Our Process

Marbling-closeup

Marbling

All our marbled paper is made by hand by in a small workshop in South-East London. Designer-maker Lucy McGrath uses methods that have barely changed for centuries: a tray of gloopy ‘size’ (water thickened with Irish moss) is prepared the night before, then paints are mixed to create the right shades for the chosen design before being dropped with brushes or pipettes onto the size.

Because the size is so thick, the colours don’t disperse like they would in water and instead spread out on the surface. Once applied, the colours are manipulated using tools such as a bamboo stylus or rake – alternating these tools can create intricate and elegant patterns.

When she’s happy with the design, Lucy will carefully lay a sheet of paper onto the size, picking up the layer of paint on the surface and capturing the pattern. The final steps are to rinse off the gloop and pin the sheet up to dry.

There are few marbling practioners left in the UK – it is now classed as Critically Endangered on the Radcliffe Red List, due to the pressures of digital printing and mass production. To survive, marbling must adapt to a fast-moving world and find a new audience, and we hope to help it to do that.

Bookbinding

Once the marbled sheets are dry and flattened, designer-maker Lucy draws out a template for the journal’s hard case onto the back of the sheet. It is very important that the cover displays the most beautiful parts of the pattern, so this is a process that can take some consideration.

Once the template is drawn out, boards are cut to size and glued to the paper, left to dry flat under a weight, and finally the inside pages are glued in. The assembled book must be pressed for a day before it is ready.

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