Application
Description
"Marbleizing" is an intricate art form with
numerous techniques and many variables that must be
considered. Below are our recommendations on how GOLDEN
products can be used in such applications. This information
sheet does not cover every aspect of this technique;
it only discusses the concerns directly related to using
GOLDEN products. For a better understanding of marbleizing,
consult books and other printed resources that deal
more completely with this topic.
Materials
Needed
- Shallow, Flat Tray or Pan: Should
be at least 1 1/2 inches deep. A cardboard tray with
a plastic bag liner maybe used for trials and children's
use. Choose a tray that has adequate space for the
sheet of paper or cloth, with at least a 2" gap
from each edge.
- Size (or Medium): One gallon (mixed)
Carrageenan (derived from Atlantic seaweed) or Methylcellulose
(commercially used pulp thickener). This amount should
be enough to "balance" the colors; actual
amounts for projects will vary. These products can
be found in most art stores. Follow manufacturer's
directions on preparation. Store unused amounts in
refrigerated plastic jug.
- Paint: GOLDEN Airbrush Colors
work well as they are very thin and highly pigmented.
GOLDEN Fluid Colors are thicker, yet still pourable,
and come in a larger assortment of colors, including
Interference and Iridescent colors. Some marblers
prefer them as they can thin the colors with water
and thus have more control of the rate of spreading
on the size. GOLDEN Iridescent, Interference, High
Load, Heavy Body and Matte Colors can also be used,
however, they will require much more dilution with
water to achieve the proper consistency. *Follow safe
handling procedures as directed on labels.
- GOLDEN Acrylic Flow Release: This
paint additive assists in balancing the colors' rate
of spread on the size. It also helps the paint penetrate
into the paper or fabric. *This product should be
safely handled according to label directions.
- GOLDEN GAC 900: This product is
an acrylic medium that increases the washability of
marbled fabric. It is not needed for paper or non-wearable
objects. *This product must be heat-set and handled
according to label directions.
- Stylus: Toothpicks, sticks, nails,
or other household items can be used to manipulate
the floating paints. These can also be taped or glued
(evenly spaced) to long, rectangular pieces of cardboard
to make a comb or rake to develop intricate patterns.
- Paper or Cloth: For paint application.
High quality white preferable.
- Aluminum Sulfate: commonly referred
to as "alum". Can be found in most art and
garden supply stores. *This material is highly caustic
and extreme care should be taken when handled!
- Color Applicators/Dispensers: Whisks
made of broom straw, squeeze bottles, eyedroppers,
pipettes.
- Water: Needed for mixing, washing
and cleaning. Be sure water is relatively neutral.
Distilled water is preferable for color mixing and
size mixtures.
- Newspapers and/or Paper Towels.
- Patience: Essential when trying
to learn how to marble.
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Preparation I
Alum Preparation:
It is important to alum the material, as this
serves to make a more permanent bond of the paint to
the paper or cloth. Add 11/4 cups alum to a gallon of
water. Mix well until all alum has dissolved.
Pour the alum-water into the tray and soak the paper
or cloth until both sides are completely damp. Where
the paper or cloth is not damp, the pattern will not
take. You may also pour the mixture into a spray bottle
and spritz on. Use a sponge to remove excess. Pat dry
or hang on a line until dry. The material must be fully
dry in order to get a good transfer of pattern. Some
marblers press the paper or iron it to remove wrinkles.
Plan on doing this the day before any marbling to allow
the material to fully dry.
Size/Medium Preparation:
Follow the manufacturers' directions completely. Generally
speaking, carrageenan should sit for a day before attempting
to marble on it. Methylcellulose may only take several
hours. This waiting period is essential to make sure
the material has fully hydrated. You will know this
has occurred when the mixture appears very smooth, and
any lumps are gone. Keep the mixture in a cool area,
refrigerating if possible. The cooler the mixture is
when actually marbleizing, the better the performance.
Once made, you should treat the mixture like a food
product, as both these products can spoil, especially
carrageenan. *If using a refrigerator containing food,
avoid contact between these materials and foodstuffs.
Mixing Paints
Mixing the Paints:
Paper:
For applications onto paper, GOLDEN Airbrush Colors
can be used as is, or modified slightly with GAC 100
(10-50%) to increase binder level, and hence, the film
durability. GOLDEN Fluid Colors or thicker paints must
be diluted with water for marbleizing onto paper. In
either case, balancing of colors (described below) will
be required.
Fabric:
For applications onto fabric, the addition of GAC 900
becomes important to ensure adequate launderability
(heat setting required). Generally, a 1:1 mixture of
GOLDEN Airbrush Colors and GAC 900 yields satisfactory
results. Again, balancing of colors (see below) may
be required.
Prepare a solution of 1 part (by volume)
GOLDEN Acrylic Flow Release and 7 parts distilled water.
This mixture will be used to "balance" the
colors (see below). Balancing the colors is an important
step, in which all colors are adjusted to spread equally
on the size. Generally, a well-balanced set of colors
is desired, however, one can take advantage of unbalanced
colors for special effects.
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Preparation II
Fill the Tray with Medium to a Depth of at Least 1"
and let it sit for several minutes. Wait for bubbles
to dissipate.
Balancing the colors is often the most
difficult and time-consuming task in marbleizing. Start
by testing each color mixture, placing a small, equal-sized
drop onto the size. The colors should "spread"
out fairly quickly and uniformly, usually to a diameter
of around 3". If a color spreads very slowly, or
drops below the surface of the size, begin adding small
amounts of the Acrylic Flow Release/water solution to
the color. Continue testing and adding solution until
the desired spread pattern is achieved. For colors that
continue to be very difficult to spread, a stronger
Acrylic Flow Release/water solution may prove useful
(water 3:1 A.F.R.). If, on the other hand, the color
spreads out too quickly, its reactivity should be reduced
by adding water and/or the acrylic medium (GAC 100 for
paper or GAC 900 for fabric).
(*Note: Between each series of trials,
make sure the surface is very clean of paint. This can
be done by laying down a paper towel to collect any
paint, or by "skimming" the surface with newspaper
strips. If too many drops of color submerge into the
size, it will disrupt the surface tension of the medium,
which will affect the performance of the paints. For
this reason, work in small trays to balance the colors,
and change the size frequently as it becomes murky).
Once all of the colors seem to be spreading
at roughly the same rate and relatively the same size
diameter, the colors can be further refined by making
bulls-eyes with them. For each of the colors in your
set, place one drop of color onto the size, and let
it fully spread. Next, apply a drop of each other color
directly into the center of the circle. If a color drop
submerges below the surface, it means the first color
dominated it and more Acrylic Flow Release/water needs
to be added to it.
This process will further balance the
colors, but individual pigments will behave differently,
and it is futile to attempt to get all colors precisely
equal. It is better to note the rate of each color's
spread, which will help you to develop a "sequence"
in which the colors need to be laid out. If a color
noticeably dominates the other colors, it should be
one of the last applied to the size. It will most likely
create the maximum level of surface tension which will
not allow other colors to spread, and the overall color
intensity will not be as great. Conversely, add the
slower spreading colors first to allow them to fully
open. As you may be beginning to imagine, this is a
delicate process, and by no means an exact one.
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Application
& Technique
Once the colors are balanced as desired, begin dropping
the colors onto the size.
Color Placement:
Using a whisk, or other applicator, randomly apply several
drops of any given color, according to the color sequence
established during the balancing of the paints. Avoid
applying too much of one particular color. Instead,
apply the color you wish to be the outstanding color
early (if not first) in the sequence to allow it to
spread the most. Use the location and quantity of the
colors to achieve the desired effect. The size is saturated,
or "full," when additional drops of color
no longer spread out over the surface or begin to sink.
Using combs, picks or other tools, manipulate the colors
into a pattern.
(*Note: We suggest anyone considering developing this
technique to look at some of the many books on the art
of marbleizing that have examples of patterns. These
resources will give a greater knowledge of materials
and techniques).
Transferring
Pattern to Paper/Fabric:
Once the pattern is created, carefully lay the paper
or fabric onto the surface. This should be done by holding
opposite corners of the paper or cloth, then allowing
the center to touch the surface of the medium first.
Let go of the corners and the paper will lay down evenly.
Allow 3-5 seconds for the pattern to transfer. Gently
pick up the paper/fabric at its corners, allow excess
medium to come off. Carefully wash off excess color
and size with cool water. Hang to dry. Any fabrics that
are intended to be laundered must be heat-set after
the garment has completely dried. Follow the heat set
directions for the GAC 900.
The above information is based on research and testing
done by Golden Artist Colors, Inc., and is provided
as a basis for understanding the potential uses of the
products mentioned. Due to the numerous variables in
methods, materials and conditions of producing art,
Golden Artist Colors, Inc. cannot be sure the product
will be right for you. Therefore, we urge product users
to test each application to ensure all individual project
requirements are met. While we believe the above information
is accurate, WE MAKE NO EXPRESS OR IMPLIED WARRANTIES
OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE,
and we shall in no event be liable for any damages (indirect,
consequential, or otherwise) that may occur as a result
of a product application.
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