Pink Ink || History of marbling || Print techniques

Moving on from Keith Tyson's work I have decided to gain some knowledge on the history of marbling, the methods in which it is produced and what products are developed from it. 

Japanese suminagashi (sue-me-nah-gah-she) is one of the oldest forms of the art of paper marbling. Although there is no exact date for the invention of marbling paper, suminagashi was practiced in Japan as early as the 12th century. Suminagashi, Japanese for "ink-floating," is created by floating ink on the surface of water and then laying paper across the image so that the ink image is captured on the paper.

Ancient Japanese manuscript

Originating in China over 2,000 years ago, it was practiced by the Japanese Shinto priests in the 12th century who allowed black ink drops to spread on a surface of water before they blotted them onto a fresh sheet of white rice paper for the purpose of divination.
The artist would drop circles of black and indigo blue ink into the water, then blow on the surface of the water to produce smoke-like patterns. Marbling later became popular with members of the Japanese royal court. They used a slightly different technique to produce suminagashi. They would decorate paper with sumi-ink then immerse the paper in water. As the inks floated to the surface, a beautiful pattern would appear.

During the 15th century, other types of marbling were developed in Turkey and Persia. A type of marbling called Ebru, or cloud art, was practiced. Instead of floating inks on the water, they used paints made of oil or gouache. They also added a thickened medium called size to the water before they began marbling. The addition of size gave the marbler more control over color movement and the creation of patterns. After the paint was dropped into the water, a stylus or comb was used to create patterns. The art of marbling spread throughout Europe and by the 17th century, England, France, Germany, Holland, and Italy produced marbled papers. However, few people knew how to marble paper and marblers were reluctant to share their knowledge. Various formulas and marbling techniques became guarded secrets. As demand for marbled paper grew, marble guilds were introduced. Master marblers trained apprentices in the various techniques, being careful not to share secret formulas and techniques. English bookbinders were not familiar with the techniques of paper marbling so they imported marbled paper from Holland and Germany. However, the English were reluctant to pay taxes on the paper so the clever Dutch disguised it as wrapping paper for toys that were shipped to England. Although it may have been time consuming, the English book binders pressed the wrinkled sheets of paper in order to use them as endpapers for their books. In 1853, an English master marbler, Charles Woolnough, revealed the secrets of paper marbling in his book The Art of Marbling. This angered the community of master marblers because it revealed the secrets of the trade. However, once the secrets of paper marbling were made known, his principal rival, James Sumner, published Marbler, or the Mystery Unfolded: Showing How Every Bookbinder May Become a Marbler. In 1894, The Progress of the Marbling Art, written by Joseph Halfer, was printed in America. It gained an enthusiastic following because it simplified the art of paper marbling. Unfortunately, hand binders were replaced by binding machines and the art of paper marbling became an obscure art. Bibliography Maurer, Diane and Paul. Marbling: A Complete Guide to Creating Beautiful Patterned Papers and Fabrics. New York: Friedman/Fairfax Publishers, 1959. Source:http://www.arts-in-company.com/paper/surfacedec/marbling/suminagashi.html