Marbling on Paper: Step by Step

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.

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.

2 Comments

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2 Responses to Marbling on Paper: Step by Step

  1. 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

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