Re: Great Exhibition (paints not spreading)
- 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@...>
> 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'
> Such beautiful colours and artistry. Her years of practice andflowers
> 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
> etc. is added. I watched Ayla working in Istanbul, and she spentand
> 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
> size, and less likely to form dust holes while the top pattern isshe
> 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
> uses traditional Turkish styli, with wooden handles and bluntbrass
> skewer-like rods of different thicknesses. These are quite easy toshe
> make with other materials. Does this answer help?
> Happy marbling! Joan
> -- In Marbling@yahoogroups.com, "Santure, Lynn A" <lsanture@>
> > How does this artist keep her paints from spreading? How does
> > such CONTROL?! Is this characteristic of Ebru marbling?
> > -----Original Message-----
> > From: Marbling@yahoogroups.com [mailto:Marbling@yahoogroups.com]
> > Behalf Of mpmh60201artist's
> > 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
> > 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