Imagine putting paint on a surface where it floats until is is manipulated with combs of various sizes to create elaborate designs. The paint floats on this surface until a sheet of paper is placed on it, and the elaborate design is transferred to the paper. This essentially is marbling. I was fortunate to take a marbling workshop at Cat Tail Run Hand Bookbinding in Winchester, Virginia which was taught by Regina and Dan St. John of Chena River Marblers. Marbling is a craft that originated in Japan, as Suminigashi (10th century) and later in China (14th-17th Century) and the Middle East (15th century).

Marbling can create an infinite range of designs, most are lovely, and many are amazing. To begin, one must mix up carrageenan. What is carrageenan? It is a processed seaweed, which when blended with water, thickens, and provides the surface used for marbling. In marbling, the blended carrageenan is called “size”. The size is placed in a shallow tray, which is then used as a canvas for the designs.

Any paint, watercolors or acrylics (we used Utrecht acrylics) will float on top of the size.

In addition to preparing the size, the paper used for marbling, must be treated on one side with alum. Alum is what is called a mordant, defined by Merriam-Webster as: a chemical that fixes a dye in or on a substance by combining with the dye to form an insoluble compound. Essentially, the alum causes the marbling paint to adhere strongly to the paper. I usually mix up the alum, place it in a spray bottle, and spray the paper on one side, then use a sponge to spread the alum evenly on the paper.

We worked at tables with large marbling trays and paints in between. This gave each person a good space to work. When dry, the marbling will attach very well to the paper on the alum side.

Once the carrageenan has been mixed into size, and the alum is applied to the paper, you are ready to marble. Acrylic paint is thinned with water and put into small cups. The paint can be added to the size with a pipette, paint brush or anything that works.

Combing the paint is an art, and many combing patterns have been used through history. However, it is easy to create new and unique patterns, which was done during our workshop. Regina St. John demonstrated these techniques, beginning with a ‘get-gel’ (a Turkish word for back and forth). In addition to combing patterns, we also experimented with ways to attach the paper to the size by slowly lowering the paper and simultaneously rotating it.

Once the design of the paint has been completed, the paper is carefully removed from the size, and placed against a board. It is then sprayed with clean water and then hung on a line to dry.

Once dried and flattened, these papers can be used to create a beautiful look in bookbinding and box making.

This workshop taught me the technique of marbling, as well as a variety of combing techniques. Marbling is a rewarding art with infinitely cool design possibilities and is also much fun.