RE: [Marbling] Re: Sorry a correction ! ! !
- Great idea.....room for everyone. Personally, I am a split
personality.....many of you know I am a die-hard traditionalist in regard
to historical bookbinding papers. I respect all traditions, am in awe of
the Turkish techniques and marbling, which according the histories was the
basis for the later bookpapers. The early manuals on bookbinding and
marbling, from the 1700's and into the 1800's do not often mention alum.
They also do not often mention even rinsing a paper. I have gotten "it" in
regards to my paint manufacture, to where they do not need rinsing if
worked with properly. I have had other marblers tell me I cannot do that
and it is wrong, yet every year teach my students this technique. And the
papers last and last....I have seen no deterioration from not rinsing in
decades old papers. I do weaken my alum solution though I must
admit.....maybe half the usual amount in most cases. Summertime seems to
demand a little more for some reason. So many times I have been told I am
wrong, but it works for me.
But on the other hand, the other part of my marbling personality...
believes traditions evolve.....we can move on and find things that work
better or are easier to use, and give the same results. For example, I get
the best stormont patterns using a half full squeeze bottle instead of the
traditional whisk or brush. I do not understand why, but suspect that you
can shake air into the paint while applying color. So i do it this way now.
Do I forget the old manuals that say to knock your brush on a rod? No, I
always remember where things came from.
The alum free paper I have yet to conquer! How I would LOVE to skip this
step!!!! None of us revel in the joys of aluming! I suspect the ability to
not use alum has much to do with the way the paints are made from the
pigments, the color adjustment etc. maybe the paper is a factor, I do not
know enough about the traditional Turkish techniques to even guess. I am
howvwer in awe of them. I would love to learn, everything from step one
with raw pigments. Someday when I have more time and can stop being a
"human marbling machine" I would love to study these techniques deeply. For
now I must focus on production papers, not art, as a means to live, though
I do the occasional art piece for fun or for gifts.....that I love.
Many would say the production papers are art. I think of them more as
artifact, a useful object to embellish the book. They are beautiful
individually and a s a historic pattern of course, but after you've hit
over 100 of the same paper on a day you are a little burnt out, I am not at
the tray thinking about the beauty of my creations by any means, or even
thinking of myself as an artist, those times I am more a technician. There
is great satisfaction in being a good technician though, pattern matching,
even your own work is very difficult as many of you know. But I feel
blessed, very lucky, to have totally accidentally fallen into this line of
work 25+ years ago. I have met many wonderful people from many different
places and respect all their work. Our differences make it so much more
interesting....and I just want to know everything about all of it!
(PS...news of the upcoming art exhibit will be posted at website,
www.marblingpaper.com.....hope the locals will come to the opening 11/7)
Message text written by INTERNET:Marbling@yahoogroups.com
>Maybe we marblers should all reflect on what we do, and its importanceto ourselves and to others, presently and in the future. My opinion
about my own marbling, is that I get a lot of enjoyment making
"decorative papers", and seeing incremental improvements in both
technique and end result. However I am aware that we humans have been
on earth, but a split second compared, to the existence of the universe.
Quite frankly I doubt my marbling will matter in another 100 years, let
alone in another 20 billion years. So lets enjoy what we do, and
appreciate what others bring to marbling whether its ebru marbling,
nontraditional marbling, or marbling with shaving cream.<