Momigami Art! What Happens When You Mix Suminagashi Prints with Konnyaku?

July 28, 2025

You’ve seen Suminagashi prints before, those dreamy, flowing ink patterns created by floating ink on water. But what happens when you’ve treated the Suminagashi prints with alum and then crumple them by hand using Konnyaku starch in a traditional Japanese technique called Momigami?

Let’s say the results weren’t what I expected, and one paper completely surprised me. The framed Momigami art is stunning.

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Materials Needed

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Here’s what I used for this experiment:

• Suminagashi prints (alum-treated) (Sumikundo 15620 Watercolor Liquid Marbling Set of 6  https://amzn.to/42pqNLr)
• Konnyaku starch powder (Konjac Gum Powder (8 oz)  https://amzn.to/40fJhOy )
• Mixing bowl + spoon
• Water
• 3 paper types:
  • 20 lb copier paper
  • 32 lb copier paper
  • 80 lb drawing paper (Sax Sulphite Drawing Paper, 80 lb, 9 x 12 Inches, Extra-White, Pack of 500 – 053943 https://amzn.to/3Z6NbHR )
• Brush or sponge
• Small tray to paint on Konnyaku Starch (Art Alternatives Enamel Butcher Tray 7x10.5 inches, White https://amzn.to/4iTUhbD )
• A flat surface to dry your prints
• Clean hands for crumpling (no tools needed!)

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Step-by-Step

1. Mix your Konnyaku starch
   I stirred mine for about 30 minutes until it started to cling to the spoon. That’s how you know it’s ready—it thickens and gets slightly gel-like.

2. Get your Suminagashi prints
I used prints made on three different paper weights (The Suminagashi tutorial is linked in the "You Might Like" section at the bottom of this post, if you want to try it yourself.)

3. Brush the Konnyaku starch onto the Suminagashi prints
One at a time, I coated each sheet on one side of the print and allowed it to dry completely. This part was already revealing; some of the colors shifted and became more vibrant, especially on the lighter-weight papers.

4. Once dry, start crumpling
This is where the Momigami process begins. I rolled in the edges and corners first, handling each type of paper differently depending on its strength. I was amazed that even the 20 lb paper held up beautifully—no tears, no holes.

5. Work the texture
Each paper weight handled the process a little differently:

• The 20 lb paper gained strength and flexibility.
• The 32 lb paper held its shape well and was easy to work with.
• The 80 lb paper? Gorgeous—but tough. It took more effort to fold and crumple. You’ll see in the video how I had to go in and wrinkle specific areas by hand.

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Tips for Success

• Don’t rush the drying process. Let the konnyaku starch dry completely before crumpling.
• Protect the corners. Roll them in gently at the start to prevent damage.
• Expect shrinkage. The more you crumple, the smaller the paper becomes—but the texture payoff is worth it.
• Work with what you have. Every day, 20 lb copier paper surprised me in this process.
• Take your time. The more intentional the crumpling, the better the result.

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Conclusion

Out of all the sheets I worked with, the 20 lb copier paper was my unexpected favorite. It held the ink well, responded beautifully to the Konnyaku starch, and didn’t tear.

I ended up framing one of the finished pieces, and honestly, it stopped me in my tracks. Whether viewed as a portrait or a landscape, the colors, contrast, and texture came together in a way that felt complete.

Stunning Framed Momigami Art

If you’ve ever wondered how traditional paper techniques like Momigami can breathe new life into Suminagashi prints, I hope this inspires you to try it for yourself.

Do you have questions or would you like to share your results? I’d love to hear from you in the comments.

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