When intrepid friends Cass and Max-Ernest set out to discover the history behind the mysterious Symphony of Smells, they become embroiled in an experiment to discover the secret of eternal youth.
Press & Blog Reviews***** 5 StarsBetty BookmarkI cannot tell you what [this book] is called, clearly – it's a secret.
Gilbert Ford grew up in a family of professional photographers in Jackson, Mississippi, and moved to New York to attend Pratt Institute.
His illustrations have been recognized by The Society of Illustrators, American Illustration Chosen,3×3, and The Society of Publication Designers.
Look over the cover, page through the illustrations, then read the introduction on page iii at the beginning of the book. Make three predictions about what will happen to Britta in this story and share them with a partner.
Britta is traveling in an area of Finland that was once Sweden, so many of the people speak Swedish. What did Britta do to make sure the cab driver would drive them back to the hotel after bringing Elsa to the hospital? If a person does something wrong, does it make everything all right to say a€?Ia€™m sorrya€??
When Mama came home after Elsaa€™s death, how did she try to console herself and her children?
Although Britta didna€™t understand everything the doctor said, she was able to communicate fairly well. The doctor obviously recognizes Britta, and even though he cana€™t come down to steerage, what does he do for her? Why was Britta upset when she realized that Johan didna€™t have to go through the slow line she did? We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop.
2 Hours Turkish Tile & Ceramic Workshop ( Per Student ) 2 - 5 Guest ,55 Euro ,6 - more ,40 Euro ,1 Guest 65 Euro,Tour Includes. Mimar Sinan University,The Anatolian Seljuks were of course influenced by the cultural heritage they encountered in their new homeland, adapting them to the techniques that they had brought with them from the Iranian plateau. A type of architectural decoration used in conjunction with glazed brick was hexagonal, triangular, square, and rectangular monochrome tiles. Excavations carried out in 1965-66 at Kalehisar near Alacahoyuk have revealed important evidence of the Seljuks' ceramics industry in the 13th century.
Sgraffito and slip-decorated wares continuing Seljuk techniques and styles were also produced during the Emirate period. The earliest example of the new styles that emerged in the early Ottoman period are the 'blue-and-white' Iznik ceramics. Another blue-and-white group from Iznik is erroneously called 'Golden Horn ware' because the first examples of it were discovered at a site on the Golden Horn in Istanbul. Iznik is also where another misnamed group of ceramics known as Damascus ware was manufactured. Yet another group of polychrome underglaze Iznik ceramics to be erroneously attributed to another place is the one misleadingly known as Rhodos wares, so-called because of the numerous examples of them purchased from the island of Rhodes and taken into the Cluny Museum.
As late as the middle of the 16 century, the Ottoman ceramic industry was producing more utensils than architectural tiles.
During the first half of the 19th century, Kutahya's ceramics industry suffered a downturn from which it slowly recovered during the second half and into the early part of this century. There is a third important group of Turkish ceramics that are quite different from both the sublime products of Iznik and the humbler wares of Kutahya. To summarize, the art of Turkish tile and ceramic-making developed over the centuries incorporating many different techniques and styles.
The art of Turkish tiles and ceramics have a very important in the history of Islamic art. There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran. We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop. Please send us an e-mail if you are interested in participating our classes as individual or a student group. This is the story of Cass and Max-Ernest, two friendless eleven-year-olds who come together to solve the age-old mystery surrounding a dead magician and the clues he left behind.
Together they must come up with a plan to rescue their classmate from a hideous fate and escape the eerie pyramid of dastardly villains The Midnight Sun. After graduating, he worked as a designer and illustrator for a giftware company, creating puzzles, games, stickers, stationery, and activity books for children, before setting out on his own in 2007.  He currently lives and works in Brooklyn, NY where he has illustrated many popular middle grade books and several picture books. She changes the subject from the kitten to how long the train will take to get to Liverpool. He doesna€™t understand Swedish, and probably because shea€™s a girl, he doesna€™t try to understand her.
She asked everyone a€?What is this?a€?, and she wrote down the words she remembered on some papers she got at the hotel desk.
She sold her the spoiled fruit and vegetables for a penny each day, and she also helped her learn English words. She got food and made meals, she made tea for Mama, she listened to her, and she encouraged her that things would turn out well.
It was a long, whitewashed room with triple bunks along the sides, and portholes by the top bunks.
It had nice wooden deck chairs and beautifully scrolled railings compared to the plain railings in Steerage.
She didna€™t tattle because she had gone up there, too, and she wanted to be able to go back again. She announced that Johan would have to take care of Mama and Arvid while she went up on the deck. She was just thinking about him and she figured he probably didna€™t have to stand in line with his own cup and bowl.
He told the boy to give the papers back, then he tried to get her to come in out of the storm. She watched how the ship was pitching and reached for the rope when it was tipped the right way. She finally agreed to accept his apology, but she said she would never forget what a cruel thing he had done to her. Britta was a little stronger and a little more assertive, and Johan was a little more thoughtful and kind. She was afraid that America would be a place where people with money would get all the best treatment, and poor people would struggle. She saw her mother as stronger and positive, she saw Johan as a young man, and she saw them as a family unit rather than as separate people. In our place, we give beginner, intermediate & advanced level of traditional Turkish Tile & Ceramic painting lessons. This resulted in a distinctively Anatolian style of Seljuk architecture that was in full bloom by the 13th century. Unlike brick, these were preferred for indoor applications and were suitable for a multiplicity of geometrical arrangements. Two kilns were unearthed along with a substantial quantity of kiln material and incomplete and spoiled examples of ceramics decorated with the sgraffito and slip techniques.In the sgraffito technique, the object is allowed to dry to leather-hardness after which the design, usually plant and floral motifs, is incised into the surface, which may or may not be given a coat of slip beforehand.
During early Ottoman times, they appear among Iznik wares reflecting the tastes of folk art.In the course of excavations at the site of ancient Miletus, the archaeologist and art historian F. The techniques involved in their manufacture are quite advanced as compared with anything previously done. Dr Oktay Aslanapa's excavations at Iznik have demonstrated incontrovertibly that these wares were manufactured there. Thereafter however production shifted heavily in favor of the latter as there was a strong surge in the demand for tiles as decorations in the extensive building programs undertaken by Suleyman I (1520-1566) and his successors when the Ottoman Empire was politically, economically, and culturally at its peak. Thus do we find examples of Kutahya-made tiles decorating a number of late-Ottoman buildings.
Canakkale ceramics have begun attracting the interest and attention of researchers and collectors more and more in recent years.The earliest examples of these ceramics can be dated to the end of the 17th century.
Enriched by the arrival of the Seljuks, the ceramic industry in Anatolia achieved a deservedly worldwide reputation with the support of the Ottoman court.
Its roots can be traced at least as far back as the Uighurs of the 8th and 9th centuries. Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century.
The book as it is is only presented to us because, although the contents are so dangerously shocking, life-changing and world-affecting, the author just cannot keep a secret. In 2015 he received his MFA in Writing for Children and Young Adults from the Vermont College of Fine Arts. His books have been selected by The Junior Library Guild, The Society of Illustrators’ Original Art, Bank Street Cook Prize Honor, Orbis Pictus Honor, and others. She doesna€™t think her mother knows what to do, and she thinks her father would take charge.
Shea€™s afraid they might talk about the kitten and realize that the girls are telling a lie. He took charge and went to find out what was going on, while Mama waited for people to tell her what to do. She gave the cab driver a note that said, a€?Wait here, please,a€? she had Johan wait in the cab with the driver, and they didna€™t pay him until they got back to the hotel.
There were tables and benches lined up down the middle, with little wood stoves between them. She was probably sad to be leaving Europe, sad about losing Elsa, and happy to be finally on their way. If she told, Mama might not let any of them go up there, and Britta hated to be disobedient. Yes, because he makes fun of her friend who helped her, even though he doesna€™t know ita€™s a boy.


Johan dances wildly and freely, while Britta stands aside clapping and tapping to the beat. They stayed together as they watched the Statue of Liberty, they raced down to get the trunks together, and they worked together to get the trunks up to the deck and onto the ferry. She was very glad that they were all together again, although she was sad that Elsa wasna€™t with them. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. Usually lessons are 2 hours based and by the end of 2 hours, you will be able to finish one item like a tile, plate or a figure. Seljuk mosques, medreses (theological academies), tombs, and palaces were lavishly decorated with exquisite tiles. The resulting design is then covered with a transparent glaze of a different color and then the piece is fired. Sarre came across a type of polychrome pottery that erroneously became known as 'Miletus ware'. Raby has proposed calling them the 'Tugrakes spiral style' instead.5 The motifs of tiny leaves and flowers on spirals are executed in shades of cobalt blue, turquoise, and black. The forerunner of the style is said to be a lamp in the Dome of the Rock that is dated 1549 and bears the signature 'Musli'. These ceramics have an extensive palette and are generally decorated with naturalistic flowers.
Countless examples of mosques and tombs not only in Istanbul but all over the empire were adorned with the products of the Iznik potters' skill.These underglaze-decorated ceramics and tiles were decorated with a rich palette of shades of cobalt blue, turquoise, green, black, brown, and the famous 'coral' or tomato red, the last of which appears in a slight relief resembling sealing-wax.
The tiles on the Tomb of Sultan Mehmed Resad V in Eyup (Istanbul, 1918) for example were made at the manufactory of Hafiz Emin Usta, which was then operating in Kutahya. Fairly good-quality wares continued to be produced up until the beginning of the 19th century. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments.
All attempt is made at putting us off reading, without being aware of what the consequences might be. His picture book The Marvelous Thing That Came From A Spring (which he also wrote) will be published by Atheneum in Fall,2016. It shows that Hilda is more imaginative and adventurous, while Britta is practical and sensible.
It really meant that the first class passengers would get off first, then the second-class passengers, and steerage (third class) would get off last. With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran.
Examples of such tile-clad structures can still be seen in the Seljuks' capital city of Konya as well as in the cities of Sivas, Tokat, Beysehir, Kayseri, Erzurum, Malatya, and Alanya.The most frequently-encountered type of architectural decoration during the Anatolian Seljuk period involved the use of glazed brick in which glazed (and also unglazed) bricks were arranged to produce a variety of patterns, mostly on the facades of buildings.
In the slip technique, the design is painted onto a red-paste surface using diluted white slip to produce a slightly molded effect.
We now know, as a result of recent excavations, that these wares were actually made in Iznik. In this object we find a new palette of colors incorporating, in addition to the traditional cobalt blue and turquoise, eggplant violet and a cumin green. Many examples of Kutahya ceramics from this period are to be found in museum and private collections in Turkey.The difficult straits into which the Iznik industry had fallen in the 18th century inspired some in Istanbul to establish a reliable source of tiles that was closer to home and easier to control. In addition, efforts are also being made in private workshops and educational institutions in Iznik, Istanbul, and Bursa to keep the art of traditional Turkish tiles and ceramics alive and develop it so that it can address the demands of modern-day life.Felt Making Workshops in Istanbul,Traditional Turkish Felt Making,Felt is a non-woven cloth that is produced by matting, condensing and pressing woollen fibres. With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.
The subjects included nobility as well as servants, hunters and hunting animals, trees, birds, sphinxes, lions, sirens, dragons and double-headed eagles. Unfortunately, for reasons he cannot disclose, but which should be obvious to anyone foolhardy enough to read this book, he cannot tell you his real name. English was really important to her, and maybe she reacted that way because everything had been so hard for the whole trip.
Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. We also have the Tile owen to finish the process.Group lessons for High Schools and Universities can be provided all year long. Turquoise was the most frequently-used color for glaze although cobalt blue, eggplant violet, and sometimes black were also popular. There are rare examples with traces of gilding.A third technique in which the Anatolian Seljuks were skilled was that of mosaic tile. The surface is then given a coating of transparent glaze colored blue, green, or light or dark brown and then fired.
The styles, designs, decorations, and techniques of these ceramics are quite distinct from Seljuk traditions. During this period, naturalistic such as tulips, roses, pomegranates and hyacinths begin to enrich the repertoire of stylized plant motifs and arabesques.
Although the traditional designs of stylized plant motifs, arabesques, and Chinese clouds appear in the compositions, there is a shift towards a more naturalistic style in which tulips, carnations, hyacinths, roses, spring blossoms, lilies, cypress trees, and clusters of grapes and vine leaves appear.
Ibrahim Pasa, a grand vizier during the reign of Ahmed III (1703-1730), had a tile-making factory set up at Tekfur Sarayi in Istanbul.
Designs consist of underglaze spots, simply-drawn ships, flowers, fish, birds, and buildings that are applied free-hand. While some types of felt are very soft, some are tough enough to form construction materials. I'd strongly recommend the book, and will make no secret of that fact.The Book BagA thoroughly entertaining read, both funny and addictive.
He is currently working on his picture book How The Cookie Crumbled for Atheneum that will be out in Fall, 2017. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments.
This was also employed in interiors, especially in mihrab niches, the interiors of domes, transitions to domes, vaults, and walls.
During the firing, the areas decorated with slip assume a lighter shade of the glaze color, which appears darker in the ground. They are decorated with motifs executed in tones of blue, turquoise, and violet under a colorless or colored glaze. These changes in the Iznik potters' production habits are attributed to attempts to imitate the 15th-century Ming porcelains that were reaching the Ottoman court in various ways. Compositions are relaxed and free, offering greater scope for experimentation with new and richer arrangements.
The output unfortunately was incomparably inferior to that of Iznik: designs were poor copies of Iznik originals, glazes had a blue cast and were flawed, and colors were dull and lifeless. Felt can be of any colour, and made into any shape or size.Many cultures have legends as to the origins of feltmaking. Self-described survivalist Cass sees potential disaster everywhere, so no one believes her when a classmate is kidnapped by the dazzling but dangerous Dr L and Ms Mauvais. Beyond the author's dire warnings, however, is a good adventure story with real warmth and unique and quirky characters.Write AwayQuirky, original and hugely entertaining this is a debut novel of fantastical proportions.
Examples in which the motifs have black contours are also known, as are pieces with black decorations under a turquoise glaze. Tile manufacturing at Tekfur Sarayi lasted thirty years or so and the enterprise was generally regarded as a failure.
The most common forms are dishes, plates, and jars.During the 19th century, quality dropped off sharply.
The first in a secretive series, The Name of this Book is SECRET is accompanied by a website, part of which is in code so important information is only given to the brave (or foolhardy). Different styles of calligraphy adorn the tile friezes on monuments; on utensils we find images of ships, 'rock-and-wave' motifs, triple-spots, animal figures, and fish-scale patterns.
Nevertheless some of its output was used in buildings in Istanbul such as the Hekimoglu Ali Pasa Mosque (1734), the Yeni Valide Mosque (Uskudar, 1708), the Cezeri Kasim Pasa Mosque (Eyup, a restoration done in 1726 of a mosque originally built in 1515), and Kandilli Mosque (1751). Forms from this period consist of jars, ewers, jugs, vases, flower-pots, and candle-holders as well as animal and human figurines. The story of Saint Clement and Saint Christopher relates that while fleeing from persecution, the men packed their sandals with wool to prevent blisters.
Cass and Max-Ernest team up to solve the mystery of the magician's notebook and the Symphony of Smells, discover a secret lost to the ages, and rescue their classmate before his brain is sucked out through a straw.Along the way they must solve puzzles and word games and face incredible danger. The pieces were arranged glazed-side down after which a whitish mortar was poured over them.
A feature of most 'Miletus' ware is that the interiors are given a coating of slip but part of the exteriors and the bases are not. There is also a proliferation in vessel forms of which deep and footed bowls, vases, ewers, dishes, lamps, candle-holders, and mugs are but a few.Around the middle of the 17th century, the quality of the Iznik potteries began to feel the impact of the economic distress and political upheavals from which the Ottoman Empire had begun to suffer.
There is also a hearth, now in the Victoria and Albert Museum in London, whose tiles were made at Tekfur Saray. Only a single-color glaze was used in these ceramics and there are instances in which black, white, blue, red, yellow, or gilded designs were applied over the glaze.10 Ceramic manufacturing at Canakkale was still being carried out as late as the middle of the 20th century.
At the end of their journey, the movement and sweat had turned the wool into felt socks.Feltmaking is still practised by nomadic peoples in Central Asia and northern parts of East Asia, where rugs, tents and clothing are regularly made. Designs tend to be plant motifs and geometrical arrangements but animal figures are also encountered.
The decorations include stylized foliage, arabesques, and Chinese clouds alone or in skillfully-executed compositions.Iznik blue-and-whites can be classified in a number of subgroups on the basis of their motifs and styles. Some of these are traditional items, such as the classic yurt, while others are designed for the tourist market, such as decorated slippers.
Mosaic-tile compositions are generally geometrical but floral motifs and Kufic or Thuluth calligraphy are also found. The contours of the designs are picked out with a mixture of beeswax or vegetable fat and manganese oxide.


One group, with motifs consisting of stylized lobed leaves with curling tips is attributed to a 'Baba Nakkas', a chief designer at the Ottoman court studios in the 15th century, and is therefore known as the Baba Nakkas style .4 Cobalt blue in various tones is the principal color. In the Western world, felt is widely used as a medium for expression in textile art as well as design, where it has significance as an ecological textile.Traditional Turkish Felt Workshop by Mehmet Girgic Mehmet girgic is a master Craftmen in Felt Making in Istanbul and we make our workshops in his Studio by himself or his assistants. Clever writing depicts the main characters discovering more about themselves and each other as they rush headlong into the investigation of the disappearing magician and his symphony of smells. During the firing, the wax or fat burns away producing contours of red or black that also prevent the differently-colored glazes from running into one another.The cuerda seca technique permits extremely complex and detailed designs to be applied to ceramic surfaces. One, a composition of thick motifs radiating around a central motif, is identical to the grooved designs on metal bath-bowls.2,The late 15th and early 16th century marks the beginning of a new period in Ottoman tile and ceramic-making.
Contrary to what you may have heard, this has nothing to do with gambling debts or angry bookies. It is important that Cass is in training (Self taught) as a survivalist and, after facing many dangers and living in very interesting times, they survive to prepare for the sequel.School Librarian JournalThis book starts with the words 'Do not read beyond this page'.
In addition to plant motifs, examples decorated with calligraphy and (less commonly) geometric patterns that are a continuation of Seljuk traditions are to be found. During this period the Iznik manufactories apparently turned their attentions more and more to the demands of customers who were less finicky than the Istanbul court and its circles. A rich and subtle palette of colors was available with colors such as turquoise, cobalt blue, lilac, yellow, black, and pistachio. Designs prepared by artists who were employed in the studios of the Ottoman court were sent to Iznik to be executed in wares ordered for use at the palace. There is even evidence, in the form of written complaints, that orders placed by the court in Istanbul were being delayed.8 By the 18th century, the ceramic industry in Iznik had died out completely and Kutahya replaced it as the leading center in western Anatolia. In the lesson you will make the whole stages of a Felt making process and by the evening, you will be able to finish 1 item like a hat, bag, shoe, a scarf or a design that you choose..
There are two main characters: Cassandra (Cass) who has big ears that turn red when she's lying and Max Ernest who tells terrible jokes and talks non-stop.
The only place in Anatolia were tiles of this type have been found is Alaeddin Kiosk in Konya. The court's patronage stimulated and supported the development of an artistically and technically advanced ceramic industry in Iznik.
Indeed, Kutahya had been in operation as a secondary center along with Iznik since the 14th century 9 but its production always paled in Iznik's brilliance. Together they investigate the burnt down house of a magician and discover the magician's notebook which leads to all sorts of secrets, suspense and adventure. The palette of colors that this technique offers is much greater and one finds shades of violet, blue, turquoise, green, red, brown, black, and white as well as gilding.
Fine examples of cuerda seca tiles are to be found at the Bursa Green Mosque (1419-1420) and Tomb (1421-1422) the Mosque of Murad II (Edirne, 1436), the Tiled Kiosk (Istanbul), and the Tomb of Prince Mehmed (Istanbul, 1548). But where production at Iznik was discontinued, Kutahya plodded on.For a while, the Kutahya potters produced inferior copies of Iznik blue-and-whites but they also began producing ceramics whose forms, colors, and techniques are quite distinct.
Except this: there is absolutely no truth to the claim that he is really a certain miserable wretch of a writer in Los Angeles.
The writing style is similar to The Series of Unfortunate Events by Lemony Snicket, it's very funny and would appeal to boys and girls aged 8 to 11 years.FlapjackThis is a strange book, it sometimes stops in mid-sentence and tells you it can't reveal any more and then leaves the rest of the sentence blank! Some colors were applied under the glaze and then fired; others were applied over the glaze which then received a secondary opaque white, transparent, or turquoise glaze and was fired again. Among them are a group of Christian liturgical utensils and tiles with religious themes that were made by Armenian potters for their churches. The designs of minai tiles are lively and reminiscent of miniatures with themes taken from palace and court life.In underglaze tiles, the designs are painted onto the surface, which is then glazed before the tile is fired. 18th-century Kutahya ceramics are made with a white paste and are usually decorated with underglaze-applied designs in yellow, red, green, cobalt blue, turquoise, black, and violet. Betul is our professional Artist that is graduated from Mimar Sinan University department of fine Arts in Istanbul. She is professional in Ottoman Calligraphy - Tile Design & Turkish Motives - Ottoman Paper Marbling. Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. Forms, which can be elegant, include thin-walled small cups, saucers, bowls, ewers, pitchers, flasks, incense-burners, lemon-squeezers, and ornamental eggs. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to a sheet of paper (or other surfaces such as fabric). Fine examples of these tiles have been discovered at the excavations of the Kubadabad Palace in Beysehir, where the tiles are decorated with plant motifs as well as with figures of human beings and animals.The luster technique first appeared in Abbasid Iraq.
This decorative material has been used to cover a variety of surfaces for several centuries. Later developed to a high level by the Fatimids in Egypt, it was successfully employed by the Iranian Seljuks.
It is often employed as a writing surface fo calligraphy, and especially book covers and endpapers in bookbinding and stationery. Part of its appeal is that each print is a unique monoprint.Need a break from the hustle and bustle of tourist life in Istanbul? The tiles discovered at the excavations of the palace are now on display at the Karatay Medrese Museum in Konya. Luster tiles are decorated in an overglaze technique in which the design is painted with lusterA?a mixture of metallic oxides incorporating silver and copperA?onto a previously glazed and fired surface. Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking. The tiles are then given a second firing at a lower temperature producing a range of lustrous, mostly brownish and yellowish tones. Seljuk palace luster tiles are decorated with plant motifs as well as with human and animal figures.Anatolian Seljuks sometimes used square, rectangular, hexagonal, and triangular tiles to cover interior walls. Its origin might ultimately hark back to China, where a document from the T'ang dynasty (618-907) mentions a process of coloring paper on water with five hues.
These tiles are plain, with turquoise, violet, or cobalt blue being the chief colors applied in the underglaze technique. Sometimes the traces of overglaze gilding are to be found; however because the gilding was fired at a low temperature (or not fired at all), it was not durable and has mostly disappeared.
By carefully laying the paper over the bath, the floating picture on top of it is readily transferred to the paper; thus, each ebru is a one of a kind print.
To obtain beautiful ebru results, one needs to have a light hand, refined taste, and an open mind to the unexpected patterns forming on the water.
Patience and a good knowledge of traditional culture are characteristic of ebru masters.After the 1550's, booklovers in Europe prized ebru, which came to be known as ‘Turkish papers’. Many specimens in their collections and in the several album amicorum books are visible today in various museums.
Also, early texts dealing with ebru, such as “Discourse on decorating paper in the Turkish manner”, published in 1664 by Athanasius Kircher in Rome, helped to disseminate the knowledge of this kind of marbling art.
There is agreement amongst scholars that the so-called Turkish Papers played a colourful influence on the book arts in Europe.MATERIALS USED IN CLASSICAL TURKISH MARBLING Gum tragacath – Dye – Paintbrush – Basin – Water – Paper - Gall Gum Tragacant is obtained from trunk of a thorny plant growing naturally in Anatolian, Persian and Turkestan mountians and called “gaven”. The sap coming out of scratches made on the branches dries up later and solidifies in bone white colored pieces .
Turkish is a very rich country in respect of such natural dyes.Any kind of earth may be first translated into mud then filtered and crushed to from a dye.
In older times rainwater was favorite but because of acide rain in our times it is no longer advisable.
Paper: The ideal paper is the one handmade and having a high absorbtion capacity and acid-free.
In order to increasethe absorbtion capaticy and to fix the dye on it(more durable) and alumina solution may be applied on the paper surface.
For instance when blue yellow are simultaneously applied and mixed up as much as possible never green comes out.3.
MARBLING APPLIED TO PAPER PATTERNS,Marbling is similar to cooking; it is impossible to give the exact recipe.
The density of the gummed water and the relationships between the water and the dye, the dye and the tensioning agent (gall), the quantity of gall in the dye are all very important.
Now if this basic pattern is handled by parellel lines made by a thin pencil or chip moved back and forth you obtain “the back-and-forth”. When a convolute line is applied from the outer circumference towards the centre you obtain a “nightingale nest”. In the event small colorfull dots are spotted on the back-and-forth or shawl design you get the “sprinkled marbling”. If, instead, you apply larger dots (which means with higher rate of gall contents) you obtain the “prophyry marble” which resemble most to marble.,Nonetheless above patterns may be divesified by selecting one of the above as a basis and making concentric drops of different colors. Mehmet Efendi (the orator of Saint Sophia, deceased in 1973) first formed flower and other patterns, wich were subsequenly called the “Orator pattern” (Hatip ebrusu).
The paper is then careflly lifted off the basin without stripping too much the gum off the surface. This infinity of colors and shapes quickly formed makes the marbling amazing at and fascinates the spectator (if any).
Hikmet BARUTCUGIL,Mimar Sinan University paper marbling, fabric marbling, faux marbling, parrys graining and marbling, marbling paint, contemporary create design fabric marbling paper technique traditional, Turkish Marbling - Ebru Lessons in Istanbul.Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Come take an art class with the remarkable Turkish artist Bahar !LEARN the secrets of creating the rich patterns of handmade marble paper . CONTEMPORARY create design fabric marbling paper technique designs on paper, glass or on silk fabrics .Our teacher that is shown in our pictures is Ms. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.LEARN the secrets of creating the rich patterns of handmade marble paper . EXPERIENCE the sensuous flow of Ottoman Calligraphy,CONTEMPORARY create designs with Turkish patternts on tiles,Our teacher that is shown in the pictures are Mrs.



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