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Re: Help with acrylic colours

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  • enidadams
    Glenda, sorry but there is no one easy formula or answer that always works for all people. Most marblers learn to adapt and make adjustments based on the type
    Message 1 of 22 , Aug 21, 2008
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      Glenda, sorry but there is no one easy formula or answer that always
      works for all people. Most marblers learn to adapt and make
      adjustments based on the type of size and colors, temperature and
      humidity. It may seem like a good idea to think ahead to needing large
      quantities, but why not try marbling with what you already have in
      large quantities or ready access to. The good news is, you will find
      many colors with different formulas can be made to "work" in different
      ways. You will find a very small amount of color can go a long way, so
      you may not need the large quantities that you think to get started.
      If you start with what you have and go from there, you will probably
      have a feel for which direction to go from there.

      The binders in textile pigments are more appropriate to fabrics than
      paper marbling colors, in that they have a softer hand and more
      flexibility. Their main difference from other acrylic colors, as you
      probably well know, is the heat setting requirement. You can get
      around this with an air cure catalyst and time, but on a surface other
      than fabric or paper I would recommend a sealer. For fabric colors on
      paper, I heat set them also. The baking sun of South Africa might do
      the job!

      Many of the colors you have on hand can probably be made to work, and
      you can intermix them to balance the ones that spread too much with the
      ones that spread too little. The main rule of thumb is that you are
      looking for a high pigment load with finely ground particles and
      relatively low viscosity. Since the colors need to be thinned to the
      consistency of cream, it's best not to start with a heavy bodied paint
      for screen printing that may have the same pigment load as an airbrush
      color or handpainting consistency, unless of course, the latter have so
      much dispersant they spread too much. If you have a ready source of
      aqueous dispersed pure pigments, combining these with ready-to-use
      paints can counteract the loss of intensity that occurs when thinning
      them. Second to that, professional grade tube acrylics can help boost
      pigment load. Don't expect lab people to test colors to the point that
      they perform to your standards, if you are an exacting marbler.

      Tube acrylics are very concentrated and have enough binder to hold when
      thinned without additional carrier. Professional grades have a higher
      pigment load than student grades, and are the better investment if
      shipping is a factor. If you looking for a binder to use with pure
      pigments on paper, try gum arabic.

      Good luck! Enid

      --- In Marbling@yahoogroups.com, "kirkiridis" <amafu@...> wrote:
      > Thanks to everyone for their advice regarding formula for marbling
      I am also looking -eventually - for large quantities - not the odd
      kilo here or there. I can get CMC,carageenan & pigments by the truck
      load if I wanted them.The problem is finding a reliable formula to
      carry the pigments.For me, that will entail hiring a lab to work their
      way through 30 odd different extenders currently available here to find
      the right one.I dont know whether its worth the effort and expense.
      > Regards,
      > Glenda in South Africa
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