workshops and events

Workshops & Events

Throughout the year Dots ‘N Doodles will host various events such as our annual Open House and a variety of visiting artist workshops and product demonstrations. We also support our local community partners such as The Astoria Art Loft, listing their classes on our calendar as well as other local community events.

The workshops, demonstrations and events are listed below with sign up instructions and contact information. Each listing will provide a description of the event, the place, the time, the dates, the fees (if applicable) and other pertinent information.

Follow us on Facebook and Pinterest.  For more information feel free to call us at 503-325-5081

Jan
23
Sat
Celtic Knots @ The Astoria Art Loft
Jan 23 @ 10:00 am – 1:30 pm

CELTIC KNOT WORKSHOP
CHRISTI PAYNE
SATURDAY, JANUARY 23
10 AM – 1:30 PM
ASTORIA ART LOFT – 106 3RD STREET
503-325-4442

celticCome learn the magic behind celtic knotwork. It’s simple & fun and will open up a world of possibility in your art.
Christi Payne has been a calligrapher for 40 years, specializing in medieval illumination. In the 80s she had the pleasure of working with Mark Van Stone, a master of medieval, who discovered the secret behind celtic knotwork and taught it to Christi (among others).
The most famous example of celtic knotwork is found in the Book of Kells, residing in Dublin. The Book of Kells is thought to be the work of a number of unknown genius-artists living in the monastery of Iona around the year 800. In 1007, a reference to the book described it as “the holiest relic of the western world.”
$30 workshop fee
3 hours plus a
half hour break
for lunch.
Helpful materials to bring:
pencil, eraser, ruler, practice paper (any good bond is fine), marker pens (not too fine and not too thick) – black, red, green, blue will be enough.
Mark Van Stone’s out-of-print booklet, Celtic Knots, Techniques and Aesthetics, will be available for $10.

Jul
23
Sat
Brigitte Willse Carving workshop @ The Astoria Art Loft
Jul 23 @ 10:00 am – 3:30 am

Brigitte Willse Driftwood Owl Workshop

Astoria Art Loft

DRIFTWOOD  OWL  WORKSHOP


Brigitte Willse Carving workshop

  Instructor:  Brigitte Willse

Date:  Saturday, July 23

Time:  10:00 – 3:30 

           (5 hour class – ½ hour lunch)

Maximum number of students:  12 only

Cost:  $48.00 workshop fee

          $12.00 for all supplies

In this Brigitte Willse Driftwood Owl Workshop class you will be making an owl using ocean worn driftwood.  With basic carving and painting techniques provided by the instructor, you will give both style and personality to your creation.

Your owl will add a whimsical touch to any room in the house or it will make a charming addition handing outside from a tree.

Brigitte is an artist who recently made Astoria her home.  She specializes in up-cycling as she works in many mediums.  Metalsmithing, jewelry design, and collage are some of the mixed media art forms that she enjoys.

So come and join in the fun as we make our own “parliament” of owls.

Bring your own lunch or pick up a quick bite to eat at one of several nearby restaurants.

Aug
13
Sat
Zentangles with Sandi Kelley @ The Astoria Art Loft
Aug 13 @ 1:00 pm – 4:00 pm

ZentanglesZentanglesZentanglesZentangles

 

Sandi Kelley – Zentangles

Astoria Art Loft

Certified Zentangle® Teacher

Sandi Kelley

ZentanglesJoin  Sandi  for a 4 session class.

When:  August 13, 20, 27, and/or Sept 3 or 17

Time:  1:00PM  – –  4:00PM

Where:  Astoria Art Loft

                106  3rd Street

                AstoriaArtLoft@gmail.com

Cost:    $TBA

I first discovered Zentangle while browsing through Pinterest in the fall of 2011. I fell in love with the images of small white tiles with black ink patterns that somehow looked more like art than doodle.  Once I went to the Zentangle website I was hooked. I enjoyed the process and knew others would too so I decided to become a certified teacher.

Zentangle has enriched my life and I believe, through the process of Zentangle I have become an artist. Almost everyone who sees my art assumes that I must have doodled a lot when I was younger. No so. I came to Zentangle with no artistic experience or talent and with doubts aplenty about the philosophy of “there are no mistakes in Zentangle”.  Once that truth became part of my creative mind set I have discovered untapped self confidence not only with my art but with my life.

Like anything else in life, you will get from Zentangle what you put in. It takes daily practice to truly come to embrace the awesome truth that “Anything is possible, one stroke at a time”.

ZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentangles


The Zentangle Method is an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns.

Almost anyone can use it to create beautiful images. It increases focus and creativity, provides artistic satisfaction along with an increased sense of personal well being. The Zentangle Method is enjoyed all over this world across a wide range of skills, interests and ages.

We believe that life is an art form and that our Zentangle Method is an elegant metaphor for deliberate artistry in life.

We invite you to explore our web site and learn more about this wonderful and uplifting method and artform.

Aug
20
Sat
Zentangles with Sandi Kelley @ The Astoria Art Loft
Aug 20 @ 1:00 pm – 4:00 pm

ZentanglesZentanglesZentanglesZentangles

 

Sandi Kelley – Zentangles

Astoria Art Loft

Certified Zentangle® Teacher

Sandi Kelley

ZentanglesJoin  Sandi  for a 4 session class.

When:  August 13, 20, 27, and/or Sept 3 or 17

Time:  1:00PM  – –  4:00PM

Where:  Astoria Art Loft

                106  3rd Street

                AstoriaArtLoft@gmail.com

Cost:    $TBA

I first discovered Zentangle while browsing through Pinterest in the fall of 2011. I fell in love with the images of small white tiles with black ink patterns that somehow looked more like art than doodle.  Once I went to the Zentangle website I was hooked. I enjoyed the process and knew others would too so I decided to become a certified teacher.

Zentangle has enriched my life and I believe, through the process of Zentangle I have become an artist. Almost everyone who sees my art assumes that I must have doodled a lot when I was younger. No so. I came to Zentangle with no artistic experience or talent and with doubts aplenty about the philosophy of “there are no mistakes in Zentangle”.  Once that truth became part of my creative mind set I have discovered untapped self confidence not only with my art but with my life.

Like anything else in life, you will get from Zentangle what you put in. It takes daily practice to truly come to embrace the awesome truth that “Anything is possible, one stroke at a time”.

ZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentangles


The Zentangle Method is an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns.

Almost anyone can use it to create beautiful images. It increases focus and creativity, provides artistic satisfaction along with an increased sense of personal well being. The Zentangle Method is enjoyed all over this world across a wide range of skills, interests and ages.

We believe that life is an art form and that our Zentangle Method is an elegant metaphor for deliberate artistry in life.

We invite you to explore our web site and learn more about this wonderful and uplifting method and artform.

Aug
27
Sat
Zentangles with Sandi Kelley @ The Astoria Art Loft
Aug 27 @ 1:00 pm – 4:00 pm

ZentanglesZentanglesZentanglesZentangles

 

Sandi Kelley – Zentangles

Astoria Art Loft

Certified Zentangle® Teacher

Sandi Kelley

ZentanglesJoin  Sandi  for a 4 session class.

When:  August 13, 20, 27, and/or Sept 3 or 17

Time:  1:00PM  – –  4:00PM

Where:  Astoria Art Loft

                106  3rd Street

                AstoriaArtLoft@gmail.com

Cost:    $TBA

I first discovered Zentangle while browsing through Pinterest in the fall of 2011. I fell in love with the images of small white tiles with black ink patterns that somehow looked more like art than doodle.  Once I went to the Zentangle website I was hooked. I enjoyed the process and knew others would too so I decided to become a certified teacher.

Zentangle has enriched my life and I believe, through the process of Zentangle I have become an artist. Almost everyone who sees my art assumes that I must have doodled a lot when I was younger. No so. I came to Zentangle with no artistic experience or talent and with doubts aplenty about the philosophy of “there are no mistakes in Zentangle”.  Once that truth became part of my creative mind set I have discovered untapped self confidence not only with my art but with my life.

Like anything else in life, you will get from Zentangle what you put in. It takes daily practice to truly come to embrace the awesome truth that “Anything is possible, one stroke at a time”.

ZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentangles


The Zentangle Method is an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns.

Almost anyone can use it to create beautiful images. It increases focus and creativity, provides artistic satisfaction along with an increased sense of personal well being. The Zentangle Method is enjoyed all over this world across a wide range of skills, interests and ages.

We believe that life is an art form and that our Zentangle Method is an elegant metaphor for deliberate artistry in life.

We invite you to explore our web site and learn more about this wonderful and uplifting method and artform.

Sep
3
Sat
Zentangles with Sandi Kelley @ The Astoria Art Loft
Sep 3 @ 1:00 pm – 4:00 pm

ZentanglesZentanglesZentanglesZentangles

 

Sandi Kelley – Zentangles

Astoria Art Loft

Certified Zentangle® Teacher

Sandi Kelley

ZentanglesJoin  Sandi  for a 4 session class.

When:  August 13, 20, 27, and/or Sept 3 or 17

Time:  1:00PM  – –  4:00PM

Where:  Astoria Art Loft

                106  3rd Street

                AstoriaArtLoft@gmail.com

Cost:    $TBA

I first discovered Zentangle while browsing through Pinterest in the fall of 2011. I fell in love with the images of small white tiles with black ink patterns that somehow looked more like art than doodle.  Once I went to the Zentangle website I was hooked. I enjoyed the process and knew others would too so I decided to become a certified teacher.

Zentangle has enriched my life and I believe, through the process of Zentangle I have become an artist. Almost everyone who sees my art assumes that I must have doodled a lot when I was younger. No so. I came to Zentangle with no artistic experience or talent and with doubts aplenty about the philosophy of “there are no mistakes in Zentangle”.  Once that truth became part of my creative mind set I have discovered untapped self confidence not only with my art but with my life.

Like anything else in life, you will get from Zentangle what you put in. It takes daily practice to truly come to embrace the awesome truth that “Anything is possible, one stroke at a time”.

ZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentanglesZentangles


The Zentangle Method is an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns.

Almost anyone can use it to create beautiful images. It increases focus and creativity, provides artistic satisfaction along with an increased sense of personal well being. The Zentangle Method is enjoyed all over this world across a wide range of skills, interests and ages.

We believe that life is an art form and that our Zentangle Method is an elegant metaphor for deliberate artistry in life.

We invite you to explore our web site and learn more about this wonderful and uplifting method and artform.

Sep
10
Sat
MARBLING PAPERS @ The Astoria Art Loft
Sep 10 @ 10:00 am – 3:00 pm

MARBLING PAPERS

MARBLING: Use a centuries old process and modern pigments to create marbled papers with Ellen Zimet on Thursday, September 8, from 10 a.m. – 2 p.m. and Saturday, September 10, from 10 a.m. – 3 p.m. , at the Astoria Art Loft.  Ellen will supply the chemicals and the paints.  Artists should bring papers to marble.

If this is your first marbling workshop, the cost is $90.  If you are returning to Ellen’s workshop, the cost is $60.

For a complete supply list and further directions, please contact the Art Lost at 503.325.4442 or e-mail:  astoriaartloft@gmail.com

Paper marbling

From Wikipedia, the free encyclopedia

Endpaper from a book published in Scotland in 1842. Encyclopædia Britannica 7th edition

Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. The patterns are the result of color 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. Through several centuries, people have applied marbled materials to a variety of surfaces. It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Part of its appeal is that each print is a unique monotype.

Contents

Procedure

Oil-based inks in a tank of water being prepared for marbling.

There are several methods for making marbled papers. A shallow tray is filled with water, and various kinds of ink or paint colors are carefully applied to the surface with an ink brush. Various additives or surfactant chemicals are used to help float the colors. A drop of “negative” color made of plain water with the addition of surfactant is used to drive the drop of color into a ring. The process is repeated until the surface of the water is covered with concentric rings.

The floating colors are then carefully manipulated either by blowing on them directly or through a straw, fanning the colors, or carefully using a human hair to stir the colors. In the 19th century, Tokutaro Yagi, the Kyoto master of Japanese marbling (suminagashi), developed a method that uses a split piece of bamboo to gently stir the colors, resulting in concentric spiral designs. A sheet of washi paper is then carefully laid onto the water surface to capture the floating design. The paper, which is often made of kozo (paper mulberry), must be unsized and strong enough to withstand being immersed in water without tearing.

Another method of marbling more familiar to Europeans and Americans is made on the surface of a viscous mucilage, known as size or sizing in English. This method is commonly referred to as “Turkish” marbling and is called ebru in Turkish, although ethnic Turkic peoples were not the only practitioners of the art, as Persian Tajiks and people of Indian origin also made these papers. The term “Turkish” was most likely used as a reference to the fact that many Europeans first encountered the art in Istanbul.

Historic forms of marbling used both organic and inorganic pigments mixed with water for colors, and sizes were traditionally made from gum tragacanth (Astragalus spp.), gum karaya, guar gum, fenugreek (Trigonella foenum-graecum), fleabane, linseed, and psyllium. Since the late 19th century, a boiled extract of the carrageenan-rich alga known as Irish moss (Chondrus crispus), has been employed for sizing. Today, many marblers use powdered carrageenan extracted from various seaweeds. Another plant-derived mucilage is made from sodium alginate. In recent years, a synthetic size made from hydroxypropyl methylcellulose, a common ingredient in instant wallpaper paste, is often used as a size for floating acrylic and oil paints.

In the size-based method, colors made from pigments are mixed with a surfactant such as ox gall. Sometimes, oil or turpentine may be added to a color, to achieve special effects. The colors are then spattered or dropped onto the size, one color after another, until there is a dense pattern of several colors. Straw from the broom corn was used to make a kind of whisk for sprinkling the paint, or horsehair to create a kind of drop-brush. Each successive layer of pigment spreads slightly less than the last, and the colors may require additional surfactant to float and uniformly expand. Once the colors are laid down, various tools and implements such as rakes, combs and styluses are often used in a series of movements to create more intricate designs.

Paper or cloth is often mordanted beforehand with aluminium sulfate (alum) and gently laid onto the floating colors (although methods such as Turkish ebru and Japanese suminagashi do not require mordanting). The colors are thereby transferred and adhered to the surface of the paper or material. The paper or material is then carefully lifted off the size, and hung up to dry. Some marblers gently drag the paper over a rod to draw off the excess size. If necessary, excess bleeding colors and sizing can be rinsed off, and then the paper or fabric is allowed to dry. After the print is made, any color residues remaining on the size are carefully skimmed off of the surface, in order to clear it before starting a new pattern.

Contemporary marblers employ a variety of modern materials, some in place of or in combination with the more traditional ones. A wide variety of colors are used today in place of the historic pigment colors. Plastic broom straw can be used instead of broom corn, as well as bamboo sticks, plastic pipettes, and eye droppers to drop the colors on the surface of the size. Ox gall is still commonly used as a surfactant for watercolors and gouache, but synthetic surfactants are used in conjunction with acrylic, PVA, and oil-based paints.

History in East Asia

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).

An intriguing reference which some think may be a form of marbling is found in a compilation completed in 986 CE entitled 文房四谱 (Wen Fang Si Pu) or “Four Treasures of the Scholar’s Study” edited by the 10th century scholar-official 蘇易簡 Su Yijian (957–995 CE). This compilation contains information on inkstick, inkstone, ink brush, and paper in China, which are collectively called the four treasures of the study. The text mentions a kind of decorative paper called 流沙箋 liu sha jian meaning “drifting-sand” or “flowing-sand notepaper” that was made in what is now the region of Sichuan (Su 4: 7a-8a).

This paper was made by dragging a piece of paper through a fermented flour paste mixed with various colors, creating a free and irregular design. A second type was made with a paste prepared from honey locust pods, mixed with croton oil, and thinned with water. Presumably both black and colored inks were employed. Ginger, possibly in the form of an oil or extract, was used to disperse the colors, or “scatter” them, according to the interpretation given by T.H. Tsien. The colors were said to gather together when a hair-brush was beaten over the design, as dandruff particles was applied to the design by beating a hairbrush over top. The finished designs, which were thought to resemble human figures, clouds, or flying birds, were then transferred to the surface of a sheet of paper. An example of paper decorated with floating ink has never been found in China. Whether or not the above methods employed floating colors remains to be determined (Tsien 94-5).

Su Yijian was an Imperial scholar-official and served as the chief of the Hanlin Academy from about 985–993 CE. He compiled the work from a wide variety of earlier sources, and was familiar with the subject, given his profession. Yet it is important to note that it is uncertain how personally acquainted he was with the various methods for making decorative papers that he compiled. He most likely reported information given to him, without having a full understanding of the methods used. His original source may have predated him by several centuries. Until the original sources that he quotes are more precisely determined, can it be possible to ascribe a firm date for the production of the papers mentioned by Su Yijian.

An example of suminagashi paper used as an element in traditional ink wash painting. From the National Treasure Fan-shaped album of the Hokekyō Sutra (Lotus Sutra), Heian period 12th c. C.E., currently kept in the Shitennō-ji Temple in Osaka.[1]

Suminagashi (墨流し), which means “floating ink” in Japanese, is a Japanese variant; the oldest example appears in the 12th-century Sanjuurokuninshuu (三十六人集), located in Nishihonganji (西本願寺), Kyoto.[2] Author Einen Miura states that the oldest reference to suminagashi papers are in the waka poems of Shigeharu, (825–880 CE), a son of the famed Heian era poet Narihira (Muira 14). Various claims have been made regarding the origins of suminagashi. Some think that it may have originally come from China (Wolfe 6). Others have proposed that it may have derived from an early form of ink divination. Another theory is that the process may have derived from a form of popular entertainment at the time, in which a freshly painted sumi painting was immersed into water, and the ink slowly dispersed from the paper and rose to the surface, forming curious designs.

One individual has often been claimed as the inventor of suminagashi. According to legend, Jizemon Hiroba felt he was divinely inspired to make suminagashi paper after he offered spiritual devotions at the Kasuga Shrine in Nara Prefecture. It is said that he then wandered the country looking for the best water with which to make his papers. He arrived in Echizen, Fukui Prefecture where he found the water especially conducive to making suminagashi. So he settled there, and his family carried on with the tradition to this day. The Hiroba Family claims to have made this form of marbled paper since 1151 CE for 55 generations (Narita, 14).

History in Central Asia and the Islamic World

This calligraphic panel features a verse from the Qur’an (14:7), and is typical of compositions written upon marbled paper produced after the 16th century C.E. in Central Asia, Iran, India, and Turkey.[3]

In the 15th century the method of floating colors on the surface of mucilaginous sizing is thought to have emerged in Central Asia. It is believed to have appeared during the end of the Islamic Timurid Dynasty, whose final capital was in the city of Herat, located in Afghanistan today. Other sources suggest it emerged during the subsequent Shaybanid dynasty, in the cities of Samarqand or Bukhara, in what is now modern Uzbekistan. Whether or not this method was somehow related to earlier Chinese or Japanese methods mentioned above has never been concretely proven.

This Iranian method came to be known as kâghaz-e abrî (كاغذ ابرى) , although often the simplified form of abrî (ابرى), is also found in several historic texts.[4] This was translated by the late scholar Dr. Annemarie Schimmel to mean “clouded paper” in Persian. Certain Turkish writers have suggested that the word may be of Turkish origin related to the word abreh ابره meaning “colorful” or “variegated”, though this specific term has never been concretely proven to have been used in relation to the art. It may have been the case that both Persian and Turkish meanings were simultaneously understood by artisans, many of which were conversant in both languages at that time, and even enjoyed as an expression of poetic nuance. Most historical Persian and Turkish texts known that refer to this kind of paper use the word abrî alone. Today in Iran it is often called abr-o-bâd (ابرو باد), meaning “cloud and wind”.[5]

The art developed in Safavid Persia and Ottoman Turkey, as well as Mughal and the Deccan Sultanates in India. Within these regions, various methods emerged in which colors were made to float on the surface of a bath of viscous liquid mucilage or size, made from various plants. These include katheera or kitregum tragacanth (Astragalus often used as a binder by apothecaries in making tablets), shambalîleh or methifenugreek seed (an ingredient in curry mixtures), and sahlab or salep (the roots of “Orchis mascula“, which is commonly used to make a popular beverage). A method of manipulating colors evolved that employed various tools including rakes, combs, and other apparatus, utilized in a series of movements, resulted in incredibly elaborate, intricate, and mesmerizing designs. In India, the abri technique was eventually combined with ‘aks, which are various methods of resist or stencils, to create unique and very rare form of miniature painting. These are commonly associated with the Deccan region today, and especially the city of Bijapur in particular, under Adil Shahi dynasty patronage in the 17th century. The topic of marbling in India is understudied and conclusive determinations have yet to be made, especially in light of discoveries made in the last 20 years.

In Turkey, the art is widely known as ebru today, and continues to be very popular. The usage of this term appears in the late 19th century. The earliest examples of Ottoman Ebru are thought to be a copy of the Hâlnâmah حالنامه by the poet Arifi, popularly known as the Guy-i Çevgan or “Ball and Polo-stick”. The text of this manuscript was rendered in a delicate cut paper découpage calligraphy by Mehmed bin Gazanfer and completed in 1540, and features many marbled and decorative paper borders. One early master by the name of Shebek is mention posthumously in the earliest Ottoman text on the art known as the Tertib-i Risâle-i Ebrî (ترطیبِ رسالۀ ابری), which is dated based on internal evidence to after 1615. Several recipes in the text are accredited to this master. Another famous 18th-century master by the name of Hatip Mehmed Effendi (died 1773) is accredited with developing motif and perhaps early floral designs, although evidence from India appears to contradict some of these claims. Despite this, marbled motifs are commonly referred to as “Hatip” designs today in Turkey.

The current Turkish tradition of ebru dates to the mid 19th century, with a series of masters associated with a branch of the Naqshbandi Sufi order based at what is known as the Özbekler Tekkesi, located in Sultantepe, near Üsküdar.[6] The founder of this line is accredited to Sadık Effendi (died 1846). It is said that he learned the art in Bukhara and taught it to his sons Edhem and Salıh. Based upon this, many Turkish marblers have stated that the art was perpetuated by Sufis for centuries, although evidence for this claim has never been concretely established. “Hezarfen” Edhem Effendi (died 1904) is attributed with developing the art as a kind of cottage industry for the tekke, to supply Istanbul’s burgeoning printing industry with the decorative paper. It is said that the papers were tied into bundles and sold by weight. Many of these papers were of the neftli design, made with turpentine, an equivalent to what is called stormont in English.

The premier student of Edhem Effendi was Necmeddin Okyay (1885–1976). He was the first to teach the art at the Fine Arts Academy in Istanbul. He is famous for the development of floral styles of marbling, in addition to yazılı ebru a method of writing traditional calligraphy using a gum-resist method in conjunction with ebru. Okyay’s premier student was Mustafa Düzgünman (1920–1990), the teacher of many contemporary marblers in Turkey today. He is known for codifying the traditional repertoire of patterns, to which he only added a floral daisy design, in the manner of his teacher.[7]

History in Europe

Illustration of the marbling tray and tools taken from the book School of Arts (1750) as reproduced in The Art of Bookbinding by Joseph Zaehnsdorf (1890).

In the 17th century European travelers to the Middle East collected examples of these papers and bound them into alba amicorum, which literally means “books of friendship” in Latin, and is a forerunner of the modern autograph album. Eventually the technique for making the papers reached Europe, where they became a popular covering material not only for book covers and end-papers, but also for lining chests, drawers, and bookshelves. The marbling of the edges of books was also a European adaptation of the art.

The unique methods of marbling attracted the curiosity of early scientists during the Renaissance. While the earliest published account was written in German by Daniel Schwenter, it wasn’t published in his Delicæ Physico-Mathematicæ until 1671 (Wolfe, 16). A brief description of the art by Athanasius Kircher, published in Ars Magna Lucis et Umbræ in Rome in 1646, rapidly spread throughout Europe. (ibid) A thorough overview of the art with illustrations of marblers at work, and images of the tools of the trade was published in the Encyclopédie of Denis Diderot and Jean le Rond d’Alembert.[8][9][10]

Marblers at work
Marblers at work and illustrations of marbling equipment.
An edge marbler and paper finisher
An edge marbler and paper finisher with related equipment.
Images reproduced from l’Encyclopedie of Denis Diderot and Jean le Rond d’Alembert. Vol. IV p. 275-6 (1768).

The art became a popular handicraft in the 19th century after the English maker Charles Woolnough published his The Art of Marbling (1853). In it, he describes how he adapted a method of marbling onto book-cloth, which he exhibited at the Crystal Palace Exhibition in 1851. (Wolfe, 79) Further developments in the art were made by Josef Halfer, a bookbinder of German origin, who lived in Budakeszi, in Hungary.[11] It was Halfer who discovered a method for preserving carrageenan, and his methods superseded earlier ones in Europe and the US.

Paper Marbling Today

Marbled paper is still made today, and the method is now applied to fabric and three-dimensional surfaces, as well as paper. Aside from continued traditional applications, artists now explore using the method as a kind of painting technique, and as an element in collage. In the last two decades, marbling has been the subject of international symposia and museum exhibitions. The first International Marblers’ Gathering was held in Santa Fe NM in 1989 sponsored by the marbling journal Ink & Gall. Active international groups can be found on social media networks such as Facebook and Yahoo! Groups, as well as sites like the International Marbling Network.

Examples

Notes

 

 

  1. “DIE VERGANGENHEIT VON BUDAKESZI”. Retrieved 23 August 2011.

Published references

  • Chambers, Ann (1991). Suminagashi: The Japanese Art of Marbling. Thames & Hudson. ISBN 0-486-24651-5.
  • Grunebaum, Gabriele (2003). How to Marbleize Paper. Dover. ISBN 0-486-24651-5.
  • Miura, Einen (1991). The Art of Marbled Paper: Marbled Patterns and How to Make Them. Kodansha International. ISBN 4-7700-1548-8.
  • Narita, Kiyofusa (1954). Japanese Paper-making. Hokuseido Press.
  • Porter, Yves (1994). Painters, Paintings, and Books: An Essay on Indo-Persian Technical Literature, 12–19th Centuries. Manohar : Centre for Human Sciences. ISBN 81-85425-95-7.
  • Tsien, Tsuen-hsuin (1985). Paper and Printing.’ Science and Civilization v. 5. Chemistry and chemical technology: pt. 1. Harvard University Press. ISBN 0-521-08690-6.
  • Wolfe, Richard J. (1990). Marbled Paper: Its History, Techniques, and Patterns : with Special Reference to the Relationship of Marbling to Bookbinding in Europe and the Western World. University of Pennsylvania Press. ISBN 0-8122-8188-8.
  • Su, Yijian (2008). Wen Fang Si Pu. Shi dai wen yi chu ban she. ISBN 7-5387-2380-3.

Further references

Videos demonstrating various marbling techniques

Dec
3
Sat
Mixed Media Open House @ Dots 'N Doodles Art Supplies
Dec 3 @ 10:00 am – 5:00 pm

Saturday December 3rd. – Open House

Join Us at Dots ‘N Doodles Art Supplies for a fun day with vendors.  You will have an opportunity to ask questions, try out samples and play with different art products.  We will be offering a store wide discount during the Open House so come and join us and bring a friend.Open House

Free Event

Prizes and

Give-away samples