Reply To: Meeting other painters

Hi Raz,

Yes we can certainly add extra forum for chat, actually people are welcome to chat on any of the forums.
The difficulty we have is persuading the people already on Facebook to come to the forums: the Inkston “Chinese fine art and craft stories” Facebook group already has over 2,000 members, many of whom have made contributions, so that chat is quite active. If people are already on Facebook it’s easy for them to keep up with the group, but much fewer actually leave Facebook to join in the forums.

We would also like to know, where can we find the art lovers who are not on Facebook?
Actually we do know a few but mostly they don’t like to use computers too much so they don’t visit too often either…

And we share all forums posts automatically on Inkston facebook group. Your paintings are always very popular. 🙂

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Meeting other painters

Hi, Yan, i was wondering if you could start a page for other artist and painters to correspond with each other from all over the world it would be great to talk to other people who do Chinese brush painting I do not belong to facebook so I do it this way by asking if you could start something like that I feel it would be great to talk to other people like your self and to make friends also how about a page for Chinese poems.

Your Friend Raz.

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Gold fish in pond.

Hi, all painters this picture was done on inkston circle paper already mounted. I feel this pre-mounted paper was really nice to paint on it has good water response to the paper and nice color absorbed to the paper.

Raz.

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Técnica en Español

Una serie de artículos de Omar Tegaldo publicado por el instituto confucio:

Principios estéticos de la pintura tradicional china (I)
la pintura tradicional china cuenta con una serie de constantes estéticas que le confieren un carácter particular y lo dotan de una personalidad diferenciada.

Principios estéticos de la pintura tradicional china (II): La importancia de los espacios vacíos
La pintura tradicional china atribuye a los espacios vacíos un papel más significativo que cualquier otra cultura.

La vitalidad. Principios estéticos de la pintura china tradicional (III)
La vitalidad es el primero de los seis principios estéticos de la pintura tradicional china que Xie He estableció en el siglo VI. Según esta regla, en una pintura el artista debe generar “un tono y una atmósfera semejantes a …

El trazo. Principios estéticos de la pintura china tradicional (IV)
El trazo es la piedra fundamental sobre la cual China desarrolla su pintura. Artistas de diferentes épocas y temperamentos dan cuenta en sus obras de las múltiples posibilidades expresivas del trazo, desde sus vertientes más contenidas hasta sus manifestaciones más …

Las técnicas del pincel. Principios estéticos de la pintura china tradicional (V)
Los expertos en pintura china distinguen tres tipos de técnicas de pincel: Gōngbǐ, Mògŭ y Xiěyì. En este artículo analizaremos estas técnicas asociadas a las modalidades del trazo dentro de la pintura tradicional china.

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Reply To: how to flatten wrinkles on Xuan paper before painting?

Hi,

I buy distilled water which is very cheap, and I use it for making glues/pastes as well as for spraying or mixing colours. There are no chemicals in it compared to tap water.

I found misting the paper and weighing it down works very well – and I have ironed it too! For ironing, I mist it very lightly and put a clean towel on top of the painting, then use a dry iron (not steam). Then I weigh the paper down using clean dry paper on top, followed by a board with books or other weights.  A sheet of plexiglass is also great because you can see the paper underneath to check it.

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Reply To: Color background

Hi,

Yes, using tea is quite lovely for colour.  I think the same applies to most natural colours created from organic materials, and I don’t believe one should limit oneself to ‘rules’.   I have done a few background washes for effects. It depends on the subject matter.  My first attempt came out quite well – because my subject was very simple – just a single character for ‘autumn’, done in a cursive style.  So I did a watercolour wash in a typical autumn colour (a warm golden) on the back of the painting using a wide soft brush – the softer the better as it won’t streak – western style brushes can work as well. There is a technique to applying a wash – slow and steady is key, particularly on very thin paper!  I mist the paper first so that the whole piece is wet, but not soaking!  The secret is that since you are using a watercolour wash, which by its very nature already quite diluted, you don’t need to overwet your paper, which will make it difficult to avoid tearing it.  Your brush is also wet prior to starting – and again, just damp. You will further dilute your colour if you use a brush that is soaked in water.  I start by carefully and lightly touching the colour down and moving the brush horizontally – and don’t switch movements – i.e., keeping going in the same direction all the way down and try not to wash over an area twice. Avoid ‘layering’ which will make some areas darker or possibly create streaks.

PS I always do a test run first – that way if my colour is wrong, or whatever, I don’t have a bad surprise. For the record, I have torn the paper by going too fast or using too much pressure.  But it’s fun, can be really exciting and it’s a great learning experience. Good luck!

 

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Reply To: Orchid and bamboo brush (wolf), plum blossom brush(wolf-drawing)

You’re always welcome! 😀 Thank  you for all these nice discussions!

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Reply To: How would i paint my name in Chinese grass style calligraphy.

Nice! I would also like my signature in Cao Shu *cursive script but I don’t know how to do it. Ah, let’s wait to see if anyone can help us out! 😀

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Reply To: "SU" ink vs Fresh ink

Hello! glad that finally this is noticed by someone. 🙂 Su Ink is called 宿墨. The great Chinese artist 黄宾虹 Huang Bin Hong used this special technique for most of his paintings and he is also famous for this style.

Our friend Wang Zirang, a famous artist in China, follows 黄宾虹Huang Bin Hong’s style. You can read our interview with him. In this interview, he talks about this special technique.

Su Ink painting tips: http://ift.tt/2yA0iHR

Wang Zi Rang’s gallery:  http://ift.tt/2g6BGOZ

As for me, I tried to make some ‘overnight ink’ myself but I have to say I don’t like the smell at all. I use Old Hu Kai Wen’s high grade natural inkstick to make fresh ink and then left it in reservoir for a couple of days. It smelt bad later because the glue used for making these high end inkstick is animal gelatin. I think this caused the bad smell. And the ink itself is very thick and dark. It is nice. I just do not enjoy the smell. :p

 

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Reply To: Calligraphy next to painting.

great! The white space is my favorite element of Sumi E art! Emptiness speaks everything.

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Reply To: Calligraphy next to painting.

Just my opinion:

Coming from a different tradition,  I learned that this is very subjective – whether to add text or not really depends on the nature of the painting. Of course at a bare minimum, there is always the artist’s seal and/or name, but whether to add calligraphy in the form of a poem or dedication is connected to the intent of the painting.   Also, and most importantly, we are always working with yohaku, or white space – which is part of the painting and must be in harmony with the whole.  It has been said that ‘the unpainted part is the most difficult’.  I believe that to be true. I have one painting that I want to add some calligraphy to, but have yet to decide on style.  This one is a personal expression so my text will be in the form of a short poem.

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"SU" ink vs Fresh ink

Hello,

I was always taught to make fresh ink, because to use ‘old’ ink is to use ‘dead’ ink.  I’ve read on the site that there is a technique called “Su” ink or overnight ink, where ink is used the next day. What is the purpose or thought behind this?  Does the ink age enough overnight so that it is a different colour or texture? I am really interested to find out. Thank you.

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