Marbling

2020.05.25 - iBB Podcast #5.2 - Katy Savelyeva - Katy Ebru - Q&A

iBB Podcast/ Paper Marbling

iBB Podcast #5.2 – Katy Savelyeva @KatyEbru – Paper Marbling Q&A

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For the fifth episode of our podcast, we invited a marbler from Saint Petersburg, Russia. Katy Ebru showed us several marbling patterns right during the recording – you can see them in the first part of the video. This part is dedicated to Q&A.

Currently, I’m editing the sixth episode, where we talk to Ingeir Djuvik, an award-winning hobbyist bookbinder from Norway. I suppose it will go live later this week.

This Wednesday, we are recording another episode of the show, and my co-host Pavel Voronin decided to make me a guest. It’s a bit strange role for me, but I’m sure it should be fun!

We will talk about my more than twelve years of being a bookbinder and my story with iBookBinding. About making, designing, and 3d-printing tools for bookish people. I will show around my workshop. And we will answer some questions.

So, if you have anything to ask about 3d-printed bookbinding tools, iBookBinding, or bookbinding as a craft in general, please comment, send us a message through our social accounts, or write an email!

But, back to the episode with Katy Ebru =)

You will find the timestamps below.

Audio

Video

Listen to this episode on:

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Q&A

00:18 – Working with major Russian libraries
01:28 – Recreating existing patterns

03:17 – Question from Karen @indigo_craftroom: Katy’s favorite paper to work with
04:33 – On the thickness of the paper

07:35 – Question from Eva and John Baines: Do you ever do tiger eye or sunspot patterns? What recipe do you use to get it?

10:53 – Question from Eva: Do you use oil or turpentine for certain patterns? How does that work?

11:16 – Question from Shannon O’Blenes: I would like to know what type and brand of paint the professionals use to get such bright colours.
11:44 – Making tiger eye pattern with acrylics

13:26 – Some differences between Turkish and Western marbling
14:16 – Marbling objects different from paper / Marbling fabrics
15:14 – Books covered with marbled cloth

16:03 – Question from Itzmalli Coca: How to fix color once printed?

18:21 – Question from Susan Burrows @susie_kitchens: Have pretty much tried every size and type of paint and just can’t get a satisfactory result. Really wish I could get it right!

19:07 – Video tutorials and other videos from Katy

20:10 – Question from Janet Mente: Some days when I am marbling, things just do not work. I know there is a German book by a 19th-century marbler entitled in translation “My struggle with Oxgall,” so I know these things happen.
So my question is: what do you do on those days? Do you give up? Start from scratch? Or try to fix the mix and, if so, how?

2020.03.09 - Upholding the Traditions of Marbling in Russia. Interview with Ekaterina Hyyrynen (Savelyeva)

Interviews/ Marbled Paper

Upholding the Traditions of Marbling in Russia. Interview with Ekaterina Hyyrynen (Savelyeva)

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This interview is a part of a series produced by Anna Markova, book bindings’ historian and rare book librarian at the Pushkin State Museum of Fine Arts (Moscow.) The series is dedicated to book artisans of different kinds. I met with Anna last year, and she’s a wonderful specialist and a person who invests herself in her work and other projects and cares a lot about books and their history.

Here is an introduction from Anna Markova:

The first interview is with a paper marbling master Ekaterina Hyyrynen (Savelyeva). Ekaterina studied the art of making marbled paper (ebru) with Turkish masters. However, she lives and works in St. Petersburg (Russia). The first time I saw her papers, I was impressed by how accurately Ekaterina reproduces the patterns made in the 1820s. The historian of European books sees a historical prototype in a sheet of marbled paper: caillouté, tourniquet, feuille de chêne). What makes Ekaterina’s work even more special is that she looks at the art through the “east-west” prism. For each pattern, she can give a European name and a name of the Turkish original. She can also indicate its place in the Turkish hierarchy of genres.

Ekaterina uses very different techniques, styles, and color combinations: the master of marbled paper must take into account the tastes of different customers.

Anna Markova: You have clients not only from Russia but also from many other countries worldwide. Do the customers from different countries prefer different types of paper? Or their demands are pretty similar?

Ekaterina Hyyrynen (Savelyeva): This is true. My clients come from all over the world. The usual requirements are about the same. I rarely make orders abroad because foreign customers usually choose from those of my sheets that are already available and remain satisfied. Russian clients are very imperative. It was one of the Russian clients who asked me to repeat a very original ornament that I once made myself: an ornament similar to pieces of ice.

Anna: What was the most unusual or exciting order of marbled paper that you had?

Ekaterina: Over these past years, I have made custom paper several times. I would like to single out work for a restorer from the Moscow region who worked on a St. Petersburg edition from the late 18th century. The customer sent me an original binding that had marbled paper for its endpapers. Custom work is always a challenge. “Can I do it?”. You should carefully consider the drawing, see how the colors are applied, choose a color scheme matching the original. I was anxious about the result because it is impossible to make marbled paper absolutely the same. However, the client was delighted.

Anna: Do modern and original marbled paper exist in contemporary Europe and Russia? Or the aesthetics of marbled paper only imply imitation of historical models of the 17th-19th centuries?

Ekaterina: It all depends on the taste of the master and the customer. Original ornaments exist, especially in the West. Some masters conservatively make classic patterns, and they do it perfectly. Other artists create amazingly beautiful modern designs.

When I met some of these people at the World Congress of Ebru, I realized how beautiful marbled paper could be; wide horizons are open for experiments. Since the art of marbling and bookbinding died out a bit in Russia in the 20th century (correct me, if I’m wrong), nowadays, there’s a higher demand for classical patterns.

Anna: What are the applications of marbled paper today? Only to cover bindings and use as endpapers?

Ekaterina: The world of marbled paper is booming today, this paper is used not only in bookbinding but also as any design element. It can serve as a beautiful packaging for various items and gifts. Also, marbled paper is actively used in the interior design: to create paintings, wallpapers, panels, interior items (tables, lamps, shelving, and so on).

It all depends on the technical capabilities of the master. Clients from Russia and Malaysia bought my marbled paper for calligraphy and manuscripts, and there was an order from Sweden for paper for graduation work, another client from the USA ordered my paper for lampshades.

You can find both Ekaterina Huyuryunen and Anna Markova on Facebook and Instagram.

2019.09.01 - Starch Marbling as Described in Het Drukkers Jaarboek 1911

Endleaves/ Paste Paper

“Starch Marbling” as Described in Het Drukkers Jaarboek 1911

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Among other exciting things, I found in the last volume of the Dutch Printers Yearbook from 1911, was an article by Reinier Willem Petrus de Vries Jr. about a technique that “recently” attracted the attention of some bookbinders — starch marbling.

The first half of the article doesn’t say a word about this method. Only after we are shown some samples there starts a description of the technique.

I will quote the second part of the article below. Please keep in mind that it was Google translated from Dutch and then edited by me.

However, the cumbersome nature of the arrangements is undoubtedly the reason why few binders are looking for a new method of decoration in the marble technique. And it is also certain that in recent times some binders in our country and abroad have simplified these methods. One of these simplifications was already in use with some binders in the 18th century is known as “starch marbling[efn_note]Or something like that—”stijfsel marmer” in the original Dutch text[/efn_note]..”

That a large variety of beautiful papers can be made with this method is proven by the many samples provided by the former Haarlem binder Joh. B. Smits (currently a chief teacher for the graphic subjects at the Zurich School of Applied Arts.) You can see the samples provided by him above.

Let’s start with stating that it would be better to disconnect the tag of ​​’marbling’ that is wrongly attached to the method. Even while one may find some visual similarities with veined marbling, we would rather look at it as a completely separate process if the starch marbling that can generate beautiful color combinations and peculiar motifs.

The technique itself is relatively straightforward, and only the greater or lesser skill and ingenuity determine the result.

It is necessary to start with a good hard underlay, a lithographic stone, a glass plate, a zinc plate, even a board covered with tarpaulin can serve. The goal is for the surface to be very flat. Here a sheet of paper is accurately flattened and covered with the pre-colored starch paste.

The starch paste must be sifted through a nettle cloth after cooling to remove all imperfections. After that it is mixed with watercolor or with the so-called ‘Halter marbling paint'[efn_note]Supposedly that’s a reference to Josef Halfer’s paints. Josef Halfer (1846-1916) was a bookbinder and marbler from Budapest, Hungary[/efn_note] that can be obtained in every shop selling bookbinder materials.

To keep the color better after drying some double chromic acid potash is often added to the starch, which, however, gives it a slightly yellowish tint.

When the colored starch is spread over the paper with a rather broad brush, the decoration can begin. During the process, many tools are used. Often very primitive and most of own invention.

Continue to draw lines in the transparent starch layer. The simplest decoration can thus already be achieved using a steel comb, as the wood painters use. Draw it over the paper in straight or curved lines, dragging slowly. The higher or lesser thickness of the starch now again causes a different result. Pressing a fingertip, a small sponge, a figure cut into leather or rubber at regular intervals also allows creating lovely patterns. That’s what makes unique each designer’s work.

If the paper is designated for use as endleaves, it is peculiar to make the pattern in such a way that it runs from the center line, which is pinched, to the right and left.

Then the still wet paper is folded in half, and the decoration is thus transferred. The pattern appears opposite on both halves when the paper is opened.

It is self-evident, however, that this simple technique must be used wisely. Especially because it is known that wiping and pressing in the wet starch layer very easily gives creates a relief, which should be avoided as a method of surface decoration in book art. With some practice, however, it is possible for the bookbinder to make lovely papers with a leather color. There is also something animating about it; it exerts taste and fantasy.

But unfortunately, we don’t know if it will last. In Germany, it is starting to become fashionable and Frau Professor …. Frau Baumeister …. are making ‘Kleistermarmor’ that they sell at reasonable prices. To satisfy the numerous requests yet another Berlin factory adopts this simple and nice technique for their production.

At least we can be sure that the technique of making paste paper didn’t die out in the early 20th century. And it is quite enticing and educating to see how it all began and what was the initial response to this new method of decoration.

We have recently digitized Het drukkers jaarboek 1911 (The Printer’s Yearbook, 1911) and it is available to our patrons on Patreon or on our Issuu page.

2019.03.11 - Marbled Velour Paper - Heaven for Visual and Kinesthetic Persons Alike!

Marbled Paper

Marbled Velour Paper – Heaven for Visual & Kinesthetic Persons Alike!

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I wanted to share this with you for several weeks already, but some other things always intervened. I received a lot of nice bookish presents from all over the world this past holiday season. But these pieces of marbled velour paper were the most gratifying by far!

They were a part of a present sent to me by Nancy Trottier – proprietor of Trottier Calligraphy Studio & Ducks In A Row Press in Deep River (Ontario, Canada.)

I used a similar paper during my bookbinding classes for kids. I’m not sure whether that was suede or velour paper, but on that specific occasion that didn’t matter. And I never thought about what marbling that sort of material would result in.

While well-known marbling swirls would definitely give satisfaction to people, who prefer visual input, the soft feeling of the surface would cater to a kinesthetic person. But then imagine what happens when you combine these two sensations.

I was blown away. One of the most engaging artsy presents I ever received!

So, here is my advice: if you have never tried marbling velour paper – go and do it right away!

Some other goodies from the package:

You can find Trottier Calligraphy Studio & Ducks In A Row Press on Facebook as well: https://www.facebook.com/TrottierCalligraphy/

2019.02.28 - Miniature Book Earrings

Blog/ Cover Decoration/ Marbled Paper

Bookish Earrings with Marbled Covers in a Book Shop Next Door

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Right opposite the entrance to our quarter in Leiden there’s an old books shop. In the window people walking by can see lots of book-earrings with marbled covers.

I already mentioned that shop before. Every Saturday the owner takes part in Leiden book market. There are only four stalls there and two vendors, but they occupy most of the length of the quarter.

There also are some funny cartoons on the entrance door of the shop:

A couple of weeks ago I chatted with the proprietor. As it appears, most of the books about bookbinding he sold me were from his mother’s collection.

She used to be a bookbinder, but now old age prevents her from more demanding tasks. Nevertheless, she continues to make these bookish earrings and brooches. All of them are real miniature books!

600 Hundred Years of the Turkish Tradition of Marbling

Paper Marbling/ Video

600 Years of the Turkish Tradition of Marbling

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Artist Steve Pitсtelkow speaks about the history of marbling or Ebru, as it was invented by Turks some 600 years ago. This video also shows the main steps of the process and tools used for marbling.

Video source: https://www.ideastream.org/news/the-art-of-marbling-what-is-it

However, I should mention that even if Ebru is a Turkish technique, there are other places of origin of similar forms of art. Some of them even are more than a millennium old. Suminagashi (墨流し) – a Japanese way of transferring floating ink to paper is known at least from the 12th century.

Two pages of waka poems by Ōshikōchi Mitsune (859?–925?). 20 cm height, 32 cm wide. Silver, Gold, Color, and ink on suminagashi paper. From a copy of the Sanjurokunin Kashu or “Thirty-Six Immortal Poets” kept in the Hongan-ji Temple, Kyoto. This multi-volume manuscript, which contains the oldest examples of marbled paper known today, was presented to the Emperor Shirakawa on his sixtieth birthday in 1112 C.E. (Narita, 14 and Chambers, 13–16).

There were also similar Chinese techniques dating back a far as the 10th century or even earlier.

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@iBookBinding/ Blog/ Guest Posts/ Paper Marbling/ Tutorials

Paper Marbling: Turkish Marbling Tips for Beginners

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Like many of my fellow bookbinders, I am mostly self-taught; we comb the internet for tips on binding techniques, sewing patterns and leather-versus-cloth options. This initial interest in book arts tends to begin with modern takes on traditional bindings. But after having bound a few works, it’s natural to want to move a bit further back in history, researching the origins and techniques of other book-related arts, such as marbled end papers.

There is a growing fascination with traditional paper marbling, perhaps brought on by the seemingly endless amount of marbled fingernails tutorials on YouTube and the results featured on Instagram feeds across the world. What I’ve found to be elusive are tutorials on how to actually marble paper — the original substrate for the marbling process.

Most paper marbling videos are not tutorials at all, but rather demonstrations of the real-time marbling process; as in, paint being dropped onto the surface of the size, then the rich colors combed and raked through to create ribbons of intricate patterns. By simply observing the video, we’re hypnotized, believing, “That’s easy, I could do that.” However, we don’t get a sense of the planning and preparation that goes into this process, which ensure that everything goes smoothly.

So, where does this leave you and me as far as learning goes? It seems although we’re in the age of the internet, to get any decent instruction on preparation and technique, you’ll need to go to (appropriately) your local mecca of books — the library. Or you could order a book from your bed and have FedEx drop it off. Maybe the internet is helpful in the marbling process after all!

Anyway, by the time I realized I really should have read the book on marbling, I was already knee-deep in carrageenan and trial and error. Let my frustrations save you some stress and maybe a few bucks. Here are some tips and information that most videos never mention.

Carrageenan

  • Purchase Lambda carrageenan. Many times, online retailers don’t specify which type of carrageenan they are selling, and not all carrageenan is the same. For example, Kappa carrageenan quickly turns to jelly, whereas Lambda can be left out for a couple days or refrigerated for up to a week; it will never set (after this point, nature takes course and it starts to break down). If you are purchasing from a seller whose sole business is marbling, you can trust that they offer Lambda. Purchasing randomly off Amazon? Be sure of what you’re buying.
  • Instead of carrageenan, you can use methyl cellulose for your size. The benefit to using methyl cellulose is that it does not spoil over time and can be left out indefinitely.
  • Carrageenan needs to rest for several hours so the bubbles will dissipate. Why care about bubbles? No one ever talks about that part. Bubbles in your size won’t allow the paint to spread out properly and will break up your color. If you’re impatient like me, you can scrape away the bubbles using your cleaning tool.

For the correct carrageenan (and more supplies), try this site. If you are located outside the US and Canada, this Etsy shop sells worldwide and I have bought carrageenan from her before.

Alum

  • Sponge alum onto your paper for preparation instead of using a spray bottle. Spraying creates an uneven application which can cause portions of your print to wash away during rinsing. Natural sponges work best.

Paint

  • Use high quality acrylic paints (I prefer Liquitex Heavy Body), but thinned with a small amount of water. Make sure the pigment is thoroughly mixed, or you’ll have chunks on your size and the color will not spread.
  • If you store your paints in screw lid canisters, stir your paints instead of shaking them. It seems obvious, but it’s natural to want to shake a container before use; this creates bubbles that will transfer onto your size, causing your colors to break and spread unevenly on the surface.
  • Avoid transparent acrylics, or your seemingly intense red will turn into a delicate pink once transferred to your paper. Typically, the back of the paint tube states whether the paint is opaque or transparent.

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Marbling Gall (‘Ox Gall’)

  • Traditionally, genuine ox gall was used for the marbling process but in these modern times, it is not strong enough for acrylic paints (acrylics are a relatively ‘new’ invention). Instead, a wetting agent such as Kodak Photo Flo can be used. You can purchase a large bottle for around $10; this will last for years. It can also be used in Suminagashi marbling as well.
  • Sometimes, thinned acrylics do not need anything added to help them spread. To test, first drop color onto the size to see if it readily spreads across the surface. If not, then marbling gall is needed.
  • For certain designs (ex. Italian vein), you’ll use thinned marbling gall dropped onto the size. Having done this, additional colors dropped on will not spread, so make sure this is the last element of your design. As accordingly, a paint with too much ox-gall will not allow other colors to spread atop it. Only add small amounts of marbling gall a time so you don’t accidentally ruin your paints.

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Paper

  • The placement of paper on the size is extremely important. The paper must be laid onto the surface in one smooth motion to prevent bubbles and lines. Do this by holding the opposite corners of your paper, creating a sort of canopy, then lay the paper down on the size. You can watch videos of professional marblers doing this, but it’s something that takes practice and patience to eventually get right.

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  • After rinsing, do not touch the print as the colors will not be permanent until the print has dried.

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I hope these tips help you during your first marbling sessions. Now get out of bed and start marbling!

Crystal Shaulis was first introduced to bookbinding three summers ago in Venice, Italy, where she studied the art and history of traditional books. She is currently Intern Coordinator and an instructor at the Kalamazoo Book Arts Center in Kalamazoo, Michigan. You can see her work at CrystalShaulis.com

All images provided by author.

Further Reading

 

 

Marbled Paper Endsheets Bookbinding

Blog

Marbling Tutorials, Equipment & Photo Galleries

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Marbling the Book Edges
Marbling the Book Edges

Marbling paper for book endsheets is a great way to add a little more class to your bookbinding project. Marbling is very simple to do and every print is completely different which further helps to add originality to your books. Your bookbinding marbling adventure doesn’t have to stop at endsheets, you could also experiment with marbling the coverboards, the book cover material or even the book block fore-edges.

For the general craft-worker or bookbinding hobbyist you’ll likely be able to complete adequate paper marbling with materials you can find at home or pick up from local stores (you can also buy marbling kits that have everything you need to get started). For those looking for a more professional finish you’ll be pleased to know that marbling is an art, and as such there are many techniques and concepts you can learn to make your books stand out from the rest. I would recommend checking our post on the Top 5 Must Read Books on Marbling Techniques + Reviews.

We also have our own tutorial for those starting to learn how to make marbled paper: Turkish Marbling Tips for Beginners.

History of Marbling

Historic Marbled Book Cover - Photo by Cathe of http://justsomethingimade.com/2011/05/1870-antique-book-cover/
Marbled Book Cover from 1870

Marbling (or marbleizing as it was known at the time) was thought to have started in the 1100’s in either Turkey or Persia though many scholars believe that the suminagashi (or ‘floating ink‘) techniques that were developed in Japan during the 12th Century were in fact the foundations for paper marbling. The earliest marbled books that are still around today originate from Turkey, 15th century.

Outside of their decorative qualities, marbled papers were once used primarily to prevent erasure and forgery on the back of official documents.

The German Album Amicorum (an autograph book used by scholars and students) from 1604 is the earliest known example of European marbling.

Additional Resources

Paper Marbling Instructions & Tutorials

There are many different ways to marble paper and we’re going to cover a few of the most common marbling techniques below but first of all I think we should take a minute or two to watch some of the best marblers in the world… I hand-selected these videos and consider them to be the best examples of professional marbling I could find on the internet – the work produced is simply fantastic and well worth a watch, no one video is the same so take the time to watch a few of them before moving on!

Some of the Greatest Paper Marblers in the World?

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Turkish Marbling Tips for Beginners

2015.10.01 - 05 - Paper-PlacementMany paper marbling video tutorials leave some very basic but important details obscure, or do not explain well. Luckily, we have our own post, that describes the things you need to know before beginning to make marbled paper.

Many thanks to Crystal Shaulis, Intern Coordinator and an instructor at the Kalamazoo Book Arts Center, for writing that post for iBookBinding.

Check tutorial at iBookBinding

The Shaving Cream Method (Very Basic)

Shaving-Cream-Marbling-with-Kids-08

Perfect for children and small arts and crafts projects. Marbling with shaving cream can produce some good results but due to the process and the fact you have to scrape shaving cream and paint off the paper after you press it onto the ‘size’ means that you’re often left with undesirable results. Chemicals in the shaving cream are probably also not good for the paper so keep this one for the children. Good idea though none the less.

Watch tutorial on ArtfulParent.com

Spray Paint and Water Marbled Paper Method (Basic)

Spray Paint Marbled Paper

Another alternative way to create marbled effects on paper is to use spray paint and a bucket of water. Some excellent results can be had using this technique but due to the fact you’re using spraypaints instead of inks means you have to conduct this outside and also have to deal with the stiffness of the paper and paint cracking after the process is done.

Probably not suitable for 90% of bookbinding projects but worth knowing about and experimenting with incase the situation arises where you want to try something different. A good tutorial though with some lovely photos that is worth looking at.

Watch tutorial on AlisaBurke.blogspot.gr

Marbled Paper with Oil paints and Turpentine Method (Basic)

Oil Paints Paper Marbling

Now we’re starting to get more into the classic forms of marbling paper. This marbled paper tutorial uses oil paints mixed with turpentine to create some very vibrant marbled paper effects. I would normally steer clear of using this method on any bookbinding projects I truly valued (due to the terps and the fact that oil paints can get a bit tacky in hot weather) but great for a quick project or for an introduction into marbling.

The tutorial itself is very simple to follow.

Watch tutorial on RookieMag.com

Chalk and Water (Basic)

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Suminagashi (Japanese Ink & Water) (Intermediate)

Suminagashi Marbled Paper

Using sumi ink, water and dispersant to produce some beautiful traditional suminagashi artwork seems simple but it’s actually quite challenging to get the desired effects. I personally love this technique, it’s beautifully simple and the results you get can be fantastic.

Ruth Bleakley has a lovely small post on how best to fix problems you might be having with suminagashi which you might want to read through before starting.

View tutorial on RuthBleakley.com

Liquid Acrylics, Methylcellulose, Alum & Water Paper Marbling (Intermediate)

acrylic paper marbling

A great tutorial on paper marbling using liquid acrylics. This is the technique most people will probably be familiar with and whilst you can be quite creative it’s hard to become a master. Perfect for professional binding work as well as craft-work.

See the below Marbling Supplies section for advice on the best liquid acrylics to use with this technique.

View tutorial on MarthaStewart.com

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Marbling with Acrylic, Carrageenan, Alum (Advanced)

Bullesye Marbling Pattern Paper

The full-blown marbling technique as adopted by the pro’s.

A great post by Henry Hebert on his time spent in his workshop with Regina and Dan from Chena River Marblers. Some of the work produced by Henry and his students are simply fantastic.

View Post on HenryHebert.wordpress.com

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Marbling Supplies, Tools & Equipment

Carrageenan

Powdered Carrageenan
Powdered Carrageenan

Carrageenan (pronounced ‘care-a-GHEE-nan’), is a type of gelatin used predominantly as a thickener in the food industry (you’ll likely find it in ice-cream, cottage cheese, chocolate milk etc) but is also a popular choice as a ‘size’ in professional marbling projects. nb, a ‘size’ in marbling is the solution on which the colours are floated.

Alum (aluminum sulphate)

Alum
Alum

Aluminium sulfate (alum) is used as a mordant in paper marbling to help fix paints or inks to the paper. It is normally applied via a sponge on paper and left to dry before using. You can purchase many papers specifically for marbling which have already been coated with alum or a similar mordant. If one is to use paper which has not already been treated with alum you will find most of the paint or ink will simply run off. Alum is also used in food processing and water purification and is none-toxic. Preparation of alum: (50 grams) of alum to 1 pint of water. I normally use Jacquard Alum for fine marbling works.

Marbling Gall

Ox Gall Liquid
Ox Gall Liquid

Marbling Gall or Ox-Gall is a surfactant or wetting agent, its primary purpose is to help colours float and spread out on the size. Ox-gall is made from the bile of an OX (yup!) but marbling gall’s can generally be made from the bile of any animal.

Colours range from dark brown to transparent but as you only add a couple of drops to some paints it doesn’t affect the colour. You will find that by using gall that your colours will never mix, this is what creates such sharp lines in professional marbling.

Ox-gall is an essential item to have in your marbling arsenal, find out more info on marbling gall here or check prices on amazon.com here.

Even more gall resources: marblingpaper.com | marbleart.us

Kodak Photo-Flo – Ox Gall Alternative

Kodak Photo-Flo
Kodak Photo-Flo

Available here on amazon.com, Kodak Photo-Flo acts as a cheaper alternative to Ox-Gall produces almost the same result but with noticeable differences, not recommended for professional works but always good to have on hand.

Gum Tragacanth

Gum Tragacath

Gum Tragacanth-Tragacantha was used as marbling size from the inception of marbling to around the 19th century it was largely replaced by carrageenan. Today it is still used, especially in Turkey for ebru styles of marbling.

Gum Tragacanth is formed by the stem of certain plants belonging to the Astralagus Leguminosae family of plants and is sourced typically from Turkey, Iran and around certain areas of Afghanistan.

Check out prices here on amazon.com

Methylcellulose

Used as a marbling size. See our Bookbinding Glues post for info.

Marbling Tray

Pretty much any shallow flat tray is suitable for marbling.

Combs & Rakes

Various sizes and teeth spacings for different designs.

Marbling Combs and Rakes
Buy rakes from marbleart.us – http://marbleart.us/MarblingSupplies.htm

You can also make your own…

Comb made from toothpicks and Cardboard
More heavy duty rakes

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Acrylics and Paints

Liquitex Professional Acrylic Inks
Liquitex Professional Acrylic Inks

Here is a thorough review of different acrylic paints of different makes and price ranges by WonderStreet: http://wonderstreet.com/blog/choosing-the-acrylic-paint-thats-best-for-you. Hope it would help you to choose the paint that suits you both in price and quality.

I’ve had best results using liquid acrylic paints/inks but know many that use sumi ink, watercolors, diluted acrylic paint and even oils. Experiment and see what works for you.

Other Recommended Marbling Inks

Dr. Martins Bombay India Ink
Golden High Flow Acrylic
Liquitex Metallic Acrylic Ini
Speedball 5-Color Pigmented Acrylic Ink
Sumi Ink (Japanese)

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Marbled Paper Examples

Examples of different marbling examples for your inspiration.
Examples of different marbling examples for your inspiration.

Make sure to check this awesome marbling gallery on Pinterest!

And Gerry’s Comprehensive Marbleart.us site

Also Oguz Uygur’s Gallery

Below Photos by Lili’s Bookbinding Blog
http://lilbookbinder.wordpress.com/marbled-paper/

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Suminagashi

*suminagashi, which means “floating ink” in Japanese is the oldest method of decorative paper made with floating colors that is known today…

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Additional Resources

Vintage Marbled Paper Designs

More info at http://bibliodyssey.blogspot.co.uk/2010/11/marbled-paper-designs.html
Photos taken from University of Washing ‘Decorated and Decorative Paper Collection’

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Further Reading

marbling

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Top 5 Must Read Books on Marbling Techniques + Reviews

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I have done my fair share of marbling in the past for both clients and personal projects but I am by no means an expert in the subject, this may already be apparent by the lack of technical terminology used within this post but probably even more so when you compare my work with that of a true master.

Marbling is easy to pick up and good fun if you don’t mind getting a little bit messy, but when you strive for professional results you really need to be taught by the pros.

There are a number of books I have read over the years that have helped me become more competent in paper marbling, some of which have gone out of publishing but many of which are still available today. Below you will find a list of what I consider the best books to buy and read on the subject of marbling (+1 on paste papers which is very good).

A few marbling videos from the professionals

Whilst I don’t necessarily recommend purchasing every book on the subject, I would advise getting at least one, one that you can use in your workroom without having to try and find what you need online, which if you’re reading this post, you’ll probably appreciate that this can be hard at the best of times. There is no substitute for a well-written book and even more so on the subject of marbling; the tips and advice given within these books are priceless, I can’t count how many times I have referred back to my own copies even after marbling many hundreds of sheets in my past.

So anyhow, after spending the best part of yesterday and the day before re-reading them all, here are my personal top 5 books on the subject of marbling, many of which are still readily available for purchase online 😀

The Ultimate Marbling Handbook

#1 – The Ultimate Marbling Handbook: A Guide to Basic and Advanced Techniques for Marbling Paper and Fabric (Watson-Guptill Crafts)

Paperback – May 1, 1999 | Paperback
by Diane Maurer-Mathison | Rating: [usr=4.9]

This handbook offers a complete guide to methods, styles and levels of marbling. Beginner marblers will appreciate the step-by-step instruction, intermediate marblers can use the troubleshooting guide to solve problems, and advanced marblers will find ideas and techniques from around the world.

Beautifully marbled endpapers are a familiar sight in old books, but few readers have any idea of how they are made. The technique of printing on paper using inks or paints floating on water was originally kept secret, but recent books have revealed the process. Continuing the material in her previous book, Marbling: A Complete Guide to Creating Beautiful Patterned Papers and Fabrics, this guide includes avant-garde images as well as the classic designs using Japanese suminagashi inks, oil-color marbling, and watercolor marbling. Included are troubleshooting pointers and excellent photographs of pieces by the author and other artists. Highly recommended for all crafts collections.
– Amazon.com editorial review

Perhaps one of the best marbling books you’re going to find on the market.

The Ultimate Marbling Handbook is the book I find myself going to when I’m looking for information or simply when I’m looking for fresh inspiration.

Diane is a master of marbling and over the years it seems she has developed her creativity and many of her own techniques to produce some of the most beautiful pieces of artwork I’ve ever seen, many of her finest examples are shared with you in her book.

I would say this book is the most comprehensive guide to marbling currently available on the market, suitable for beginners right the way through to advanced levels.

The book is well laid out with beautiful color illustrations and photographs which makes it a pleasure to read.

Topics the book cover

Suminagashi, marbling with oil and watercolor or paper and fabric, recommended tools, techniques, and step-by-step guides on how to make 30 or so traditional patterns along with instructions on how to ‘paint’ animals, fish, flowers and other objects on water. A small section on 3D marbling of objects is also contained within the book.

The book also covers more advanced techniques like overmarbling, compressing, using additives, and even using friskets.

My no.1 book, a recommended purchase. A++

Marbling Techniques: How to Create Traditional and Contemporary Designs on Paper and Fabric

#2 – Marbling Techniques: How to Create Traditional and Contemporary Designs on Paper and Fabric

Paperback – October 1, 1994 | Paperback
by Wendy Addison Medeiros | Rating: [usr=4.8]

This nicely presented book covers all the basics of marbling paper and fabric, from making your own tools to working with various types of paints to setting up your workspace. The heart of the book explains the specifics of how to create seven basic marbling patterns and how to troubleshoot technical problems, plus ways to achieve seven specialty techniques, including marbling dimensional objects. The concluding section offers ideas for several projects incorporating marbling, as well as a brief explanation about going into business selling your marbled products.
– Amazon.com editorial review

Whilst I would agree with most of what the Amazon.com editor has to say about the book (above), I would just add that although the book covers the ‘basics’ of Marbling, it is by no means simply a beginners book and would be suitable for every skill level up to intermediate and maybe even advanced due to the tips and advice given.

The author, Wendy, is down to earth and explains clearly, but in great detail, how to go about marbling in many different styles with simple equipment. Detailed step-by-step instructions help to further clarify her written descriptions and add good value to the book. I’ve found information and tips in this book that I’ve not heard or read anywhere else during my career.

Marbling in acrylics, oils, tempera paints, and watercolors are covered in this book along with a section about marbling on fabrics which many will find useful. A supplier list at the back of the book will help those source specialized equipment when needed.

Probably the most useful section in this book is how she goes about providing solutions to common (and not so common) problems that you’ll almost certainly encounter at one time or another during your experimentation. More advanced applications like marbling the edges of a book block are not covered in this book.

All in all, I would highly recommend this book to beginners & intermediates on the subjects. A+

Suminagashi: The Japanese Art of Marbling

#3 – Suminagashi: The Japanese Art of Marbling: A Practical Guide

Paperback – February 1, 1993 | Paperback
by Anne Chambers | Rating: [usr=4.3]

An introduction to the Japanese craft of paper marbling, detailing both traditional and modern methods and including step-by-step instructions on imitating traditional designs and adapting them to Western tastes.
– Amazon.com

A good quality book with many high-quality images of artwork produced by the Suminagashi technique.

Suminagshi is different from Western marbling in the sense that it uses only a limited number of colors or inks (normally only 1, black) and that it uses no chemicals or substances to thicken the water to hold the weight of normal marbling inks which can be found in Western marbling.

The initial chapters of this book focus on the history of Suminagashi and the works of 4 artists who have developed their own style in this art, great for inspiration when you come to do your own.

Later chapters will discuss what equipment and supplies you might need and the techniques needed to use them correctly.

A great book on the subject but not the best if you’re looking to do traditional Western marbling. B+

Marbling on Fabric

#4 – Marbling on Fabric

Paperback – April 1, 1990 | Paperback
by Daniel Cohen | Rating: [usr=3.8]

Create elegant marbled patterns quickly and easily with this thoroughly illustrated guide.

A good little book on fabric marbling with much of what the beginner – intermediate would want to know in under 100 pages.

There are many color pictures and diagrams that help guide the user through different techniques as well as a number of different craft projects laid out towards to end section of the book.

The book is quite old, as such the list of sources and suppliers is pretty much useless.

Although dated, Marbling on Fabrics is still probably the best book you’ll find on, you guessed it, fabric marbling. B+

The Art of Making Paste Papers

#5 – The Art of Making Paste Papers

Paperback – June 1, 2002 | Paperback
by Diane K. Maurer-Mathison  | Rating: [usr=3.4]

Paste paper designs have been used for centuries to decorate book covers and endpapers. A close relative of the finger-paintings of our youth, the basic paste paper technique involves dampening a sheet of paper, coating it with colored paste, and then drawing various implements through the paste to create deceptively sophisticated designs. It’s simple, fun, and used by crafters everywhere to create one-of-a-kind graphics and colorful patterns.

In The Art of Making Paste Papers, a noted paper artist and author demonstrates, step by step, how to create beautifully patterned papers . . . from preparing the papers and applying the paste to producing combed, textured, stamped, and even hand-drawn designs. The reader will see how to use paste papers to make scrapbooks, greeting cards, picture mats, boxes, and other projects—as well as discover the dazzling work of an international roster of paste paper designers. Paper—making it, decorating it, and creating with it—is wildly popular among paper artists and crafters everywhere. The Art of Making Paste Papers is your perfect hands-on guide to learning and mastering this beautiful and practical art!
– Amazon.com description

The Art of Making Paste Papers is a fun book to read and does provide good value to the budget bookbinder or those who do not wish to get into marbling paper.

The process of making paste paper is very simple and not really one I would buy a book on (nb. I’m not sure where I acquired this book from).

It seems to be pretty expensive too for what you get inside. Suitable maybe for a school library or college.

Good for those lacking personal creativity. Definitely a ‘beginners’ book.

So there you have it, my top 5 books on Marbling (and paste papering), if you own or have read any of the books or indeed any others on the subject I would love to know your thoughts on them – use the comments section below. Thank you.

Top photo credit: Candace Thayer-Coe / ‘Cloudart’ (Vancouver, BC, Canada). Find Candace’s work on craftcouncilbc.ca and citizensofcraft.ca

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