8th September 2017 at 5:38 pm #14321
9th September 2017 at 10:36 am #14381ThomasParticipant
What kind of paper and what kind of colour?
If you mean ink on xuan, it is almost impossible to get it homogenous because of paper warp.
It might work with a full bath in dyed water, tea, coffee, or similar.
9th September 2017 at 11:39 am #14418
Perhaps a background wash might work better on double-layer or triple layer paper, or the card-mounted papers – otherwise choose pre-coloured paper as many of the card mounted and decorated papers are already coloured.
Single-layer raw xuan paper isn’t intended for wash style techniques, the best one could do would be a full bath as Thomas suggests.
9th September 2017 at 4:39 pm #14428
9th September 2017 at 5:28 pm #14448
Thanks, any text or demo video on how to do the background wash? I want to try with natural pigments such as coffee, tea or beet. regards
9th September 2017 at 5:32 pm #14462
9th September 2017 at 11:18 pm #14469ThomasParticipant
There are a few tutorials about coffee or tea dyed paper on Youtube. They use ordinary paper and are fairly easy. But if you use xuan paper you have to handle it extremely careful. The slightest pull on wet xuan paper will result in a rip. I usually handle wet xuan paper on a sheet of acrylic glass, so that I don’t have to touch it at all. It is tricky though. Slightly better is to use wenzhou paper, which is tougher due to its longer fibers. If you want your dyed paper flat and even after dying, use a large ironing press, that fits your paper size. I have found one that accomodates 30 by 60 cm and got it cheap from ebay. Good luck.
- This reply was modified 3 years, 10 months ago by Thomas.
10th September 2017 at 12:39 am #14477
There are lots of videos on Suminagashi, although that technique is not intended to create homogeneous colour.
Regarding the strength of the paper when wet as Thomas comments, the grade of paper will make a difference: Wenzhou and Xuan papers use different types of tree bark, however the proportion of bark fibre also varies a lot: the highest grade Xuan paper is 85% bark whereas some papers are 8% or 16% bark which means they are >80% rice straw.
10th September 2017 at 11:35 am #14505
<i>Thank you very much! ? </i>
11th September 2017 at 4:37 am #14534
David Reid suggested,
I turn the paper over when its dry and apply from the back ….and leave to dry
if I need to then work wet in wet I put another sheet of paper over the work and turn
the great japanese woodblock artist Munakata painted the colour from the back
i have ‘worked both sides for some time
11th September 2017 at 4:38 am #14541
I place the painting facing the table. Spray water to relax paper let it rest for few minutes. Apply the color with a wide hake brush. Top to bottom for even color. Place to dry on top of a flat newspaper. It can be repeated as dark as you need.
11th September 2017 at 4:39 am #14548
Virginia Lloyd-Davies suggested,
I think the mistake here is thinking that it is possible to get a homogenous background color at all! When I am creating a background color – say in a lotus painting or a landscape – I first spray the paper with water and then with a hake (wide) brush I add a light color. The color can be applied several times, which helps to give an even shade. Adding this color to the back of the paper rather than the front of the paper will give the smoothest color. Always be sure to saturate the paper with water first. Hope this is helpful.
11th September 2017 at 4:44 am #14556
Still a spraybottle works the best. Bút: spray on the BACKside of your paper…..By the way: my teacher always told me that a ‘washing’ does not have to be quite so homogenious. She always said: the lines that you see in the washing make the painting vivid and pure…
25th September 2017 at 9:16 pm #14981RaggedyBirdParticipant
The peculiarity is this…
Traditionally Chinese Paintings did NOT have a coloured background. Rather the hue of paper would allow some degree of mood swing on content painted.
The westerner always paints in the details of what was in the background of the painting, a church, some trees, a blue sky and some clouds but the traditionalist doesn’t add these elements
Some of the beauty of real traditional Chinese art is that it isolates the subject without a background no matter what the background.
Otherwise the question is a complicated one.
To colour the background depends on the type, thickness, age, resistance to water, fibre type and size of the paper used and then the colour required, its paint substance, the viscosity, the acidity of the water, the density of the mixture and on and on and on.
In art there is no recipe that’s universal.
You experiment as we all do.
And even then, this week it looks one way next week another because weather changes, humidity changes, speed of drying, and so on.
The PERFECT way? you nee an airbrush and paint solution that will work through it. This way the mist is so fine it will discolour the paper without droplets and without tide-line.
Be confident. Anything goes. This is art. Not cake baking. 🙂
26th September 2017 at 1:43 am #15010
Yes exactly… and there are some papers of different hues such as the walnut aged appearance:
and the decorated papers: https://www.inkston.com/stories/guides/mounted-xuan-papers/ which are also quite traditional – that is to make use of a coloured background, not necessarily that background detail should be painted.
I also like the pictures where the background is entirely implied: https://www.inkston.com/stories/art/waina-%E8%96%87%E5%A8%9C-calligraphic-wildlife-painting-gallery/#&gid=psgalmain&pid=1 or suggested with a stroke:
Other times, other styles a background is needed and that can be great too…
2nd October 2017 at 8:33 pm #15217riekjecaresParticipant
I did a background with teawash (book nan rae) 5 tea bags in a cup. At the back of the paper first only with water next the teawash, both with a wide brush. I put a glass on the painting for the sun. It came out beautiful.
9th October 2017 at 10:11 am #15444
beautiful! I just remembered that Neil (our friend) told me that he likes using tea to get a special colour background for his papers. I like his birds and flower paintings.
9th October 2017 at 4:16 pm #15529hanayamaParticipant
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!
12th October 2017 at 8:01 pm #15687riekjecaresParticipant
I hope i did it right, if it works, this is a video from Nan Rae, about a misty backgound.
30th October 2017 at 8:58 pm #16015
thank you very much
7th November 2017 at 8:33 am #16437
7th November 2017 at 4:08 pm #16450
Gongbi master Huang GuoHong replied: sometimes I need to use a lot of paints for large scale painting. However, almost all Chinese paints are in small portion. Especially the professional paints from Jiang SiXu Tang. In order to speed up the paint preparation, I sometimes also use Acrylic paint for large scale colour application.
Nevertheless, only very few Acrylic paint colours are suitable for painting on Xuan Paper. I have tested almost all the colours and found only very few types. I suggest you test the colour before you use it to paint on Xuan Paper.
9th November 2017 at 5:57 pm #16532nataliasanchezfuentesParticipant
<p style=”padding-left: 30px;”>Que bonitos los fondos de color.</p>
Tomare nota, e ire practicando.
Muchisimas gracias por tan buenas ideas!!
10th November 2017 at 3:13 am #16562
¡Gracias! Sin embargo, usamos principalmente inglés en este foro. Aunque hay traducción automática, no siempre es precisa. También publicamos artículos en nuestro sitio web.
Por ejemplo, creemos que podría estar interesado en este artículo ya que acaba de comenzar a aprender este arte. En este artículo, el artista chino habla sobre conceptos básicos sobre la pintura china. También habló sobre sus técnicas especiales.
Estos artículos están escritos por nosotros y están bien traducidos al español. Cada mes, vienen nuevos artículos. Espero que los disfrutes!
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