Sophie Barling visits the Cambridgeshire garden workshop of Payhembury Marbled Papers, where Kate Brett uses gouaches to produce her exquisitely varied designs.

Publisher: unknown Date/place: unknown Category: Pattern Medium: Paper Persistent URL: NA Original in Bergen Public Library's collection.

For background information, see: bibliodyssey.blogspot.com/2010/11/marbled-paper-designs.html

For background information, see: bibliodyssey.blogspot.com/2010/11/marbled-paper-designs.html

5 assorted one of kind, handmade marbled prints. Perfect for scrapbooking, crafting paper, or framing. These unique prints were created through the ancient art of Suminagashi, which is a process of floating ink on the surface of water and capturing a moment in time when the paper is placed down to soak up the ink. These prints are made out of Japanese Hosho rice paper which has a soft hand to the printed side, and a smooth hand to the back side. The inks used are Japanese Suminagashi marbling inks that have been mixed to the desired colors and then worked into the finished design as seen in the photos. Due to the nature of Suminagashi each design is truly a one of a kind piece of art. Size : 9" x 12"

This gallery showcases a selection of decorated and decorative papers from 19th Century Europe. Water-based inks float for short periods of time; during this window of opportunity the colors can be manipulated into a wide variety of patterns. Inks stay on the paper when alum is applied to the surface at the beginning of the process. … Continue reading "The Art of Marbling: 19th Century Decorated and Decorative Paper"

Papel al agua Scrottel en la portada de un libro Los papeles al agua, papeles marmoleados o marbled papers , son una variedad d...

Se dice que el marmoleado se divide en dos fases, antes y después de Josef Halfer. La razón es la obra de este encuadernador de Budapest, un completo estudio sobre los elementos que intervienen en el marmoleado, tras el cual, sus recomendaciones de cambiar de goma, de emplear alumbre, agua de hiel, etc. dotaron a los marmoleadores de una serie de recursos técnicos perfectamente comprobados, los mejores para emplear en el marmoleado. Halfer creó su propio método, el método halferiano, con el que se lograron resultados hasta entonces nunca alcanzados y, dando un paso más, se adaptó el marmoleado a la creación artística. It is said that marbling could be divided into two phases, before and after Josef Halfer. The reason is the work of this bookbinder from Budapest, a finished study on all the elements that intervene in the marbling, after which, his recommendations of changing gum, of using alum, bile water, and so on, provided marblers with a series of technical resources perfectly verified, the best to use in marbling. Halfer created its own method, the halferian method, with which they were achieved results never reached till then and, going on one more step, marbling adapted itself to the artistic creation. *** Dos ejemplares de obras de Josef Halfer, una moderna reedición de su Arte del Marmoleado, y un folleto divulgativo, un resumen de su método, editado por uno de sus discípulos. Two copies of Josef Halfer works, a modern reprint of his Art of Marbling, and an informative leaflet, a summary of his method, edited by one of his disciples. 167 Libro: Halfer, Josef. The Progress of the Marbling Art. Buffalo, New York: Louis Kinder, 1883. 243 pages. (Edición Facsimilar, Fresh Ink Press Taos, New Mexico, 1989.) Book: Halfer, Josef. The Progress of the Marbling Art. Buffalo, New York: Louis Kinder, 1883. 243 pages. (Facsimile edition, Fresh Ink Press Taos, New Mexico, 1989.) 168 Libro: Halfer, Josef. The art of marbling and the treatement of the new bronze colours. London, Hostman Printing Ink Company, 1904. Book: Halfer, Josef. The art of marbling and the treatement of the new bronze colours. London, Hostman Printing Ink Company, 1904. *** Halfer tuvo muchos discípulos y seguidores que contribuyeron con sus propias obras a la divulgación del método y a la expansión de la escuela halferiana de marmoleado. El número 169 es un ejemplar de la obra de Josef Hauptmann, en él aparece el único retrato conocido de Halfer; los siguientes son las obras de otros tres miembros de la escuela halferiana, Paul Kersten; Franz Weisse y Josef Phileas Boeck. Halfer had many disciples and followers who contributed with their own works to spread the method and to expand the halferian school of marbling. The number 169, it’s a copy of Josef Hauptmann work, where the unique Halfer portrait known appears; the next ones are copies of the works of another three members of the halferian school, Paul Kersten; Franz Weisse and Josef Phileas Boeck. 169 Libro: Hauptmann, Josef. De Marmerkunst, Tot Versiering der Boeksnede. Eene Handleiding Tot de Practische Beofening der Marmerkunst naar Halfer’s methode. Dodewaard, Atelier de Distelkamp, 1992. 25 x 17,5 cm. Reedición en holandés e inglés de la obra de Hauptmann: El arte del marmoleado, para la decoración de los cortes del libro. Un manual para la práctica del arte del marmoleado con el método de Halfer. Book: Hauptmann, Josef. De Marmerkunst, Tot Versiering der Boeksnede. Eene Handleiding Tot de Practische Beofening der Marmerkunst naar Halfer’s methode. Dodewaard, Atelier de Distelkamp, 1992. 25 x 17,5 cm. New edition in Dutch and English of Hauptmann work: The Art of Marbling, for the decoration of book edges. A manual for practising the art of marbling using Halfer's method. 170 Libro: Kersten, Paul. Die Marmorierkunst. Wilhem Knapp Halle, Germany, 1922. (Edición facsimilar de Fines Mundi, Saarbrücken, 2006.) Book: Kersten, Paul. Die Marmorierkunst. Wilhem Knapp Halle, Germany, 1922. (Facsimile edition from Fines Mundi, Saarbrücken, 2006.) 171 Libro: Franz Weisse: The Art of Marbling, translated from the German with an introduction, and fourteen original marbled specimens by Richard J. Wolfe. Bird & Bull Press, North Hills, PA, 1980. Book: Franz Weisse: The Art of Marbling, translated from the German with an introduction, and fourteen original marbled specimens by Richard J. Wolfe. Bird & Bull Press, North Hills, PA, 1980. 172 Libro: Boeck, Josef Phileas. “Die Marmorierkunst”. Viena, Pest, Leipzig, Hartleben, 1880. Book: Boeck, Josef Phileas. “Die Marmorierkunst”. Viena, Pest, Leipzig, Hartleben, 1880. *** Uno de los objetivos de la obra de Halfer era ayudar a conseguir que los cortes de los libros se pudieran marmolear a la perfección. Estos dos folletos publicitarios de la reedición moderna de la obra de Hauptmann destacan ese aspecto, con muestra originales de papel marmoleado realizadas por el marmoleador y editor de la obra Geert van Daal. One of the targets of Halfer work was to help to achieve a perfect marbling work on the book edges. These two pamphlets of the modern reprint of Hauptmann work emphasizes in this aspect, with original samples of mabled papers made by the marbler and publisher of the book Geert van Daal. 173 Dos folletos de publicidad de la edición holandesa de la obra de Hauptmann. 14,5 x 21 cm. Con muestras originales realizadas por Geert van Daal, idénticas a las del libro. Two publicity leaflets for the Dutch edition of Hauptmann work. 14,5 x 21 cm. With original samples made by Geert van Daal, identical to those of the book. *** Los siguientes papeles son contemporáneos de Halfer y muestran modelos nuevos, las columnas y el famoso Bouquet o ramillete uno de los modelos de mayor éxito del marmoleado de todos los tiempos. The following papers are from Halfer times and shown new patterns, the columns and the famous Bouquet one of the patterns of major success of the marbling of all times. 174 Papel marmoleado, de finales del siglo XIX o principios del XX, modelo columnas, se hace empleando un peine con las puntas irregularmente distribuidas. 29 x 21 cm. Marbled paper, made during the last decades of nineteenth century or first of the twentieth. Columns pattern, it is made using a comb with irregularly distributed needles. 175 Papel marmoleado, de finales del siglo XIX o principios del XX, modelo Bouquet (ramillete), guardas del libro: Miguel de Cervantes Saavedra: Don Quijote de la Mancha (1927-1928). 25,5 x 18 cm. Biblioteca Histórica Municipal de Madrid, Cer-516. Marbled paper from last decades of nineteenth century or first of the twentieth. Bouquet pattern, endleaves in the book: Miguel de Cervantes Saavedra: Don Quijote de la Mancha (1927-1928). 25,5 x 18 cm. Municipal Historic Library of Madrid, Cer-516. 176 Papel marmoleado, de finales del siglo XIX o principios del XX, modelo Bouquet (ramillete), guardas del libro: Santo Antonino de Florencia: Confessionale. 15 x 10,5 cm. Biblioteca Histórica Municipal de Madrid, R-797. Marbled paper from last decades of nineteenth century or first of the twentieth. Bouquet pattern, endleaves in the book: Santo Antonino de Florencia: Confessionale. 15 x 10,5 cm.. Municipal Historic Library of Madrid, R-797. *** El taller de Cockerell en el Reino Unido es considerado por muchos como la cima del marmoleado halferiano. Siguiendo su método, Cockerell alcanzó una perfección inigualable y creó modelos absolutamente personales. The Cockerell workshop in the United Kingdom is considered by many people the highest point of the halferian marbling. Following his method, Cockerell reached unsurpassable perfection and created absolutely personal patterns. 177 Papel marmoleado, 65 x 45 cm. Modelo Bouquet (ramillete), realizado en el taller Cockerell, bajo la dirección de Peter Rogers. Marbled paper, 65 x 45 cm. Bouquet pattern, made in the Cockerell workshop under Peter Rogers direction. 178 Papel marmoleado, 65 x 45 cm. Un modelo propio del taller Cockerell, basado en el modelo espiguilla, realizado en el taller Cockerell, bajo la dirección de Peter Rogers. Marbled paper, 65 x 45 cm. A special Cockerell pattern, based on the chevron pattern, made in the Cockerell workshop under Peter Rogers direction. *** En la actualidad el método halferiano pervive en muchos artistas que siguen siendo sus seguidores. El pulpo realizado por Milena Hughes, es otro de los modelos del nuevo marmoleado. Las caracolas realizadas por Renato Crepaldi son comparables a los modelos de Cockerell; mientras que el Ícaro ondulado, otro más de los nuevos modelos, realizado por Stephen Pittelkow, sorprende por la distribución de los colores. At present the halferian method survives in many artists who keep on being his followers. The octopus made by Milena Hughes, is another one of the patterns of the new marbling. The swirls made by Renato Crepaldi are comparable to the Cockerell patterns; while the waved Icarus, another one of the new patterns, made by Stephen Pittelkow, surprises for its distribution of colours. 179 Papel marmoleado, 50,8 x 43,8 cm., acuarela sobre musgo Irlandés, 1995, modelo Pulpo (prototipo de diseño para la empresa papelera Scott), realizado por Milena Hughes. Marbled paper, 50,8 x 43,8 cm., Watercolor on carragheen, 1995, Octopus Pattern (prototype design for Scott Paper Company), made by Milena Hughes. 180 Papel marmoleado, 66 x 94 cm., modelo Caracolas francesas en lila, realizado por Renato Crepaldi. Marbled paper, 66 x 94 cm., Lilac French Curl pattern, made by Renato Crepaldi. 181 Papel marmoleado, 65 x 45 cm. Modelo Ícaro ondulado, realizado por Stephen Pittelkow. Marbled paper, 65 x 45 cm. Waved Icarus pattern, made by Stephen Pittelkow. Volver al índice / Back to index

For background information, see: bibliodyssey.blogspot.com/2010/11/marbled-paper-designs.html

This simplified process creates patterns that are looping, organic, and pretty. Use it for paper, leather, or fabric projects.

For background information, see: bibliodyssey.blogspot.com/2010/11/marbled-paper-designs.html

This is a gorgeous Marble paper texture that is a free download.

For background information, see: bibliodyssey.blogspot.com/2010/11/marbled-paper-designs.html

Papel al agua Scrottel en la portada de un libro Los papeles al agua, papeles marmoleados o marbled papers , son una variedad d...

This simplified process creates patterns that are looping, organic, and pretty. Use it for paper, leather, or fabric projects.

Inspired from the veins of texture in granite and stone, this Marbled Lokta Paper takes color to a whole new level. Intricate marbled patterns in tones of blue flow across each cream-colored sheet creating a one-of-a-kind design on each and every sheet. Lokta Paper is a strong, durable and eco-friendly paper handmade from the fiber of the "Nepal Paper Plant," also called the Daphne Shrub or Lokta Bush. This paper features subtle fiber inclusions, adding handmade beauty to whatever you create with it. The Marbled Lokta Paper then takes vibrant colors and marbles them over the entire sheet. Use this paper as a wonderful “blank canvas” for art applications, paper crafts and is ink jet and laser printer compatible. The fibers are long and flexible providing exceptional strength. Lokta Papers are acid-free and weigh approximately 45 to 60 gsm for a moderate weight, handmade paper lending itself to a multitude of art, craft and home décor uses as well as an excellent gift wrap.

Hand-marbled paper by the sheet. Great for collage, bookbinding, card-making, framing, small gift wrap - whatever you want to do!  This sheet has a few hard-to-spot imperfections. Approx 14x21 inches. Acrylic on Masa paper. Acid-free, 77gsm. Stone pattern in red, blues, plum and white. Each paper is an original and hand-marbled by Kris Stewart.  **Automatic 10% discount when purchasing 4 or more sheets.**   - And here’s the typical disclaimer that while we’ve done our best to portray colors accurately, all monitors are different. -

Description: Green Size: 12" x 19" Mfg #: BBHM8010