 of 7 , Dec 27, 2002
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        Although I am fairly new to the practice of marbling and only have a
        few
        months accumulated experience to speak of, my mother has been
        marbling
        on her own hand made paper for at least 4 years now with success. Her
        lines
        are crisp and her colors turn out bold. I think that by using her own
        paper
        (usually abaca with some koozo fibers) she is able to give her work a
        more
        organic feel. In my experience of late i have found that kozo papers
        work
        wonderfully and yes the light brown of the paper effects some of the
        colors,
        but they blend, and since i make verry thin papers which are semi
        transparent
        it gives it this wonderful stained glass quality and works well when
        applied
        with methyl cellulouse to other handmades of different color and
        fiber. It
        seems that the key thing in marbling on handmades is knowing what
        kind of
        size was added to the pulp (if any) when the sheet was pulled. I have
        been
        using formation aid with the kozo, aluming the paper, and marbling
        with water
        based color on carageen. I will continue to experiment with different
        papers
        and marbling, as this is my area of interest, so if anyone knows of
        any
        reasources on the topic please let me know
        ~Melinda

        --- In Marbling@yahoogroups.com, leech541@a... wrote:
        > Hello Marblers,
        >
        > I've agreed to write an article for Hand Papermaking Magazine about
        marbling,
        > and i would like to get a sense of what other marblers think about
        marbling
        > on handmade papers. Any particular successes, failures, joys or
        frustrations?
        > Technical problems? Too expensive? Too scary? I know of only a few
        of
        you
        > (hello Marjorie Tomchuk) who do it regularly, as part of their
        work. Others -
        > Susan Martin and Dana and Ingrid at Moth Marblers from time to
        time. I
        know
        > many of you have experimented, and would love to hear your thoughts.
        >
        > Wishing you a happy holiday season, and Peace
        >
        > tom Leech
      • James M Mahoney
        Hi, Tom - I am an artist and was a papermaker first, and actually started marbling because I thought it would be wonderful on my own paper. And I continue to
        Message 3 of 7 , Dec 27, 2002
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          Hi, Tom -

          I am an artist and was a papermaker first, and actually started marbling
          because I thought it would be wonderful on my own paper. And I continue
          to enjoy marbling on my handmade paper. I use Golden Fluid acrylics and
          methyl cel. I do find the marbling looks different on different
          "compositions" of paper. I do not, with exceptions, use any sizing - my
          papers are usually waterleaf papers. This does make the process
          different in that I cannot leave the paper on the marbling surface for
          any length of time, and I cannot work with really large pieces of paper.
          I do not like the effect I get marbling on papers that contain other
          materials (flower petals, onion skins, natural fibers added, etc.) as I
          feel it confuses the eye and detracts from both the look of the paper and
          the look of the marbling. Most of the paper I make is all cotton, but I
          also make linen paper. I do find clear and precise patterns on both
          (when I do traditional patterns) but the linen has a beautiful crispness
          to it, both in the hand of the paper and in the look of the patterns
          (most often, I do the experimental or art marbling rather than patterns).
          I do love the linen papers! I use specific colors (from Twinrocker)
          when coloring my papers, and I much prefer to marble on the colored
          papers than on white (to me it gives an added depth to the colors). My
          linen papers are always a delicate color - never white, as I purchase the
          linen fibers, cut them up and make the pulp from those.

          If you have any particular questions, I will be happy to respond with
          whatever knowledge I have.

          By the way, I saw your exhibit at the Museum of Papermaking in Atlanta -
          your work was wonderful and I enjoyed it very much. The additional
          exhibit of old marbled papers was so very interesting. I wonder if you
          remember the piece against the back wall (behind the staircase) in which
          the marbling was broken up into very angular and "square" shapes. Can
          you tell me how that was accomplished? I've never seen a piece anything
          like that one and I'm very curious. And thanks for the demonstrations
          you gave at the Gathering - I have enjoyed working with some of the ideas
          you gave me! (and some are still rumbling around in my head waiting to
          work their way out!)

          Monita Mahoney


          On Thu, 19 Dec 2002 06:00:16 EST leech541@... writes:
          > Hello Marblers,
          >
          > I've agreed to write an article for Hand Papermaking Magazine about
          > marbling,
          > and i would like to get a sense of what other marblers think about
          > marbling
          > on handmade papers. Any particular successes, failures, joys or
          > frustrations?
          > Technical problems? Too expensive? Too scary? I know of only a few
          > of you
          > (hello Marjorie Tomchuk) who do it regularly, as part of their work.
          > Others -
          > Susan Martin and Dana and Ingrid at Moth Marblers from time to time.
          > I know
          > many of you have experimented, and would love to hear your
          > thoughts.
          >
          > Wishing you a happy holiday season, and Peace
          >
          > tom Leech
          >
          >
          >
          > Your use of Yahoo! Groups is subject to
          > http://docs.yahoo.com/info/terms/
          >
          >
          >
          >
        • sixshort <sixshort@yahoo.com.au>
          Hi Tom, I too began with papermaking, and then fell headlong into the ocean of marbling, from which I have not yet quite surfaced. I found that my own handmade
          Message 4 of 7 , Dec 28, 2002
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            Hi Tom, I too began with papermaking, and then fell headlong into the
            ocean of marbling, from which I have not yet quite surfaced. I found
            that my own handmade paper, made from cotton linter or recycled
            paper,marbled well using watercolour paints or gouaches on un-alumed
            papers. I liked the silky texture of these papers, but the colours
            were rather faded, no doubt due to the absence of alum.
            Purchased "handmade" papers from India, made from recycled T-shirts,
            and other machine "handmade" papers were another kettle of fish. No
            matter what preparation I tried, the paints peeled off the papers as
            they were lifted from the size - what I referred to as "bubbles" in
            previous correspondence. I have not yet tried Jake Benson's
            suggestion to re-hydrate the papers overnight between damp sheets of
            blotting paper, with weights on top, then to alum and marble the
            papers. I too will be very interested to hear of others' success or
            failure in marbling handmade papers. Joan Ajala
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