Papers that Compel Me to Marble on Them!

Oh, how I love a lovely paper to marble upon.

Yes, I have my go-to “practice” paper that I prefer to marble on. And I always have a wide variety of papers (of varying weights, colors, and styles) available in my classes so students can experience what it’s like to marble on different papers. Then there’s my favorite “professional” paper, the dreamy, creamy one that I marble on for commissions or special projects.

But then there are those OTHER papers, the ones that take marbling to a whole different level. These are the papers that you work WITH and not simply marble ON. You take into consideration their unique properties, be it a color, texture, how it was made, where it came from, or what already exists on (or in!) it.

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Some of the colors I chose to use reflected the "attitude" of the paper. This was a thick, heavily textured sheet with a blue hue that had a very classic, elegant feel to it that reminded me of New England. I used Titan Buff Green Hue, Raw Umber, and French Gray Blue to create this Stone pattern.

And the papers in Vintage Page Designs' monthly paper club are those OTHER papers.

I happened to have the luck of having Ali Manning, the woman behind Vintage Page Designs, in my Clouds on Water eCourse (more on that in a future blog post!). A most talented book artist, I fell in love with her work and have taken a keen interest in all her creative endeavors. When she announced her paper club, I was immediately interested, knowing the papers were not going to be just your every-day-run-of-the-mill variety.

And I wasn’t wrong.

Ali graciously sent me a sampling of papers from her club offerings to test for marble-ability. My batch included very heavy, textured papers in pink, silver, and white and two different medium-weight papers – one with DILL sprinkled throughout it and the other with beautiful blue Larkspur petals.

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The Dill sheet! I marbled a Sap Green and Silver on one side and Sap Green and Gold on the other.

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The Larkspur sheet with an Italian Vein pattern in Violet and Gold.

What a wonderful experience it was to work with all these papers. First of all, the papers are handmade so each one is a piece of art imbued with the love of the paper maker. If you’re a sensitive soul like me, you can actually feel the paper vibrate with artistic energy. Secondly, the gorgeous characteristics of the papers made it an absolute delight to strategize how I was going to marble on them to best bring out or complement their beauty. And while the papers made with Larkspur and dill were stunning, it was the thick, heavily textured papers that stole my heart (there was something about their weight, about all the groves and bumps and topographical personality that appealed to me and resonated with my adventurous spirit). And finally, and most importantly to this girl, all the papers marbled beautifully.

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Here I created large color blocks using blue transparent paint to allow the texture of the paper to come through which had the added effect of making the paper feel "watery."

I can’t recommend more highly these papers as a great addition to one’s marbling explorations. They are stunning by themselves and get a boost of WOWZA with a touch of marbling tossed into the equation. The papers are great for making books, cards, and mixed media work. And if you need help with your bookmaking skills, Ali has some great tutorials to help you put your papers to extraordinary use.

For more info on the paper club, visit Vintage Book Designs' website at www.VintagePageDesigns.com.

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The thicker, heavily textured paper is REALLY strong. This sheet was overmarbled THREE times and it never lost its texture or started to disintegrate.

Marbling Tips for Vintage Books Designs Paper Club:

• The papers need to be alummed. I have found some 100% cotton rag papers don’t need to be but I tested the papers without alum and the paint slid right off!
• Because of the bumps and grooves in most of the papers (especially the thicker, heavily textured ones), I gave them the twice over with alum, alumming once and then again (still wet) so as not to miss getting into the nooks and crannies of the little crevices.
• Let the natural beauty of the paper shine through. There is no need to cover over the papers that incorporate delicate elements into them, such as flowers, leaves, and herbs. Instead, I marbled Italian Vein on them which framed their organic gifts rather than hid them. On the other hand, for the thick, heavily textured papers, I used a combo of transparent and opaque paints, often ending on a transparent paint so the texture of the paper could still be seen.
• Because these papers are thicker/heavier, it’s important to make sure you do not get “ahead of the lay,” meaning make sure you don’t drop the far corner of your paper on top of the bath before the middle part of the paper is laid down…otherwise you’ll end up with air bubbles.
• Consider marbling on BOTH sides of the papers. Most are thick enough that the marbled designs won’t cast shadows or even show through the other side.

Vintage Page Designs Paper Club Details:

• Some quick facts below. Be sure to head over to her website for more details or to sign up for her newsletter.
• All of the paper is handmade by Vermont paper maker Richard Langdell.
• The paper is made from 100% cotton rag and has been internally sized and buffered.
• Each sheet has four deckled edges and measures approx. 19″ x 25″.
• All sheets are nice and thick with an approximate weight of 200-300lb, unless otherwise noted.
• The papers are perfect for making books, cards and mixed media work.
• Six exclusive papers are showcased on the 1st of the month. Orders close on the 10th of the month (unless already sold out) for shipping by the 15th.
• There is no commitment – you can order one month and not the next. Sign up on Ali’s mailing list to be notified of when the papers are selected.

Getting Back to the Tank

It's been a long, hot summer here in Southern California and it has put a damper on my marbling time. Last week, however, provided lovely conditions for marbling so I whipped up a bath and got back into the swing of things.

My only objective was to play and have fun. And I did. I didn't even practice many patterns. Instead I went for color and messed around with the traditional Spanish Marble pattern.

And this is what I love about marbling...even "just messing around" gives you spectacular results. Instantaneously.

It's so satisfying.

There are spots available in my Beginning Paper Marbling class on October 28. I'd love to share with you in the fun that can be had at the marbling tank! Email me to sign up.

A Little Peek Into the Marbling Tank

I'm excited to be leading a guided session this month for Clouds on Water, my online marbling eCourse. While you can start the course at any time, during a guided session, I check in on our private Facebook group at least three times-a-week to provide feedback, answer questions, troubleshoot, and support students (past and current!) on their marbling journey. And during guided sessions, I sometimes shoot on-the-fly videos for those technical questions that are better addressed visually rather than in a written post.

Just another reason to sign up for Clouds on Water sooner rather than later!

You can still get the Advanced Marbling Techniques class FREE when you sign up for the Introduction to Paper Marbling class by June 10.

On the Set with SoulPancake

Early in May, I had the great pleasure of doing a live-stream marbling demonstration on Facebook for the production company, SoulPancake. You may recognize SoulPancake from their work on Oprah’s OWN and for their “Kid President” series. A positive, forward-thinking company, the goal was to bring a little bit of beauty and zen to folks in their busy workday. I busted out my backlit tank for some extra special “wow” for the session, which they called a "visual vacation" from the fast-paced grind of life.

If you missed it, head on over to my Facebook page to see the entire 60-minute replay or to SoulPancake's YouTube page for a 15-minute version.

Warm Up

Like an athlete, I do warm-up (or practice) sheets in the marbling tank, stretching memory muscle and calibrating hand-eye coordination, before diving into "real" tank work.

I'm also testing my bath and paints to see how they are behaving. Like us, a new day means a new personality for both of them and things that worked well yesterday may not today. Warming up is about getting into the groove.

Many times, these practice pieces turn out to be some of my favorite pieces, partly because I have no expectations of them and partly because I don't think too hard about things and just let my creative instinct (and eight years of marbling experience!) take the lead.

Magnus Colo: Opening Saturday at Dab Art Gallery

Rogue Thought, 2015
Marbled Wood Panel
24" x 24" x 1.5"

I am so excited to finally give you a peek into one of my favorite series to have worked on in the past few years. I've been keeping this work under the radar, not sharing it publicly on any social media, but now it is making its great debut at Dab Art Gallery this Saturday as part of the group exhibition Magnus Colo. 

From the press release:

Dab Art is pleased to present MAGNUS COLO. An exhibition featuring the colorful and intriguing works of Franscesa Saveri, Rebecca Woodhouse, Huntz Liu, Janet Milhomme, John Swartout, Lisa Daniels, Kirk McCoy, Barbara Skoog and Perfecto Baloloy Jr. 

Using the strategies of accumulation, saturation, and the repetitive mark, these artists explore their fascination with color saturated space and form. From the delicately controlled hand cut lines of Huntz Liu’s layered paper piece Spilt 1(2016) to the jostling interaction of Perfecto Baloloy’s Food Trip (2016) and Barbara Skoog’s Rogue Thought (2015), where contrast controlled surroundings and fluid lines are layered in between heavy color.

Inside Underneath, 2015
Marbled Wood Panel
20" x 20" x 1.5"

I started creating this series last summer, during the two-week residency with my New Ground collaborator Liz Kalloch. There were moments in between working together on our collaborative pieces where I needed to bust out on my own and exercise different creative muscles (partly because of my ADD-like personality and partly because I was stuck or tired or inspiration struck or I was waiting for something to dry before working on it more). What started out as a simple exploration of bold color blocks eventually led to adding overmarbled "windows" that were in response to the interesting shapes that emerged from the color-block background. 

Happening, 2015
Marbled Wood Panel
24" x 24" x 1.5"

After returning home from the residency, I continued work on the series. both on wood panel and on paper. I'm thrilled that six of the wood panel pieces will be at Dab Art ~ one in the group show and the rest in a second gallery. 

Also part of the show are several pieces from another series I started work on earlier this year. In these pieces, I created distressed marbled backgrounds and then overmarbled both geometric and organic shapes using masks. 

To Be Seen, 2016
Marbled Wood Panel
8" x 8" x 1.5"

Mindset, 2016
Marbled Wood Panel
8" x 8" x 2"

Three pieces from this series will be a part of the group exhibition and five will be included in the second gallery as well.

Curator Yessica Torres has pulled together a strong show ~ you can check out some of the featured work here and the list of invited artists here.

I'm so looking forward to seeing the instillation and meeting the other artists at the Opening Reception this Saturday. I invite you to join me and experience the show in person, meet the artists, and share in an evening of color and intrigue.

GROUP EXHIBIT || MAGNUS COLO
Opening Reception || Saturday, April 16, 2016 || 7-10PM || RSVP
Dab Art Gallery || 1793 East Main || Ventura, CA 93001

 

WIP: Back in the Studio

Work-in-progress detail.

Now that this session of Clouds on Water: A Journey into the World of Marbling is underway, I can turn my attention (or most of, it at least) back to projects and ideas that were on hold while we put the finishing touches on the new classrooms. So happy to be back at the tank, playing around ~ especially on this concept I'm developing.

Just Now, Come

In the latest issue of Mabel Magazine, my favorite written piece is that by textile artist Amy Meissner where she talks about how living in Alaska influences her creative work. It’s a moving, honest, intimate piece that, even though I’ve never been to Alaska, I connected to instantly. Amy says that Alaskans have a word for newcomers: Cheechako which is derived from the Chinook word “chee,” meaning “just now,” and “chako,” meaning “come.”

Just now, come.

I emailed Amy to let her know how much I enjoyed reading her piece and that Cheekchako, “just now, come” perfectly describes the marbling process. You need to be very present when marbling because it is at the mercy of Mother Nature and slave to randomness. It happens and it happens now. But it is also a very welcoming and forgiving art form. You cannot really fail at it. Show up and it will show up with you.

Just now, come.

This is my new mantra for when I marble. And I will be sharing it with participants in my upcoming Clouds on Water: A Journey into the World of Marbling eCourse.

Early bird registration specials run through December 31:

• $179 for Introduction to Paper Marbling
• $79 for Advanced Marbling Techniques
• $110 for Marbling on Fabric
• $259 for ALL THREE eCourses!

From the Keyboards (and Hearts) of Students...

I am so incredibly humbled by the student feedback from my first eCourse, Clouds on Water: Introduction to Paper Marbling. As I put the finishing touches on the two new marbling eCourses, Advanced Marbling Techniques and Marbling on Fabric, their comments, praise, and support propels me. A big thank you to the inaugural Clouds on Water class! You will always have a special place in my heart.

Here are a few responses from the question, "What did you love most about the course?"

• Having the ability to have the videos running as I was working at the tank. It was almost as good as having Barb in the room. (Joan Merritt)
• I really appreciated Barb's support and timely feedback. (Karen K.)
• The sense of freedom to create! (Karen McMillian)
• Barb's enthusiasm! Also, seeing both Barb's work and Julie's [her marbling assistant] made the process feel more accessible. If I'd only seen Barb's I might have been a little intimidated. (Kelley Walker)
• Barb's engagement with the group, which supported the bringing together of the group as a place of sharing and offering. ~ (Lawrence Sunhorse Maskill)

If you'd like to try a new art form in a supportive, encouraging, perfection-free zone, Clouds on Water: A Journey into the World of Marbling is for you.

Early bird registration specials run through December 31:

• $179 for Introduction to Paper Marbling
• $79 for Advanced Marbling Techniques
• $110 for Marbling on Fabric
• $259 for ALL THREE eCourses!!

I'd love to take you on the marbling journey. Hope to see you in the studio soon!

Creating Language

I've been really, really busy in the studio these past few months and have been negligent in keeping my blog (and other social media sites) updated with news. This is not an apology. In fact, I'm very proud of the fact! I'm very protective of my time these days and when my energy feels at its best in the studio, that's where I stay.

But I'm emerging now to share in some of the goodness that has been happening in my world. Over the next few days, I'll share some of the exciting directions I've been exploring.

Today's images are from a little experimenting I was doing with creating backgrounds that I would then marble on. This idea emerged from the mini-residency my friend Liz Kalloch (check out her new website!!) and I did back in August.

She is a BILLION TRILLION times better than I am at making the backgrounds beautiful and interesting ~ but part of collaborating is being able to understand what your partner can and can not do...or needs to be pushed to do. By attempting to make backgrounds myself, I learned so much about the process (and how I can contribute to that process) and can communicate with her in a whole different way. Because that's what collaboration is all about: creating a new artistic language.

Back to the Beginning

This is what it looks like to experiment with new materials for marbling. There are so many variables to deal with already with an established marbling practice...throw in something never done before and you're back to the very, very, very, very beginning. All new formulas, all new techniques, an entirely new way of looking at things. Right now, I have four tanks going with three different types of bath + five different paint formulas. I haven't worked this hard to figure things out in years!

In the foreground is a tank I build from a cardboard box and two trash bags duck-taped together. The tank is the same size that the women artisans use. I wanted to replicate surface space and surface tension as I experimented with paint formulas.

In Bangladesh, I have no idea what kind of materials I'll be working with...or what I'll have access to. It's part of the thrill and part of the anxiety. All I can hope for is that my years of marbling practice, years of paying attention, years of pushing through my own failed attempts, and the adventurous souls of the women artisans will get all of us where we need to be.

Thank you!

Nothing makes me happier than a REAL paper map, a guide book, and an electrical adapter for a country I've never been to before!

I can't even begin to express my sincere gratitude for everyone's enthusiasm and support for the Bangladesh adventure I'm about to embark upon. Even though I'll be with an amazing group of people (Annika of Di Milo Design and Bobby and Mycah of Redmond Digital Media), there are so many unknowns and variables involved in this trip for MY part of the program that it's making my head spin and my stomach fill with butterflies. I know everything will be fine and once I get there all my concerns will melt away ~ but right now I'm wrapping myself up in your kind words and earnest encouragement as I make my way through the process of figuring out how to make it all work out!

"Life is either a daring adventure or nothing at all.”
~ Helen Keller

Bangladesh, Here I Come!

This is going to be a game changer. And I would be honored to have you be a part of the experience.

In less than a month, I will be boarding a plane bound for Bangladesh where I will have the privilege and honor of working with fair-trade paper artisans on developing new marbling techniques. But this won't be your typical marbling class. And the participants won't be your typical students. This adventure will be all about increasing women's self-determination in a country that makes it difficult, at best, to do so and helping them create more opportunities to provide for their families and villages. In other words, helping women help themselves.

Let me start at the beginning.

A few months ago, my friend Annika Buxman of De Milo Design, approached me with an idea. Her line of eco-friendly and fair-trade papers called Sustain & Heal comes from a co-op in Bangladesh which provides employment for women in rural areas who otherwise would have no other source of income. The artisans make handmade papers from locally grown jute fiber. Then they add elegant designs to the paper by marbling on them.

An artisan creates marbled designs for the Sustain & Heal line of eco-friendly and fair-trade papers.

Annika has been working with the co-op for seven years and would like to see them expand their line of paper offerings. However, the artisans are limited by their current marbling capabilities ~ but not limited by their eagerness to learn new techniques! So she asked me if I would be interested in going to Bangladesh to help them develop new marbling skills.

Would I? Of course!

We will be gathering together women from several rural communities for a three-day workshop. Our goal is to build upon their existing talents while exposing them to new tools, materials, and techniques that they can then build upon. This will give them the ability and confidence to extend their range of papers ~ and then take their new skills with them back home to their villages and share what they learned with even more artisans ~ thereby creating ripples of more opportunity.

A group of women gather at an artisan workshop in Bangladesh.

De Milo Design will be investing in this training by funding 25% of costs and we hope you will help us raise the rest of the funds needed. Your contribution will help change the lives of these women by making a business opportunity a reality. While their individual stories reflect hardship and tragedy, they've come together in these workshops and have created a sustainable, empowered community able to provide for their families.

To learn more about this incredible opportunity and see a short video about the group of amazing women artisans, visit our fundraising page. (And check out the many beautiful thank-you gifts we're offering to show our appreciation for your support!)

Indescribable

I've been quiet here on the blog lately and there's a very good reason for that. I'm still trying to find my way into how to share the soul-shifting experience of the two-week residency I did with my collaborator and friend Liz Kalloch. In some ways, I don't want to tell the story ~ that by doing so will weaken its power. In most ways, I simply can't. It was 14 days completely and totally committed to the creative process ~ and boy did we dive in, go deep, and not come up for air until we had to.

We put no pressure on ourselves ~ only to commit to being in the studio together ALL day (we usually got to the studio about 8:30 a.m. and didn't leave until after 7 p.m.) working on our collaboration projects we call New Ground. We had no number to meet, no agenda to complete. It really was an open-ended voyage into exploration.

Along the way, we tapped into some good, good stuff. Almost effortlessly, we produced a nearly complete series involving patterns (all on wood panel) and got a good start on a couple more directions we are excited to pursue. (But not being in the studio together to nurture those new directions together is a hard pill to swallow.) And on a personal level, I unexpectedly found my way into a couple of new creative directions I'm excited to explore more of.

It was a time of color exploration for me.

The brighter the color, the better!

Color study ~ seeing how paints behave when overmarbled on black.

Integrating creative styles.

Alumming oversized paper!

Our chill spot outside the studio (also the gathering place of several happy hours with other artists in the building)!

Busted out the oversized tank and had a blast!

Color, contrast, cracks...

Studio dog, Henri.

Works in progress...how we stratigize.

Work in progress...

Work in progress...

Peek at the finished piece!

Peek at another finished piece.

Another peek, another piece...

Work in progress...

Peek at the finished piece.

At the last minute, we decided to create smaller replicas of the original pieces.

What I learned during this time is that collaborations, when with the right person, is exhilarating. It sounds cliche but it's true: it's like a dance. You feed off each other's energy, guide each other across the dance floor of process, support each other when there's a stumble, and can't imagine dancing to that song with anyone else.

I also learned something about myself: that all my years of practice, of study, of showing up and DOING is worth it...it makes a difference. In little bits it never seems like I'm getting anywhere but when something like this happens ~ where you draw from so many areas of your skill set and talent and creative vision ~ you see the mosaic as the whole that it is.

Another Set of New Work

These took a while to emerge. And there are lots of layers. Layers on layers of layers. Some are emotional. Some are pages from a vintage garden book. Others are regular paint and marbled layers. And in between is the spiritual. These pieces are personal. And now, it's time to let them go.