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Marbling with a Double Rake or Bouquet Comb

Just a few weeks ago I finally decided to buy a double rake or marbling comb so I could create a proper bouquet pattern.  Last week I carved out some time to set up the trays and try it out. Here’s what it looks like:

Regular comb on top, single rake, and double rake on the bottom

Regular comb on top, single rake, and double rake on the bottom

First I’ll show you the results of my play and then talk about it.

I had fun playing with the bouquet pattern in various sizes but I was limited in what I could do by the size of the comb in my tray.  There wasn’t much leeway for the comb to go back and forth across the tray as it would hit the sides pretty quickly.  I just now realized I should have tried it the other direction in the tray.  Maybe next time!  I like the results on a fine-combed nonpareil pattern, but not over a wider nonpareil, like the red and yellow piece in the middle above.  The spikes of the ” wrong way” bouquet (raked from the bottom up instead of the top down) are interesting, but not spectacular.  I tried “tying” the bouquet by running a wide rake horizontally across the pattern.  I liked the contrast of a straight line against the multiple curves of the bouquet, but it only worked with some of the color combinations.  I’ll definitely have to play a bit more.  Over all, I don’t think it’s going to become a favorite pattern. I like the way it looks, but it’s rather boring to make, a little like the nonpareil.  Except with the nonpareil there’s always the challenge of getting it perfect because any minor flaw, like a caught hair or paint fleck, really stands out.  The nonpareil can also go in so many different directions: It’s just the beginning point of so many patterns.  I thought when I started this session, I would only do bouquet patterns, but as you can see from the photos, other patterns kept creeping in.  Certain color combinations just demanded a different treatment!

Had an interesting thing happen near the end of the session.  I was using the eyedropper to apply the paint and one of the colors suddenly went spiky on me.  This usually means something is contaminated. I usually find contamination in the carrageenan and it is normally confined to one area of the tray, but this was definitely the dark blue paint. I think it was Prussian Blue.  Instead of stopping and trashing that tray, I kept on going.  The next colors dropped in perfect circles.  I wish I’d taken a picture – perfect circles except for the dark blue spikes.  As soon as I started working with the stylus, the contamination spread and all the colors went crazy.  I played with it and printed it anyway. I skimmed the carrageenan well and produced a perfect nonpareil. The next tray after that was rubbish!  You can see the sequence of papers on the line from right to left.  I was working with smaller paper so there were two sheets laid down per tray.

Something like this always tells me it’s time to stop.  The only solution to bad contamination is to throw out the size or the paint and start again. Neither can last forever!

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Metallics Revisited

Last February I blogged about using metallic paints. Since then I’ve played with them a bit, but a few weeks ago I decided to do some more playing and experimenting. I’m finally getting around to writing my promised blog. This time I didn’t waste any effort on white paper and only used dark colored backgrounds.  Most of the paper had deep rich tones to set off the metallic. The only metallics I used this time were gold, copper and pearl.

Here are some of the results:

Here’s what I’ve learned.  The metallics need to be dropped near the end of the sequence to have the biggest impact. The more they are manipulated, the more they tend to fall apart, but dropping them last can lead to globs that are too large. Next-to-last seems to be a good place for them.  Some, like pearl, can be dropped earlier as it “stretches” without granulating.  Metallics show up more if dropped with colors that have a high contrast, for example dropping gold with purple, rather than yellow.

I love making marbling patterns that are very intricate and fine-lined.  This doesn’t work as well with metallics. They seem to need larger areas to turn from orange to copper or grey to silver.  I don’t particularly like a lot of shininess in my work, but I do like just a hint of something, like the hidden sparkle of a bit of mica hidden in a dull stone rather than the brilliance of a cut diamond. In the past I used Golden color called “Micaeous Iron Oxide” which does just that.

Here’s an example

Large Black

Large Black

All of the paints I’ve been using recently are Golden fluid acrylics.  I really like the intensity of color they provide.  Just this past week I visited the Golden factory which is located in a very rural part of upstate New York. The trip was organized by the Penn Yan Art Guild and there were six artists who participated.  The history of Golden is very interesting, having been a family company and is now owned by its employees.  We were given a tour by Emma Golden, granddaughter of the company’s founder.

Emma Golden

This is the area where all of Golden’s color cards are hand painted. Employees walk up and down the black easels painting one color on dozens of cards at a time.

Golden barn

This is an old barn that has been remodeled into housing and studio space for the Golden Foundation‘s Artist program. It’s a beautiful location.

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