Suminagashi on Fabric and Acrylic Resins/Polymers- Paint manufacture
- Marie's psoting reminds me, that there is a wonderful historical text called
the Suminagashi-zome of Tokutaru Yagi (sp?), translated and published by
Robin Heyeck. In this book, he describes a method he developped for doing
suminagashi on silk, which was then used for Obi sashes in Kimonos. The
process is rather elaborate, and it involved using block resist methods,
then reversing them to do each section of fabric. I don't know how he set
Charles Woolnough did watercolor marbling on bookcloth. Iris Nevins can tell
you more about this, as she has a copy of Woolnough. I have seen a sample
at Houghton Library, and I wondered about the durability. There seemed to
be no coating on it. I do have one German volume in my collection that has
a Spanish pattern excuted on a leather grain embossed paper (pretty strange
actually!), and that too has suffered from abrasion.
I should clarify one thing, and that is there is a difference between
acrylic resin and acrylic polymer emulsions. Acrylic resins are just that,
hard inflexible resins. They are manufactured in a wide variety of grades of
hardness, solvent solubilty and resulting flexibilty. Some are Acryloid
B67, used by objects conservators for stone etc. and Acryloid B72, used by
paintings and sometimes paper conservators for consolidation and inpainting
reapirs. It's basically the main ingredient in products like Krylon Crystal
Clear. The Library of Congress Research and Testing office tested Krylon
some years ago, and found this out. It is considered to be pretty stable and
non-acidic. The solvents in it are another matter however, and proper
precautions should be observed when using such products.
(On another note, I recently tried the new "low odor" Krylon, which uses an
acrylic latex fixative in isopropanol. I wasn't very happy with the
results. It tended to bead up and not coat as evenly. Latex is generally
considered to be unstable by conservators as well, as the oils in it break
down and cause all sorts of problems over time.)
Acrylic fabric paints and such are resins that have been polymerized. That
means they have longer molecule chain structures that give it greater
flexibility, and are dispersed in water. This is known as an Arcrylic
For further reading, I highly recomend referring to 2 newer volumes onthe
subject. Many poeple are familiar with ralph Mayer's The Artist's Handbook.
I find that while much of the information is useful, it is also very dated,
and hasn't been revised since Mr. Mayer's Death some time ago. So skip that
I prefer The painter's Handbook by Mark David Gottsegen, Watson-Guptill, New
York, 1993 ISBN 0-8230-3003-2. This book has a tremendous ammount of
information and much is presented in chart reference format. Unfortunatley,
there are no photos. Another book that I like alot since it has great
photographs, is The Artist's Handbook by Ray Smith. Knopf, New York 1992.
ISBN 0-394-55585-6. While these aren't exactly written with mabrling in
mind at all, they are great resources from which you can thoroughly
familiarize yourself with a variety of media, processes, and terminology.
It's very inspiring for doing multi media work.
Hope this helps,
- Just catching up....have been on a long overdue vacation....
My copy of Woolnough's is not a marbled cloth one, and in fact was a very
beat up copy I rebound with my own papers (I hope old Charlie didn't mind
too much!). But it does mention that he did a public demonstration of
bookcloth marbling if I am remembering correctly. I do not know whether it
had a coating, but in his day they did size then polish papers by machine
to make them shiny and to protect them, so presume that may have been the
after treatment of the cloth if they had one.