Marbling Materials

Tiger Eye Marbling Liquid Tiger Eye marbling liquid is a special solution used in the art of marbling. This liquid is created by mixing specific chemical components in precise proportions and is offered to marbling artists. The Tiger Eye effect is characterized by the appearance of a unique droplet and line pattern in the applied colors. How is the Tiger Eye Effect Formed? When this technique is applied, a distinct droplet appears in the center of the applied color, from which lines extend outward. The resulting pattern resembles a tiger’s eye, giving it its name. Unlike traditional marbling techniques, Tiger Eye marbling liquid allows for better control over color dispersion and the creation of unique effects. Applications of Tiger Eye Marbling Liquid The Tiger Eye technique is especially favored for modern and experimental marbling works. This liquid provides artists with greater freedom, allowing colors to interact differently on the water’s surface. Its chemical composition alters the spread and speed of colors, enabling sharper and more defined patterns. This special liquid is designed for artists looking to add a new dimension to marbling art and serves as a crucial tool in combining experimental and classical marbling techniques.

Alum and Its Use in Ebru Art Alum is an essential material used particularly when decorating fabrics with the Ebru technique. It acts as a binding agent, helping colors adhere better to the fabric. Additionally, it serves as a deodorizing agent during the breakdown of butyric acid and sweat. Ebru Art on Fabric and the Use of Alum Marbling on fabric is a delicate and beautiful art form. However, fabric marbling differs in some aspects from traditional paper marbling. To ensure that colors adhere properly, the fabric must be pre-treated. This is where alum plays a crucial role. For the best results in fabric marbling, synthetic dyes should be used. Various brands on the market cater to this purpose. You can find a selection under the "Fabric Dyes" category on our website. Recommended Fabrics The following fabrics are best suited for Ebru art: Silk Synthetic Silk Satin These fabrics allow the colors to adhere properly and help create long-lasting, vibrant patterns. Preparing the Fabric with an Alum Solution Before marbling, the fabric should be soaked in an alum solution to enhance color adhesion. Here’s how to prepare the solution: Dissolve 100 g of alum in 1 liter of hot water. Soak the fabric in the solution for some time. Remove the fabric and let it dry. Once dry, iron the fabric to prepare it for marbling. Marbling and Final Processing After creating the design on the water surface, carefully place the fabric onto the marbling bath. Once the pattern is transferred, remove the fabric and briefly rinse it in cold water before allowing it to dry. To set the colors, follow these steps: Iron the fabric from the reverse side for about 5 minutes without steam. This process enhances color durability and ensures long-lasting results. Washing and Maintenance Once marbled, the fabric can be washed at temperatures up to 50°C. It is recommended to use mild detergents. Conclusion Using alum in fabric marbling ensures better color adhesion and contributes to the longevity of patterns. With the right technique, marbled fabrics can retain their vibrancy for years.

Alum and Its Use in Ebru Art Alum is an essential material used particularly when decorating fabrics with the Ebru technique. It acts as a binding agent, helping colors adhere better to the fabric. Additionally, it serves as a deodorizing agent during the breakdown of butyric acid and sweat. Ebru Art on Fabric and the Use of Alum Marbling on fabric is a delicate and beautiful art form. However, fabric marbling differs in some aspects from traditional paper marbling. To ensure that colors adhere properly, the fabric must be pre-treated. This is where alum plays a crucial role. For the best results in fabric marbling, synthetic dyes should be used. Various brands on the market cater to this purpose. You can find a selection under the "Fabric Dyes" category on our website. Recommended Fabrics The following fabrics are best suited for Ebru art: Silk Synthetic Silk Satin These fabrics allow the colors to adhere properly and help create long-lasting, vibrant patterns. Preparing the Fabric with an Alum Solution Before marbling, the fabric should be soaked in an alum solution to enhance color adhesion. Here’s how to prepare the solution: Dissolve 100 g of alum in 1 liter of hot water. Soak the fabric in the solution for some time. Remove the fabric and let it dry. Once dry, iron the fabric to prepare it for marbling. Marbling and Final Processing After creating the design on the water surface, carefully place the fabric onto the marbling bath. Once the pattern is transferred, remove the fabric and briefly rinse it in cold water before allowing it to dry. To set the colors, follow these steps: Iron the fabric from the reverse side for about 5 minutes without steam. This process enhances color durability and ensures long-lasting results. Washing and Maintenance Once marbled, the fabric can be washed at temperatures up to 50°C. It is recommended to use mild detergents. Conclusion Using alum in fabric marbling ensures better color adhesion and contributes to the longevity of patterns. With the right technique, marbled fabrics can retain their vibrancy for years.

Alum – 500 g for Fabric Marbling Alum is an essential material used particularly when decorating fabrics with the Ebru technique. It acts as a binding agent, helping colors adhere better to the fabric. Additionally, it serves as a deodorizing agent during the breakdown of butyric acid and sweat. Ebru Art on Fabric and the Use of Alum Marbling on fabric is a delicate and beautiful art form. However, fabric marbling differs in some aspects from traditional paper marbling. To ensure that colors adhere properly, the fabric must be pre-treated. This is where alum plays a crucial role. For the best results in fabric marbling, synthetic dyes should be used. Various brands on the market cater to this purpose. You can find a selection under the "Fabric Dyes" category on our website. Recommended Fabrics The following fabrics are best suited for Ebru art: Silk Synthetic Silk Satin These fabrics allow the colors to adhere properly and help create long-lasting, vibrant patterns. Preparing the Fabric with an Alum Solution Before marbling, the fabric should be soaked in an alum solution to enhance color adhesion. Here’s how to prepare the solution: Dissolve 100 g of alum in 1 liter of hot water. Soak the fabric in the solution for some time. Remove the fabric and let it dry. Once dry, iron the fabric to prepare it for marbling. Marbling and Final Processing After creating the design on the water surface, carefully place the fabric onto the marbling bath. Once the pattern is transferred, remove the fabric and briefly rinse it in cold water before allowing it to dry. To set the colors, follow these steps: Iron the fabric from the reverse side for about 5 minutes without steam. This process enhances color durability and ensures long-lasting results. Washing and Maintenance Once marbled, the fabric can be washed at temperatures up to 50°C. It is recommended to use mild detergents. Conclusion Using alum in fabric marbling ensures better color adhesion and contributes to the longevity of patterns. With the right technique, marbled fabrics can retain their vibrancy for years.

Alum Stone - 90g Alaun is mainly used when you want to marble fabrics. It acts as an odor-inhibiting agent during the decomposition of butyric acid and sweat. However, alum can also be used for marbling on paper. In this case, alum serves as an adhesive when you want to use the Ebru technique with different colors. Marbling fabrics is a very pleasant and stylish activity. First, I would like to talk about the colors we will use. By using synthetic dyes for fabric marbling, we can achieve better results. There are several brands of these dyes available on the market. For fabrics, I would recommend silk, synthetic silk, and satin. Before you start marbling the fabric, you should soak it in a solution of alum and water to ensure the colors adhere to the fabric. To prepare the solution, dissolve 100 g of alum powder in 1 liter of hot water. Then, let the silk dry, and if desired, iron it. After marbling the silk, briefly rinse it in cold water and let it dry. Once dry, iron the fabric on the reverse side to fix the colors. Afterwards, you can wash your fabrics as usual.

Back and Forth Marbling Comb Marbling combs are an essential tool in the art of marbling and are used to pattern the applied color. The needles are made of stainless steel and are placed at equal intervals. The combs offered on our website differ in length, allowing you to find the comb that fits your tray. They also vary in the spacing of the individual needles, giving you the choice and freedom to vary the pattern design. The needles of the back and forth combs offered here have particularly large gaps between them. This makes it easy to create back and forth marbling with zigzag patterns*. However, the artist's imagination has no limits. Needles made of stainless steel Needles with particularly large spacing You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm Needle spacing: 20mm, 30mm *Find pattern examples in our blog

Back and Forth Marbling Comb Marbling combs are an essential tool in the art of marbling and are used to pattern the applied color. The needles are made of stainless steel and are placed at equal intervals. The combs offered on our website differ in length, allowing you to find the comb that fits your tray. They also vary in the spacing of the individual needles, giving you the choice and freedom to vary the pattern design. The needles of the back and forth combs offered here have particularly large gaps between them. This makes it easy to create back and forth marbling with zigzag patterns*. However, the artist's imagination has no limits. Needles made of stainless steel Needles with particularly large spacing You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm Needle spacing: 20mm, 30mm *Find pattern examples in our blog

Back and Forth Marbling Comb Marbling combs are an essential tool in the art of marbling and are used to pattern the applied color. The needles are made of stainless steel and are placed at equal intervals. The combs offered on our website differ in length, allowing you to find the comb that fits your tray. They also vary in the spacing of the individual needles, giving you the choice and freedom to vary the pattern design. The needles of the back and forth combs offered here have particularly large gaps between them. This makes it easy to create back and forth marbling with zigzag patterns*. However, the artist's imagination has no limits. Needles made of stainless steel Needles with particularly large spacing You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm Needle spacing: 20mm, 30mm *Find pattern examples in our blog

Marbling Comb (Bouquet - Zigzag) Marbling combs are an essential tool in Ebru art and are used to pattern the applied paint. The needles are evenly spaced on stainless steel. The combs offered on our website vary in comb length, allowing you to find the right comb for your tray. The combs also differ in the spacing of the individual needles, giving you the choice and freedom to vary the design of your patterns. The needles of the zigzag combs offered here are arranged in an offset manner. This allows particularly Bouquet Ebru´s* to be created. Flower patterns can be composed much more easily with these combs than with conventional combs. However, the artist's imagination knows no bounds. Needles made of stainless steel Needles arranged in an offset manner You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm, 100cm Needle spacing: 50mm *Pattern examples can be found in our blog Product safety according to GPSR

Marbling Papers - Whit Marbling paper is unique in its weight, as it does not need to float on the surface of the water. These marbling sheets are available in weights ranging from 50g/m² to 300g/m², with 70-90g/m² being the preferred range. Depending on the intended use, whether for paintings or bookbinding materials, the appropriate weight is selected. One of the most important features of these marbling sheets is that they should not roll up on the water or absorb water. For long-lasting marbling artworks and durable marbled images such as endpapers, acid-free marbling sheets are recommended. In our online store, marbling sheets are available in various tray sizes such as DIN-A3, DIN-A4, DIN-A2, etc.

Marbling Papers Marbling paper is unique in its weight, as it does not need to float on the surface of the water. These marbling sheets are available in weights ranging from 50g/m² to 300g/m², with 70-90g/m² being the preferred range. Depending on the intended use, whether for paintings or bookbinding materials, the appropriate weight is selected. One of the most important features of these marbling sheets is that they should not roll up on the water or absorb water. For long-lasting marbling artworks and durable marbled images such as endpapers, acid-free marbling sheets are recommended. In our online store, marbling sheets are available in various tray sizes such as DIN-A3, DIN-A4, DIN-A2, etc.

Marbling Papers Marbling paper is unique in its weight, as it does not need to float on the surface of the water. These marbling sheets are available in weights ranging from 50g/m² to 300g/m², with 70-90g/m² being the preferred range. Depending on the intended use, whether for paintings or bookbinding materials, the appropriate weight is selected. One of the most important features of these marbling sheets is that they should not roll up on the water or absorb water. For long-lasting marbling artworks and durable marbled images such as endpapers, acid-free marbling sheets are recommended. In our online store, marbling sheets are available in various tray sizes such as DIN-A3, DIN-A4, DIN-A2, etc.

Paint Jars Paint jars used in the art of Ebru should be glass containers with tightly sealed lids. Glass material preserves the quality of the paints and minimizes air contact. However, storage conditions are also crucial. In low humidity environments, jars can remain open for a long time, whereas in high humidity regions, especially in countries like Germany, paints may begin to mold if jars are left open. Additionally, paint jars must be clean and hygienic. Dirty jars or those containing residues of different paints can alter the chemical composition of new paints. Therefore, it is recommended to clean the jars thoroughly after each use. The size of the jars is also important in terms of usability. Very small jars may tip over when a brush is dipped in, causing mess, while in very large jars, the paint may develop an unpleasant odor and deteriorate in consistency over time. For this reason, we have determined the ideal jar sizes. These jars, which increase work efficiency and provide practical use, are available in 50 ml, 105 ml, and 205 ml capacities. These sizes are the most suitable for both professionals and beginners. By using glass jars, you can safely store your paints for an extended period. Recommended Jar Sizes: 50 ml: Ideal for small projects or floral paints. 105 ml: Perfect for medium-scale works. 205 ml: Best suited for large projects and long-term use.

Paint Jars Paint jars used in the art of Ebru should be glass containers with tightly sealed lids. Glass material preserves the quality of the paints and minimizes air contact. However, storage conditions are also crucial. In low humidity environments, jars can remain open for a long time, whereas in high humidity regions, especially in countries like Germany, paints may begin to mold if jars are left open. Additionally, paint jars must be clean and hygienic. Dirty jars or those containing residues of different paints can alter the chemical composition of new paints. Therefore, it is recommended to clean the jars thoroughly after each use. The size of the jars is also important in terms of usability. Very small jars may tip over when a brush is dipped in, causing mess, while in very large jars, the paint may develop an unpleasant odor and deteriorate in consistency over time. For this reason, we have determined the ideal jar sizes. These jars, which increase work efficiency and provide practical use, are available in 50 ml, 105 ml, and 205 ml capacities. These sizes are the most suitable for both professionals and beginners. By using glass jars, you can safely store your paints for an extended period. Recommended Jar Sizes: 50 ml: Ideal for small projects or floral paints. 105 ml: Perfect for medium-scale works. 205 ml: Best suited for large projects and long-term use.

Marbling Papers Marbling paper is unique in its weight, as it does not need to float on the surface of the water. These marbling sheets are available in weights ranging from 50g/m² to 300g/m², with 70-90g/m² being the preferred range. Depending on the intended use, whether for paintings or bookbinding materials, the appropriate weight is selected. One of the most important features of these marbling sheets is that they should not roll up on the water or absorb water. For long-lasting marbling artworks and durable marbled images such as endpapers, acid-free marbling sheets are recommended. In our online store, marbling sheets are available in various tray sizes such as DIN-A3, DIN-A4, DIN-A2, etc.

Marbling Papers Marbling paper is unique in its weight, as it does not need to float on the surface of the water. These marbling sheets are available in weights ranging from 50g/m² to 300g/m², with 70-90g/m² being the preferred range. Depending on the intended use, whether for paintings or bookbinding materials, the appropriate weight is selected. One of the most important features of these marbling sheets is that they should not roll up on the water or absorb water. For long-lasting marbling artworks and durable marbled images such as endpapers, acid-free marbling sheets are recommended. In our online store, marbling sheets are available in various tray sizes such as DIN-A3, DIN-A4, DIN-A2, etc.

Back and Forth Marbling Comb Marbling combs are an essential tool in the art of marbling and are used to pattern the applied color. The needles are made of stainless steel and are placed at equal intervals. The combs offered on our website differ in length, allowing you to find the comb that fits your tray. They also vary in the spacing of the individual needles, giving you the choice and freedom to vary the pattern design. The needles of the back and forth combs offered here have particularly large gaps between them. This makes it easy to create back and forth marbling with zigzag patterns*. However, the artist's imagination has no limits. Needles made of stainless steel Needles with particularly large spacing You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm Needle spacing: 20mm, 30mm *Find pattern examples in our blog

Back and Forth Marbling Comb Marbling combs are an essential tool in the art of marbling and are used to pattern the applied color. The needles are made of stainless steel and are placed at equal intervals. The combs offered on our website differ in length, allowing you to find the comb that fits your tray. They also vary in the spacing of the individual needles, giving you the choice and freedom to vary the pattern design. The needles of the back and forth combs offered here have particularly large gaps between them. This makes it easy to create back and forth marbling with zigzag patterns*. However, the artist's imagination has no limits. Needles made of stainless steel Needles with particularly large spacing You can purchase the following comb variants from us: Comb lengths: 35cm, 50cm, 70cm Needle spacing: 20mm, 30mm *Find pattern examples in our blog

Paint Jars Paint jars used in the art of Ebru should be glass containers with tightly sealed lids. Glass material preserves the quality of the paints and minimizes air contact. However, storage conditions are also crucial. In low humidity environments, jars can remain open for a long time, whereas in high humidity regions, especially in countries like Germany, paints may begin to mold if jars are left open. Additionally, paint jars must be clean and hygienic. Dirty jars or those containing residues of different paints can alter the chemical composition of new paints. Therefore, it is recommended to clean the jars thoroughly after each use. The size of the jars is also important in terms of usability. Very small jars may tip over when a brush is dipped in, causing mess, while in very large jars, the paint may develop an unpleasant odor and deteriorate in consistency over time. For this reason, we have determined the ideal jar sizes. These jars, which increase work efficiency and provide practical use, are available in 50 ml, 105 ml, and 205 ml capacities. These sizes are the most suitable for both professionals and beginners. By using glass jars, you can safely store your paints for an extended period. Recommended Jar Sizes: 50 ml: Ideal for small projects or floral paints. 105 ml: Perfect for medium-scale works. 205 ml: Best suited for large projects and long-term use.

Karin Awl 3-Piece Set In Ebru art, awls play an important role. These tools are made of stainless metal and mounted on a wooden handle. They are available in different thicknesses, ranging from 0.5 mm to 5 mm. Awls are used to transfer colors onto the surface of the water. In addition, they are used to shape the applied colors. There are awls in different thicknesses as well as in special shapes designed for various floral motifs. These special awls are called "flower awls." Awls with multiple needles placed side by side are known as "hyacinth awls." These products are available on our website, where you can find more information.

Karin Brush Bristles (360g) The art of Ebru is a traditional Turkish art form in which patterns are applied to the water surface with special colors and then transferred onto paper. One of the most essential tools of this art is the Ebru brush. Traditionally, the Ebru brush is made from horse tail hair. There are several important reasons why horsehair is chosen. Horsehair is water-resistant, and its flexible structure allows the color to be applied precisely to the water surface. Additionally, the natural structure of horsehair helps to distribute the color evenly and smoothly. The brush handle is usually made of rosewood because rosewood is lightweight and durable. In the artist's hand, the brush moves like a magic wand; patterns come to life on the water's surface. The Ebru brush is one of the most important tools that allow the artist to transfer their creative expression onto the water. The quality and the correct selection of the brushes used in Ebru art play a crucial role in the success of the artwork. For this reason, the materials used in the production of Ebru brushes are selected and processed with great care.

Ox Gall in Ebru Art Ebru art is a traditional decoration technique where colors are sprinkled on water and shaped using special techniques. One of the most important materials in this art is ox gall. It is a natural additive that prevents Ebru colors from mixing and instead allows them to form unique patterns on the water’s surface. The Role of Ox Gall in Ebru Art Ox gall regulates the consistency and flow of the colors, helping artists create their desired patterns on the water surface. Ebru paints contain natural pigments and are mostly water-based. To ensure that the colors spread evenly, a special liquid is required – this is where ox gall comes into play. It reduces surface tension and facilitates the spreading of colors. Additionally, it allows layering of colors to create complex patterns. How Is Ox Gall Obtained? Ox gall is derived from the gallbladders of cattle, traditionally purified and prepared for use in Ebru art. Before use, it is fermented to enhance its effectiveness. Usage of Ox Gall In Ebru art, ox gall is added to each color individually. The dosage varies depending on the color and the desired effect. Conclusion Ox gall is an essential component of Ebru art, enabling controlled movement of colors on the water’s surface.

Karin Ebru Pure Turpentine – 100 ml In Ebru art, turpentine gives colors a three-dimensional and voluminous appearance. Especially in floral Ebru, using turpentine-mixed paint is recommended as it enhances the beauty of the background and makes minor dust-caused imperfections in the Ebru tray less visible. Turpentine (Neft) plays a significant role, particularly in the Battal-Ebru technique. In Battal-Ebru, a sufficient amount of turpentine (Neft) is added to the last color dropped, creating a unique pattern. The turpentine-mixed paint forms "holes" in the color droplets on the water surface, resulting in a distinctive effect. No further colors are added after this step. Due to the resulting "gaps," this technique is particularly suitable for creating backgrounds, as dust spots and small irregularities become significantly less noticeable.

Karin Gum Arabic – 100 ml Gum Arabic is a natural gum obtained from the trunks of acacia trees. It is also known as acacia gum or Senegal gum. Since it is edible, it is used not only in art but also in the food industry as a regulator. Due to its water-soluble properties, it is commonly used as a binder in watercolor painting. Throughout history, painters have used this resin to bind their colors and enhance their gloss. Uses of Gum Arabic One of the most important features of Gum Arabic is that it is non-toxic. In the desert regions of Sudan, some tribes have survived by consuming this substance obtained from acacia trees. Because it is natural and non-toxic, it is ideal for use in the art field. In medieval painting, Gum Arabic was used in tempera painting techniques and gold leaf decoration. In ceramic art, it is used as a glazing aid before firing the ceramics in the kiln. Purpose and Application of Gum Arabic Gum Arabic is often sold separately as an auxiliary material and is used to increase the gloss and adhesion of watercolor paints. It is generally mixed in a ratio of 1 part Gum Arabic, 2 parts water, and 1 part paint. Some artists prefer to add Gum Arabic to the water in which they mix their paint rather than directly into the paint. It also increases the density and consistency of the watercolor, helping it dissolve better in water. In high-quality watercolor paints, there is usually enough Gum Arabic, so additional additives may not be necessary. However, excessive amounts of Gum Arabic can cause unnecessary gloss and lead to cracks when the paint dries. Gum Arabic is a versatile material and is also widely used in marbling art (Ebru). Source: Karin Sanat