Marangoni spreading on liquid substrates in new media art

Abstract

Abstract With the advent of new media art, artists have harnessed fluid dynamics to create captivating visual narratives. A striking technique known as dendritic painting employs mixtures of ink and isopropanol atop paint, yielding intricate tree-like patterns. To unravel the intricacies of that technique, we examine the spread of ink/alcohol droplets over liquid substrates with diverse rheological properties. On Newtonian substrates, the droplet size evolution exhibits two power laws, suggesting an underlying interplay between viscous and Marangoni forces. The leading edge of the droplet spreads as a precursor film with an exponent of 3/8, while its main body spreads with an exponent of 1/4. For a weakly shear-thinning acrylic resin substrate, the same power laws persist, but dendritic structures emerge, and the texture of the precursor film roughens. The observed roughness and growth exponents (3/4 and 3/5) suggest a connection to the quenched Kardar–Parisi–Zhang universality class, hinting at the existence of quenched disorder in the liquid substrate. Mixing the resin with acrylic paint renders it more viscous and shear-thinning, refining the dendrite edges and further roughening the precursor film. At larger paint concentrations, the substrate becomes a power-law fluid. The roughness and growth exponents then approach 1/2 and 3/4, respectively, deviating from known universality classes. The ensuing structures have a fractal dimension of 1.68, characteristic of diffusion-limited aggregation. These findings underscore how the nonlinear rheological properties of the liquid substrate, coupled with the Laplacian nature of Marangoni spreading, can overshadow the local kinetic roughening of the droplet interface.