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Re: [Marbling] Re: Without alum

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  • IRIS NEVINS
    many fabric dyers use vinegar....it will work, not as well though as alum for paper. iris nevins ... From: Brent Mydland To:
    Message 1 of 10 , Dec 26, 2004
    • 0 Attachment
      many fabric dyers use vinegar....it will work, not as well though as alum for paper.

      iris nevins
      ----- Original Message -----
      From: Brent Mydland<mailto:jbg78734@...>
      To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
      Sent: Sunday, December 26, 2004 7:27 PM
      Subject: Re: [Marbling] Re: Without alum



      Once on the phone with Dexter Ing he told me that someone was using another mordant that was found in every kitchen and that it would soon appear in an article in Ink & Gall but that ended........Anyone that can tell us this would be helpful.
      Dexter are you on this list?
      Peace John Goode

      IRIS NEVINS <irisnevins@...<mailto:irisnevins@...>> wrote:
      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@...<mailto:hamburgerbuntpapier@...>>
      To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto: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/<http://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
      etc..
      Susanne Krause

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


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    • G. Dixon
      A couple of years ago, I spent about six months experimenting in marbling without alum on both carrageen and gum tragacanth sizes. I tried various papers:
      Message 2 of 10 , Dec 26, 2004
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        A couple of years ago, I spent about six months experimenting in marbling without alum on both carrageen and gum tragacanth sizes. I tried various papers: Zerkall, Somerset, Rives, Arches, Cranes Crest, various Ingres, Japanese and inexpensive Sumi papers. The unsized, or minimally sized, Japanese and sumi papers worked well - picked up the paints with good intensity and little bleeding of colors. The papers have a softer look, since the paint is absorbed into the paper to an extent, but still very acceptable (I often use Loew & Cornell sumi paper when testing a paint or pattern if I have no alumed paper around). The other papers were disappointing: only limited amounts of paint adhered, the rest of the color washed off or bled, and I was never able to achieve the intensity that aluming permits. I did not find, as Halfer wrote, that lakes and earth colors + gall on a tragacanth size would adhere without aluming - at least on the papers I tried. I concluded that the sizing in the paper was the major problem. I have had no success finding western papers that are absorbent enough to work without aluming.

        Garrett Dixon ----- Original Message -----
        From: IRIS NEVINS
        To: Marbling@yahoogroups.com
        Sent: Sunday, December 26, 2004 7:56 PM
        Subject: Re: [Marbling] Re: Without alum


        many fabric dyers use vinegar....it will work, not as well though as alum for paper.

        iris nevins
        ----- Original Message -----
        From: Brent Mydland<mailto:jbg78734@...>
        To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
        Sent: Sunday, December 26, 2004 7:27 PM
        Subject: Re: [Marbling] Re: Without alum



        Once on the phone with Dexter Ing he told me that someone was using another mordant that was found in every kitchen and that it would soon appear in an article in Ink & Gall but that ended........Anyone that can tell us this would be helpful.
        Dexter are you on this list?
        Peace John Goode

        IRIS NEVINS <irisnevins@...<mailto:irisnevins@...>> wrote:
        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@...<mailto:hamburgerbuntpapier@...>>
        To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto: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/<http://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
        etc..
        Susanne Krause

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


        Yahoo! Groups SponsorADVERTISEMENT


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      • IRIS NEVINS
        thanks Garrett.....I know most if not all of these papers are to one degree or another buffered, likely with calcium carbonate. Hahnemuelle papers are, Ingres
        Message 3 of 10 , Dec 27, 2004
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          thanks Garrett.....I know most if not all of these papers are to one degree or another buffered, likely with calcium carbonate. Hahnemuelle papers are, Ingres and the natur text I use also. It must be they use just enough and do not go overboard......they do work. with alum that is.

          I would suspect in Halfer's day there may have been just plain old paper mostly.maybe one could take up papermaking to test further.....but we're supposed to make our lives EASIER not harder!
          I vote for alum!

          irisnevins

          ----- Original Message -----
          From: G. Dixon<mailto:gdixon@...>
          To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
          Sent: Sunday, December 26, 2004 11:04 PM
          Subject: Re: [Marbling] Re: Without alum



          A couple of years ago, I spent about six months experimenting in marbling without alum on both carrageen and gum tragacanth sizes. I tried various papers: Zerkall, Somerset, Rives, Arches, Cranes Crest, various Ingres, Japanese and inexpensive Sumi papers. The unsized, or minimally sized, Japanese and sumi papers worked well - picked up the paints with good intensity and little bleeding of colors. The papers have a softer look, since the paint is absorbed into the paper to an extent, but still very acceptable (I often use Loew & Cornell sumi paper when testing a paint or pattern if I have no alumed paper around). The other papers were disappointing: only limited amounts of paint adhered, the rest of the color washed off or bled, and I was never able to achieve the intensity that aluming permits. I did not find, as Halfer wrote, that lakes and earth colors + gall on a tragacanth size would adhere without aluming - at least on the papers I tried. I concluded that the sizing in the paper was the major problem. I have had no success finding western papers that are absorbent enough to work without aluming.

          Garrett Dixon ----- Original Message -----
          From: IRIS NEVINS
          To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
          Sent: Sunday, December 26, 2004 7:56 PM
          Subject: Re: [Marbling] Re: Without alum


          many fabric dyers use vinegar....it will work, not as well though as alum for paper.

          iris nevins
          ----- Original Message -----
          From: Brent Mydland<mailto:jbg78734@...<mailto:jbg78734@...>>
          To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>>
          Sent: Sunday, December 26, 2004 7:27 PM
          Subject: Re: [Marbling] Re: Without alum



          Once on the phone with Dexter Ing he told me that someone was using another mordant that was found in every kitchen and that it would soon appear in an article in Ink & Gall but that ended........Anyone that can tell us this would be helpful.
          Dexter are you on this list?
          Peace John Goode

          IRIS NEVINS <irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...>>> wrote:
          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@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...>>>
          To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto: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/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://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
          etc..
          Susanne Krause

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


          Yahoo! Groups SponsorADVERTISEMENT


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          Yahoo! Groups Links

          To visit your group on the web, go to:
          http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/>>

          To unsubscribe from this group, send an email to:
          Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com>>

          Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.



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


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          ADVERTISEMENT





          ------------------------------------------------------------------------------
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          Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com>

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        • Brent Mydland
          Yes I knew it had to be vinegar But the lil birdy never told me...Thank you Iris... your a wonderful marbler and a mentor......... Yes,I finally said I will
          Message 4 of 10 , Dec 27, 2004
          • 0 Attachment
            Yes I knew it had to be vinegar But the lil birdy never told me...Thank you Iris... your a wonderful marbler and a mentor.........
            Yes,I finally said I will make all my paper its not that hard but fun!
            The prices get higher and the work is 10 times more appreciated!
            as with Tile I make it all from scratch..bodiesinkstofire to 1830 cone 06......
            Once again its all about the handmade effect that throws me in the fine art spectrum.
            I tend to belive this but I always take the hard road.
            Another thing Dexter told me was its the people that look at your work when it was on T shirts People see the t shirt not the marbling when on store bought paper its the same......
            as with machine made tile,dust pressed JUNK!!! its always more work...but whats easy?
            Everyone lets talk papermaking and I will post some pictures soon as I can fiqure that out Too!!
            Sorry about the excitement...Peace John Goode

            thanks Garrett.....I know most if not all of these papers are to one degree or another buffered, likely with calcium carbonate. Hahnemuelle papers are, Ingres and the natur text I use also. It must be they use just enough and do not go overboard......they do work. with alum that is.

            I would suspect in Halfer's day there may have been just plain old paper mostly.maybe one could take up papermaking to test further.....but we're supposed to make our lives EASIER not harder!
            I vote for alum!

            irisnevins

            ----- Original Message -----
            From: G. Dixon<mailto:gdixon@...>
            To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
            Sent: Sunday, December 26, 2004 11:04 PM
            Subject: Re: [Marbling] Re: Without alum



            A couple of years ago, I spent about six months experimenting in marbling without alum on both carrageen and gum tragacanth sizes. I tried various papers: Zerkall, Somerset, Rives, Arches, Cranes Crest, various Ingres, Japanese and inexpensive Sumi papers. The unsized, or minimally sized, Japanese and sumi papers worked well - picked up the paints with good intensity and little bleeding of colors. The papers have a softer look, since the paint is absorbed into the paper to an extent, but still very acceptable (I often use Loew & Cornell sumi paper when testing a paint or pattern if I have no alumed paper around). The other papers were disappointing: only limited amounts of paint adhered, the rest of the color washed off or bled, and I was never able to achieve the intensity that aluming permits. I did not find, as Halfer wrote, that lakes and earth colors + gall on a tragacanth size would adhere without aluming - at least on the papers I tried. I concluded that the sizing
            in the paper was the major problem. I have had no success finding western papers that are absorbent enough to work without aluming.

            Garrett Dixon ----- Original Message -----
            From: IRIS NEVINS
            To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
            Sent: Sunday, December 26, 2004 7:56 PM
            Subject: Re: [Marbling] Re: Without alum


            many fabric dyers use vinegar....it will work, not as well though as alum for paper.

            iris nevins
            ----- Original Message -----
            From: Brent Mydland<mailto:jbg78734@...<mailto:jbg78734@...>>
            To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>>
            Sent: Sunday, December 26, 2004 7:27 PM
            Subject: Re: [Marbling] Re: Without alum



            Once on the phone with Dexter Ing he told me that someone was using another mordant that was found in every kitchen and that it would soon appear in an article in Ink & Gall but that ended........Anyone that can tell us this would be helpful.
            Dexter are you on this list?
            Peace John Goode

            IRIS NEVINS <irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...>>> wrote:
            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@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...>>>
            To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto: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/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://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
            etc..
            Susanne Krause

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


            Yahoo! Groups SponsorADVERTISEMENT


            ---------------------------------
            Yahoo! Groups Links

            To visit your group on the web, go to:
            http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/>>

            To unsubscribe from this group, send an email to:
            Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com<mailto:Marbling-unsubscribe@yahoogroups.com>>

            Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.



            ---------------------------------
            Do you Yahoo!?
            The all-new My Yahoo! - What will yours do?

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


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            ADVERTISEMENT





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            a.. To visit your group on the web, go to:
            http://groups.yahoo.com/group/Marbling/<http://groups.yahoo.com/group/Marbling/>

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





            Yahoo! Groups Links









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


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            ---------------------------------
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          • IRIS NEVINS
            I don t have TIME to make paper too!! I am already spread too thin! Iris Nevins ... From: Brent Mydland To:
            Message 5 of 10 , Dec 27, 2004
            • 0 Attachment
              I don't have TIME to make paper too!! I am already spread too thin!
              Iris Nevins
              ----- Original Message -----
              From: Brent Mydland<mailto:jbg78734@...>
              To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>
              Sent: Monday, December 27, 2004 1:52 PM
              Subject: Re: [Marbling] Re: Without alum



              Yes I knew it had to be vinegar But the lil birdy never told me...Thank you Iris... your a wonderful marbler and a mentor.........
              Yes,I finally said I will make all my paper its not that hard but fun!
              The prices get higher and the work is 10 times more appreciated!
              as with Tile I make it all from scratch..bodiesinkstofire to 1830 cone 06......
              Once again its all about the handmade effect that throws me in the fine art spectrum.
              I tend to belive this but I always take the hard road.
              Another thing Dexter told me was its the people that look at your work when it was on T shirts People see the t shirt not the marbling when on store bought paper its the same......
              as with machine made tile,dust pressed JUNK!!! its always more work...but whats easy?
              Everyone lets talk papermaking and I will post some pictures soon as I can fiqure that out Too!!
              Sorry about the excitement...Peace John Goode

              thanks Garrett.....I know most if not all of these papers are to one degree or another buffered, likely with calcium carbonate. Hahnemuelle papers are, Ingres and the natur text I use also. It must be they use just enough and do not go overboard......they do work. with alum that is.

              I would suspect in Halfer's day there may have been just plain old paper mostly.maybe one could take up papermaking to test further.....but we're supposed to make our lives EASIER not harder!
              I vote for alum!

              irisnevins

              ----- Original Message -----
              From: G. Dixon<mailto:gdixon@...<mailto:gdixon@...>>
              To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>>
              Sent: Sunday, December 26, 2004 11:04 PM
              Subject: Re: [Marbling] Re: Without alum



              A couple of years ago, I spent about six months experimenting in marbling without alum on both carrageen and gum tragacanth sizes. I tried various papers: Zerkall, Somerset, Rives, Arches, Cranes Crest, various Ingres, Japanese and inexpensive Sumi papers. The unsized, or minimally sized, Japanese and sumi papers worked well - picked up the paints with good intensity and little bleeding of colors. The papers have a softer look, since the paint is absorbed into the paper to an extent, but still very acceptable (I often use Loew & Cornell sumi paper when testing a paint or pattern if I have no alumed paper around). The other papers were disappointing: only limited amounts of paint adhered, the rest of the color washed off or bled, and I was never able to achieve the intensity that aluming permits. I did not find, as Halfer wrote, that lakes and earth colors + gall on a tragacanth size would adhere without aluming - at least on the papers I tried. I concluded that the sizing
              in the paper was the major problem. I have had no success finding western papers that are absorbent enough to work without aluming.

              Garrett Dixon ----- Original Message -----
              From: IRIS NEVINS
              To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>>
              Sent: Sunday, December 26, 2004 7:56 PM
              Subject: Re: [Marbling] Re: Without alum


              many fabric dyers use vinegar....it will work, not as well though as alum for paper.

              iris nevins
              ----- Original Message -----
              From: Brent Mydland<mailto:jbg78734@...<mailto:jbg78734@...<mailto:jbg78734@...<mailto:jbg78734@...>>>
              To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com>>>
              Sent: Sunday, December 26, 2004 7:27 PM
              Subject: Re: [Marbling] Re: Without alum



              Once on the phone with Dexter Ing he told me that someone was using another mordant that was found in every kitchen and that it would soon appear in an article in Ink & Gall but that ended........Anyone that can tell us this would be helpful.
              Dexter are you on this list?
              Peace John Goode

              IRIS NEVINS <irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...<mailto:irisnevins@...>>>> wrote:
              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@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...<mailto:hamburgerbuntpapier@...>>>>
              To: Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto:Marbling@yahoogroups.com<mailto: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/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://www.kremer<http://www.kremer/<http://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
              etc..
              Susanne Krause

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