Ebru Atölyesi · Type Specification
Kâğıt üzerine su, su üzerine renk — water on paper, colour on water
type system v1 · Cormorant Garamond / Source Sans 3 / IBM Plex Mono · Google Fonts
A calligraphic Garalde serif, a quiet humanist sans, and a warm mono — three voices, one workshop.
Display · Serif
Bülbül Yuvası
Cormorant Garamond — 400 / 500 / 600 / 700 + italic
Aa Şş İı Iı Üü Ğğ Çç & 1719
A high-contrast humanist Garalde in the Garamond lineage — the same Renaissance moment Ottoman book arts flowered. Reads as a manuscript hand, not a logo. Carries masthead, section titles, and every print-plate title.
Interface · Sans
Damlat & Tara
Source Sans 3 — 400 / 500 / 600 / 700
Aa Şş İı Iı Üü Ğğ Çç & 1719
A quiet, humanist sans with open apertures and true Turkish forms. It steps back so the serif and the marbling lead. Labels, buttons, tool names, and help text — legible at a glance, never shouting "software".
Metadata · Mono
seed·48F2A1
IBM Plex Mono — 400 / 500 / 600
seed Şş ı Üü · 19×27cm · 1719
Warm, slightly humanist monospace for the things that must align in columns: seed hashes, pigment recipes, paper dimensions, dates. A craftsman's ledger hand — orderly, but with a pulse.
How the three voices sit together across the studio chrome and a finished print's plate.
Bülbül Yuvası, the Nightingale's Nest
Drip the indigo, let it bloom to a ring; lay the madder inside it; draw the tine through and watch the nest curl in upon itself.
Ebru is made on still water thickened with kitre — gum tragacanth. Pigments ground with ox-gall float and spread without sinking, each new drop shouldering the last aside into crisp ring-within-ring. Nothing here is a fluid simulation; every drop is a closed-form push, every comb-stroke a decaying-sine shear, composed over the colour boundaries.
Drag the comb across the bath to braid the traditional patterns — Gelgit, the tidal back-and-forth; Şal, the shawl's S-curves; Battal, the stone-marble ground. When the surface is yours, lift the paper to peel up a print that has never existed before and never will again.
Bülbül Yuvası · 1719
Nightingale's Nest over a Battal ground
— display · Cormorant Garamond
Şal desenli ebru, ışıkta yüzen çiçeğin gölgesidir.
— interface · Source Sans 3
Damlat · Tara · Kâğıdı kaldır — fığ, ağ, ışık, üzüm. ABCÇĞIİÖŞÜ
— metadata · IBM Plex Mono
seed=48F2A1 · ışık ı/İ · ŞşĞğ · 19×27cm · 1719
Fluid major-third (1.25) modular scale. Every step is a clamp() — no breakpoints, no jumps.
| Token | clamp(min · pref · max) | Role | Specimen |
|---|---|---|---|
| --step-5 | 3.05 → 5.40rem | Studio masthead | Su |
| --step-4 | 2.44 → 3.95rem | Print title (h1) | Şal |
| --step-3 | 1.95 → 2.89rem | Section head (h2) | Gelgit |
| --step-2 | 1.56 → 2.11rem | Plate title (h3) | Bülbül Yuvası |
| --step-1 | 1.25 → 1.55rem | Lead / italic intro | su üzerine renk |
| --step-0 | 1.00 → 1.13rem | Body & UI default | Kâğıdı kaldır |
| --step--1 | 0.83 → 0.92rem | Caption · meta · mono | seed 48F2A1 |
Restrained weight palette; tracking opens up only for small uppercase eyebrows.
A historical craft studio, not a tech product.
Su is an Ottoman marbling workshop rendered in glass — so the type has to read as made by hand on paper, never as a SaaS dashboard. The anchor is Cormorant Garamond: a Garalde serif drawn in the Garamond tradition, the very European book-type lineage that runs parallel to the 16th–18th-century flowering of Ottoman ebru. Its high stroke contrast and calligraphic italics evoke a reed-pen manuscript hand, giving every print-plate title ("Bülbül Yuvası · 1719") the weight of a museum object label rather than a UI string.
The interface defers. Source Sans 3 is a humanist sans with open apertures and genuinely well-drawn Turkish glyphs — the dotted/dotless İ/ı distinction, ş, ğ, ü all resolve cleanly at caption sizes. It carries tool names, buttons, and help text quietly so that the floating colour, not the chrome, holds the eye. A geometric or grotesque sans (Inter, Space Grotesk) would import a tech-product accent the studio must avoid.
IBM Plex Mono is the ledger hand. A unique marbling is generative — it has a seed, a pigment recipe, dimensions, a date — and those facts want to align in columns like a craftsman's workshop record. Plex Mono is warm and faintly humanist rather than coldly technical, so the metadata feels inventoried by a hand, not logged by a machine.
The whole system lives on size-water cream with the four period pigments — indigo çivit, madder kök, gamboge sarı, malachite yeşil — used only as accents. The scale is a single fluid major-third progression, all clamp(), so the page breathes from phone to wall without a single breakpoint, and body text never drops below 1rem — readable, zoomable, accessible. Three families, three jobs, one workshop voice.