My Introduction to marbling paper and cloth

I often use marbled paper in my home made books, however I had never made my own marbled paper.  Marbling paper is one of the classes the John C Campbell Folk School often has, but so far I had not been able to attend any of their classes at the school.  By chance I learned they were still conducting a few online classess, and marbling was one of them.  So I quickly signed up!

As part of the online class I received a kit that included a 11” x 14” marbling tray, paints, a surfactant to thicken the water, a mordant for the paper and cloth, and some  paper and cloth.

There were six people in the class which allowed the instructor time to work with each of us.  We had a short first meeting to review what the class would cover and to do all the prep work:  

• making up the carrageenan for the tray, fill the tray and cover it overnight
• making up the alum, the mordant for the paper and cloth.  Spray one side of the papers then hang to dry.  
• make 1” and 2” rakes; ½” comb for marbling
• prepare three colors of paint (yellow, red, blue) with distilled water

The next day the instructor walked us through testing the paints, and adusting their consistency so they would spread out on top of the carrageenan enriched water.  

Marbling patterns are created by dropping paint in specific patterns on the surface of the carrageenan, then using the rakes or combs to pull the paint out into various patterns.  

The instructor walked us through creating several classic marbling patterns, moving from simple to complex.  Once we had a pattern we were happy with, paper wa carefully layed down on the paint and then just as carefully lifted off.  Any extra carrageenan was gently rinsed off the paper and it was set aside to dry.  

• Stones (large drops with smaller drops inside) and Bulls eye (drops within drops)

• Get-gal (Using rake to cross both horizontally and vertically and Double Git-gal (using comb to cross twice horizontally and vertically)

  

• Ribbon (Git-gal one direction) and Spanish wave (wiggle paper lifting)
  

• Over marble (second printing with pattern at 90 degrees

Books with cross stitch covers

I have several small counted cross stitches my Mother started but didn't finish.  I decided to finish them but wasn't sure how to use the.  Then I saw a facebook post by Bep van Gasteren who uses counted cross stitch on the covers of her books.  

I followed her post to make a small book with a counted cross stitch butterfly on the cover.  Below are all the pieces for the book:

I prepared the book cover:  Cutting a hole in the center of the front cover.  Attaching the reinforced counted cross stitch.  Punching the spine.   

I prepared the book pages:  Cutting the paper.  Folding the signatures.  Cutting front and back signature covers.  Punching the six Signatures using 2 guides.

I assembled the book using Keith Smith "arrow" binding for 3 signatures.

I am happy with how this first little book turned out.  

Making large photo albums

A friend asked me to make a photo album for a gift.  I have made small photo albums before and so I was happy to make a larger one for him.  Once we started talking about what was going in the album (30 stories written on 8.5" x 11" paper) I realized it would need to be a very large photo album.

I started by determining the album pages would need to be 12" x 12".  This would allow a margin around the papers that would be attached to the pages.  It is also a  standard size so I was able to purchase the pages.  I then needed to determine the size of the book cloth and decorative paper needed to cover the book board.  Once I had the dimensions I was able to order the materials I needed.  

Cutting the materials:

• 4 book board pieces (2 for the back and 2 for the front). 
• 4 book cloth pieces 2 for the back and 2 for the front). 
• 4 decorative exterior paper pieces (2 for the back and 2 for the front)  
• 2 decorative interior paper pieces (1 for the back and 1 for the front). 

NOTE: It is important to mark front vs back and top vs bottom so you can punch and assemble the pieces without any misalignments.

I made a 3 hole template for punching the book board spine pieces, and punched them.  

Before gluing the paper and cloth to the book boards, I checked to be sure they were the correct sizes so everything would fit together correctly.

I began by gluing the book cloth onto the outside of the back and front book board pieces.  The corners were cut and the book cloth edges wrapped around and glued to the interior of the book boards.  The 2 smaller pieces of book cloth were glued over the spine on the inside, covering some of the exterior book cloth edges.  The 3 holes now covered by the book cloth were carefully re-punched. 

Next the decorative paper was glued to the outside of the front and back book board.  The corners were cut and the paper edges wrapped around and glued to the interior of the book boards.  

Finally the 2 large decorative interior pieces of paper were glued in place, covering the remaining edges of book cloth and exterior decorative paper.

I made a second 3 hole punch template with a narrower margin along one edge to use with the 30 book pages and 31 spacers.  This moves the edge of the pages away from the spine edge of the book.  After punching the 61 pieces I assembled the book.  

I actually made two books, so my friend would have a choice of colors.

Little bound story book

I purchased a stuffed Ossabaw Sicilian donkey for my nephew.  He is quite a Winnie the Pooh fan, so I decided to also get him a stuffed Eeyore, and to make a little book about the two of them meeting.  

After roughing out a story,  I had an idea of how many illustrations were needed.  I started working on sketches,   Over time, a rough story and illustrations slowly converged into what could be a little story book.  

It would have 8 pages.  I would need 10 illustrations: front cover, front page, 6 for the story, back page and back cover; and the text needed to fit in the available space of the 6 story pages.

I used watercolor paper for the 4 signatures (8 pages) of the book.  The illustrations were inked and painted.  Then text was added to the pages.  Finally I sealed the pages with a non-toxic watercolor sealant.  Finally I was ready to put together the little story book.  

 Punching the covers

Last page and inside of back cover

Bound book

REpurposed books

Our local library has a book sale twice a year.  I Usually help either setting up for the sale, or boxing up the the unsold books after the sale.  I always find a few books to bring home and repurpose as journals.  I choose books with interesting covers.  Some of the books also have pages with poetry, illustrations or photos that can be use as signature covers, or to line the inside of the journal covers. 

I start by breaking down the books.  Carefully removing the text block from the book.  If the spine of the book is not in good condition, it will not be reused.  

For most of the books, both the covers and spine are reused.  Book cloth and sometimes book board are used to reinforce the spine.  Signatures are created to fit the repurposed covers.  Templates are made and the spine and signatures are punched.  Then its time to reassemble the parts into a journal.  There are many different binding patterns that can be used, and I've enjoyed trying several new ones while making these repurposed books.  

If the spine is so damaged it can not be reused, it is cut in half then folded and glued to the inside of the covers.  These covered boards are used to make coptic bound journals.  I typically use 5 signatures of the appropriate size for each journal.  There are a few ways to sew a coptic binding.  There are methods that use two needles, and others that use only one needle.  Some patterns bind the text block together first using long or french stitch, and then attach the covers using a coptic stitch. thers bind the covers and text block at the same time using a coptic stitch.  In the event the covers are damaged, I recover the book boards with decorative paper and the edges of the spine with book cloth for reinforcement.

Books for native wildflower seeds

Fall in the native wildflower garden is time to gather seeds to share with others.  I had many seeds to share.  I divided them up into small bags and labeled them.  

I made several accordion books to house the seed packets.  I found images of old seed packets to use for the front and back covers.  

I decorated the backs of the accordion with images of native wildflowers.

The pockets on the inside can hold the seed packets

Books by Hand photo album kits

While cleaning up my studio, I ran into two Books by Hand photo albums kits (1 Ribbon-bound Photo Album and 1 Post-bound Photo Album).  I bought them several years ago when I first began learning about book making.  Since I have been making more book board books recently I thought it was a good time to use them.  Both are “Just-the-pieces” kits.  Meaning they included instructions; cut, punched and scored pieces of book board and pages.  They do not include book cloth or decorative paper.  This gave me an opportunity to use some of the marbled paper and book cloth I already have.  I liked how the photo albums turned out.  The directions were clear , and having the pre-cut book board and pages made it a fun quick project.

I constructed the Ribbon-bound Photo Album first, then the Post-bound Photo Album.  Most of the steps are similar.  

For the ribbon bound photo album:

1. I cut pieces of book cloth for the spine, marbled paper for the front and back outside covers, and decorative papers for the inside front and back covers.
2. The 24 album pages were already punched and scored.  They needed to be folded and glued up to create the block.
3. Book cloth was glued to the outside of the book board front hinge and cover.  
4. Then the marbled paper was glued to the outside of the front cover.  
5. Following the kit’s directions, decorative paper is glued to the inside of the front cover.  
6. Steps 3 through 5 are repeated for the back cover.  
   
   
   
7. The block is then glued to the front and back covers and pressed.  
8. Finally, ribbon is woven through the binding of the spine.

Finished back of ribbon bound photo album

For the post bound photo album:

Steps 1 through 4 are the same.  Step 5 is slightly different.  Following the kit’s directions, book cloth and decorative paper are glued to the inside of the front cover.  This process was repeated for the back cover.

The block is then attached to the front and back covers using the provided metal screw posts.

inside front cover showing post attachment

Finished front of post bound photo album

Printed Story: workshop

FBAC on-line class The Printed Story taught by Catherine Cross Tsintzos.

In this class we each developed a story, determined a layout and design for a book, created graphics and text for the story, and completed one small accordion or pamphlet book.

Week one we worked on a theme for our story.  We discussed art books and storytelling using images and words.  To help develop the overall layout and design of our book we used storyboards.  The Storyboard was 6-8 squares: two squares for the beginning, 2-4 squares for the middle, and 2 squares for the conclusion.  Each frame included a sketch, text and notes on boarders, colors etc. 

I decided to tell the story of how we created a wildflower garden for my Mother-in-law.   

• It starts with the field and plowing.  
• The middle is about the plants growing.  
• The end is about the butterflies that visit the wildflowers.

Week two we worked on relief printmaking techniques.  Because I had them already, I used Speedball water soluble inks, baren, hard brayer and linoleum cutting set.  We used thin linoleum that can easily be cut into smaller shapes.  

I used photos of the garden, flowers and insects as references for the lino stamps I carved.

Field sketch and cut lineo block

Photo and cut lineo blocks

I did several test prints to learn how to mix the 3 colors of ink to get the color I wanted (light green, oranges, browns, black).  

test printing smal lieno blocks

 

I did test prints to determine if printing the smaller blocks over the full page green field would work (i.e. would the colors show up; would the design work).

test printing flower blocks over printed green field

Week three we worked on printing and assembling the final book.

I created a cover for the pamphlet book, printed one side of the pages and let that dry for a few days, then carefully printed on the other side.  I painted backgrounds on the flowers and butterflies pages.  I added tissue paper between the pages to protect the ink.  

Cover

first and second pages with tissue paper between

Exploring Marbling: Suminaghashi

I enrolled in another FBAC on-line class: Explorations with marbling, taught by Catherine Cross Tsintzos

In this class we learned about Suminaghashi (“floating ink”), the accent art of Japanese marbling. Ink is placed on the surface of a dish of water using pointed brushes (Sumi brushes) such that it floats on the water. A design is created by alternating a ink (traditionally black or indigo ink are used) and non-ink (soapy water). Each new addition pushes early drops out across the surface of the water, creating concentric rings. I used black and other colored inks from a marbling kit.

Suminaghashi setup used

 

Disturbances caused by air (blowing or fanning) or touching the surface (toothpick or tiny brush) can be used to change the concentric pattern into an irregular shape or create a mirror image.

Paper is gently placed on top of the floating ink on the surface of the water to capture the pattern. The choice of paper determines how well the ink is picked up and how durable the print will be. I used Yatsutomo Hosho Rice paper, BlackInk Speedball Fine Printmaking Paper (a mix of mulberry and bamboo fibers), BFK Rives Printmaking Paper (100% cotton), and watercolor paper. I liked the results on the Speedball and BFK papers best. The rice paper was thin and tore easily. The watercolor paper was thick and the ink diffused a little.

Acrylic and oil paints can be used in a similar way to make prints. Additives are used to thin the paint so it will effectively flow on top of the water. Suminaghashi can also be used to create patterns on natural fabrics (raw silk, cotton etc).

I used some of the finished Suminaghashi paper as book covers and signature wraps to make additional Criss cross bound books.

Book spine and covers ready to be bound

Bound book cover

Criss cross binding

 I have wanted to try making a book using the Criss cross binding for some time, so I was excited to see a class being offered at the Frederick Book Arts Center.  This binding is also known as the Secret Belgian binding.  The allure of this book is the signatures are bound to the spine of the book in a way that lets you remove/replace them.  The unique stitching also lets the cover and pages lay flat. 

I preparation for the class we cut and covered board for the front, back and spine of the book.  I used some fancy peacock feather paper for this.  We also folded and pressed 8 signatures.

We punched holed in the covered front and back boards for stitching.  Both the vertical and horizontal spacing of holes can be varied, allowing for endless designs.  I punched 6 holes 1" from the front edge with varied vertical spacing.

The signatures are 1/4" shorter than the boards.  I made a template to punch the signatures that accounted for the difference in hight and matched the vertical spacing of the six holes.

The cover is stitched/woven together first.  We used binder clips to hold the three sections of the cover in place while stitching (blue tape can also be used).  I used 4 ply Irish linen waxed thread, though often thicker thread or ribbon can be used.  

Stating at the top on the inside front cover, go out the top hole leaving a short tail of thread behind, come in from the outside in the gap between the front board and the spine and go back out in the gap between the spine and the back board, then in the top hole on the back cover, wrap around the spine in the opposite direction, tie a square knot with the tail of the thread near the top hole on the front board, continue out the top hole on the front cover, wrap around the spine a third time, go in the top hole of the back cover one last time.  The first station is now complete.  

Go out the second hole on the back cover, wrap around the spine, go out the second hole of the front cover, wrap around the spine in the opposite direction, go in the second hole of the back cover, wrap around the spine a third time, go in the second hole of the front cover one last time.  The second station is now complete.

Repeat the process for the remaining stations and tie off the thread at the end of the sixth station.

We used a sort of running pamphlet stitch to attach the signatures to the threads that wrap around the inside of the spine.  If desired, you could attach each signature independently to the spine using multiple pamphlet stitches.  Cutting the pamphlet stitches allows you to remove the signatures from the book.

I quickly made a second book using some beautiful marbled paper a friend made.  I used a photo of the 2021 Brood X Cicadas for the front and back signature wraps.