A large sheet of hand-marbled paper, 700 x 500mm, lifted from Nichola's size bath in a single transfer. Pigments float on the surface of a prepared bath, get drawn into pattern with combs and rakes, then a sheet of paper is laid across the top to take the design off in one contact. There is no second attempt. What the paper picks up is what the sheet becomes.
No two sheets are the same. Every one carries the small accidents of the process: a heavier swirl on one side, a thinner line on the other, the moment the pigment decided to do its own thing. The image you see in the listing represents Nichola's style and colour range, not the exact pattern you will receive.
Marbling is on the Heritage Crafts Red List as endangered. The technique demands a long apprenticeship of failed sheets before it starts to behave, and a working sheet like this is the visible end of years of bath-keeping and pigment work.
Buyers use sheets at this size for framing as statement artwork, for bookbinding and case-making, for lining the inside of a drawer or a box, or for wrapping something that deserves better than tissue paper.
Nichola Daunton · Daunton MarblingA large sheet of hand-marbled paper, 700 x 500mm, lifted from Nichola's size bath in a single transfer. Pigments float on the surface of a prepared bath, get drawn into pattern with combs and rakes, then a sheet of paper is laid across the top to take the design off in one contact. There is no second attempt. What the paper picks up is what the sheet becomes.
No two sheets are the same. Every one carries the small accidents of the process: a heavier swirl on one side, a thinner line on the other, the moment the pigment decided to do its own thing. The image you see in the listing represents Nichola's style and colour range, not the exact pattern you will receive.
Marbling is on the Heritage Crafts Red List as endangered. The technique demands a long apprenticeship of failed sheets before it starts to behave, and a working sheet like this is the visible end of years of bath-keeping and pigment work.
Buyers use sheets at this size for framing as statement artwork, for bookbinding and case-making, for lining the inside of a drawer or a box, or for wrapping something that deserves better than tissue paper.
Nichola Daunton marbles paper by hand from a north east London studio, after years on the Kent coast. Traditional float-and-comb technique, no two sheets the same.
Nichola Daunton marbles paper by hand from a north east London studio, after years on the Kent coast. Traditional float-and-comb technique, no two sheets the same.
