Floating Ink 

& 

Paper Marbling FAQ

If you're here because you just made a print and it's drying nearby, welcome. If you're curious about marbling, even better.

I get a lot of the same questions at workshops, festivals, and art events, so I put together this page to answer the most common ones. Marbling is one of those art forms that looks like magic until you start learning how it works. Then somehow it becomes even more fascinating.

What is 'Floating Ink'?

Floating Ink is what I call my marbling process.

The name comes from watching color move across the surface of the water. Before the design is transferred to paper, the paint drifts, spreads, and reacts to every new drop that lands on the surface. It feels less like painting and more like watching color float.

The phrase is also inspired by Suminagashi, a traditional Japanese art form whose name translates to "floating ink." I love the simplicity and beauty of Suminagashi, but my process isn't a traditional version of it.

Instead, my work borrows inspiration from several marbling traditions and combines them with modern paints, contemporary color palettes, and a lot of experimentation. Some days I plan carefully. Other days I simply see where the water takes me.

Are my Floating Ink creations the same as Suminagashi?

No, although they are related. Traditional Suminagashi uses ink floating on plain water to create soft, flowing patterns. It is one of the oldest forms of marbling and has a long history in Japan.

My process is inspired by Suminagashi, but I also draw ideas from Turkish Ebru marbling, European marbling traditions, and modern acrylic marbling techniques. I think of Floating Ink as a contemporary interpretation rather than a historical recreation.

What is Paper Marbling?

Paper marbling is the process of creating a design on the surface of water and then transferring that design to paper.

The colors float on top of the water instead of mixing into it. Once the pattern looks right, a sheet of paper is gently laid on top and lifts the entire design away in a matter of seconds.

Ancient Traditions of Marbling

Marbling has roots in several cultures and traditions. The Japanese art of Suminagashi is one of the earliest forms on record. Turkish Ebru developed its own distinctive techniques and beautiful floral designs. Marbled papers later became popular throughout Europe, especially in bookbinding.

One of the things I love most about marbling is that it carries pieces of all these traditions while still leaving room for artists to develop their own styles.

How does marbling work?

The short answer is surface tension.

The longer answer is that paint is carefully balanced so it can float and spread across the surface of a prepared bath. Each new color pushes against the others, creating rings, shapes, and patterns.

Once the design is finished, paper is placed on the surface and picks up the image almost instantly.

What kind of paints and inks do I use?

For high-flow acrylic paints, I primarily use Jacquard Marbling Colors, which are specially formulated water-based marbling paints. They have a fluid consistency that some people describe as "ink-like," but they are acrylic-based marbling paints designed specifically for creating marbled patterns on paper, fabric, and other surfaces. 

For inks, I create my own using this recipe: The Basics of Natural Ink Making – A Beginner’s Guide

Every marbler develops their own preferences, though.

Some artists use traditional pigments, specialty marbling paints, or inks. Finding materials you enjoy working with is part of the journey.

What is the bath made out of?

The bath is usually water mixed with a thickening agent called a size. Different marblers use different recipes. Carrageenan is a popular choice, and some artists prefer methylcellulose or other alternatives. For inks, I find the cellulose to be better and for paints the carrageenan.

The goal is to create a surface that allows the paint to float long enough to create patterns.

Is your marbling process environmentally friendly?

The marbling paints I use are water-based, non-toxic marbling colors. They are formulated for arts and crafts use and do not contain harsh solvents, producing little to no odor during the marbling process, making them a lower-impact option compared to many solvent-based art materials. The inks I make my hand are made from berries, fruits, flowers, etc. Like all art materials, they are intended for external use only and should not be ingested. I work with them in a well-ventilated studio and follow the manufacturer's recommended safety guidelines.

I make an effort to minimize waste throughout my process. The marbling bath is made with carrageenan, a natural thickener derived from seaweed, and I reuse the marbling bath whenever possible before responsibly disposing of it. While no art process is completely waste-free, I strive to use materials responsibly and reduce environmental impact wherever possible.

Which types of paper works best?

People always ask this question because paper can make a huge difference. Personally, I love working with watercolor paper for inks since it handles moisture well and is forgiving for beginners. For heavier body work using acrylic/marbling paints, I've also had good results with Bristol and printmaking paper.

Do you treat the paper with anything?

Absolutely. I do a mix of water and alum treatment, which acts as a mordant and helps the paint/ink bind to the surface. 

How long does it take to dry?

That depends on the paper and the weather.

Thin papers may dry fairly quickly, while heavier papers can take several hours.

If you're reading this while waiting for your artwork to dry, thank you for your patience :)

What is your favorite part about marbling?

The reveal.

No matter how many times I do it, lifting the paper from the water never gets old.

For a few seconds you don't know exactly what happened beneath the surface. Then the pattern appears all at once.

I've been doing this for years and I still get excited every single time!