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RE: [Marbling] Great Exhibition (paints not spreading)

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  • Santure, Lynn A
    How does this artist keep her paints from spreading? How does she achieve such CONTROL?! Is this characteristic of Ebru marbling? ... From:
    Message 1 of 4 , Feb 24, 2006
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      How does this artist keep her paints from spreading? How does she achieve
      such CONTROL?! Is this characteristic of Ebru marbling?


      -----Original Message-----
      From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]On
      Behalf Of mpmh60201
      Sent: Friday, February 24, 2006 1:36 PM
      To: Marbling@yahoogroups.com
      Subject: [Marbling] Great Exhibition


      I had no problem linking to this site.
      It's marvelous work, combining traditional Ebru with the artist's
      contemporary vision, some reminiscent of Mustfa Duzgunman
      and Hikmet Barutcugil. There is also exceptional texture created
      in several of the papers, and the inclusion of figures is done
      well- both in execution and composition.
      Milena







      Yahoo! Groups Links
    • sixshort
      Hi Lynne, Isn t that a breathtaking exhibition of Ayla Makas work! Such beautiful colours and artistry. Her years of practice and study under great master
      Message 2 of 4 , Feb 25, 2006
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        Hi Lynne, Isn't that a breathtaking exhibition of Ayla Makas' work!
        Such beautiful colours and artistry. Her years of practice and
        study under great master marblers have given her the control she
        demonstrates. Specifically, the background pattern is first laid
        down, creating much surface tension, then the top pattern of flowers
        etc. is added. I watched Ayla working in Istanbul, and she spent
        much time adjusting the tension of her paints so that they spread
        exactly as she wanted. Also, she grinds her own pigments, so
        doesn't have our problem of too much surfactant added by a
        manufacturer of paint. If she has any problem with the initial
        pattern, she clears the surface of paint and starts again, and she
        is able to work very slowly because of the size, made from
        traditional Gum Tragacanth rather than carragheen. This, combined
        with the ground pigments, is much more forgiving than our paints and
        size, and less likely to form dust holes while the top pattern is
        developed. Gum Tragacanth has its disadvantages - much harder to
        prepare for a start - but it is ideally suited to ebru.

        The other point of control comes from the fact that Ayla sits to
        marble, with the long edge of a slightly larger-than A3-sized tray
        facing her. To apply the drops of paint for the flower patterns she
        uses traditional Turkish styli, with wooden handles and blunt brass
        skewer-like rods of different thicknesses. These are quite easy to
        make with other materials. Does this answer help?

        Happy marbling! Joan

        -- In Marbling@yahoogroups.com, "Santure, Lynn A" <lsanture@...>
        wrote:
        >
        > How does this artist keep her paints from spreading? How does she
        achieve
        > such CONTROL?! Is this characteristic of Ebru marbling?
        >
        >
        > -----Original Message-----
        > From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]On
        > Behalf Of mpmh60201
        > Sent: Friday, February 24, 2006 1:36 PM
        > To: Marbling@yahoogroups.com
        > Subject: [Marbling] Great Exhibition
        >
        >
        > I had no problem linking to this site.
        > It's marvelous work, combining traditional Ebru with the artist's
        > contemporary vision, some reminiscent of Mustfa Duzgunman
        > and Hikmet Barutcugil. There is also exceptional texture created
        > in several of the papers, and the inclusion of figures is done
        > well- both in execution and composition.
        > Milena
        >
        >
        >
        >
        >
        >
        >
        > Yahoo! Groups Links
        >
      • Santure, Lynn A
        Yes, that answered my question. Great description! Is there any other ways to achieve such CONTROL with either methocyl or carragheen? ... From:
        Message 3 of 4 , Feb 27, 2006
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          Yes, that answered my question. Great description!

          Is there any other ways to achieve such CONTROL with either
          methocyl or carragheen?

          -----Original Message-----
          From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]On
          Behalf Of sixshort
          Sent: Sunday, February 26, 2006 1:45 AM
          To: Marbling@yahoogroups.com
          Subject: [Marbling] Re: Great Exhibition (paints not spreading)


          Hi Lynne, Isn't that a breathtaking exhibition of Ayla Makas' work!
          Such beautiful colours and artistry. Her years of practice and
          study under great master marblers have given her the control she
          demonstrates. Specifically, the background pattern is first laid
          down, creating much surface tension, then the top pattern of flowers
          etc. is added. I watched Ayla working in Istanbul, and she spent
          much time adjusting the tension of her paints so that they spread
          exactly as she wanted. Also, she grinds her own pigments, so
          doesn't have our problem of too much surfactant added by a
          manufacturer of paint. If she has any problem with the initial
          pattern, she clears the surface of paint and starts again, and she
          is able to work very slowly because of the size, made from
          traditional Gum Tragacanth rather than carragheen. This, combined
          with the ground pigments, is much more forgiving than our paints and
          size, and less likely to form dust holes while the top pattern is
          developed. Gum Tragacanth has its disadvantages - much harder to
          prepare for a start - but it is ideally suited to ebru.

          The other point of control comes from the fact that Ayla sits to
          marble, with the long edge of a slightly larger-than A3-sized tray
          facing her. To apply the drops of paint for the flower patterns she
          uses traditional Turkish styli, with wooden handles and blunt brass
          skewer-like rods of different thicknesses. These are quite easy to
          make with other materials. Does this answer help?

          Happy marbling! Joan

          -- In Marbling@yahoogroups.com, "Santure, Lynn A" <lsanture@...>
          wrote:
          >
          > How does this artist keep her paints from spreading? How does she
          achieve
          > such CONTROL?! Is this characteristic of Ebru marbling?
          >
          >
          > -----Original Message-----
          > From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]On
          > Behalf Of mpmh60201
          > Sent: Friday, February 24, 2006 1:36 PM
          > To: Marbling@yahoogroups.com
          > Subject: [Marbling] Great Exhibition
          >
          >
          > I had no problem linking to this site.
          > It's marvelous work, combining traditional Ebru with the artist's
          > contemporary vision, some reminiscent of Mustfa Duzgunman
          > and Hikmet Barutcugil. There is also exceptional texture created
          > in several of the papers, and the inclusion of figures is done
          > well- both in execution and composition.
          > Milena
          >
          >
          >
          >
          >
          >
          >
          > Yahoo! Groups Links
          >







          Yahoo! Groups Links
        • sixshort
          Hi Lynn, The control that you are seeking has to do with the the amount of tension you set up on the surface of the size. The initial pattern laid down will
          Message 4 of 4 , Mar 3, 2006
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            Hi Lynn, The control that you are seeking has to do with the the
            amount of tension you set up on the surface of the size. The
            initial pattern laid down will have quite a bit of resistance by
            virtue of the oxgall or other surfactant used in the paints. The
            paints used for the flower motifs on top have to be adjusted with
            just enough gall to make them spread a little - too much and they
            will spread wildly and join the initial pattern.

            The main problem with using carragheen is the likelihood of dust
            holes opening up while all this is going on - the longer you sit
            around making little flower motifs, the more likelihood there is
            that those pesky little holes will appear. I don't enjoy working
            with MC, so can't comment on that. Joan

            --- In Marbling@yahoogroups.com, "Santure, Lynn A" <lsanture@...>
            wrote:
            >
            > Yes, that answered my question. Great description!
            >
            > Is there any other ways to achieve such CONTROL with either
            > methocyl or carragheen?
            >
            > -----Original Message-----
            > From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]On
            > Behalf Of sixshort
            > Sent: Sunday, February 26, 2006 1:45 AM
            > To: Marbling@yahoogroups.com
            > Subject: [Marbling] Re: Great Exhibition (paints not spreading)
            >
            >
            > Hi Lynne, Isn't that a breathtaking exhibition of Ayla Makas'
            work!
            > Such beautiful colours and artistry. Her years of practice and
            > study under great master marblers have given her the control she
            > demonstrates. Specifically, the background pattern is first laid
            > down, creating much surface tension, then the top pattern of
            flowers
            > etc. is added. I watched Ayla working in Istanbul, and she spent
            > much time adjusting the tension of her paints so that they spread
            > exactly as she wanted. Also, she grinds her own pigments, so
            > doesn't have our problem of too much surfactant added by a
            > manufacturer of paint. If she has any problem with the initial
            > pattern, she clears the surface of paint and starts again, and she
            > is able to work very slowly because of the size, made from
            > traditional Gum Tragacanth rather than carragheen. This, combined
            > with the ground pigments, is much more forgiving than our paints
            and
            > size, and less likely to form dust holes while the top pattern is
            > developed. Gum Tragacanth has its disadvantages - much harder to
            > prepare for a start - but it is ideally suited to ebru.
            >
            > The other point of control comes from the fact that Ayla sits to
            > marble, with the long edge of a slightly larger-than A3-sized tray
            > facing her. To apply the drops of paint for the flower patterns
            she
            > uses traditional Turkish styli, with wooden handles and blunt
            brass
            > skewer-like rods of different thicknesses. These are quite easy to
            > make with other materials. Does this answer help?
            >
            > Happy marbling! Joan
            >
            > -- In Marbling@yahoogroups.com, "Santure, Lynn A" <lsanture@>
            > wrote:
            > >
            > > How does this artist keep her paints from spreading? How does
            she
            > achieve
            > > such CONTROL?! Is this characteristic of Ebru marbling?
            > >
            > >
            > > -----Original Message-----
            > > From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]
            On
            > > Behalf Of mpmh60201
            > > Sent: Friday, February 24, 2006 1:36 PM
            > > To: Marbling@yahoogroups.com
            > > Subject: [Marbling] Great Exhibition
            > >
            > >
            > > I had no problem linking to this site.
            > > It's marvelous work, combining traditional Ebru with the
            artist's
            > > contemporary vision, some reminiscent of Mustfa Duzgunman
            > > and Hikmet Barutcugil. There is also exceptional texture created
            > > in several of the papers, and the inclusion of figures is done
            > > well- both in execution and composition.
            > > Milena
            > >
            > >
            > >
            > >
            > >
            > >
            > >
            > > Yahoo! Groups Links
            > >
            >
            >
            >
            >
            >
            >
            >
            > Yahoo! Groups Links
            >
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