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Your Marbling Inks, Papers etc.



To Linda Kamholz from Iris Nevins

Hi Linda..............I can't say everyone's experience with Hammermill
will be exactly the same as mine, but will say I've spoken to a lot of
marblers who have had iffy results with it. Paper companies at times change
sizings, or bufferings without notice to marblers......we're not a large
enough group to matter......., so it may work for some people and not
others. Some swear by Hopper Sunray, but I believe they may still be using
old stock which did work well.

My only recommendation is to order sample books/sheets from the paper
distributors, and try them.

What I consider "warm weather", for marbling is anything over 70 degrees.
My optimal marbling environment is 60 degrees and 50-55% humidity, but
others may have other preferences. I also don't think it's quite as simple
as these readings, because I can artificially induce them in summer with
air-conditioning and de-humidifiers, and it's still not as good as "real"
winter. My best Spanish papers are produced in dead of winter, with the
heat off, about 50 degrees! Bundle up, and be prepared for sore hands
later!

I realize there is a slight texture to Classic Linen, but I find it hardly
noticeable once it's marbled. I also love the way the colors sit on the
paper, they look nice and tight. I don't find it a particularly "curly"
paper, and have not heard any complaints, but have not done paste papers
with it.

As far as the marbling colors, I find they are compatible with Colophon's,
if they are diluted to the thinness of mine. Generally it is not a good
idea to mix brands. Mine are twice the density as the former Decorative
Papers colors, but not condensed like Colophon' which are intended to be
diluted. This is working out well, as the old Decorative Papers customers
who worked with Faith's method just dilute them w/an equal amount of water.
I use them full strength.

You may be interested to hear, that my "fake indigo" formulation has passed
the test! I know you and others, including myself had enough problems with
the real thing to put us off using it. It looks like it, acts like it, but
doesn't go grainy,blob up or "turn to pudding" as one person described, or
most importantly, doesn't rub off on your hands or smear. Mine, admittedly
will be a bit hard to shake up in a full bottle, smell like rotten eggs
with a bit of age, but still works fine despite the odor! For the moment I
will just call it navy blue, but it has the velvet blue-black depth of
indigo, and almost exactly the same shade. I find it a good
substitute.However, again, I would recommend not mixing brands.

I have also got the acrylic colors, which are very,very bright. I use them
full strength for fabric, which absorbs a lot, but only half strength for
paper. Still very, very bright. Extra added bonus..........I can work with
them on most papers WITHOUT ALUM!!! Can't guarantee this, but I don't need
it, just grab a flat dry paper and go....heaven!. It even works on papers
that don't work for water-based marbling such as Hammermill and others.
Which may be, by the way, why some people don't have trouble with a lot of
the papers......MAYBE THEY USE ACRYLICS??????? My acrylics take a bit of
getting used to....finding the right color order for yourself etc., they
are admittedly, more expensive than the tubes in stores, and seem very
thin, but that is because they are way more highly pigmented and a lower
acrylic content than the store brands. The little bottles go very far, I
find.

The reason I don't switch to acrylics is that I can't find a true
traditional look with them....can't do the interesting early papers with
them....Stormont, Shell etc. Either that or I love to torture myself with
the endless quirks of water-based marbling!

Glad you found your way onto the list! I'm finding so many old friends
here!

Hope you can visit sometime........best wishes, Iris

PS- Tip....if you plan to do some acrylic and water-based marbling on the
same bath.......do the water-based first. The presence of any trace of
acrylic base in the bath prevents the spreading of the water colors.


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