Paper Marbling Using Carrageenan Size

Marbled paper on the back cover of a book bound in Germany, around 1880. Source: Wikimedia Commons / unknown, CC BY-SA 3.0

Background

Paper marbling has been practiced in Turkey, Persia, and Central Asia since at least the 15th century, where it is known as ebru (meaning "cloud art" in Turkish). The technique reached Europe through trade connections with the Ottoman Empire in the 16th century and was adopted by bookbinders in the Netherlands, Germany, France, and England as decorative endpaper material. By the 18th century, marbled paper was a standard component of fine binding.

Earlier European marblers used ox gall as a surfactant and size solutions made from gum tragacanth or other plant mucilages. Carrageenan became the dominant size in the 20th century because it is consistent, readily available, and easier to work with than many older alternatives. It is a polysaccharide extracted from species of red algae, principally Chondrus crispus and Mastocarpus stellatus. Food-grade and cosmetic-grade carrageenan are both suitable for marbling; lambda carrageenan is generally preferred over kappa because it remains fluid at room temperature.

Preparing carrageenan size

The standard working concentration is approximately 3–5 grams of carrageenan powder per liter of cold water. The ratio requires some adjustment depending on the specific product, water hardness, and the pigments being used.

1. Measure the required volume of cold water into a large container or tray.
2. Weigh the carrageenan powder. Add it gradually to the water while stirring continuously to prevent lumping.
3. Blend the mixture thoroughly using an immersion blender or a whisk. Blending breaks up any undissolved clumps and incorporates the powder evenly.
4. Allow the size to rest for at least 12 hours, or overnight, at room temperature. During this time it will clarify and develop its full viscosity.
5. Before use, skim off any foam from the surface. If bubbles are present during marbling, they disrupt the pattern.

Paper preparation: alum sizing

Paper must be prepared before marbling to ensure the pigments adhere permanently rather than washing off when the sheet is rinsed. The standard preparation is alum sizing: dissolve potassium alum (alum, ałun potasowy) in water at approximately 20 grams per liter, and apply the solution to the paper surface with a foam brush or sponge. Allow the sheet to dry completely before marbling.

Alum-treated paper has a slightly tacky feel when dry. Both sides may be treated if both sides are to be used, but most marblers treat only the face side. Treated paper should be marbled within two to three days; after that, the alum coating begins to lose effectiveness.

Pigments and ox gall

Watercolor paints, acrylic paints diluted with water and ox gall, or purpose-formulated marbling paints can all be used. The pigment must be able to float on the carrageenan surface rather than sinking. Ox gall (bile from cattle, used as a natural surfactant) is added to the pigment to reduce surface tension and allow the color to spread.

The amount of ox gall required varies by pigment. A starting point is approximately 5–10 drops of ox gall per 30ml of diluted paint. Test each color by dropping a small amount onto the size surface: the color should spread into a circle several centimeters in diameter within a second or two. If it sinks, add more ox gall. If it spreads excessively or pushes other colors away too aggressively, reduce the ox gall.

Pattern techniques

Stone pattern

The stone pattern (also called spot or nonpareil base) is formed by dropping colors onto the size in sequence. Each subsequent color pushes the previous ones outward into rings. The result is a series of concentric circles or amoeba-like shapes. This is the foundational pattern from which more complex designs are developed.

Comb pattern

A comb is drawn through the stone pattern, displacing the pigments into wavy parallel lines. The comb spacing and the direction of the pass control the character of the resulting pattern. A single pass in one direction produces a chevron or feather form; alternating passes create the classic "Turkish" comb pattern.

Peacock pattern

The peacock pattern begins with a comb pass and is followed by a second pass with a stylus at right angles to the comb lines. The stylus pulls individual lines of pigment into elongated pointed shapes resembling peacock feathers. Careful control of the stylus speed produces consistent feather proportions.

Gel git (bouquet)

The gel git pattern is associated with Turkish ebru tradition. Drops of color are applied to a stone-patterned size and then a stylus or fan tool is used to draw concentric or radiating curves through the color field, producing floral or bouquet shapes. The technique requires practice to achieve regular forms.

Marbled paper showing a combed or raked pattern. Source: Wikimedia Commons / J R via Flickr, CC BY 2.0

Transferring to paper

1. Hold the alum-treated sheet by its short edges, bowing it slightly in the center.
2. Lower the center of the sheet onto the size surface first, then release the edges so the sheet lies flat. This technique reduces air bubble entrapment.
3. Allow the sheet to rest on the surface for 20–40 seconds. Some patterns require less contact time; longer contact can cause colors to bleed slightly at the edges.
4. Lift the sheet from one corner, peeling it smoothly from the size surface at a shallow angle.
5. Rinse the sheet immediately under a gentle stream of cold water, holding it at a slight angle. The rinse removes excess carrageenan from the surface; leaving it in place causes the sheet to stiffen unpleasantly when dry.
6. Lay the sheet face up on a drying board or hang it to dry. Iron from the reverse side while slightly damp to flatten any curl.

Use in bookbinding

Marbled paper traditionally appears as endpapers in case-bound books — the double leaf pasted to the inside of the cover boards. It is also used as cover paper for pamphlet bindings, as cover wrapping for account books, and as decorative inserts. In Polish introligatorstwo, marbled paper (papier marmoryzowany) is available from specialist suppliers and at some art material shops in larger cities. Hand-marbled sheets are also produced by individual papermakers and sold through craft fairs and workshops.