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Turkish Arts - Ebru Marbling Lesson with our students from Bogazici University
Ebru art workshop as a birthday gift. Nice present - Sultanahmet Istanbul - June 2017
Our Artists are Professional in Marbling - Ebru Art & Local Artisans.
** If you have any interest of learning Classical Ottoman Marble, joining a workshop or ordering a special Turkish Marble Art Work from our teacheri please call us or send us an e-mail to get more information and to get a meeting..
Contact : Mr. Alp AKSAHIN ( Phone : +90 544 220 10 22 )
Here is our adres : http://www.bazaarturkey.com/contact_us1.htm
Google Maps : http://g.co/maps/4yxya
Les Arts Turcs - Art Gallery & Studio
Alemdar Mah Incili Çavus Sok.
No: 19 Floor : 3 (Behind The Underground Cistern)
MARBLING APPLIED TO PAPER PATTERNS
Classical Types of Ebru;
1- Battal – Stone: The oldest recorded style in Ebru. It is the base of all forms in paper marbling art. The paints stay as they drop off the brush no other effect is given.
2- Gel Git – Tidal : After having a battal base, it is formed by zigzag movements parallel to the sides of the basin. This tidal movement is sometimes applied diagonally as well.
3- Şal – Shawl : Formed by an evenly spreading of two or three ‘S’ shapes on a tidal ebru in the opposite direction of the last tidal move.
4- Bülbül Yuvası – Nightingale Nest : Formed by inside to outside spiral movements next to each other on a battal ebru.
5- Taraklı – Combed : A vertically made tidal ebru is combed in the opposite direction of the last tidal movement.
6- Kumlu – Sandy : Formed by continuously dropping of low density paint on an extremely thickened basin and letting the work sit for a long time. The surface tension is high in an extremely thickened basin. The low-density paint is going to be pressured under the high tension of the surface and after a while crack and form the sandy or bony ebru.
7- Hafif – Light : Paints are diluted more than in other ebru types. Light ebru is usually used as a base to perform calligraphy.
8- Hatip – Orator : Motifs are formed by giving movement effects to the paints that are distributed evenly within each other on the surface. Colors at the background are light, motif colors are intense.
9- Dalgalı – Wavy : When the paper is moved back and forth during the marbling, the result will appear as waves on the paper. The paper can be folded, (creases point the surface) when each move contacts with a crease it will change direction and will form the waves on the paper. Waves can be formed only if the movement has a regular rhythm.
10- Neftli Battal –Turpentine: This is obtained by sprinkling paints with some added drops of Turpentine (preferably pine turpentine) onto a ‘Battal’ background. It gives a wavy appearance.
11- Somaki Battal – Porphyry: Generally made with two color. More gall is added to the second color, which squeezes the first color and creates thin veins, like marble.
12 – Serpmeli Battal – Sprayed: After any well known “Battal marbling” is made, a second color, in contrast to the background, is sprinkled is small droplets. The paint in the brush is squeezes out carefully, and some people use a special brush for sprinkling. This sprinkling may be formed in ‘Gel-Git’ – ‘ Bülbül Yuvası’ or other patterns.
13- Ak Kase – Stenciled Marbling: This is a pattern obtained by making several imprints on the same background, and popular with calligraphers. The base consist of a ‘light marbling upon which the script is written using a special fluid prepared with gum Arabic applied with a red pen or brush. Thus the surface of the light marbling is covered (insulated) by the gum Arabic. After drying, another design using darker colors is applied on the same paper: the parts covered with gum Arabic will resist the second coat and will therefore display the script. The same technique may be applied using a stencil, and other substances can be used instead of gum Arabic, for example heavy gum tragacanth, silicone, several transparent glues etc.
14- Yazılı Ebru – Script Marbling: This is obtained by writing the script with gum Arabic and then marbling the same paper, or vice versa (Leaving the script blank and applying the gum Arabic as background). Writing with gum Arabic (Transparent ink) demands particular skill, because it is very difficult to make correction.