marbling patterns: feather

Now we come to some exciting compound patterns in our series of marbling pattern tutorials. These rely on a series of basic patterns repeated one after another. For the most uniform results, use a set of marbling combs and keep your hand steady, with your eyes focused on the movement of just one tine through the pattern in the vat. Of course, you can achieve similar but more organic results by drawing with a stylus. Remember, the diameter of the stylus will impact the line quality, and the spacing of the pattern at each step will influence the outcome, so feel free to play with the scale along the way. And, lastly, remember to take your paper grain into account when planning out the pattern. The feather pattern begins with a getgel, continues with the nonpareil, and is completed with a widely-spaced getgel.

The getgel at left is followed by the nonpareil.

Then follows a widely-spaced getgel (about 3"), perpendicular to the nonpareil pattern.

Having completed the getgel, the nonpareil is now drawn with a stylus or a nonpareil comb.

Perpendicular to the nonpareil stripes, this is followed by widely spaced parallel lines.

In the spaces between these lines, another series of parallel lines are drawn running in the opposite direction.

And the feather pattern is complete!

marbling patterns: nonpareil

Today our series of marbling pattern tutorials brings us to the nonpareil pattern, from the French "without equal". Though truly the nonpareil is not one of my favorites, it is a step towards some further compound patterns whose elegant line quality depend on it. This pattern requires a nonpareil comb, whose tines have 1/8" or 1/4" spacing - but if, like me, you don't have such a comb you may carefully use a stylus. This gives a looser, less static quality to the pattern.

Complete a getgel pattern (at left above), then draw a series of tightly spaced parallel lines perpendicular to it.

The nonpareil pattern begins with a getgel, which may be repeated once or twice for finer lines. Remember before beginning to make a note of your paper grain direction, and do some strategizing so that the completed pattern will be oriented as you wish.

Working perpendicular to the existing pattern, pass your nonpareil comb through the pattern once or draw a series of closely spaced lines with a stylus.

I did not pull a print of this pattern, but continued working on it. However, below are some lovely vintage examples of the nonpareil from the digital collection of the libraries of the University of Washington, which also illustrate the effect of pattern orientation.