Su. — de-AI pass

Stripping the model-voice out of a marbling studio so it reads like a person who actually floats ink on water built it.

target: marbling-studio.html · engine + element IDs untouched · copy & microcopy only

The three that mattered most

1 · Tagline (header)

beforesu · “water” — the marbler’s living canvas
aftersu — “water.” nothing is yours until you lift the sheet

Why: “living canvas” is pure brochure-slop — the kind of phrase a model reaches for when it has nothing true to say. The replacement is an actual ebru truth: the design floats on the bath and isn’t yours until paper lifts it off. That’s the whole anxiety and romance of the craft in one line.

2 · Pattern glosses (museum label under the print)

before“the classic stone-marble ground” · “the tidal ebb and flow” · “the shawl’s interlocking S-curves” · “the nightingale’s nest”
after“thrown, never combed — the ground it all starts on” · “comb down, comb back; the bath breathing in and out” · “the shawl — the tide folded into S-curves” · “the nightingale’s nest; better left a little uneven”

Why: four glosses all cast as “the X” is a dead symmetrical triad-plus-one — tour-guide voice. Rewritten with a maker’s hand and deliberate asymmetry: one names the gesture (thrown vs. combed), one is a verb, one carries an honest aside (better left a little uneven) that only someone who’s overworked a nest would write.

3 · New provenance aside (print block)

before(nothing — seed metadata sat there unexplained)
afterThe seed in the filename is the whole recipe — feed it back and the same marble comes up again. The good numbers are worth writing down; I keep mine in the back of a notebook.

Why: the studio gives every print a deterministic seed but never said why anyone should care. One first-person line turns a data field into provenance, teaches the feature without a tooltip, and plants a real human in the room — a marbler with a notebook of numbers worth finding twice.

Also fixed

Meta description

before…Drip closed-form ink drops, drag a comb, script the traditional patterns, and lift a high-DPI print off the size-water.
after…Float ink on thickened water, draw a comb through it, throw the old patterns, and lift the sheet as a print you can keep.

Why: killed the engineer-jargon (“closed-form,” “high-DPI,” “script”) and the flat feature-list cadence. Still keyword-honest for search; now it sounds like the bath, not the build.

Ox-gall helper text

beforeHow aggressively a drop spreads and shoulders the ink aside. Later drops spread a little less.
afterÖd is ox-gall — it’s what makes a colour spread instead of sinking. More of it and the drop goes wide and thin; each new one always pushes a little less than the drop before it.

Why: the term öd was a bare label; now it’s taught in passing the way a master would say it at the bath — no glossary, no tourist parenthetical beyond the one that earns its place.

Comb helper + ready announcement

before“…Patterns build full rakes from these knobs.” / “Su marbling studio ready. A Şal pattern is on the tray.”
after“…The patterns below run a whole rake at once, off these three numbers.” / “Su is ready. A Şal pattern is already floating on the water — comb it, throw another over it, or lift it as a print.”

Why: “tray” became “the water/bath” (what a marbler calls it), and the screen-reader greeting now offers the first move instead of just reporting state — experience before explanation, accessibility kept intact.

Left alone on purpose

Net: six copy edits and one new line of provenance. The canvas engine, every element ID, and all behaviour are byte-for-byte the same — only the voice changed.