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Re: Reproducing old papers

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  • anthonianthonianthoni
    Dear Iris: The post has indeed went through, and what an informative post it is! *** You mention your search for a sutiable red for marbling in this your post.
    Message 1 of 10 , Jan 13, 2012
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      Dear Iris:
      The post has indeed went through, and what an informative post it is!
      ***
      You mention your search for a sutiable red for marbling in this your post. I have used alizarin crimson, which seems to work quite well.The only problem is that the colour needs a lot of gall, and thus appears pink when the sheet is marbled. ( not a colour I would acualy recomend anyway. the colour is not really lightfast )
    • irisnevins
      Anthony ...the post went through only after three tries. I had to literally go over to the group site to re-post it. Thankfully I could copy and paste. I have
      Message 2 of 10 , Jan 14, 2012
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        Anthony ...the post went through only after three tries. I had to literally go over to the group site to re-post it. Thankfully I could copy and paste.

        I have used Alizarin as well. If you add a little black to it, it looks better. One reason I avoid it is it is pretty fugitive. I don't want it turning brown or pink on someone's book in a few years. It is I believe related to Rose Madder. I do use Rose madder, because people want it, but I will use it as a pink. So far so good, though it is somewhat fugitive. With a blue mixed in, it is a lovely purple. The synthetic form of the Alizarin, or a sub for it would be a Quinacridone color I believe (going from memory!), a synthetic pigment. Often the synthetics work better than the pure real thing, and I counter my reputation as a purist....I am not, if something works better, use it. All the way down to my favorite marbling addition....plastic squeeze bottles. That does ruin the image, but I am sure any marbler long ago would have used them too if they could have had them! So see if you can locate some quinacridone type reddish paint. I have used them in acrylic making but not is watercolor. May give it another shot.

        Hopefully memory serves correctly on this! Anyway if you have alizarine, a little black in it works wonders in toning down the pink.
        Iris Nevins
        www.marblingpaper.com



        On 01/14/12, anthonianthonianthoni<anthonianthonianthoni@...> wrote:

        Dear Iris:
        The post has indeed went through, and what an informative post it is!
        ***
        You mention your search for a sutiable red for marbling in this your post. I have used alizarin crimson, which seems to work quite well.The only problem is that the colour needs a lot of gall, and thus appears pink when the sheet is marbled. ( not a colour I would acualy recomend anyway. the colour is not really lightfast )




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      • anthonianthonianthoni
        I have tried your suggestion, and it works quite well. Well, I have tried cad. red for the first time today. as you have said, the colour is very heavy, and
        Message 3 of 10 , Jan 15, 2012
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          I have tried your suggestion, and it works quite well.
          Well, I have tried cad. red for the first time today. as you have said, the colour is very heavy, and even though the ratio of dilution was about a pea sized lump of the former, to about 3 ounces of water, it spread sluggishly, and printed with a pale shade.
          do I need to dilute the colour further?
        • irisnevins
          Hi Anthony.... The biggest mistake everyone makes is thinking watercolor is watercolor, all same uniform formula from brand to brand, and acrylic the same.
          Message 4 of 10 , Jan 15, 2012
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            Hi Anthony.... The biggest mistake everyone makes is thinking watercolor is watercolor, all same uniform formula from brand to brand, and acrylic the same. Are you, first of all, using watercolor or acrylic is the first question. Are you diluting either with what? And dispersing with what. Are you adding these so called additives that less traditional paint makers seem to think you need.

            Other questions you will not be able to answer will be how much dispersant did the maker use before it got to you. What kind, ox-gall (unlikely for most) or a detergent based...more likely, as detergent based dispersant spreads as you put it, SLUGGISHLY, when used with watercolor anyway. How much binder or filler do they put in. Do they use a pure pigment or one with chalk filler. They will not answer these questions, so all you can do is mention symptoms. Even acrylic. The more commercial tube ones, high on acrylic base, lower on pigment. Gouache will generally have more filler than tube watercolor. Tube watercolor may have none, but depends on the maker. They will all have a binder though, but how much.

            This is why I always recommend that people get their paints from a marbling supplier not an art store. I am not trying to make sales for myself, believe me I am not getting rich selling marbling paints, but I like that I have a good product that I know works and I can advise on it because I use it all the time. You can get paints made specifically for marbling elsewhere too, I don't really care where people go, so long as they can call or email "tech support" even while in the midst of marbling and generally get a quick answer. I am mostly here, but if I don't respond via email, if I am out, my phone forwards to my cell. So I may as well be here. I often get calls and if I am able to speak, will help, even if the person is not using my paint.

            So on your red, yes, I would try to thin it a bit more and see what happens. Is this something made specifically for marbling? There have been paints through the years that call themselves various types of marbling paint, and I was not too impressed by any of them. Myself, Nancy Morains at Colophon, and I don't know who else makes them who is also a steady marbler, we are the ones who understand how to tweak our materials. Marbling is never problem free. The formula day to day as to how much water to add, how much gall, will vary due to conditions. So our materials are not foolproof out of the bottle either, for anyone, especially a beginner. There is a large learning curve in dealing with general marbling quirks and problems.

            So my theory....try EVERYTHING. Maybe what you got needs to be thicker, who knows. If it has chalk filler it will decrease the weight so maybe making it denser will work. Chalk filler is not a bad thing, some pigments I have used only worked well with some filler, particularly the ultramarine and cad. red. The one cad red I have now is pure, and it is a bit more difficult but not bad, and the difficult is on my end making it. One it gets to the person using it there is no difference in how it acts. Once on the paper, there is no difference. This and other things, are reasons I chuckle when someone asks for "The Paint Formula". As I said before it is like asking for The Cake Recipe, like there is only one. It would be easier if there were just one size fits all, but not so. It gets pretty complicated, each pigment needing somewhat different handling. Add to that now, each manufacturer making an altogether different mix from each other.

            Anyway....hopefully I have not confused you more.
            Iris Nevins
            www.marblingpaper.com


            On 01/15/12, anthonianthonianthoni<anthonianthonianthoni@...> wrote:

            I have tried your suggestion, and it works quite well.
            Well, I have tried cad. red for the first time today. as you have said, the colour is very heavy, and even though the ratio of dilution was about a pea sized lump of the former, to about 3 ounces of water, it spread sluggishly, and printed with a pale shade.
            do I need to dilute the colour further?



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          • anthonianthonianthoni
            The paint in question is red artist s watercolour. The dispersant is gall ( bovine) and the dilutent, water. Also, when I marble nonpareil, I use prussian
            Message 5 of 10 , Jan 16, 2012
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              The paint in question is red artist's watercolour. The dispersant is gall ( bovine) and the dilutent, water.

              Also, when I marble nonpareil, I use prussian blue, but the blue spreads so much , that every colour is pushed out of the way.
            • irisnevins
              Hi Anthony The problem is that generally the manufacturer puts in a dispersant before you add ox-gall. Sometimes you need none for the tubes. I found way back
              Message 6 of 10 , Jan 17, 2012
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                Hi Anthony

                The problem is that generally the manufacturer puts in a dispersant before you add ox-gall. Sometimes you need none for the tubes. I found way back when I used tubes or gouache or watercolor, that it would vary from batch to batch, the amount of dispersant, and thus, spread. There is no way to know what they use, but I would bet money on a detergent type, due to sluggish spread and TOO MUCH spread! I suspect that is the case with the Prussian Blue you are using. Try a different brand and see what happens. Some pigments naturally spread more. I use little and sometimes no gall in my Rose Madder for example.

                You could try to mix the blue with some black if that spreads less, and get a nice navy blue?
                Iris Nevins
                www.marblingpaper.com


                On 01/16/12, anthonianthonianthoni<anthonianthonianthoni@...> wrote:

                The paint in question is red artist's watercolour. The dispersant is gall ( bovine) and the dilutent, water.

                Also, when I marble nonpareil, I use prussian blue, but the blue spreads so much , that every colour is pushed out of the way.




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              • anthonianthonianthoni
                The maker in question of the pruss. blue ( I use it in a gouache) is Daler-rowney . The other colour I use, viz; yell. ocher still needs some gall. I think the
                Message 7 of 10 , Jan 17, 2012
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                  The maker in question of the pruss. blue ( I use it in a gouache) is Daler-rowney . The other colour I use, viz; yell. ocher still needs some gall. I think the spreadiness is an inherent property with this blue, as I have used other brands, and the colour still spread a lot.
                  ****
                  To return to the subject of making nonpareils per se, I have chanced across another set of directions for making an nonpareil, which siginficantly differ from the more commonly used one.

                  I lay down the middle of the bath , a band of black.
                  II on either side of the band, make bull's eye spots of colours ( by dropping one colour on top of another, like what one does to test the paints)
                  III cross-stylus the pattern, then comb

                  see http://www.aboutbookbinding.com/Practical_Bookbinding/Marbling-Gilding-Headband-Edges-4.html, 3rd paragraph onwards

                  Has anyone ever tried this method before? do the results differ in any way to more conventional methods?
                • anthonianthonianthoni
                  NOTA BENE: the link seems to be broken. To acess the article in question, go to http://www.aboutbookbinding.com/Practical_Bookbinding/Main.html and go to the
                  Message 8 of 10 , Jan 17, 2012
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                    NOTA BENE: the link seems to be broken. To acess the article in question, go to
                    http://www.aboutbookbinding.com/Practical_Bookbinding/Main.html
                    and go to the 4th part of "Marbling, Gilding the Edges and Headbanding " ,

                    --- In Marbling@yahoogroups.com, "anthonianthonianthoni" <anthonianthonianthoni@...> wrote:
                    >
                    > The maker in question of the pruss. blue ( I use it in a gouache) is Daler-rowney . The other colour I use, viz; yell. ocher still needs some gall. I think the spreadiness is an inherent property with this blue, as I have used other brands, and the colour still spread a lot.
                    > ****
                    > To return to the subject of making nonpareils per se, I have chanced across another set of directions for making an nonpareil, which siginficantly differ from the more commonly used one.
                    >
                    > I lay down the middle of the bath , a band of black.
                    > II on either side of the band, make bull's eye spots of colours ( by dropping one colour on top of another, like what one does to test the paints)
                    > III cross-stylus the pattern, then comb
                    >
                    > see http://www.aboutbookbinding.com/Practical_Bookbinding/Marbling-Gilding-Headband-Edges-4.html, 3rd paragraph onwards
                    >
                    > Has anyone ever tried this method before? do the results differ in any way to more conventional methods?
                    >
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