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Ahmet Sacit Açıkgözoğlu and Dilara Karaağaç
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HERBERT PRESS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK Bloomsbury Publishing Ireland Limited 29 Earlsfort Terrace, Dublin 2, D02 AY28, Ireland BLOOMSBURY, HERBERT PRESS and the Herbert Press logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain in 2026 Copyright © Ahmet Sacit Açıkgözoğlu and Dilara Karaağaç, 2026 Ahmet Sacit Açıkgözoğlu and Dilara Karaağaç have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work All rights reserved. No part of this publication may be: i) reproduced or transmitted in any form, electronic or mechanical, including photocopying, recording or by means of any information storage or retrieval system without prior permission in writing from the publishers; or ii) used or reproduced in any way for the training, development or operation of artificial intelligence (AI) technologies, including generative AI technologies. The rights holders expressly reserve this publication from the text and data mining exception as per Article 4(3) of the Digital Single Market Directive (EU) 2019/790 Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes A catalogue record for this book is available from the British Library Library of Congress Cataloguing-in-Publication data has been applied for ISBN: 978-1-78994-372-6; eBook: 978-1-78994-375-7 2 4 6 8 10 9 7 5 3 1 Typeset and designed by Laura Woussen Design Printed and bound in China by RR Donnelley Asia Printing Solutions Ltd, Dongguan, Guangdong [insert FSC logo]
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CONTENTS Preface
6
The History of Ebru Art
8
General Guidelines
18
Materials and Preparation
22
Battal Ebru
37
Hatib Ebru
48
Karanfil (Carnation)
58
Tulip
68
Sünbül (Hyacinth)
76
Bouquet of Carnations
82
Bouquet of Tulips
93
Bouquet of Violas
104
Bouquet of Poppies
116
Bouquet of Daisies
128
Working with Twin Flowers in One Tray
140
Akkase (Masked) Ebru
146
Further Works
154
Ebru-bordered Artworks
158
Summary Steps
166
Glossary and Biography
174
References and Acknowledgements
175
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PREFACE Every drop of paint that falls onto the water carries not only a colour, but also traces of an artistic journey through the centuries. Traditional Turkish ebru art is a discipline learned with patience, trial and error, and attentiveness, yet it is also an art of grace and surrender that comes from the heart. Our years of experience have shown us that ebru has always enchanted both its audience and its practitioners. The way each drop of paint, sprinkled from the brush, opens on the surface of the water; the harmony of colours blending together; the transformation of circles into flowers and bouquets; the meeting of patterns formed on water with paper; and the emergence of a unique result in such a short time: all of these deeply move anyone who experiences ebru. These elements enhance its appeal and ensure that it continues to be cherished. Traditional ebru, with its roots stretching back centuries, has survived to the present by following the same path, techniques and practices. In today’s ‘modern ebru’ in Turkey, or ‘paper marbling’ in other countries, water is often perceived as an artist’s canvas or paper. Yet the essence of traditional ebru lies in the search for balance on water, in preserving proportion and harmony, in maintaining naturalness and in transferring flowers to the tray by stylising them in the simplicity they hold in nature. The aim is to reach ‘the highest beauty’ as found in the natural world. For this reason, every paper and pattern that emerges from the tray holds a captivating beauty for both the creator and the viewer. However, without knowing its intricacies, it is often difficult to recognise at first glance the level of mastery behind a piece. The years of training, effort, experience and practice that the artist invests within the framework of the master–apprentice relationship can be easily overlooked. Behind every successful and aesthetically pleasing result lies years of labour, trial, repetition and patience. This book in your hands seeks to explain the enduring aesthetic principles of ebru and to offer the reader a deeper perspective when viewing a work. In this sense, to our knowledge, it is the first book to examine ebru in such detail. Through it, the subtleties of traditional ebru will reach broader audiences, and the value of this ancient art will be more fully understood. Furthermore, by introducing other artworks that can be created through ebru, the book highlights the wide, rich field of expression that this art encompasses. At its core, learning ebru art requires observation. It has no precise mathematics; adapting to the ever-changing qualities of water, paint and tray is only possible through the experience of the master. The student learns by observing the master for years in every possible variation. Thus, conveying ebru in writing is difficult; teaching it through online methods is nearly impossible. For this reason, this book includes numerous photographs to help you understand the process, step by step.
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To accurately convey each stage, the photoshoots were repeated countless times, resulting in thousands of shots. It was essential that each step be captured clearly and precisely, so that the intended process could be fully understood. To ensure variety, paints were prepared in different colours, and the shoots were redone at different times. Before shooting, several practice pieces were created to allow the solution and paints to reach their optimal working state. Since ebru varies from beginning to end, the margin for error is very narrow. Achieving harmony in the tray from the beginning to the end and presenting the photographs in a way the reader can easily understand were both challenging tasks. In the beginning, the artworks may not appear as expected for traditional ebru; this is entirely natural. With repetition, every practitioner eventually finds their own rhythm and path. In this process, each ebru work is unique. The true beauty of ebru lies within this individual journey. And just as in painting, ebru does not demand absolute perfection; small imperfections and variations made by the human hand are part of its vitality and natural charm. Thus, by presenting ebru with both its techniques and its aesthetic values, this book aims to invite the reader on a journey that goes beyond transferring patterns from water to paper. As you move through its pages, in the subtle curve of a flower or in the colours appearing around a line, the heritage of the past will meet the creativity of the present. The purpose of this book is not only to teach ebru, but also to introduce the reader to its inner discipline and its lessons of patience. From the brush striking the tray to the careful placement of paper onto the water, each step is both a ritual and a moment of contemplation. Every attempt, every piece, leaves behind a memory of practice. Within these pages, both traditional methods and newer techniques that have developed over time are included. While step-by-step guidance is provided for students and enthusiasts, the historical and aesthetic context of the art is also presented. In this way, the book seeks to serve as both a guide and a source of inspiration. Just as a drop of paint expands and transforms into new shapes on the water, we hope this book will inspire you to practise this art with joy, and to discover new horizons within the delicate world of ebru.
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12 EBRU
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A nightingale’s nest piece, one of the most challenging types of ebru to make (Mustafa Düzgünman).
The HistoRy of EbRu Art 13
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2a
2b
2
3
3
Using a small brush, transfer approximately 1/4 teaspoon of the paint you will use for the flowers into a small jar (around 30–40 ml). We have used yellow for this. Smear the unmixed paint into the jar, then add 10–15 ml of water and mix well with the brush. Repeat for your leaf colour in a separate small jar. Add two drops of ox gall to each of your small flower paint jars.
4 4
Keeping your biz vertical, dip it once into the leaf’s mixed jar, bring it straight up over the tray and drop the paint at the edge of the tray using a medium-sized biz. The reason you should test on the edge is to leave some room for testing a flower in the centre.
If the colour is too dark, the paint is not expanding or the shape is not well rounded, you can add one drop of ox gall and test the paint again.
5 5
Prepare and test all the colours you want to use in this way. Drag the biz through one or two circles. If the paint stays roughly where you drag it, the preparation is good.
MateRials and PrepAration 35
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6
6a
6b
6c
6d
6e
6f
You can test your paints by making a small flower, or just its head (see Hatib Ebru on p. 48 for the steps required).
7
7
Transfer your artwork to paper. If the colour runs on the paper, add water to the jar of paint, and if it is too dark, add ox gall. You might need to repeat these steps a number of times until the colour consistencies are right, cleaning the surface of the solution after each test.
36 EBRU
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ŞAL EBRU
Once the gelgit pattern is complete, the şal ebru design is finalised with looser, wavelike movements, formed through repeated S-shaped strokes. Without overworking the surface, 3–4 layers are applied, either vertically or horizontally. If both vertical and horizontal passes are made, attention must be paid to the spacing in order to achieve a balanced result.
2a
1
1
Prepare a traditional battal using the process outlined in Regular Battal (pp. 38–39).
2
Repeat Steps 2–5 of Gelgit Ebru (p. 40).
BAttal EbRu 41
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2b
2c
3a
3b
3c
3d
3e
3
Now create wave-like patterns at regular intervals, moving in the opposite direction of your last strokes. By introducing pauses and gentle curves in your motions, you will transform the pattern into a şal ebru. Here I’ve used two şal movements. However, you can use as many layers as you wish.
You are now ready to transfer your artwork onto paper.
42 EBRU
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KARANFIL (CARNATION)
58 EBRU
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A single carnation involves a considerable number of steps, but we have placed it early in the book because it is excellent for practice: it includes many movements, allows the use of different biz sizes, provides an opportunity to test and work with different colours for the head and offers more room for correction compared to other single flowers. We recommend checking the finished image at the start of each section to better understand the intended form.
· ·· ·· ·
TOOLS & MATERIALS
A prepared background solution (see Preparing the Background (Zemin), pp. 27–33) Tray Prepared paints for flowers Brushes (different sizes) Bizes (different sizes) Paper, paper towel, water
CREATE THE CIRCLES FOR THE STEM AND LEAVES
·· · · · · · ·
1a
1
The carnation uses three full circles for the leaves. We generally prefer to mix the green with black or navy in each drop. The top circle is placed approximately 2 cm (3/4 in) above the centre of the tray. Complete the circles in order. After completion, you can add more drops if needed before beginning the next step. Try to complete the first circle using 5–6 drops. The second and third circles will have fewer. The distance between the first and second circles is approximately 2 cm (3/4 in). The circles should gradually decrease in size, each one being approximately 10–15 per cent smaller than the previous one. The top circle is for the stem and upper leaves, and the lower circles are for the lower leaves.
1b
Using a properly sized biz – usually a medium-sized one is preferred – place the first drop of paint for the leaves and continue to drop until it reaches a suitable size for the first circle. KaRanfil (CaRnAtion) 59
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