Suminagashi Around the Equinox


Almost a year since I learned to do this from Isabel Winson-Sagan. And probably less than two months since I started worked more consistently. Still using the outdoor set-up, even though it is getting cold. I hope to work straight through the winter outdoors if I can.



Have been experimenting. There is acrylic ink from Japan that is for marbling, but it acts more like a monoprint at times.



I love it, but the medium is difficult to manipulate, I’ve lost the tiny bit of control I had with the more traditional ink.



They say a suminagashi master has 5% or maybe 2% control. I’m down below that!


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About Miriam Sagan

I'm blogging about poetry, land art, haiku, women artists, road trips, and Baba Yaga at Miriam's Well ( The well is ALWAYS looking to publish poetry on our themes, sudden fiction, and guest bloggers and musers.

3 thoughts on “Suminagashi Around the Equinox

  1. Thank you all–it’s been very exciting to try something new. Poet/chemist Michael G.Smith just wrote–Beautiful Miriam! Scientist me wants to know how they or you measure “control”? !!!! (:

    Hi Michael–such a cool question-those percentages may make it seem more exact than it is! I just know the truism is that a great master–someone who leaves a basin of just the right water overnight to still, who can drop ink two handedly ring after ring, who has years of experience…can judge very little of the outcome. Essentially just a tiny bit depends on the set up. I think this would be much different than building architecture or even writing a novel. The sumi is just super volatile because it floats on water. And how still can water ever be–particularly in a place with earthquakes? I’ve been leaning towards the chaos by working outdoors–using left over rain water, dealing with breezes, floating leaves. No wonder I don’t have any control!

    But I’m guessing that basically with suminagashi no one EVER has more than 5% ability to influence outcome.

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