[Marbling] new member post w/ questions!
- What a lot of questions! I wish I could advise better but I do not use
methyl cell, I just always liked carrageenan better. As for getting the
paints to float and not dive-bomb, your size may be too thick, also you can
try Photo-Flo, it might be a stronger dispersant.Many here like the Golden
Paint making is not so simple, as there is no "formula".....due to the
physical and chemical properties, each pigment is treated differently. And
Alum....stick to aluminum sulphate or aluminum potassium sulphate, they are
the best for marbling. Different papers as well may have different sizings
or amounts of buffer that will affect how the pain take, or doesn't take.
Try and read many of the back posts here and learn from all our mistakes
because the materials are fairly expensive and a shame to waste money on
things that will not work.
Message text written by INTERNET:Marbling@yahoogroups.com
Just joined the list last night (oh no, not the xmas present?) when I
found you all on a websearch for info about
marbling. You guys sound like a great source of info, and I'm pleased
that Jill was there to sign me up right
away, b/c I"ve been trying this sport out this week and have LOTS of
questions. It seems like an esoteric &
quriky sort of art, marbling.
First off, here's what I've tried: Canson classic cream 80# drawing
paper, methylcel in a photo
tray (washed as thoroly as possible, but maybe some dev/stop/fix
residues?). I was heating it up w/ a heating
pad underneath, but then noticed that Wendy Medeiros said ( Marbling
Techniques book) the size should be
distinclty cold to the touch. Big problem so far is that my acrylic
paints, w/ liquitex flow aid in them, like to
dive=bomb to the bottom. Seems like adding more Flow Aid hepls w/ that
a bit, but I"m wondering if I need to
just make up a new batch of methocel. The first, mixed at the
proportions Madeiros gave---her book is what I
have to go by so far--- of 4c boiling and then 4 c ice water to 4 round
Tbsp methocel seemed too thick s I watered
it down w/ an unmeasured quantity of warm water til it was like thick
maple syrup. Should I make it thicker? It
looks like an air war on the bottom of the tray, so much stuff has sunk.
When I do get a good paint film on the size, the Canson takes it, but a
considerble amount does wash off with the
size, and the linear definition gets lost. ---only way I could get the
size off was to rub it off the sheet gently. So After reading some
posts here about alum, made up an alum bath (4Tbsp alum to 4 c water) &
treated some sheets. Haven't tried them out yet,they need to be
ironed, but ALSO, was reading that alum contaminztion of the size
makes the whole batch stop working. I dipped the sheets, don't like the
idea of spraying it---I have to avoid chemical exosures as much as
possible, am trying this out after finding that photography is too toxic
for me when I tried recently to go back to it. Any suggestions welcome!
My next commenst/questions re the acrylics. Am using mostly more modern
colors, due to toxicity, Golden Quindacridone red light, magenta, gold,
hansa yellow light, blue/ green phthalo, green gold (need to check that
one for toxicity, contains nickel maybe?). Also 3 old Bocour
Iridesents--silver, red and violet, and several of the liquitex
interference shades. It seems to me that in this assortment, there are a
few colors with a bottom tinting strength that overpowers eveything
else---the quinacridones and phthalos. Also maybe the Hansa Yellow.
And,I"m wondering about the physical weight of the pigments---do some
just sink more than others, or does it all depend more on how much flow
aid or water is added?
So I was wondering if I should spend the money for a set of the prepared
marbling acrylics, to enable more
sucessful results w/ the pigment weights and tinting strengths. Is this
so, they're prepared to have less
variation in both? It'd have to be really clear that more balance is
available there for me to spend money on a set
Wanted more subtle color, &to try one really beautiful muted green
pigment I picked up last year---green earth---so tried mixing some dry
earth pigments( Mars plus the siennas, umbers, gold ochre) up in
some no-VOC wall glaze (cellulose, alcoholl estr, silica, carnauba wax,
clay, water, food grade preservative.
The earth pigments don't stay dispersed well in that as a medium, but
they disperse like crazy on the size. The
only thing is, they aren't visible on the paper, nor have any of the
interference or metallic pigments showed up
yet on my sheets. Anyone have info re acrylics---or any lines in any
other media--- that have good earth tones/
interference and metallics that pick up? and with what sort of size or
paper, for a successful start? Has anyone tried mixing ther own paint
from scratch? (interested in tryng powdered caseinalso) I'll need to
get some basic acrylic polymer I guess as the wall glaze sn't going to
work as a medium, at least for beginning experiements.
Thanks for any &all comments/suggestions!