Introduction To Paper Marbling

#3: Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other stone.
#4: The patterns are the result of colour floated on either plain water or a viscous solution known as size, and then carefully transferred to an absorbent surface, such as paper or fabric.
#8: Through several centuries, people have applied marbled materials to a variety of surfaces and it is often employed as a writing surface for calligraphy, and especially book covers and endpapers in book—binding and stationery, and part of its appeal is that each print is a unique monotype.
#11: Natalie Stopka
#12: Natalie Stopka
#13: Heart Sutra, Janice Gordon
#15: There are several techniques used for making marbled papers with the most basic method being a shallow tray filled with water and additives (to help float the colours) with inks or paint applied to the surface with a brush (or other tool) which can be manipulated by &apos;blowing&apos; or &apos;fanning&apos;.
#19: An alternative and highly skillful method is Suminagashi. The Kyoto master Tokutaro Yagi developed a method for using a split piece of bamboo to gently stir the colours, resulting in concentric spiral designs.
#23: Another marbling technique commonly referred to as &apos;Turkish&apos; marbling or Ebru is a traditional Islamic and Turkish painting art, and can be defined as &apos;painting on water&apos; and transferring the painting onto paper.
#26: The Turks started to make paper in the 15th century and became very advanced in the art of its decoration. Ebru papers, especially those with fine designs, were first used as the background to important official state papers, treaties and the records of important events.
#27: It was also used as a means to prevent the alteration of documents in the same way as the use of complicated designs on bank notes. In addition, the edges of commercial registers were decorated with Ebru in order to prevent the removal of pages. Ebru holds an important place in the history of Islamic art and was used alongside calligraphy and in Turkish
#28: And, so prized, by booklovers in Europe, from the 17th century, were these marbled artworks they became known As Turkish papers.
#31: Travelers to these areas of the world took note of this art form and began importing marbled paper into Europe around 1600. Europeans then tried to reproduce the designs— each time the art of marbling captivated a new artist, and their work would take on a new appearance, tempered by cultural identity, availability of materials and creativity.
#32: Travelers to these areas of the world took note of this art form and began importing marbled paper into Europe around 1600. Europeans then tried to reproduce the designs— each time the art of marbling captivated a new artist, and their work would take on a new appearance, tempered by cultural identity, availability of materials and creativity.
#33: Marbled paper styles may be roughly classified by technique including— Kiezelmarmers: pebble or stone marbles Getrokken Marmers: drawn marbles Kammarmers: combed marbles Schaduwmarmers: shadow marbles Fantasiemarmer: fantasy marbles Combinatie—Marbers: combination marbles, and Overmarmer: over marbles.
#34: About 90% technique and 10% control, marbling can yield many types of pattern such as the French Curl, Dutch Pattern, Stone or Spot, Spanish Moiré, Stormont, Shell, “Nonpareil” or Small—Combed and Italian.
#44: By the 1930s, only a handful of professional marblers were still active and today the craft of paper marbling is viewed as artisanal. However, Artist—Marblers still produce beautiful papers, keeping their trade secrets closely guarded because of the temperamental nature of the process. Marbling is affected by temperature, humidity, the types of paper used, quality of inks and paints, thickness of size, shaky hands and even dust particles; so expertise and experience gained over many years is highly treasured.