Gozde Karaman: Wonderfully Different Turkish Marbler

It is hard for marbler to standout in a country like Turkey that has tens of thousands of artists practicing the art form that is known there as 'ebru' no less shine on the world stage of this craft. But a Turkish woman named Gozde Karaman does just that ... shine.

Her marbled images are both mysterious and natural. Sometimes simple and geometric as a compass other times as complicated and representational as an Indian headress.  I enjoy going to her Facebook page for not only the marbling but for her interest in history, nature, and contemporary influences in her work.  Once I asked her if the rich history of architecture that she often posted was inspiration for her art. She answered that she found inspiration for her marbling "everywhere".

I've said it before and I truly wish there was a Hall of Fame for the artists of the world who practice or practiced the art form known as marbling or ebru or abri or sumi and that a great artist like Gozde Karaman was recognized in their lifetime.

Combs, Rakes and Beyond (part 3).

Beside the direction one moves a comb across the marbling bath and then offsetting the comb and returning is the opposite direction, there are many variations in pattern that can be created by moving the tool side to side.  But if one also rolls the comb as it is moved across the tank, thereby staggering or lifting the comb's placement out of the bath and pigments, a different patterns emerge.

 One of the most innovative designs changes for a marbling comb in the last four hundred years recently came from Dan St. John of Chena River Marblers. He explains the comb this way; "This is a complete hot air balloon pattern. The teeth of the comb are splayed in and out, the tank is deep and the comb rides on a track 

which is sinosoidal. Dan"

Combs, Rakes and Beyond (part 2).

From 'Art of the Marbler', a YouTube video about Cockerell

The type of marbling comb that is a series of individual combs put together has never really been named but I call them 'compound' combs and or what Jake Benson calls a "drop-rake" (Diderot and d'Alembert).  'Compound' combs for me because I have seen "drop-rakes" that move side to side when you use them. Below is from Dan St. John's Facebook page and on the right is from a YouTube video about the Cockerell firm in England.

 Chena River Marblers (Dan St. John)

 The Cockerell marbling was known for its use this type of comb. What is interesting about this video (1970s film) about the making of Cockerell papers is that it shows a drop-rake being used to apply color rather than create a combed pattern.  I have seen photos of these types of combs (rakes) that have movable arms.

The spacing of the tines on a comb or rake are not the only thing that can alter a marbled image on the surface of a tank.  A simple change in the thick of the tines can move the paints (pigments) on the surface differently then traditional marbling tool. Below in another of Dan St.John's rake made with thick wooden dowels rather than thin wire.

Or even more strange a marbling comb that isn't linear.

Combs, Rakes and Beyond.

Much of the history of paper marbling can be examined through the lens of how the final pattern on the surface of the tank of thicken water was created.  Yes, the way one prints or lifts that image can be varied to change what the final image looks like after dropping, sprinkling, pouring, or even spraying the pigment on the marbling tank but the most dramatic alteration of what we see on marbled paper (or other surfaces) is done with combing.

Without getting too historical, scientific, or mathematical there are some relationship to the patterns created in 2-D paper marbling designs that predate modern marbling (albeit hundreds of years old) by thousands of years. I see combed patterns in ancient blown glass that are 'dragged'. Master marbler Dan St. John sees elements of combed marbling in the machinery and mechanics of weaving.  But keeping to a discussion of the variety marbling combs and rakes used by marblers will be hard enough.

Combs and rakes from Galen Berry's marbling supply site https://marbleart.us/MarblingSupplies.htm

Simply put, a marbling comb has tines that are closer together than a marbling rake.  Galen Berry's site sells a selection that shows the elementary examples of combs and rakes including the first variation of the single row comb/rake, the 'double rake' with two rows of tines that are offset.
Another type of comb has a irregular alignment or spacing of the teeth. Rather than equal interval or space between the tines there are combs that create uneven space in patterns. Below,  the Dan and Regina St. John's Facebook page are examples of combs with different spacing if teeth.

Right away the discussion of combs has to go to how a pattern of COMBING is done. Starting with the movement horizontal versus vertical to side to side or even which comb to use in which order.  Dan St. John loves to test his friend by posting a example of a marbled pattern he has done and then asks his friends and followers how he created the distinct pattern.  I am amazed when other marblers like Iris Nevins nails the answer with a complicated recipe of moves and identification of tools that created the pattern in question.  Iris, being an accomplished musician, somehow brings another analytical skill set to a visual problem.  In a way marbling is visual music and combs are the keyboards and chords that make it happen.


A speculative example of a marbling I offer is on that might change pattern on the surface  of the marbling tank thedeeper it is moved through the water (sizing).

 

The Marblers

The introduction to The Fab Book has to be prefaced by all "The Marblers" who were influenced and pasted on the mystical art of marbling. It is the story of people as well as the art that touched them. The narrative has to start some place since we will never know its beginning or its end. That starting point has to be 1989 and the First International Marblers' Gathering in Santa Fe, New Mexico. I have to thank Mindy Dubansky of The Met in New York and 'The Doctor of Marbleosity' Jake Benson for inspiring me to get off my butt and 'do the tell.' Thanks also to marbler Tom Leech of The Palace of Governors Print Shop in Santa Fe for his past and continuing work.

 
 The Marblers

In early 1989 while trying to arrange speakers for the First International Marblers' Gathering in Santa Fe, New Mexico, at what I call St. John's School for Junior Spooks, I wrote Richard J. Wolfe  asking him to be a speaker at the event.  Dick Wolfe was an author, historian, and marbler. Polly Fox of the marbling journal Ink & Gall had already tried to get him to attend and was unsuccessful.  I tried contacting him hopefully to make the argument that he would be a great addition to what I modestly called "The Largest Assembly of Marblers in the History of the Universe"  His rejection letter to my offer pretty well summed up what some of the the traditional bookbinding elder statesmen and establishment figures felt about the new generation of crazy artists who were rediscovering the "ancient" art or craft of floating colors on water and printing the image that was created onto another surface. 

Dear Mr. Coventry:-

     Your letter of March 15 indicates to me that you are probably a nice guy, well-intentioned and serious and interested in doing the right thing.  And you seem to be aware, as I am (and as are a few of the old-time marbler with whom I have been in contact) about the problems existing on today's marbling scene -- unbound enthusiasm, but limit knowledge on the part of many young marblers which, as you imply (or as I infer), need tempering.

     Nonetheless, my time is severely compromised, and I have to carefully pick and choose in order to survive in an overly busy world and still pursue my own interests.  I thought that I was very definite when writing to Ms. Fox, but I shall now iterate my very answer to her about participating in your forthcoming gathering: no.

My marbling history should be out in the fall, and I am hoping that it will begin to set a standard whereby the rediculous (sic) statements that have been coming out about marbling and its history will be measured in the future.  My book will be highly documented; the typescript I turned into the press had over 200 pages of notes and references to sources and documents, and unlike most of the recent literature in this field, will indicate to the reader that my information is anchored into bedrock and not dangling from thin air.  This, and the translations and other literature on marbling that I have been publishing (and hope to continue to publish), is my contribution to the field.That's enough for me; I have no more to say. And, as I have observed in academe, I do not wish to get involved in meetings that are dominated by people who know the least but want to talk the most. I don't  want to compete with them or be involved with them.

     I wish you well in your gathering, and I hope that all enjoy themselves.

 Richard J. Wolfe (1928-2017) handmade stationary marbling (8 1/2 in. by 11 in.) dated March 22, 1989.

Santa Fe is an arty town. Its has long been known as "The City Different"  and the capital city of "The Land of Enchantment",  New Mexico.  Long before the Pilgrims imported marbled papers from England; or the Dutch had exported toys wrapped in marbled papers to avoid paying Colonial duties on them; and Ben Franklin marbled the edges of our Continental currency, the Spanish had brought books to Santa Fe with marbled end pages. And in 1989 this small city with a big reputation and history was home to some incredible marblers including Pam Smith and Katherine Loefler and some miles north in Taos were  Polly Fox and Dexter Ing, editor and publisher of Ink & Gall not only the premier marbling journal of the time but as The Toas News newspaper described the quarterly journal... it was "the only one in the world."

Paper Marbling in Iran ... کاغذ ابری

*Google translated from Persian

Workshop paper marbling in the library and the National Museum held property
Workshop paper marbling, with the holding of the 8th Festival of the eighth month in the dignity of the National Library and Museum in 1395 property.

The Economist-Iran Workshop paper marbling in the library and the National Museum held property
Astan Quds Razavi endowed, workshop paper, Mehdi sohrabi, teaching with cloud and cloud maker, for free on Saturday 16 August 1395 solar from 13 up to 16 hours.

Cloud storage is one of the ancient arts of Persia in the book of the fan layout. Cloudy with artists create eye-catching color combinations and random patterns and beautiful, compelling and an imagination on paper quotation. «Cloudy» in the term paper, with different colors on it درآمیختن, نقوشی SCR is similar to cloud or water waves, emerged. Of such paper to an exquisite accompaniment to the margins of the book linear, mrghaat, text and line drawings, cover parts, astrbderghh books, ghlmdan and oily box field. This paper today, but more for a piece of blogging.




Malek National Library and Museum ", with cloudy course (abrubad paper), an introduction to more traditional arts areas students judging and layout books with one of the most attractive part of this technique provides. Mehdi sohrabi, cloudy and ghtaa, kermanshahi Madras this workshop. He was previously a few workshops and training courses on construction of the National Library and the Museum of paper marbling has held property.

He tells about this: "making and taking advantage of the cloud paper, common since the Safavid in Iran. The artists of this period were his popular roles with various colors and shapes and drawing on paper پرمایه roles. This technique however in the Qajar period in Iran, Iran to India ronhad oblivion but went on there. Since the Japanese way also. Japanese artists also performing guest on the papers get, it put an upgrade. Making travel more cloud around his long, West of the Ottoman and then went to Iran and Europe continued to make changes where it was returned to Iran.


According to him, nowadays, Japanese artists and leave, have an abundance of interest to build a paper marbling and many creations in this field have shown themselves.

This cloud maker adds: "now we have sought after holding several courses and workshops now open to practical manner in the library and the National Museum of Iran in the field of property, techniques of making abrubad to both athletes and learn aficionados».

According to there are exquisite versions of linear sohrabi, paper abrubad at the Institute of the National Library and Museum property, such that the provision of appropriate training for and provides the students can take part in an old art associated with this attractive, practical way, cloud storage techniques to make فرابگیرند.

Those interested to participate in the workshop paper marbling to register can on Tuesday and Wednesday, 12 and 13 August 1395 solar from 10 to 16 hours contact telephone number 66700878.

The 8th Festival of the eighth Moon, the coming decade with dignity at the same time from 14 to 24 August 1395 with a variety of programs in the field of solar art and culture of the Islamic Iranian national library and Museum "to the property address sq., Tehran, Imam Khomeini, the national garden, the street front of the United Nations».

This workshop with the capacity of 40 people were being held, but the presence of the person in it only with a previous registration will be possible. The priority of the presence at the workshop with مندانی interest will be due to capacity limitations, as early as possible and call register.

Digital Marbling