There are so many variables it is mind boggling. You can read through the archived old posts, and do searches on what you are having trouble with. It's all been repeated many many times. I assume it's accessible anyway.
Just a side note on carbon black for Sue, or any "color"...it is usually not the pigment's fault, but rather the fault of the company or person who made the particular brand of paint. The Carbon Black works just fine for me when I make up the paint, though I tend to use the Lamp Black instead just because I like to keep where I can, to the pigments mentioned in the old manuals. It's just soot really. Even so....I won't say it's the FAULT exactly of the paint maker, unless they are claiming specifically that it is a marbling paint. There are few actual made from scratch marbling paintmakers out there. I can only think of myself and Colophon Book Arts owner, Nancy Morains. We do the traditional watercolor though. I used to make acrylics, and may yet revive them someday, but mainly just stick to the watercolor, the historic method. It just allows a more historic looking paper, and I do reproduction papers for the most part. Anyway, there are pigments that are unfriendly to the process, but carbon black is not in that group. Maybe a different brand of it, Sue...if you like it. Sounds like there is not enough binder in that formulation of it.
Anyway.... learn as you go, but read the archives, books, watch youtubes. I have two up, not sure if I ever posted, in case anyone is interested in Spanish or how to do Sunspot/Tiger Eye:
On 06/21/13, Sue Cole<akartisan@...> wrote:
First of all, a gentle reminder to please do not use "reply" when sending
messages to the gorup. If you're in digest mode, like myself and several
others, it repeats the ENTIRE digest before it gets to your message and
takes up a lot of space in the archives.
I have used both methyl cellulose and carageenan. Like several people have
said, it's sometimes the marbling gods at work as to whether things work or
not. Some people say to use the alumned paper still wet and some people
say to let it dry first. I have had both good and bad luck with
MI-tientes. Sometimes the alum gives a frosted look to the paper and the
paint all comes off.
As iris can tell you at great length, the paper manufacturers keep changing
their formulas so what worked in the past may not work now.
A lot depends on the temperature and humidity. That's why I use mc for the
scarves, because it doesn't degrade as fast.
I mix the carageenan in a blender to get rid of any lumps, then let it sit
for awhile to release the bubbles before i use it.
As for the paint, I have used all different brands of acrylics and one time
they will spread just fine, and the next time they will sink. Sometimes
the photo-flo helps and sometimes it seems to make it worse.
I quit using carbon black because I had trouble with the fine particles
I mix both the carageenan and the mc to be a little bit thinner than
pancake syrup and mix the paints to skim milk consistency if that's any
I use a large tank for the scarves and put paper on both ends so i won't
waste the paint. I've also but silk ribbon down the sides. Marbling is
very addicting and I tell people jokingly that it suits my personality
because each one is one of a kind.
I test my colors in the corner of the tank and if they sink, I add a little
water and test again, or switch to a different color. Some colors just
don't play well together either.
This might have added to you confusion, but in other words, it's not an
exact science, which is why some of us love it.
There are LOTS of marbling videos on youtube with the searches of either
marbling or ebru. You will find some junk stuff also.
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