marbling - I've been learning how

Edge of the Waves, marbling, collage and coloured pencil, Vivien Blackburn

(unfinished work in progress)

I've been learning how to use marbling techniques to create gorgeous papers - I've got a lot to learn but it was fun! I wanted to use the papers in collage and my first experiments are here.

They are done with torn and cut marbled papers, some watercolour and a little coloured pencil.

Tides Edge, marbling, watercolour, collage, Vivien Blackburn

Oily inks were dripped into a large tray of water, they float on the surface and I swirled them with the end of a paintbrush, breaking up the globs of ink and creating swirls and drifts of colour. Then a sheet of paper was dropped in, sometimes lifted out without dragging and sometimes dragging it to create extra movement of the swirls. I used watercolour paper and cartridge paper, for the effects I wanted the cartridge paper worked better, the ink continued to move for a little as you lifted the paper out. With the watercolour paper it gripped and stayed.

I've got several sheets to experiment with :>)

I wonder if it would work with oil paint and Liquin or Linseed oil? has anyone tried that? any suggestions on managing with the materials I already have?

.

Comments

harry bell said…
I like the results, although I read both of them as winter landscapes. I did a little marbling once using oil paint thinned with turps, but it was difficult to get the right consistency for floating.
8:37 am
vivien said…
I can read the top one as a winter landscape but not so much the bottom one


Tbanks for the info on turps not working well - maybe needs to be much oilier? Linseed oil?
9:13 am
pete said…
If you've got the space to experiment without ruining your house (!) why not try everything!

I recently poured emulsion on a board, injected acrylic paint, then tilted it this way and that. It isn't marbling, but it was interesting.
1:11 pm
harry bell said…
I think I've seen fells here in the north east that looked like the second of your images.

Yes, adding linseed oil might make a difference to the floating potential
1:11 pm
vivien said…
Pete I do like pouring diluted acrylic paint or acrylic inks and letting them flood into each other - really interesting on UNprimed canvas as well :>)

Harry yes, thinking of the remote high valleys in Scotland I can see what you mean.

Melanie sent me a great email on marbling using shaving foam - I hope she's going to do a blog post about it and I'll link to it, she'd done some lovely work that way. Thank you Melanie :>)
4:34 pm
Lindsay said…
I'm completely crazy about your marbling experiments. You are so adventurous with your media. I love how you are using them and still working in your own unique style! Your recent posts are lovely too. I'm just getting caught up now after a busy week.
8:19 pm
vivien said…
Thanks Lindsay :>) - you are doing a fair amount of experimenting yourself! I've found the silk ones really interesting

Hope you've checked the Flying Pictures website - there are some great pictures from your book that Ronell has posted - I think you may be the first to get your book back!
9:09 pm
Kari Gibson said…
What lovely results - I have never tried marbling, it looks like great fun.

Hope to see more experimentation from you!
12:05 pm
Anita said…
very definitely landscapes - and as stunning as all your work. I've always wanted to try marbling. I am always so inspired by your experimental nature - I really need to step outside the box myself and be more daring!
12:23 pm
vivien said…
thanks Anita and Kari :>)

Melanie is going to do a post (Ihope) about an easy way of doing marbling - I'll link to it when she does you may like it
6:13 pm
my croft said…
okay, okay, :-)
I have a post up. I considered doing some marbling and shooting a step-by-step, then remembered who I am and realized I'd never get the post up if I tried that. So I've explained in words, but it's a simple process and words whould be enough.

fondly,
Melanie
5:26 pm
vivien said…
:>D great! I'll add a link for those who would like to try it
9:20 pm
Robyn Sinclair said…
I thought 'waves' immediately, Vivien - and the second is a natural beach. So clever, so beautiful, so tempting!

I remember doing this in Primary School, the delight has never left me, but I've never tried again. I am now writing out 100 times, I must not take on yet another art technique until I produce something I want to sign!

Enjoyed Melanie's shaving cream marbling explaination, and thank you for the pointer to her blog. It's beautifully written.
11:40 am
vivien said…
thanks Robyn :>)

I'd never ever done any marbling so it was fun!


I know what you mean about taking on too many subjects/techniques!
6:11 pm
Post a Comment

Popular posts from this blog

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, with some of the taller dried grasses showing
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter
Read more