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Marbling is an umbrella term for aqueous surface design techniques. It essentially means you can create a pattern by dropping paint onto a liquid surface. There are two main branches of the art; Turksih Ebru and Japaneses Suminagashi.
Ebru patterns are swirly and colorful, while Sumihashi patterns mostly display black concentric circles. While the two marbling techniques share similarities with other print-making techniques, the concept of transferring paint from a liquid surface to paper and fabric is fundamentally different. Water is in constant flux and it is impossible to fix the paint in specific positions. It rather swirls and rolls on the waves of the water creating fleeting moments of beauty,
which is exactly why we love these mediums.



Ebru - Turkish style marbling 

Ebru essentially means "cloud" in Turkish, probably because the floating paint resemble clouds slowly moving across the sky. You have probably seen plenty of Ebru patterns without realising it, as Ebru printed paper was the fashion in book binding up until the turn of the century. Ancient marblers developed techniques that allowed them to repeat an array of patterns on spines, linings and covers of books. Our work, however, looks a bit different than the traditional expressions. Not only have we adapted the materials to a contemporary context, our interest is also not in perfect repetition, but rather the technique’s ability to capture a flash of time. Our curiosity is intrigued by what happens when you leave the marbling tray to itself. Maybe you made a 'classic' print and some paint residual pigments are left on the surface, could those randomly positioned pigments be salvaged and reveal a moment of beauty? Or how long does it take 'time' to shape a beautiful pattern? Sometimes we even add fresh drops of paint onto a 'dirty' tray to see how the new and the old colors interacts. (below you find examples of our work)

Suminagahsi – Japaneese marbling

Suminagashi means “spilled ink” in Japanese and it differs from Turkish marbling in three distinct ways. Firstly, Suminagashi is done on water rather than a thickened liquid. Secondly, the inks traditionally used in Suminagahsi are calligraphy inks made from pine soot, while the Ebru technique allows a range of materials such as gauche, water color and acrylics. Finally the inks are carefully applied to surface by creating concentric circles while in Ebru color is splashed onto the tray. These concentric circles can be manipulated with wind, vibrations and movement creating transient patterns, which can be perpetuated by Japanese paper or fabric with high thread count.


Marble Matter is a design studio,
specialising in prints, patterns and textiles.


MarbleMatter is a design studio dedicated to reviving half forgotten craftsmanship such as marbling, natural dye and screen printing. Strongly rooted in the classic techniques and methods, MarbleMatter reinterprets these old disciplines in a contemporary context. 

The studio was founded by Julie Bak in 2015, a sociologist and teacher by training. Julie had long been experimenting with floating inks, when she decided to teach a class. Shortly after Anne-Sophie Rosenvinge, photographer and designer, started documenting the colorfull swirls in the workshop and she had joined the venture. 

Since then, Marble Matter has expanded from teaching creative practices to becoming a design studio anchored in analogue expressions and sustainable practices. The studio still hosts workshops but also produce a small line of artisanal goods, as well as original artwork.

·For inquiries, questions or collaborations contact us at:



Instagram: @marblematter

Collaborations / Teaching Locations

Dudua - Barcelona
Martillo - Barcelona
Volta Oficina Creativa - Lisbon
Openstudio 79 - Palma de Mallorca
Skrå - Copenhagen
Fabrikken - Copenhagen
Finderskeepers - Copenhagen

Lynfabrikken - Århus

   Julie Bak

   Julie Bak

Anne-Sophie Rosenvinge

Anne-Sophie Rosenvinge







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