Test # 11 How to Marble a Fabric
Materials:
Marbling Tray-long and wide enough to accommodate the pieces of fabric
you will be using.
Carrageenan-for size
Alum-for pre treating fabric
Blender
Acrylic Paints
Cotton or Silk Fabric
Eyedropper
Rakes, combs, sticks for manipulating paint
Newspaper
Technique:
Fabric Preparation:
Proportions: 2 Tablespoons Alum to 1 Quart water
Stir alum into warm water until crystals are dissolved. Drop cloth into alum mixture. Wear gloves (alum can cause a skin rash). Stir cloth to make sure it is thoroughly soaked. Wring fabric and hang to dry. Press using a cool to medium setting on your iron. Alum is destructive to fibers, so only prepare the amount of fabric you will be using or rinse out the unused fabric(you can store treated unused fabric for 3 months or so with no bad effects).
Marbling Size:
Proportions: In a blender 1 Quart water to 1 level Tablespoon carrageenan, blend
30 seconds and pour into container with an additional quart of water. (Total 2 quarts per Tablespoon of carrageenan). Pour into marbling pan and repeat mixing steps until the pan contains about two inches of medium. In order for the size to mature, it must rest undisturbed for twelve to fourteen hours. Cover pan to keep free from dust.
To Marble:
Skim size with piece of newspaper to break surface tension. Apply paint to surface-if paint sinks to bottom of size either thin the paint or drop from closer to surface of the size. After applying paint colors they can be swirled with stick, or moved with rake or comb. When happy with the design lay fabric gently on surface of size from center to edges. Gently press out any air bubbles caught under fabric. Lift fabric, rest on newspaper and rinse in cold water. Hang to dry and let “rest” for at least two days and then set the color by ironing on the wrong side.
To continue printing clean the vat to remove any color remaining on the surface with a strip of newspaper. Marbling size can be kept and reused, but will develop mold after a few days. It can be refrigerated, but needs to come to room temperature before it is used again.
Jt2009
Fabric Choice & Preparation
In general, fabrics containing natural fibers will provide the best results. Cottons and silks are good choices.
Anything you plan to marble must first be treated with a mordant - a paint/dye fixative. For marbling, we use crystalline alum, available from many supply houses.
Mordant makes it possible for paints to adhere to the surface of your cloth. Without it, most of the paint would wash off during the rinsing process.
Textile Preservation -- Alum is Caustic
Most quilters are concerned about the life-span of fabrics used in their quilts. Alum is an acidic, corrosive product which will cause cloth to rot if allowed to remain in the fibers. It is extremely important to marble your fabric within one week of its alum treatment, sooner if possible. I try to use fabric within one day of its alum treatment.
After your marbled pieces are heat-set, be sure to wash them thoroughly to remove all traces of alum.
Steps for Using Alum (Wear Gloves)
1. Mix 3 Tablespoons of alum per quart of hot water (alum is usually difficult to dissolve in cold water).
2. Stir thoroughly to dissolve and allow to cool.
3. Place pre-washed cotton cloth in alum solution. Squeeze through fabric to make sure all cloth is wet and allow to soak for approximately 6-7 minutes.
Many books recommend you let fabric soak for 30 minutes, but that length of time is not really necessary for quilting cottons or silk. In general, the heavier/coarser your fabric - the longer you should soak it. Try 5 or 6 minutes for most quilting cottons.
4. Squeeze/wring fabric pieces to remove as much alum as possible. Line dry or place in dryer. If you line dry, make sure fabrics do not fold back onto themselves as it can cause an unevenly mordanted surface.
Silks must be air dried, do not place in the dryer.
5. Iron pieces and cut to proper size for your tray.
More Considerations for Textile Preservation
When you've rinsed your pieces, but before they are washed, remember that there are still traces of alum in them. When you heat set by iron, part of the alum will transfer to the ironing board cover. If allowed to remain, the cover will eventually rot, but more importantly, if not washed out, traces of alum could be transferred to other fabrics ironed on the same board. Wash the cover after each marbling session. I like to use a heavy piece of fabric on top of the ironing board cover, to help absorb some of the alum, and to shield the cover from unset paints that might rub off during the setting process. Another alternative is to have an extra cover that is reserved only for marbling chores.
Marbling Paints
There are many acrylic paints available specifically for fabric marbling. A few brands are Deka, Jacquard, Setacolor, Createx and the series developed by ProChem. Although they are more expensive, the absolute best paints I've found are
Golden Artist Colors. They are easy to float, so easy for a beginner to use. The colors are vivid, but realistic.
When you marble with metallic paints, the flakes generally sink into the size during the combing process, so do not make contact with the fabric. If you would like for your fabric to have a sparkled look you might consider spraying or sponging on an iridescent paint after the piece is marbled.
Mixing Paints
Paints must be thinned to the consistency of light cream. Use distilled water to make longer-lasting solutions. Pour the paint directly into a cup or spout tipped bottle and add an equal amount of water. This dilution is usually a good starting point. Place a drop of paint onto the surface of your prepared size. Does it spread into a circle, or does it sink? If it sinks, add water to the paint (a little at a time) and re-test until the paint spreads when dropped onto the size. Test each color in the same way, alone at first, and then together.
You'll notice that consistency within the same brand of paint will probably vary by color. Some will need more dilution than others, perhaps as much as 3 parts water to 1 part paint. Adding too much water will weaken the color, and will also cause the paint to spread into very large circles. This may or may not be the look you want. Opaque paints can be a bit temperamental, sometimes not spreading as readily as others. Below are a few notes that may be of help.
--Small plastic cups are handy to dilute paints or mix custom colors. Pop an eye dropper or plastic pipette into each to bypass using a squeeze bottle.
--Whisks are an alternative to eye droppers and bottles. Gather lengths of broom straw into 1" diameter bundles. Use rubber bands or heavy string to hold them together. These whisks can be dipped into the paint, then tapped to release droplets onto the size. Whisks are a great way to drop small amounts of paint onto the size.
Marbling Tools -- Making Combs & Rakes
Two basic marbling tools are a rake and a comb. Each can be constructed with a strip of balsa wood, segments of a yard stick, or other strips of wood. A rake generally has widely spaced teeth. A comb has teeth spaced closer together.
To make a rake, cut one wood strip slightly shorter than the inside length of your tray, and draw a lengthwise line down its center. Drill or punch small holes at 2" intervals down the line. For teeth, insert a plastic curler pick or thin nail in each hole. If teeth are loose, secure using a glue gun or other type of waterproof glue.
To make a comb, draw a lengthwise line down the center of the remaining wood strip. Mark 1/4" intervals along the line, and insert long, sturdy straight pins into the wood at each mark. Heavy T-headed pins work well. One-quarter inch is a commonly used spacing, but remember that teeth can be spaced at any interval you prefer. Consider too that thicker teeth will create a more predominant path through your size when paints are combed. Those of you who want to marble extensively will probably make a variety of combs and rakes in sizes to fit the length and width of your tray. Commercial combs are also available.
For freehand designs, use a hair comb with wide teeth at one end and a sharp 'rat- tail' at the other. Knitting needles, an ice pick or other similar tools can also be used to create freehand forms.
If you're working alone, you'll need to construct a set of "helping hands" to lower the fabric onto the size. Cut two dowel pins slightly shorter than the width of your fabric. Secure a straight pin at the ends of each with rubber bands or electrical tape. Pins should be positioned with their sharp tips extending just past the dowel ends, so you can attach the two comers of your fabric to each dowel.
Trays
Plywood trays are easy to make if you are handy with a saw and hammer. Seal the tray with a few coats of clear or white acrylic. When completely dry, fill with water and allow to sit for a few days to leach out any impurities - and to make sure the tray is waterproof. The books mentioned in the source list at the end of this pamphlet contain tray-making instructions.
Check discount houses and supermarkets for ready-made trays. The trays used to develop large photographs are great. Seedling trays, storage bins, dishwashing tubs - any fairly shallow container will work.
If you decide to marble extensively, professional trays and combs are available from
Colophon Book Arts in Seattle.
©1996, 1999, Janet Wickell
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.
