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Re: [Marbling] Terminology, trying to summarize

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  • irisnevins
    That s very critical point Susanne, that out of so many papers only 70 were unidentified. Are there images online of the 70? I came across the very obscure but
    Message 1 of 5 , Aug 28, 2012
      That's very critical point Susanne, that out of so many papers only 70 were unidentified. Are there images online of the 70?

      I came across the very obscure but old pattern that I call Rainbow Spanish. In all my years looking at old papers and marbling, I have seen only TWO examples. I went totally out of my mind for weeks trying to figure out how to make them. I didn't worry about the name. When I wanted to make them for sale, yes, I had to worry about a name. It was Spanish, with rainbow effect apparently painted on the paper first (after aluming and drying). So I called it Rainbow Spanish. It reminds me of the first time I met Chris Weimann, and found he called "Zebra" ...stripes of many colors and waved.... Ribbon Spanish! if I had no name for it I would have come up with something like that, not Zebra. Someone else told me Zebra so I used it. Aside from stripes, it reminds me not at all of a Zebra!

      Speaking of Christopher Weimann, I should mention that Ingrid, his widow has some copies left of her wonderful Tribute book to Chris. She is selling them at a discount at the moment. It is a spectacular book. You can check it out on my site, but I do not sell it... contact Ingrid at floatingcolors@...
      the link: http://marblingpaper.com/Weimann%20Book.html
      this is a very important addition to all collections of marbling books. it is magnificent. Contact Ingrid for any further information, I am not sure of the price or shipping fees etc. She can tell you.

      Iris Nevins

      On 08/28/12, hamburgerbuntpapier_de<studio@...> wrote:

      Hi all,

      we've had many discussions about terminology. What I see this time is very close to what we discussed for months and, in some aspects, years when making Guide Book.

      Terms, and particularly terms of a field that has never been subject to fixed rules and regulations as to training and terminology, tend to differ. A beloved child has many names.

      Professional paper decorators use quite frequently the well established terms or else terms like Oh, THAT! (Iris, I`m grinning broadly!), The Berlin reconstruction, The green one I made for what`s-his-name, at least within the studio walls. Outside, we generally only need one catchword to get together again when a discussion with colleagues strays towards confusion. You know, the one with the bubbles and the comb. Oh THAT!
      We can do so because we know how it is done. However, this way is closed to non-practitioners. A technique cannot be seen, only the effects of a technique.

      It`s quite another thing with non-professionals and yet another with scientists. Yes, Graham, people cannot see it when they don`t know about it. I suspect the lion`s share of (sorry) rubbish vented from too many scientists is due to just that: they see something they don`t now anything about except what they see or believe they see and feel an urge to give a name to it. They usually give in to the urge and if we`re lucky they consult not only a meter or two of reference books but also a number of practitioners before doing so.

      Non-professionals /amateurs (lat. amare=to love) are, in an estimated nine cases out of ten, not too interested in terminology, they want to enjoy the pleasures of making, processing, collecting, resting their eyes ... whatever. They are usually happy with any well-established term provided they know what they mean.

      Add to that the trade names (and in some cases there are as many names as manufacturers for the same paper) and you`re beginning to see the ocean of possibilities.

      So a valid and useful terminology needs to take all this into consideration.

      How to get all those necessities together? How to find a common language? And particularly with marbled papers and their special and quite unique demands?

      By teaching people to use their eyes.

      Many beloved names of marbled papers stay just the same, because of the unique demands mentioned above. Many just as beloved names of other decorated papers change from nice to understandable.

      The big merit is, this method is for free except that it needs the work of getting used to. It is adaptable to almost any case. Of the 15`000 items in the Munich collection, only about 70 were not to be identified.

      It's all in Guide Book.

      Susanne Krause


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