Soft launching. More makers all summer.Soft launching with our founding makers. More arriving through the summer.
Soft launching. More makers all summer.Soft launching with our founding makers. More arriving through the summer.
A snake, drawn out of double-marbled paper and hand-cut. Each piece begins as a sheet that has been through the size bath twice, building two layers of pigment on the same surface before Nichola cuts the serpent form out of it. The body curves the way a snake curves, with the marbled pattern running along the length of it.
Double marbling does two things at once. It adds depth, because the second pass of pigment sits over the first and the colours interact instead of laying flat. And it raises the difficulty: two passes mean two opportunities for the sheet to muddy or smear, and a clean double-marbled paper takes a steady hand at the bath.
The hand-cutting is the second discipline. The cut line has to follow the marbled pattern and the snake's anatomy at once, which means working from the pattern outwards rather than imposing a shape onto it. Every snake reads slightly differently because the pattern under the cut is never the same twice.
Mounted on A3 paper and ready to frame. Each piece reads differently.
A snake, drawn out of double-marbled paper and hand-cut. Each piece begins as a sheet that has been through the size bath twice, building two layers of pigment on the same surface before Nichola cuts the serpent form out of it. The body curves the way a snake curves, with the marbled pattern running along the length of it.
Double marbling does two things at once. It adds depth, because the second pass of pigment sits over the first and the colours interact instead of laying flat. And it raises the difficulty: two passes mean two opportunities for the sheet to muddy or smear, and a clean double-marbled paper takes a steady hand at the bath.
The hand-cutting is the second discipline. The cut line has to follow the marbled pattern and the snake's anatomy at once, which means working from the pattern outwards rather than imposing a shape onto it. Every snake reads slightly differently because the pattern under the cut is never the same twice.
Mounted on A3 paper and ready to frame. Each piece reads differently.
Nichola Daunton marbles paper by hand from a north east London studio, after years on the Kent coast. Traditional float-and-comb technique, bolder colour than the form usually asks for, no two sheets the same.
