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Yes, there are some common practices to mix colours. I made some examples for your reference. Later, inkston will write some articles on this subject.
The last colour of each colour row is the result of mixing the colours on left hand of it. Some colours are mixed with two colours, some are three, and others are four or even five.
Hi Raz, yes, I think I sort of know what you want now. Do you have any particular dimension you need?
In fact, you know you can also make it yourself. 🙂 This would be more economic and even more suitable for your needs. If you know how to mount paintings, personally I would recommend you to do it yourself. 🙂 You need to get mounting papers, mounting silk, mounting glue, and tapes. How do you think?
You can also check this article,
Hi Raz, yes, I think I sort of know what you want now. Do you have any particular dimension you need?
In fact, you know you can also make it yourself. 🙂 This would be more economic and even more suitable for your needs. If you know how to mount paintings, personally I would recommend you to do it yourself. 🙂 You need to get mounting papers, mounting silk, mounting glue, and tapes. How do you think?
You can also check this article,
And, learning landscape painting by observing and copying famous landscape paintings is also a very good way to learn these artists’ special techniques.
For example, Tang Dai’s landscape paintings.
Dear hanayama, thanks for sharing these books! They are really nice! 🙂 We have The Mustard Seed Garden Manual of Painting for sale in our shop too. The first volume is landscape painting tutorial.
Chieh Tzu Yuan Manual of the Mustard Seed Garden 芥子园画传 single book
Dear Raz,
This is Yan. Thanks for your question! I think you are talking about the mounted roll, right? One side is mounted with silk while the other side is xuan paper. If it is this type, then we have different sizes available. Do you have any more specific requirements? Then I can send you some photos. 🙂
In Spain, people use rabbit glue. You might be interested to contact artist Pepe Valera. He will be happy to discuss with you. 🙂
ooops, someone from inkston again.
apply glued water on finished paintings. And then paint again. and then apply some glue. You can repeat this as many times as the painting needs. Do the adjustments yourself.
Go to Inkston facebook page and you will find more answers. 🙂 https://www.facebook.com/groups/inkston/
Please try Castor oil. Sometimes, white sesame oil is also added in the Castor oil. Add oil to rescue the seal paste needs to be very careful! Never add extra oil to the seal paste. Otherwise, the it will get too much oil stain.
Nevertheless, I feel the seal paste in your picture doesn’t seem to be dry.
许渊冲 Xu YuanChong has wonderful translations of ancient Chinese poems. Inkston definitely loves his translations most and would like to recommend his books to all who love Chinese arts and literature. He was also nominated for the Nobel Literature Prize.
https://www.inkston.com/shop/art-books/song-lyrics-paintings/
Nice comment from facebook:
Meredith McPherson The rough and smooth sides of raw single xuan can be subtle in their differences. I like to write calligraphy on the smooth side since it allows the brush to move faster and more freely. Wet mounting is basically pasting two pieces of paper together. From a physical perspective, paste will adhere better to a rough texture than to a smooth surface. For that reason alone, I apply wet mounting paste to the back rough side of the painting and adhere the wet mounting paper’s rough side next to the painting’s rough side. That is … rough side to rough side for best adherence. Any other ideas on this?
Weasel hair brush is a very good choice for any levels. They are suitable for regular script 楷书 KaiShu, cursive script 草书 CaoShu, semi cursive script 行书 XingShu, and Xing Cao 行草 which is script between cursive and regular.
- 小楷 small script is 3 – 5 cm calligraphy: brush hair is around 2.1 * 0.5cm.
https://www.inkston.com/suitable-for/%E5%B0%8F%E6%A5%B7-3-5-cm-calligraphy/
- 中楷 medium script is 3 – 7 cm calligraphy: brush hair is around 2.7 * 0.6cm.
https://www.inkston.com/suitable-for/%E4%B8%AD%E6%A5%B7-3-7-cm-calligraphy/
- 大楷 big script is 3 – 9 cm calligraphy: brush hair is around 3.1 * 0.8cm.
https://www.inkston.com/suitable-for/%E5%A4%A7%E6%A5%B7-3-9-cm-calligraphy/
- 寸楷 large script is 5 – 11 cm calligraphy: brush hair is around 3.6 * 1.2 cm.
https://www.inkston.com/suitable-for/%E5%AF%B8%E6%A5%B7-5-11-cm-calligraphy/
Hi riekjecares, after consulting a couple of mounting masters in China, here we got the reply: there is no specific requirement on which side. However, it is quite common to use the smooth side out while keep the rough side in for the painting heart.
I am not sure the reason behind this practice. I have checked some mounted paintings and found the smooth side seems to be on top always.
Hello Tikhon, thanks for your post! We have written one article on traditional mounting method. You can have a look at it:
In this article, we have also cited the video clip from the British Museum. It is a very good example of mounting. We do not recommend silicon paper at all because this silicon layer makes it impossible to maintain and repair the painting.
We would recommend you to learn how to make natural glue with flour. You can find some discussions on this topic in the forum. These discussions have provided very good tips on how to make flour, what is the alum powder for glue, where to find alum powder, etc.
For the basic materials, you can refer to the article we have just mentioned. For any specific question, please post it here. 🙂
PS., sorry for missing your question. And we will come back to you more quickly.
See more replies on Inkston´s facebook group discussion:
Тихон Самарцев In general, probably, there is no sense in starting to cut out if the pattern is not good or does not like something (when the zhuang failed). It takes me a lot of time to draw a drawing, I have to erase and redraw a lot of times, so when the seal is ready, it’s a pity to destroy it. Although, indeed, it sometimes happens that the seal ceases to like over time, a couple of times I was sewing up old seals …
Inkston There are special practice stones for people to learn the carving which include mastering the pattern too. 🙂 The practice stone is mostly Qing Tian stone. This stone has different grades and you can just choose the cheapest type to start with. If you make a mistake by accident, you can simply erase it with a sandpaper.
Inkston Just another small idea to share. For the pattern, Zhuan Script is the most classic type for sure. There are a lot of books and dictionary to help master the pattern design. You can make a copy first on the stone surface and then fix the stone on a carving ‘station’ （*it is a small wood box to help fix the seal).
Тихон Самарцев Copying … if to say in general, it seems to me not quite right, because after all these things are interesting because they are copyrights, there is a lot of that person who does this, it seems to me important not to lose it at all stages of work above the seal. On the other hand, personally I would gladly use books and dictionaries, but unfortunately I can not find and buy something that could be read. So, basically, Uncle Hansi helps me)
Inkston Тихон Самарцев get an album of ancient Chinese seal designs and copy them is a very common learning practice in China. 🙂 When you copy the classic designs, you learn and develop your own style.
