INDEX Page 1 Marbling Supplies Making Making Size -Carrageenan -Methyl Cellulose -Alkaline Water -PH and Water -Water Quality Page 2 Fabric Choice & Preparation Textile Preservation Marbling Paints Mixing Paints Marbling Tools Page 3 Do It! Page 4 Resources

Janet Wickell's Hand Marbling For Quilters Page 3 The Marbling Process The size is cured, the fabric is treated, tools are ready, and the paints are mixed. You're ready! Make sure you have plenty of newspapers handy, you'll use them to soak up excess paint from the size after each piece of fabric is marbled. A bucket of warm water will be handy too, unless you have a sink nearby. If you're working alone, attach a piece of fabric to the dowels and set it aside. Be careful not to splash water onto your treated fabric, because moisture will diminish or eliminate the alum, leaving you with white or faded spots on your fabric. Manipulate the Paints The surface of your size has probably developed a thin skin, which must be removed before paints are placed on it. Drag a piece of newspaper across the top of the size. If bubbles develop along the sides of the tray, crush by pressing them against the tray with crumpled newspaper, or touch them with a small dry object, such as the head of a pin. Begin applying paint to the size, using whisks, eye droppers, and/ or bottles. Color can be applied randomly, or layered in rows across your tray. The choice of color and placement is yours alone. Do keep in mind that colors laid on the size first will intensify as new colors are placed on top of them, and that the last color to be applied will be the most predominant in your finished piece. In general, try to place contrasting colors next to each other, as you do when piecing a quilt top. Unless they are combed excessively, paints will not blend together to form new colors. When you're satisfied with the color and arrangement on top of the size, it's time to print the fabric. Refer to the illustration below, using your rake to make the "get gel" pattern. 1--Place your rake in the size at the top of the tray and pull it toward you (some of the teeth may extend on either side of the tray). 2--Push the rake back away from you, making sure the path of the teeth is midway between the patterns left by the first pass through the size, as shown in the drawing. 3--Place the rake in the size along the right side of the tray and push it toward the left side of the tray. 4--Make a left to right pass in the same manner, again making sure the path of the teeth is midway between the patterns left by the right to left pass. You've just created the get gel pattern, which is the pattern you see on the background of this page. It's a great pattern in itself, and is the starting point for numerous traditional marbling designs. Print the Fabric Center your fabric over the size, holding the dowels up to achieve a droop in the middle, as shown in the photograph below. Starting with this droop, lay the fabric onto the paint, lowering the ends in one continuous motion. (If you're working with a partner, you can each hold two corners of the fabric, and lower it in unison.) Lowering Fabric Onto the Size Allow the fabric to rest on the paints for a moment, then drag it over an edge of your tray. The scraping motion removes excess size from the fabric. Rinse the fabric thoroughly in warm water and wring it gently. Take a look at your print. Is the contrast good ? Are the color combinations pleasing? With every print you make you will probably see ways to improve the next. Hang this piece to dry and print another. First, blot excess paint from the size by placing a sheet of news paper on top of it. Drag the paper across one edge of the tray. Don't worry about paint that sinks below the surface of your size. Even though the buildup eventually makes it difficult to see the true value of colors as you place them, it will not interfere with your current color scheme or design. Eliminate air bubbles if necessary before laying paints. For your second print, you might want to try the 'nonpareil' pattern. Lay your paints on the size again, and comb to create the get gel pattern. Now place your 1/4-inch comb at the top of the tray and pull it downward through the size. This creates the traditional nonpareil pattern. Setting the Paints To set your paints, iron the back of each piece of fabric for a few minutes at a medium setting, or follow the paint manufacturer's instructions. The marbled fabric should now be treated as you would other quilting fabrics. It's best to rinse the fabric one more time, or even wash it lightly, to be sure that all alum is removed. Remember, when ironing any fabric that contains alum, it's really best to use a different ironing board, or place a few thicknesses of muslin on top of your "good" cover. Patterns, from Left to Right get gel, nonpariel   A large, colorless blotch on your fabric an air bubble was trapped between the paint and fabric when it was lowered. A thin colorless line across fabric a stray string was probably stuck to the fabric, keeping paint from contacting that spot. A subtle break in the pattern a hesitation line caused by lack of fluidity in lowering fabric Paint didn't adhere not enough alum (or too much!) Paint areas have ragged edges the size has not been cured long enough - OR, is too old. Tiny specks on fabric where paint didn't adhere Dust on top of the size (remember to always scrape with newspaper before applying paints) Marbling is a very individual art. Thickness of size, types of paint, patterns, tools, colors -- all of these are variable ingredients. The only way to discover which techniques and tools are right for you is to experiment. Many books and other materials are available for those who would like to learn more about marbling. ©1996, 1999, Janet Wickell  Page 1 -> 2 -> 3 -> 4 scrapquilts.com Home e-mail Janet Wickell site updated 5/5/00