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Re: [Marbling] Beginning with suminagashi?

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  • molliann@aol.com
    Jake, about suminagashi with kindergarten and up - It has been part of my art curriculum for several years. Until this year I used speedball ink and assorted
    Message 1 of 9 , Aug 9, 2002
      Jake, about suminagashi with kindergarten and up - It has been part of my art
      curriculum for several years. Until this year I used speedball ink and
      assorted acrylics and photo flo dispersant with varied success. This past
      year, I used the boku inks with much more consistant results.
      As someone has already mentioned, that horrible cheap manilla paper really
      works quite well. If your budget allows, also use Diane's Rice paper. I gave
      the students the manilla first and then the delicate rice paper later in the
      session. The rice paper was harder for the younger students to handle but the
      colors on the rice paper are more vivid.
      The younger students (kindergarten - second grade) have trouble controlling
      the the bamboo brushes and the ink. This past year, I gave them pencils to
      dip in the ink and placed the ink in baby food jars. Each color ink had its
      own color of pencil - blue pencil - blue ink. I also limited the colors.
      Beginning with black and dispersant and slowly adding additional colors- up
      to three - black, blue and red.
      I set the classroom up with two students to a tank (large plastic containers
      from Wal-mart). I have taught up to 24 students at one time using this
      method.- many classes are kindergarten.
      Suminagashi is a great marbling project for students - it is not expensive,
      it introduces them to marbling, and they love it. Good luck!
    • mpmh60201
      Not quite sure what some of you are teaching the young ones. Please! If you are teaching suminagashi...DO IT RIGHT and don t insult the many generations of the
      Message 2 of 9 , Aug 10, 2002
        Not quite sure what some of you are teaching the young ones.
        Please! If you are teaching suminagashi...DO IT RIGHT and don't insult
        the many generations of the revered Hiroba family. Getting the colors
        to float on water does not mean that it is "suminagashi". Even some
        of the most exquisite current book samples are (much) more
        contemporary versions of this ancient craft. Perhaps, at such a young
        age, these students should be taught basic "Marbling on Water" (or
        Marbling 101?) rather than calling it suminagashi. I'm thinking that
        the technique is REALLY GETTING WATERED DOWN, and doesn't, in the
        least, resemble true suminagashi. Treat yourselves to a fine example
        of this exquisite Japanese paper by ordering a lovely sheet from
        Aiko's Art Materials and Supplies in Chicago (USA). Aiko Nakane (now
        retired) was the first person to import Japanese papers in the USA
        many, many years ago. The shop is at 3347 N. Clark Street, Chicago,
        IL, 60657 (773.404.5600), a treat to visit...a "must" if you come to
        the windy city!...filled with treasures beyond description when it
        comes to handmade Japanese papers.

        By the way, a pad or roll of Sumi-e, or Shoji paper is quite
        reasonable at most art supply stores. Students of oriental brush
        painting use it all the time. The Shoji is stronger and can be
        handled with ease. Some sumi-e rolls have long fibers in the pulp and
        this prevents tearing when wet. Handmade Japanese papers have enabled
        me to create scrolls that are five to seven feet long. The papers
        often look very delicate, but are actually quite strong. Papers made
        in India and Thailand also work well and are a little more reasonable
        in price. These are usually large sheets and can be cut down to fit
        small trays.

        I have been teaching suminagashi for about eighteen years, only after
        getting my papers approved by Aiko. There is much interest at ALL age
        levels, and I'm currently instructing a summer class in delicately
        beautiful "advanced suminagashi" (students must already know the
        basics). The oldest participant is 80 years young. It is her third
        class and she hasn't missed one session of it! How wonderful it would
        be if a few of the "wee" ones out there continue to learn for many
        more years. Who knows, with much encouragement...perhaps a new
        "Master" might emerge! Keep introduc
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