Ну наконец-то не пропадает ни одной капли краски😃😃😃! МОЛОДЕЦ МУЖИК, столько вариантов применения👍👍👍! Кстати, СПАСИБО ОГРОМНОЕ за хороший английский. God bless U!😊😊😊
I watched all 3 videos... I am in Heaven... This is the very BEST Tutorial/Video I have seen on this subject... and believe me... I have seen at least 50 videos (I'm not kidding). Thank YOU for sharing this BEAUTIFUL WONDERFUL Art... OMG.... I'm so HAPPY.
This is fascinating! But I missed what kind of paints you used. Please explain. Love this! Can’t wait to try this. Thanks for the lessons! Very very good!
Stunning work and very detailed demonstration. Can you please tell me what kind of colour you used, is there any particular brand, or is it acrylic paint ?
Marbling 4 Fun - Visit the sight - products are sold in kit sets, replacements and accessories which can be purchased in single quantities - An excellent service to support this craft. Gentlemans name is Craig Joubert Director of Marble Art Orginals. Have fun and good luck.
Marbling 4 Fun - Visit the sight - products are sold in kit sets, replacements and accessories which can be purchased in single quantities - An excellent service to support this craft. Gentlemans name is Craig Joubert Director of Marble Art Orginals. Have fun and good luck.
Hola gente hermosa, gracias por mostrarnos ésta bella técnica, desearia saber, que cantidad de polvo de goma o gelatina por litro de agua, y que cantidad de sulfato de aluminio por litro de agua, por favor, gracias nuevamente.
Hola Francisco. Podrias decirme cuales son los materiales? no entiendo ingles por lo tanto no puedo saber que usa para este trabajo. Si fueras tan amable de decirme te lo agradeceria.
Alguien podria escribir aquí cuales son los ingredientes que utiliza para hacer este gran trabajo. Es muy dificil saberlo para los que no hablamos inglés. Si alguien los anota por aquí yo podría traducirlo. Muchas gracias
The method of floating colors on the surface of mucilaginous sizing is thought to have emerged in the regions of Greater Iran and Central Asia by the late 15th century. It may have first appeared during the end of the Timurid Dynasty, whose final capital was in the city of Herat, located in Afghanistan today. Other sources suggest it emerged during the subsequent Shaybanid dynasty, in the cities of Samarqand or Bukhara, in what is now modern Uzbekistan. Whether or not this method was somehow related to earlier Chinese or Japanese methods mentioned above has never been concretely proven. The Persianate method, known as kāghaẕ-e abrī (كاغذ ابرى), in Persian or often by the simplified form of abrī (ابرى), is attested in several historical accounts.[3] Annemarie Schimmel translated this term as 'clouded paper' in English. While Sami Frashëri claimed in his Kamus-ı Türki, that the term was "more properly derived from the Chagatai word ebre" (ابره); he provided no example of usage to support this assertion. In contrast, most historical Persian, Turkish, and Urdu texts refer to the paper as abrī alone. Today in Turkey, the art is commonly known as ebru, a cognate of the term abrī first documented in the 19th century. In modern Iran, it is often called abr-o-bâd (ابرو باد), meaning 'cloud and wind'.[4] The art first emerged and evolved during the long 15th century in the Safavid Persia[5] and Ottoman Turkey, as well as Mughal and the Deccan Sultanates in India.[6] Within these regions, various methods emerged in which colors were made to float on the surface of a bath of viscous liquid mucilage or size, made from various plants. These include katheera[what language is this?] or kitre[what language is this?]-gum tragacanth (Astragalus often used as a binder by apothecaries in making tablets), shambalîleh[what language is this?] or methi[what language is this?]-fenugreek seed (an ingredient in curry mixtures), and sahlab or salep (the roots of orchis mascula, which are commonly used to make a popular beverage). A pair of leaves bearing rudimentary drop-motifs are considered among the earliest examples of this paper, held in the Kronos Collection. One of the sheets bears an accession notation on the reverse stating "These abris are rare" (یاد داشت این ابریهای نادره است) and adds that it was "among the gifts from Iran" to the royal library of Ghiyath Shah, the ruler of the Malwa Sultanate, dated Hijri year 1 Dhu al-Hijjah 901/11 August 1496 of the Common Era.[7] Approximately a century later, a variant approach using different tools and including rakes, combs, and other apparatus were used to manipulate both finely prepared mineral and organic pigments, resulting in more elaborate, intricate, and mesmerizing designs. In India, the abri technique was combined with 'aks[what language is this?], masking with resist or stencils, to create a unique and very rare form of miniature painting, attributed to the Deccan plateau region of India and especially the city of Bijapur in particular, during the Adil Shahi dynasty in the 17th century. The topic of marbling in India is understudied and conclusive determinations have yet to be made, especially in light of discoveries made in the last 20 years. The earliest examples of Ottoman marbled paper may be the margins attached to a cut paper découpage manuscript of the Hâlnâma (حالنامه) by the poet Arifi (popularly known as the Gû-yi Çevgân ['Ball and Polo-stick']) completed by Mehmed bin Gazanfer in 1539-40. One early master by the name of Shebek is mentioned posthumously in the earliest Ottoman text on the art known as the Tertîb-i Risâle-yi Ebrî (ترتیبِ رسالۀ ابری, 'an Arrangement of a Treatise on Ebrî'), which based on internal evidence dates to after 1615. Several recipes described in the text are attributed to this master. Another famous 18th-century master by the name of Hatip Mehmed Efendi (died 1773) is accredited with developing motif and perhaps early floral designs, although evidence from Iran and India contradicts some of these claims. Despite this, marbled motifs are commonly referred to as Hatip designs today in Turkey. The current Turkish tradition of ebru dates to the mid-19th century, with a series of masters associated with a branch of the Naqshbandi Sufi order based at what is known as the Özbekler Tekkesi (Lodge of the Uzbeks), located in Sultantepe, near Üsküdar.[8] The founder of this line is accredited to Sadık Effendi (died 1846). While the claim that Sadık Efendi first learned the art in Bukhara and brought it to Istanbul is uncorroborated, he taught it to his sons Edhem and Salıh. Based upon this later practice, many Turkish marblers assert that the art was perpetuated by Sufis for centuries, although clear evidence to support this claim has never been established. "Hezarfen" Edhem Effendi (died 1904) is attributed with developing the art as a kind of cottage industry for the tekke, to supply Istanbul's burgeoning printing industry with the decorative paper. It is said that the papers were tied into bundles and sold by weight. Many of these papers were of the neftli design, made with turpentine, analogous to what is called stormont in English. The premier student of Edhem Efendi was Necmeddin Okyay (1885-1976). He was the first to teach the art at the Fine Arts Academy in Istanbul. He is famous for the development of floral styles of marbling, in addition to yazılı ebru, a method of writing traditional calligraphy using a gum-resist method in conjunction with ebru. Okyay's premier student was Mustafa Düzgünman (1920-1990), the teacher of many contemporary marblers in Turkey today. He is known for codifying the traditional repertoire of patterns, to which he only added a floral daisy design, in the manner of his teacher.[9]
I'm so grateful to you two for sharing this amazing video. Thank you. Love you all.
Ну наконец-то не пропадает ни одной капли краски😃😃😃! МОЛОДЕЦ МУЖИК, столько вариантов применения👍👍👍!
Кстати, СПАСИБО ОГРОМНОЕ за хороший английский. God bless U!😊😊😊
I watched all 3 videos...
I am in Heaven...
This is the very BEST Tutorial/Video
I have seen on this subject... and
believe me... I have seen at least
50 videos (I'm not kidding).
Thank YOU for sharing this
BEAUTIFUL WONDERFUL
Art... OMG.... I'm so HAPPY.
This was an absolutely brilliant workshop. Thank you.
It was lots if fun to watch you! Thank you very much for sharing your knowledge, and hope to see some more about marbliing!!
Loved every second of this. Thank you so much for sharing.
Great..
Stunning
Absolutley Brilliant can't wait to see worksop thank you for sharing.
Thanks a lot. Very interesting.
You guys did a great job - Thank you
WOW I am happy so see your video, at least a video that explain everything in marble
This is fascinating! But I missed what kind of paints you used. Please explain. Love this! Can’t wait to try this. Thanks for the lessons! Very very good!
Love have comprehensive this video series is. Great teaching. What is the brand of this marbling paint--can you post a link to purchase please?
👏👏
Fantastic tutorial thank
Amazing work! Doesn't Craig rinse off the alum after painting a fabric? thanks for answer.)))
I LOVE THIS! HOW WOULD I DO A SMALL STRIP AT THE BOTTOM OF A STATIONARY PAPER
Stunning work and very detailed demonstration. Can you please tell me what kind of colour you used, is there any particular brand, or is it acrylic paint ?
Sir, right now the water which you are using is simple water without anything mixed? What brand color is used?
what is the brand of this marbling kit?
Wonderful tutorial. Where can we purchase the marbling kit you used?
Marbling 4 Fun - Visit the sight - products are sold in kit sets, replacements and accessories which can be purchased in single quantities - An excellent service to support this craft. Gentlemans name is Craig Joubert Director of Marble Art Orginals. Have fun and good luck.
Sir, in lesson plan which type of color brand is used have not been mentioned and about water whether it is mixed or it is pain water?
where can i buy these box containing every thing needed to marble .waiting for a positive reply.Thanks awesome work..
Marbling 4 Fun - Visit the sight - products are sold in kit sets, replacements and accessories which can be purchased in single quantities - An excellent service to support this craft. Gentlemans name is Craig Joubert Director of Marble Art Orginals. Have fun and good luck.
Hi, what s the name of the water for painting ? Sotrry i am german and my englisch is not good
where can I buy this box?
Fantastic. What is the kit and where do you get it?
Hi Judy, you can see our marbling kits here: bit.ly/3fBS5Vk
how do i purchase the kit?
Sir, acrylic color can be used to achieve the same flower design?
I don't think he would dispute that. tutorial is based on total success with the least effort
Hola gente hermosa, gracias por mostrarnos ésta bella técnica, desearia saber, que cantidad de polvo de goma o gelatina por litro de agua, y que cantidad de sulfato de aluminio por litro de agua, por favor, gracias nuevamente.
Hola Francisco. Podrias decirme cuales son los materiales? no entiendo ingles por lo tanto no puedo saber que usa para este trabajo. Si fueras tan amable de decirme te lo agradeceria.
Alguien podria escribir aquí cuales son los ingredientes que utiliza para hacer este gran trabajo. Es muy dificil saberlo para los que no hablamos inglés. Si alguien los anota por aquí yo podría traducirlo. Muchas gracias
Fabulous demonstration ... but no info on the products used!
They want u to buy the kit lol ...easy way to marble warm water and nail varnish look on TH-cam 😉
The method of floating colors on the surface of mucilaginous sizing is thought to have emerged in the regions of Greater Iran and Central Asia by the late 15th century. It may have first appeared during the end of the Timurid Dynasty, whose final capital was in the city of Herat, located in Afghanistan today. Other sources suggest it emerged during the subsequent Shaybanid dynasty, in the cities of Samarqand or Bukhara, in what is now modern Uzbekistan. Whether or not this method was somehow related to earlier Chinese or Japanese methods mentioned above has never been concretely proven.
The Persianate method, known as kāghaẕ-e abrī (كاغذ ابرى), in Persian or often by the simplified form of abrī (ابرى), is attested in several historical accounts.[3] Annemarie Schimmel translated this term as 'clouded paper' in English. While Sami Frashëri claimed in his Kamus-ı Türki, that the term was "more properly derived from the Chagatai word ebre" (ابره); he provided no example of usage to support this assertion. In contrast, most historical Persian, Turkish, and Urdu texts refer to the paper as abrī alone. Today in Turkey, the art is commonly known as ebru, a cognate of the term abrī first documented in the 19th century. In modern Iran, it is often called abr-o-bâd (ابرو باد), meaning 'cloud and wind'.[4]
The art first emerged and evolved during the long 15th century in the Safavid Persia[5] and Ottoman Turkey, as well as Mughal and the Deccan Sultanates in India.[6] Within these regions, various methods emerged in which colors were made to float on the surface of a bath of viscous liquid mucilage or size, made from various plants. These include katheera[what language is this?] or kitre[what language is this?]-gum tragacanth (Astragalus often used as a binder by apothecaries in making tablets), shambalîleh[what language is this?] or methi[what language is this?]-fenugreek seed (an ingredient in curry mixtures), and sahlab or salep (the roots of orchis mascula, which are commonly used to make a popular beverage).
A pair of leaves bearing rudimentary drop-motifs are considered among the earliest examples of this paper, held in the Kronos Collection. One of the sheets bears an accession notation on the reverse stating "These abris are rare" (یاد داشت این ابریهای نادره است) and adds that it was "among the gifts from Iran" to the royal library of Ghiyath Shah, the ruler of the Malwa Sultanate, dated Hijri year 1 Dhu al-Hijjah 901/11 August 1496 of the Common Era.[7]
Approximately a century later, a variant approach using different tools and including rakes, combs, and other apparatus were used to manipulate both finely prepared mineral and organic pigments, resulting in more elaborate, intricate, and mesmerizing designs. In India, the abri technique was combined with 'aks[what language is this?], masking with resist or stencils, to create a unique and very rare form of miniature painting, attributed to the Deccan plateau region of India and especially the city of Bijapur in particular, during the Adil Shahi dynasty in the 17th century. The topic of marbling in India is understudied and conclusive determinations have yet to be made, especially in light of discoveries made in the last 20 years.
The earliest examples of Ottoman marbled paper may be the margins attached to a cut paper découpage manuscript of the Hâlnâma (حالنامه) by the poet Arifi (popularly known as the Gû-yi Çevgân ['Ball and Polo-stick']) completed by Mehmed bin Gazanfer in 1539-40. One early master by the name of Shebek is mentioned posthumously in the earliest Ottoman text on the art known as the Tertîb-i Risâle-yi Ebrî (ترتیبِ رسالۀ ابری, 'an Arrangement of a Treatise on Ebrî'), which based on internal evidence dates to after 1615. Several recipes described in the text are attributed to this master. Another famous 18th-century master by the name of Hatip Mehmed Efendi (died 1773) is accredited with developing motif and perhaps early floral designs, although evidence from Iran and India contradicts some of these claims. Despite this, marbled motifs are commonly referred to as Hatip designs today in Turkey.
The current Turkish tradition of ebru dates to the mid-19th century, with a series of masters associated with a branch of the Naqshbandi Sufi order based at what is known as the Özbekler Tekkesi (Lodge of the Uzbeks), located in Sultantepe, near Üsküdar.[8] The founder of this line is accredited to Sadık Effendi (died 1846). While the claim that Sadık Efendi first learned the art in Bukhara and brought it to Istanbul is uncorroborated, he taught it to his sons Edhem and Salıh. Based upon this later practice, many Turkish marblers assert that the art was perpetuated by Sufis for centuries, although clear evidence to support this claim has never been established. "Hezarfen" Edhem Effendi (died 1904) is attributed with developing the art as a kind of cottage industry for the tekke, to supply Istanbul's burgeoning printing industry with the decorative paper. It is said that the papers were tied into bundles and sold by weight. Many of these papers were of the neftli design, made with turpentine, analogous to what is called stormont in English.
The premier student of Edhem Efendi was Necmeddin Okyay (1885-1976). He was the first to teach the art at the Fine Arts Academy in Istanbul. He is famous for the development of floral styles of marbling, in addition to yazılı ebru, a method of writing traditional calligraphy using a gum-resist method in conjunction with ebru. Okyay's premier student was Mustafa Düzgünman (1920-1990), the teacher of many contemporary marblers in Turkey today. He is known for codifying the traditional repertoire of patterns, to which he only added a floral daisy design, in the manner of his teacher.[9]