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Dispersing Agent: Ox-gall is the only dispersing agent which both
spreads the color on the size and also keeps them from mixing with one
another. This is important for producing traditional patterns, which are
characterized by their patterns and colour.
Colours: Originally, only natural pigments were used in Turkish marbling. Lahur for blue, ustubec for white, Oxide yellow for yellow, etc. It is important to remember however, that these natural pigments were chosen because of the limitation of the time period; over the last thirty years, many different pigments have been employed in Turkish marbling. Papers: The type of papers used has always been dependant on what type of paper was most readily available. 18th and 19th century artists mostly use "aherli" paper, a paper which is soft and absorbent on one side while the other side is hardened. Mustafa Duzguman always used 60 to 80 gram matte paper for his marblings. One of the major differences between Turkish and European marbling is that in Turkish marbling there is no chemical preparation necessary for the paper, while in European marbling an alum powder must be applied before marbling to make the paper more absorbent. Another difference is that in Turkish marbling the brushes used to apply the color are always made from horse hair which will hold a considerable amount of pigment and not cling together; this helps the artist to spread the color with more control and homogeneity. Today the marbling process is more technologically advanced in the western countries than in the east, as the western marblers have incorporated new technology and equipment in their art. In Italy, England, Germany, Sweden and the United States many marblers work in studios which resemble laboratories. In these studios a great emphasis is placed on an understanding of the technical aspect of the marbling process. Perhaps the most important aspect of these technological advances in European marbling is that it has increased our knowledge of how the marbling process works, enabling artists to push the limits of the art even further. Today the only Turkish marbling artist who incorporates the modern western techniques and technology in the production of traditional Turkish marbling is Niyazi Sayin. His contributions to the development of Turkish marbling is invaluable, and his marblings are extraordinary examples of the art of paper marbling.
Arkin Ilicali Hakkinda: Bursa dogumlu olan Arkin Ilicali Istanbul Universitesi Basin Yayin Yuksekokulu'ndaki Gazetecilik egitiminden sonra Kanada University of Saskatchewan`in Guzel Sanatlar Bolumu'nden mezun oldu. Halen Montreal'de Concordia Universitesi'nin Masters Of Fine Arts Bolumu'nde masterini yapmaktadir. Sanatin degisik dallarinda calismalar yapan Ilicali fotograf sanatindaki calismalarina Kayihan Guven'le baslamis, ardindan Francis Robson ve Hans Domesch`la calismalarini surdurmustur. Resim dalinda Graham Fowler ile bir yillik studyo calismanin ardindan ozellikle ilgilendigi alan olan ve uzerinde masterini gerceklestirmekte oldugu Printmaking (baski) konusunda ise Tim Nowlin, Charles Ringness ve ozellikle Nik Semanoff gibi dunyaca taninmis resim ve baski sanatcilari ile birlikte calismistir. Calismalarini Concordia Universitesi Baski Bolumu Baskani ve Ogretim Uyesi olan Cheryl Dudek ile halen surdurmektedir. Bu alanlarda 40'tan fazla kisisel ve grup sergileri, "multi media", "mixed media" gosterimleri ve seminer calismalari bulunmaktadir. Copyright ©: This article first appeared in the PETEK E-zine of Istanbul Technical University Alumni Association International. No part of this article can be used in any form by any means without prior permission from the publisher.
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