At my Open Studio in April, a friend took numerous photos while I was marbling. I’m posting them without much comment to create step-by-step documentation of the entire process of marbling.
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Dropping paint
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- Get-gel
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- Get-gel
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- Get-gel
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- Get-gel
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- Get-gel
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- Get-gel
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- Get-gel
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- Raking
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- Raking
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- Raking
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- Raking
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- Raking
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- Raking
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- Raking
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- Laying down paper
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- Laying down paper
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- Laying down paper
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- Picking up paper
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- Rinsing
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- Rinsing
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- Rinsing
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- Hanging
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- Hanging
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- Hanging
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- Hanging
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- Finished sheet
Some of the steps that have been left out are putting alum on the paper, mixing the carrageenan and skimming or cleaning the size. You can find pictures of all of these operations in my previous blogs, especially this one.
Dear Nancy, I am based in London and working with a local Ebru artist to create some designs for scarves. I am really grateful for your wonderful site. I was able to read through some of the posts before meeting with the artist and the posts really helped me to understand something about the process. For the design in this post, you used a colour that looks like gold. In the pictures, it seems to be the first colour you added to the tray. I was wondering if it is a gold paint and whether you know the brand. Many thanks. Sonya
Sonya,
I am so happy that my blog was useful for you. I envy you being able to work with a real Ebru artist. I’ve dabbled with Ebru floral designs, but don’t quite have the patience to master it.
No, that wasn’t gold, but white or off-white, or you may be seeing the clear carageenan. The gold color is probably just a reflection off of the yellow table I’m working on. Through trial and error I have learned that all metallic paints work best if thrown last or next to last. I’ve even written a bit about them here and here. I use Golden Fluid Acrylic Iridescence series. I find that I use the bronze a lot instead of the gold. One tip is to use them on colored paper or in overmarbling. On white paper they tend to be very blah. Another tip – a little bit goes a long way. Too much metallic overwhelms the marbling.
Have fun and good luck. I’d love to see some of your scarves.
Nancy
Hi Nancy! Thank you so much for sharing your knowledge. I’m trying to bring my marbling skills to the next level and reading your blog has been so helpful.
My next big goal is to start making larger marbling pieces. I’m not sure where to buy a big acrylic/glass tray, and the tray you’re using looks perfect for my needs. Would you mind sharing where you purchased it?
I would also love to know where you purchased the rake that you’re using in these photos!
Hi Leah,
Thanks for your kind words about my blog. I’m afraid I’ve rather neglected it recently. The large tray is actually an acrylic picture frame. I got it at Michaels years ago, but I’m not sure they make them anymore. It’s 18″x24″ which presents a problem as my paper is also 18×24. I have to trim the paper before marbling. Real marbling trays which are large enough to take 18×24 paper can be found at some art supply stores like Dick Blick. Talas (http://www.talasonline.com/) is now carrying marbling supplies and may have them.
The rake was made by Galen Berry (https://marbleart.us/) I haven’t bought any marbling supplies in several years, so there may be other sources I’m not familiar with.
Hope this helps.
Happy marbling.
Nancy
Thank you Nancy! Your response was so helpful. I am really impressed by your generosity in sharing marbling wisdom! <3