I started oriental arts at about 1970. I sell paintings and can teach. #Ink #InkPainting
The post René Böll appeared first on Inkston Oriental Art Community.
http://ift.tt/2zNvMpV New artist directory entry by rene on Inkston Oriental Art Community http://ift.tt/2Ca5zrE
Inkston Summary To paint stems well, first you need to have a good plan of how to position the stems before you start painting. When thinking about the positions, remember... #FlowerBirdPainting
New post Flower Stems – painting techniques from Mustard Seed Garden appeared first on Inkston
http://ift.tt/2CdpyoD published first on Inkston
Hi, DenisePayne1!
From your question I get the feeling you are talking about a trick intermediate and advanced painters use: triple loading of the brush, first with water, then ink, then ink again to obtain a certain gradation in certain kinds of stokes.
My advice is don’t go so much into tricks especially if you are an absolute beginner. Try to master basic techniques of loading ink and doing line work. Complete a few works in line only, so you will understand your brush more and start to feel and anticipate its reactions.
Basic techniques of brush loading would be these:
-Mix ink, as concentrated as possible. Use a white plastic pallette with compartments in which to mix less concentrated shades.
-Use wolf hair or badger hair or rabbit hair brushes that make a fine tip and keep more or less stiff during work.
-Moisten the brush thorughly at the beginning.
-Keep a large supply of paper towels close, and always one near your pallette and water cup.
-After you load or moist your brush with water, unload it by pressing against the edge of your water pot, and then wipe the brush against your paper towel to further unload it and form the tip.
-After you load the brush with desired shade of ink, again wipe against the towel to unload and make fine tip. Also, make test lines on the towel/tissue before proceeding on your work.
-The abovementioned move of unloading upon a towel/tissue is essential (unexpected as it may be) because one rarely needs the maximum load, and if you do overload the ink will drip or be over absorbed by the paper.
-Consider this: the longer the line you want to do in one stroke, the more ink you need to load, the quicker your move must be. The shorter the line, the less ink you need in the brush so the more you must unload before painting, the less quick your move can be. This is especially true with raw xuan or mulberry paper.
As a nice and rewarding exercise: make a pencil sketch of a desired subject. Place it under your xuan paper, fix in place with a little bit of sticky tape. The sketch should be quite visible, still. Set out to complete the subject in lines only. Use darker, thicker lines for close objects, thinner more transparent lines for backround objects in your composition.
Hope this helps. #Ink #JapanesePainting #LoadingBrush #SumiE
Visit the forum at http://ift.tt/2l4VcL8 to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
China has gone a step further (too far?) in producing a bamboo paper possibly as expensive as any Red Star paper..
Made from real panda poo (is that 100% bamboo?) it’s reported to be $6.50 for a box of tissues..:
#Bamboo #Panda #Poo
Visit the forum at http://ift.tt/2zAOsce to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2zBw2rR
If your ink is coming out grey, do you have good quality ink? that’s the first question – I’ve seen a lot of comments around the internet about some of the cheaper inks that turn out too grey. All the inks on inkston should be ok, for example Jin Bu Yi is popular and there are also special inks for more deep or glossy black effects.
And did you mix the ink yourself? #Ink #JapanesePainting #LoadingBrush #SumiE
And, we would also recommend you to put the pastry in container and cover it with film, and then leave it in fridge. (* some experts do not use fridge. Instead they leave the pastry in a container and then leave the container in cold fresh water to keep it cool. Certainly, this ensures a perfect temperature for the pastry.) Whenever you need to use it, take out a small portion and use clean water to ‘wash’ the pastry. Use a filter to get rid of extra fiber of flour. Add some clean water to the ‘glue without fiber’. Then you get the perfect flour glue. This will further help you get a perfect mounting result. It needs practice. 🙂 And be careful the pastry might get bad easily especially in summer. So keep it fresh the same way as you keep fruits/ vegetables at home.
#FlourGlue #FlourPaste #Glue #Mounting #Paste #TraditionalMounting
罗雁 LuoYan.
cannot agree more with you! #SealPaste
Visit the forum at http://ift.tt/2BVbTD3 to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Gosh, your paste looks too oily! maybe spread it out in the container until it has flat surface and then dry it out a bit. I know this is opposite to all other responses but I think the problem is your paste is too wet. I could be wrong of course but it doesn’t look like paste I normally get. ? #SealPaste
Visit the forum at http://ift.tt/2Dh6dQl to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Hi there,
Does anyone know the “best” way to make flour glue for mounting? #FlourGlue #FlourPaste #Glue #Mounting #Paste #TraditionalMounting
Visit the forum at http://ift.tt/2CaG6ec to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Hi everyone,
Can someone help me with the best way to load the brush for monochrome Sumi-e painting. I have followed a lot of different instructions in books but I still end up with a grey mess from my brush not the nice gradations of black – grey ink that one is supposed to get. I either end up with the brush too wet or too dry and an ugly smudge! As this is the very first basic technique to master if one is to paint Sumi-e style I’m getting really frustrated because I can’t even get started! Help please anyone? Thanks! #Ink #JapanesePainting #LoadingBrush #SumiE
Visit the forum at http://ift.tt/2Dh5Mpb to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Hi there, I have been carving my own seals for a few years now and as you say it is really easy to make a mistake – whoops! slipped with the blade. Then you want to erase the pattern and start again. Depending how hard your seal stone is or how expensive, I usually remove the pattern with a small pin file. These are sold in the UK in sets of 10/12, made of carbon steel and come in all shapes and fine to course grades – all in the same set. Not expensive, easy to use and saves a lot of time, money and stones for beginners.
By the way, do not be afraid to start carving seals – it is fun and although difficult to do well, you can still get a very useable result even as a beginner and the seals really enhance your paintings/calligraphy. Also don’t start with anything too complicated. One character, nicely carved looks much better than a complicated copy of an old master carved badly or with a clumsy hand. A wooden seal vice/block is ESSENTIAL! It makes carving much easier and is a small expense when you consider the cost of good seal stones.
Carve your own designs – make your own special name seal and above all- HAVE FUN. #CarveMyOwnSeal #ChineseSeal #ChineseSealStone #SealStone
Visit the forum at http://ift.tt/2C6OTxT to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2yO4N1E
Inkston note: A complete flower painting needs good combination of flowers, leaves, and branches. Flowers need to be ‘boneless’, and branches are the structures. From this perspective, leaves function as... #FlowerBirdPainting
New post Flower Leaves – Mustard Seeds Garden appeared first on Inkston
http://ift.tt/2C62ntT published first on Inkston
Each flower has its own personality. Observing closely, you will find there might be hundreds thousands types of flowers and each one is unique. Therefore, to paint flowers well, it...
New post Flower Petals – Mustard Seeds Garden appeared first on Inkston
http://ift.tt/2C3NsjT published first on Inkston
We have one unsellable brush at our Amazon UK warehouse to give away. As usual, we would like to give it as a sample product to people who would need it. It will be absolutely free for you since we will take all the bills.
To find more details about the brush, please visit this brush product page on Amazon UK:
To be fair to everyone, we will give this brush to the one who first confirms; and if you have received Inkston give-away product before, we will exclude you from the list. 🙂 Hope you can understand this. And, we appreciate if you could give us any of your feedback on this product. *Please also note that this product is marked as unsellable might be because the packaging is damaged or the brush is somehow damaged. We are not very sure.
The brush is stocked in UK, therefore this is only open for people who is in UK. And although this brush is stocked in UK, it might take longer time for you to receive it because inkston needs to process some complicated warehouse paperwork.
To protect your privacy, please just confirm you want the brush under this post and then send us a private message or email about your shipping address.
Well, let’s start..
Traditional straw painting in the news, a 2,000 year old technique being kept alive today, more pictures here: http://ift.tt/2znSW67
ShuNan 蜀南 means “Shu South” the southern part of the ancient Shu kingdom (now Sichuan province). ShuNan Bamboo Sea (蜀南竹海) is probably the largest bamboo sea in the world spread...
New post ShuNan Bamboo Sea 蜀南竹海, Bamboo Life appeared first on Inkston
http://ift.tt/2kHJNkr published first on Inkston
[caption id="attachment_7178" align="alignnone" width="1280"]
New post 郑板桥 Zheng BanQiao Bamboo Inksticks Set appeared first on Inkston
New! available at: http://ift.tt/2kEedUB from Products – Inkston
INKSTON Expert 40 Xuan paper contains 40% Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is suitable for both painting and calligraphy.
To make the Expert grade Xuan paper the fibres are steamed/boiled and the pulp mixed for longer than usual. This makes the paper finer and stronger than normal Xuan Paper.
This is fine 37.5gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Expert 40 Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2kBFNBW from Products – Inkston
INKSTON Double Xuan paper contains 38-45% Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is suitable for both painting and calligraphy.
This paper is double layer for twice the weight, thickness and absorbency of single layer Xuan Paper. It also requires extra skills and experience to make the paper. The paper is quite strong and endurable.
This is fine 90gsm paper, in large 138x70cm size (1 sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
*Xuan paper is also referred as rice paper, shuen paper, and sometimes mulberry paper.
New post INKSTON Double Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2fGxcOZ from Products – Inkston
LiZhuang 李庄 is an ancient village with over 1000 years of history and the birthplace of Yan from Inkston. LiZhuang played an extremely important role in the first half of...
New post Li Zhuang 李庄 appeared first on Inkston
http://ift.tt/2Bqmk1g published first on Inkston
Qi Baishi Twelve Landscape Screens (1925), set a new record for the highest-selling Chinese painting ever sold at auction at $141 million.
SunYan (Ding Fa), also uses artistic name “Shi Chi” which means someone who is passionate with stones. He graduated from Anhui Normal University and is a member of Artist Association...
The post 孙岩 SunYan – 山水 ShanShui Landscape Painter appeared first on Inkston Oriental Art Community.
http://ift.tt/2CsyuTp New artist directory entry by ingleno on Inkston Oriental Art Community http://ift.tt/2kDqfMZ
I made the switch from oils to oriental brush painting style when I was taking martial arts. My teacher was Chinese and he advised me to try this style of...
The post Darlene Kaplan appeared first on Inkston Oriental Art Community.
http://ift.tt/2j80OTm New artist directory entry by darlene on Inkston Oriental Art Community http://ift.tt/2ziZdDg
Gohitsu Shodo Studio lives at the intersection of Japanese Calligraphy, Martial Arts and Zen, also known as KEN ZEN SHO training. ESTEBAN MARTINEZ Esteban Martinez has been training in Aikido...
The post Gohitsu Shodo Studio – Esteban Martinez appeared first on Inkston Oriental Art Community.
http://ift.tt/2yK5HaL New artist directory entry by esteban on Inkston Oriental Art Community http://ift.tt/2yK5F2D
You’re welcome!
You may find alum as a solid bar or crayon used for stopping bleeding during shaving. Some people use it to replace deodorant.
And about the glue solution, when it gets cold it becomes gel-like. You can keep it in the fridge and reheat it when you need it again. You can use the same solution as a binder to work with dry pigments for artists Chinese or western. #MountingChinesePainting
Visit the forum at http://ift.tt/2j1q7GI to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Thank you very much¡ Tibiliu #MountingChinesePainting
Visit the forum at http://ift.tt/2kpyyft to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
You can prevent colour running like this:
Make a gelatin and alum solution, 1% gelatin and 1% alum. You can use Dr. Oetker kooking gelatin or rabbit skin glue (artist grade). You can find alum in the drug stores. Check out Henry Li’s videos on Youtube “how to make alum/glue water for gong bi painting. So your solution will be 1g gelatin, 1g alum, 98g water. Cook it a little while in a double boiler (bain marie) until hot and clear. To be extra sure you can even use 2g gelatin, 1g alum, 97g water.
Apply this solution with a soft brush over the colours of your painting, with pacience, element by element. You can also apply on the back side of the painting (if it’s xuan paper).
Once it’s dry, the colours won’t run anymore durring mounting, even if they are western watercolours. #MountingChinesePainting
Visit the forum at http://ift.tt/2jTEpKk to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
INKSTON Perfect 70 Xuan Paper contains 70% very fine Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is suitable for both painting and calligraphy. It is especially recommended for professional use.
To make this Perfect grade paper the fibres are steamed/boiled and the pulp mixed for several hours longer than usual. This makes the paper finer and stronger than normal Xuan Paper. It takes 2 years to prepare the raw materials and 7 days to make the paper.
This is fine 39gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Perfect 70 Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2BbSmx3 from Products – Inkston
Hello, you can check the notes on the pigments to see if they are mineral based or plant based colours. 🙂 Natural pigments functions well on Xuan papers. If they are industrial pigments, I would suggest you to try watercolors specially made for Chinese painting/ Sumi E. For example, Marie’s Chinese paints, Japanese Sakura Chinese paints, Jiang SiXu Tang’s paints are typical paints for Chinese painting/ sumi e. And some of the colours can function well on Xuan paper too but you need to test them one by one. I once tried watercolour from Holbein and found the colours ‘run away’ when the paper gets wet. #MountingChinesePainting
Visit the forum at http://ift.tt/2nSUPqM to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
Me han llegado todos los articulos, estoy encantada, con la calidad del material, el empaquetamiento…con todo!!! #ArteOriental #Caligrafia #PinturaChina #SumiE
Visit the forum at http://ift.tt/2BVUBl8 to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2zqYuAG
<p style=”padding-left: 30px;”> Muchisimas gracias!!</p> #ArteOriental #Caligrafia #PinturaChina #SumiE
Visit the forum at http://ift.tt/2AMj5hc to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2zqYuAG
Thank you very much !
I use watercolor from the Van Gogh brand. Are these industrial? And with the inks in color, would not there be a problem? #MountingChinesePainting
Hi, I tested before. One mounting master taught me a trick: put the painting in a plastic bag and fasten the bag. Then steam it for a while. Afterwards, mount it. This helps lock the colours on paper.
Another reason to explain the problem is the pigments you use. If you use high grade natural pigments, the colour will not move at all. 🙂 For example, Jiang SiXu Tang´s natural colour chips work extremely well for mounting. For example,
If you want to use industrial pigments, then use paints which are specially for Chinese painting. For example, these colours,
And also, you need to mount after the painting is completely dry.
#MountingChinesePainting
Visit the forum at http://ift.tt/2nUMcMH to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2C2UYuR
I have a mounted a painting and the watercolor pigment has been moved. When I mounted the paper using the ink , this has not happened. Does anyone know the reason? Is it by the type of pigment only? Thank you¡¡
Visit the forum at http://ift.tt/2klQNlH to join the discussion on Inkston Oriental Art Community Inkston Oriental Art Community » All Posts http://ift.tt/2xAnuUo
INKSTON Expert Calligraphy Xuan paper contains 65 to 75% Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is suitable for both painting and calligraphy, especially recommendable for calligraphy.
Expert Calligraphy Xuan paper is made with Pteroceltis Tatarinowii which is only steamed and boiled once. Extra work is done on the pulp production to make the paper finer and stronger than normal Xuan Paper. When the paper is just made, it is untreated/unsized (raw/uncooked in Chinese) . However, after two months, the paper will have the same features as half-cooked Xuan Paper. This makes the paper perfect for calligraphy use. Since this paper is only made with Pteroceltis Tatarinowii and rice straw, the paper can be kept forever.
This is fine 39gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Expert Calligraphy Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2jMHyeS from Products – Inkston
product conditions: the inkstick might be broken in middle or the box might be broken. Therefore, it is not suitable to be a present. However, it functions perfectly if you or your friend want to use it.
It is this product:
#ChineseInkstickInUK
罗雁 LuoYan.
INKSTON Expert Landscape Xuan paper contains 65 to 75% Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is particularly recommended for landscape painting. This paper is thicker than Extra Fine 3338 Plus Xuan Paper.
To make the Expert grade Xuan paper the fibres are steamed/boiled and the pulp mixed for longer than usual. This makes the paper finer and stronger than normal Xuan Paper.
This is fine 39gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Expert Landscape Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2fS0r1y from Products – Inkston
INKSTON Expert 45 Xuan paper contains 45% Pteroceltis Tatarinowii tree bark, it is untreated/unsized (raw/uncooked in Chinese) and is suitable for both painting and calligraphy.
To make the Expert grade Xuan paper the fibres are steamed/boiled and the pulp mixed for longer than usual. This makes the paper finer and stronger than normal Xuan Paper.
This is fine 39gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Expert 45 Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2nMkEZs from Products – Inkston
Handmade in the most traditional way with spring water, rice straw, and 2 years old Pterocelti Tatarinowii tree barks. It takes 2 years to prepare raw materials and 7 days to make the paper.
INKSTON Extra Fine 45 (light yellow) paper contains 65-70% Pteroceltis Tatarinowii tree bark, with natural colouring from walnut skin to give the appearance of paper that has already been aged hundreds of years.
The fibres are steamed/boiled and the pulp mixed for longer than usual. This makes the paper finer and stronger than normal Xuan Paper. The paper is untreated/unsized (raw/uncooked in Chinese) and is suitable for all purposes and especially recommended for landscape drawings.
This is fine 40gsm paper, in large 138x70cm size (I sheet has a surface area equivalent to 15 sheets A4).
Available in pack sizes:
New post INKSTON Extra Fine 45 Aged Appearance (light yellow) Xuan Paper appeared first on Inkston
New! available at: http://ift.tt/2y4g79i from Products – Inkston