The Four Treasures – Ink, Yarn & Beer

Resources for Ink Painters & Sumi Artists

Over the past year or so I have gotten numerous requests about sumi, suzuri, brushes, paper, lessons, and where they may be bought. I would like to respond to people, but there are times when it requires a lot of work and time on my part to answer individual enquiries in depth. I have sent out a few lengthy emails in reply, but have received no acknowledgment back from the recipient. Other times, people have been quite demanding, asking me to do this, to do that, and while I generally do not mind helping people out, it can become a chore. So, given this, I hope that this posting will prove useful.

Let’s face it – there is a real challenge to finding high quality art supplies for traditional Asian art. Much of what art suppliers import is poor or student quality, simply because it is such a niche market. I would like to import items myself, but that takes time and energy I really do not have – there are too many other things I am interested in, as well as am obligated to do. That said, I am going to write up a bit about what I know.

Sumi Ink Sticks

Acorn Planet was a wonderful resource for good Chinese ink sticks, brushes, paper and stones. They no longer provide such items, but remain online with a wealth of information. Ink sticks from tourist shops are likely to be worthless. And, if you value your suzuri, you need to make sure you get fine quality ink. Thus, at this point, the only places I would recommend for sumi would be John Neal Books (JNB) for Japanese ink – I own many that they carry, so can vouch for the quality of the sumi by manufacturer. I have never ordered from them, but will when I want more ink! The other resource is Oriental Art Supply (OAS), which carries Chinese ink sticks, none of which I have used, but am inclined to think should be good given how great their other supplies are. Both are listed to the side as direct links.

Brushes

I think good ones are the most difficult to find. Cheap ones may be found everywhere. My preference is for Japanese brushes, but the high labor costs make them expensive. Still, as any art student is told, buy good supplies when you begin; this same adage holds here. Poor quality supplies can be very frustrating, and the fact is, the Asian brush can be an extremely difficult brush to master, especially the soft one. Western brushes are, in general, much stiffer in character, and are not as flexible as Asian ones, and do not hold on to water or paint as tenaciously.

For the beginner, mixed hair brushes are probably the best, as there is resilience from an inner core of harder hairs, which helps the Western painter, combined with an outer layer of softer hairs, which retain liquids. Because both hardness and softness are combined in this type of brush, a beginning student will be more comfortable with the brush, as well as learn about the challenges of the Asian brush.

OAS carries these in various sizes and prices. At this point, OAS is likely to be the only supplier from whom I would buy a brush sight unseen, partly because of their service, partly because I have been to their storefront, and partly because I have boughten a number of their harder brushes, and have been really pleased with them. This is not to disparage other vendors, this is simply based on personal experience.

If you are a beginner, buy a medium-sized mixed brush, but also get yourself a hard brush. These are incredible for texture and expression. Additionally, they do not retain water as much as the mixed brush, but can be so hard that you feel you are painting with a bunch of sticks! My favorite ones from OAS include the Happy Dot and Orchid Bamboo for smaller ones; and the Dragon Brush for a larger one, and the Mountain Horse for expressive lines. The Biff Brush is a kick to use and is unlike anything you will find elsewhere. Expressive calligraphy is nicely accomplished using the Cao brush, which is available in hard and soft.

Suzuri / Ink Stone

These remain the most elusive item. The last I checked, John Neal Books carried only one inkstone, the Shakyo-Ken, which I wrote about here. This stone is wonderful, and in a pinch would work well for painting, but it is quite small. Ebay is a good resource for stones; I have picked up some there which were worthwhile, and have been rooked on others. OAS has a few; I have one similar to their large round one, which I have enjoyed. Its round shape will hold a lot of ink, but lacks the flat surface and deep well a suzuri has.

Buying a stone on Ebay is risky. Some are “stones” which are really just a plaster mold, antiqued to look interesting. If you are going to buy a stone, don’t get anything too fancy, and get one with a slope and well. This is the best stone if you plan on grinding ink as you have the smooth area to grind on, and the well to collect the ink. Never buy a kit containing a stone, brushes, and inks, all prettily packaged – these are basically worthless. Sometimes the best ones to buy are used. You may need to clean them up a bit to remove old ink, and you may need to sand them down, but the quality may be had for a small price and a bit of elbow grease. If you want antique stones, check out various Asian antique sites, but beware as they may be very overpriced.

Paper

I love paper! Asian paper is quite different than Western art paper, in structure and manufacture. A major difference is the amount of sizing and thickness of the sheet.

My favorite Chinese paper I have used comes from OAS. It is their Premium Double Shuen. Expensive? Yes, compared to other papers, but I have found it has the best response to my way of painting. Chinese paper is “raw” if it is not sized, and extremely absorbent. It will make you crazy. Even the Premium Double Shuen is very absorbent, not quite as much as raw. Specialty papers for calligraphy may also be found at OAS.

Japanese paper is also different than Western paper. It may be sized, it may not be. It is also constructed with different materials. Handmade paper may be very expensive. An excellent resource for Asian papers is Hiromi Paper in Los Angeles. Their online store is quite good, and their brick-and-mortar store is a delight to wander through.

When it comes to buying paper, of course it is always best to go in and see and touch it. When you cannot physically try out a paper or touch it, if the company offers a sample packet, it can be worthwhile, as long as the papers are clearly labeled. When I buy sample packets, I usually use permanent ink to write the name on the paper – most places use pencil – but this lets me remember what it was, and if I would want it again. I consider this as “tasting” a paper – you can get really overwhelmed by too many at one time!

Color / Paints

Color pigments and paints must, of necessity, be waterproof in Asian painting. Western watercolors will not substitute as they are less intense and not manufactured to become waterproof when dry.

Tube paints are a Western invention of the 1800s (I think!). And, they are a major convenience! However, colors may also be had in the form of chips and sticks.

Colored “ink” sticks are very convenient, and can be a wonderful experience, but the drawback is grinding the pigment. You do not use your suzuri for this! Rather, a gaken (gakken?) is used. This is a ceramic dish, which may be had from JNB. I clean these after each use, so they are rather intensive to use. A separate one is best for each color. JNB carries the color pigment sticks.

Chips may be dissolved in baby food jars and stored. Chips may be purchased from OAS. Japanese companies also manufacture color chips, but I have never found them for sale in the U.S. Daniel Smith offers dry pigments, but I have no idea if they can be used for Asian painting.

Tube paints I have used for Chinese painting are manufactured by Marie’s and are very inexpensive, and can be found at many different retailers. (Just do a google search!) The tubes are sealed, and the paints have a rather awful smell, but are essential if you do Chinese painting. The palette is also limited, but good watercolorists do not tend to 50 different colors, either. The reason Marie’s are de rigueur is because, once dried on the paper, they are waterproof. The same may be said for the paint chips and sticks. Bone glue is used to bind the pigments, and it is this, from my understanding, that creates the final impermeable paint. Ink sticks are also bound with bone glue, which is why ink does not run after it has dried. Holbein manufactures the Irodori line of opaque watercolors, based on antique pigments. These colors are lovely, but I do not recall if they are waterproof or not once dried! (Think I should do some painting??)

Lessons

Unless you live in an area with an established Asian population, or artistic community, individual and group instruction may be difficult to come by. Here where I live, there is a wonderful group for Chinese painting. The instructor comes monthly. Harris Ha is very talented. OAS maintains a list of instructors you may search. Silver Dragon Studio has another list. These may be worthwhile checking out. Ning Yeh of OAS offers classes through a local community college, and sometimes through UCLA extension. In the links to the side, you will also find some artists I admire who may offer classes.

Truthfully, hands-on instruction can be the best experience, but the cost may be out of the range of your finances. Books, then, when coupled with good supplies, dedication, and time, are also very good ways to learn the art of ink painting. The internet provides us with many resources, from old books to videos. I’ve watched Kazu Shimura over and over! Making videos of my own painting has been fun, and re-watching them, educational and surprising.

Other Supplies

Asian painting must be done on a felt panel. Wool ones are the best, and can be found in varying sizes. In a pinch, flannel from the fabric store is fine to use.

A brush rest is useful as it holds the brush tip above the surface on which you are painting, keeping your work surface clean and organized.

Antique Brass Suiteki (Water Dropper) from Japan

A water source, from which small drops of water may be used to wet the ink stone, is another necessity. I use a “sucky cup” – a Rubbermaid cup with a straw that folds down – or a fancy antique suiteki, which is a water dropper. There are cheap ones available, and can be delightful additions to your studio. Water containers are also necessary, and it is best to have at least two to use – one to rinse out a brush, and a second for fresh water. This helps keep your paints bright, and your ink gradations unpolluted.

A palette is necessary for colors, and small white porcelain dishes are useful for ink gradations.

Paper towels for blotting wet paper are other useful utensils – I always keep a roll on my desk. Old, absorbent towels are also important, particularly for blotting excess water or ink from brushes before touching them to raw paper.

Some artists recommend using a blow dryer if your paper is too wet. This may be good for a beginner, but ultimately, it should not be used. The heat could change the chemicals of the pigments, I’ve been told, but the real reason for not using a blow dryer is that dependence on it is not a good thing. As an artist, mastery of your craft includes learning the quirks of the media.

Because Asian paper is very thin, paperweights are essential for holding the paper in place. Also, long sheets need to be moved along if they are on a table, rather than the floor, and paperweights help keep large sheets from blowing around in a breeze. Long ones are great for the top and bottom of a sheet, or along the length. Smaller ones are good for corners, and can range from the whimsical to elegant. Rocks are also useful as paperweights, and if you walk along the beach or river, some very lovely ones can be found. Do not disregard the value of paperweights – the first time your paper pulls up and sticks to your brush, ruining your stroke or painting, you will understand their importance!

Finally, brush holders are a necessity. There are some beautiful hangers for Asian brushes. These are excellent for use when drying your brushes after use because the water will not drip into the handle and dissolve glues holding the bristles in place, nor cause the wood or horn to rot, weaken or disintegrate. Personally, I do not have one, but rest my brushes on their sides after rinsing and drying with towelling. I have a piece of wood and screw-in cup hooks I keep meaning to put together for the same purpose. Storing dried brushes is easy enough – just put them in a jar, tip up.

Summary

I hope that this helps out all you inkophiles out there! If you have any resources which you would like to share, please let me know. I’m always looking for good, reliable resources.

Ogatsu Suzuri

Some time ago, I wrote about Ogatsu stone, which is found in Japan. It is a a dark grey stone, nearly black in color, easily carved and used for many purposes. Ogatsu stone is famous for suzuri as it is a dense stone with low porosity.

A characteristic of suzuri carved from Ogatsu stone is that the outer borders and edges of the stone often are left as natural as possible. The well is smooth, with an area for the making of sumi, and a deeper area to store the ink. Touching the surfaces smoothed for ink making, it is an incredible soft feeling, very smooth without any sense of roughness beneath the fingertips. Outside the well, the stone is smoothed, but the texture of the stone is allowed to come through. The sides are rough, as if chipped away with another stone, but then smoothed over, enough to preserve the ripples in the slate, but not to be unpleasant or rough to the touch.

This suzuri is in two parts, a lid, and a stone for grinding and storing ink. The lid is an extension of the stone from which the suzuri is carved, and simply rests on top of the the stone. The weight of the lid helps prevent it from moving off the stone, but, unlike the boxes of Chinese ink stones, this one can slide, and a small disaster could certainly result if it were to fall to the floor!

The length of the stone, including the lid, is about 7.25 inches (18.5 cm) and 5 inches (12.5 cm) at its widest. Total weight of lid and suzuri is about 2.5 lbs.

Every stone has its own characteristics. Japanese stone differs from Chinese, from what I can tell, in that it is less porous than Duan or She. It takes a bit more effort to make sumi with the Japanese stones I have, but not in a negative way – it is simply a different experience. Fine stones from both countries are definitely worthwhile purchases, as are professional grade sumi sticks.

The Four Treasures: Ink, ii

This really is my home-made video debut. For my birthday, I got a Kodak Zi8. I’ve never shot a video in my life. It’s been in the back of my mind for some time to try to create videos on various subjects, in particular those related to sumi ink painting. I’ve long admired a number of ink artists, and have learned a lot from watching their videos. So, I decided to make a video today, just to see what I can do. Already, I know that what I have done is incredibly amateur, but for a first try, I decided to go ahead and post what I’ve done. Just making the videos gave such a greater appreciation for the thought which goes into a good one, as well as having good editing software. The Kodak Zi8 comes with MediaImpression for Kodak, by ArcSoft. I’ve managed to add a title and an ending to the file, but nothing else. What you see is really unedited footage!

The Art of Grinding an Ink Stick

Many authors of Japanese and Chinese ink-painting books will tell you that while you grind the ink on the stone, with gentle motions, it is a good time to collect oneself. I agree. I like to take my time, listen to calming music, and relax. Focusing on breathing helps – in, out, in, out – slowing down. Given the permanency of every ink stroke in sumi, it makes sense to calm down, to control one’s energy, and to take time to become centered. Breathing helps. I know that if I start out feeling stressed, my painting is stressed, tight and unhappy. Grinding ink is a period of transition.

Making the Video

Well, making the video was a pain! At first the camera was too low, and the field of vision too narrow. I had to build up the height of the camera, and retrain its focus. Looking at the video, certainly lighting needs to be improved, and the camera should be coming over my left shoulder, and lighting needs to be less yellow (maybe use the no-light setting!?!). Shadows need to disappear.

Purpose of the Video

Show the ink stone, with water
Demonstrate the ink stick
Demonstrate the upright position of the ink stick, and the motion on the top of the stone, as well as pulling the water up from the well of the stone, to continue the grinding process
Show the creation of dark ink, show the creation of medium ink, and the creation of light ink
Show through the time of the video that grinding ink for sumi does take time – it’s not something poured out of a bottle.

The Video

Let me know what you think! Try it in HD and full screen, too.

The Four Treasures: Brush, iii

As you know by now, the Asian brush is differently constructed than the Western brush, and its usage has its own traditions. Calligraphy and painting are considered to be the same, if you base it on language; it is my understanding that “writing” and “painting” have the same verb in Japanese. And, as in Western cultures, a refined hand in writing was believed to reveal the character of the writer.

Calligraphy Brushes on Either Side of a Paint Brush

Calligraphy Brush vs. Paint Brush

Calligraphy can be done with a regular brush, but perhaps not as easily. This picture to the left will show you two calligraphy brushes, which are on either side of one of my favorite paint brushes. The noticeable difference is the length of the bristles – the calligraphy brushes are have much longer ones than the paint brush. Still, you could use the center brush for calligraphy, but there is more movement to be had when using the calligraphy brushes. If you recall the video in the previous post of Koji Kokinuma, the brush he uses has long bristles – he makes beautiful thin to thick, flying whites, and graceful curves. Close observation shows he changes the brush position as he moves along, twirling the brush in his hand, besides angling his wrist or tilting the brush from the perpendicular.

The brush to right, with the dark bristles, is a “hard” brush. This means the hairs are less absorbent, and thus, less ink is held in the bristles. This kind of brush must be refilled more frequently than a soft haired or mixed hair brush, but one of its great qualities is a vibrancy it gives to the lines – sharp, direct, with flying whites as the ink is used up. Dark bristles indicate a hard brush.

The next brush, with the white hairs on the outside, and darker hairs on the inside, is considered to be a mixed hair brush. This kind of brush has lighter, white hair for increased ink capacity, as well as a fuller, rounder body when the brush is pressed into the paper. The harder center allows for a sharper point. This kind of brush can range from a razor thin line to a plump one with very little pressure difference. Angling such a brush can give a very rounded shape to the stroke. If the bristles were all white, then the absorbency and softness of the white hairs would be a dominant feature.

Setting Up for Calligraphy or Painting

I am right-handed, so this is how I set up my desk for painting or calligraphy. As I am learning hiragana, I am more interested in memorizing the kana than being artistic, but the fact that kana developed in a culture where the brush, not the pen or quill, was the writing implement, the structure of the kana is derived from brush strokes. Anyone who tries this will understand what I mean – a chiseled Roman capital will not happen with a calligraphy brush!

When it comes to practicing kanji, the form and structure of the character is designed to fit into a square. As you can see, the mosen, which is the felt upon which one paints or writes, has squares with diagonals. Sometimes the squares can be set up like a 9-patch quilt, with 3 x 3 grid. The purpose of these squares is to allow the calligrapher to center the characters within the squares, creating a balance and structure which allows the beauty of each to be seen. Notebooks from Asian countries often have vertical lines to keep characters neat, just as we have horizontal lines in our notebooks. Messiness has its place, but illegibility is not desirable.

Practice calligraphy paper is very thin. This allows the lines to be seen through the paper. This paper is also very absorbent, so before writing, excess ink is removed on the edge of the suzuri, and sometimes even blotted on towelling. If you look at the towels in the photo, you will see a lot of ink stains, from blotting the ink stick after rubbing, and from blotting the brush tip as well. I use the same towels over and over again, and find that cheap, terry dish towels are fantastic. The more I wash and bleach them, the more I like them.

This next image is from the book Chinese Calligraphy, by Qu Lei Lei. Here you can see the 3 x 3 grid for the character, as well as one like the one I use. You will also see how beautiful the character is, nicely balanced within the square. My own attempt is rather short and squat, and lacks the quality of Qu Lei Lei’s example. If you are a serious calligraphy student, Chinese Calligraphy is especially nice because the details of dots and lines is far more than what many books will teach. They may look easy, but they are not! And, it takes practice – my work needs a lot of help!

See what I mean? Homely as it is, it does show how the mosen is used with the paper to help center and balance the calligraphic character, and help create the vertical, horizontal, and diagonal lines. The absorbency of the paper I am using also presents a challenge because bleeding of the ink is very common! When you can do this without the mosen, you will have accomplished quite a bit.

And finally, here is my practice hiragana. In the upper left, you can see how nicely the grid helped center the kana. On the lower right, you can get a good sense of the absorbency of the paper – thick black lines for some kana, to thin, sharp lines as I used up ink.

I used both calligraphy brushes shown above, preferring the mixed hair brush for the smaller practice. I also used some very fine brushes which had maybe only 10 bristles in them. I liked the softer, longer bristled brushes, as I thought the movement of line was more readily accomplished, with smooth transitions from thin and thick and back for the kana, but if I wanted a rugged effect, a hard brush could be quite the right tool for the job.

Brushes are incredible inventions, for all their seeming simplicity. At a future date, I will write more about the manufacture of Asian brushes!

The Four Treasures: Brush, ii

Quite some time ago, I wrote about brushes used in Asia. As I am beginning Saturday morning Japanese language classes, I am in conflict with time and distance in being able to attend my Chinese painting class. I’ll just have to figure that out later. However, the fact that I am learning hiragana, my preferred practice method is the traditional brush since I enjoy it so much. It is also said that the strokes used in Asian calligraphy are those used in Asian painting. Given that, I thought it would be worthwhile to review elements of holding the brush.

Holding the Brush Is Not the Same as Holding a Pen

When I was in school, penmanship was an important part of the daily curriculum. I practiced my penmanship from first grade through the eighth. My third grade teacher shamed me by saying “Any one who draws as well as you do should have good penmanship.” Ooops! In eighth grade I won a penmanship award. Over the years, I’ve collected a few manuals on the Palmer Method of penmanship, which is the basis of much of what I was taught in school. Today, penmanship has been replaced by other methods of handwriting – you might find this article amusing if you remember your penmanship classes.

Enough digressions. The fact is that Western culture teaches the student to hold the pen at a slant. These scans from an old Palmer Method manual show what I mean. Additionally, the writing surface is also at a slight angle, tilting gently toward the writer’s lap. Paper is also angled, so that an uphill slope is created for writing left to right.

Illustrations from various books, published in the US, Japan, China and elsewhere demonstrate how to hold the brush. Rather than the slanted wrist resting on the table, the brush is held perpendicular to the writing surface, which is not at all slanted. The forearm is held rather straight, yet relaxed. The brush may be held close to the bristles, or anywhere along the handle, all the way to the top. The paper is also straight, with the idea being writing is vertical, and there is no need for the paper to be slanted.

Holding the Brush

Hand Position

To the right, you can see how to hold the brush. This illustration is from a Japanese book on sumi-e painting, and unfortunately the only thing I know about the author is that her name is Kuroda san.

According to H.E. Davey, author of Brush Mediation: A Japanese Way to MInd & Body Harmony,

Grip the Brush Gently and Focus Your Ki through the Brush Tip

Physically speaking, shodo [Japanese calligraphy] begins with the student’s grip on the brush. Unless a suitable technique of gripping is mastered, no advancement is possible . . . First, your elbow should not stick up or out to an excessive degree. This would only create an unsettling of the arm’s weight a s well as produce tension in the muscle of the arm and shoulder. This tension can cause your flow of ki to clog in the shoulders and not be effectively transmitted through the brush into the painting. This point is important, and various Japanese calligraphy authorities have made note of its significance.

At the same time, do not let your elbow sag or droop . . . when your elbow sags heavily toward the ground, it also tends to rub against the body and produces a cramped feeling that is expressed in your in your artwork. You should feel that your elbow is floating in a settled position a few inches from your body. (pgs. 76-77)

Sitting with the Brush

In my opinion, one of the very best books on sumi-e is Sumi-e Self Taught, by Kohei Aida. No longer in print, you might be able to find it through an online used book service; if you are interested, it was published in 1968, by Japan Publications, Inc., of Tokyo, Japan. The text is in English, which is very helpful. The best part of the book is that he shows the artist how to load the brush, how angle and roll it on the ink-water dish’s edge, and many subtleties not illustrated in most English-language sumi books.

Aida san shows how to sit in a western manner (upright at a table) while holding the brush. H.E. Davey’s book, Brush Meditation, also has several photos on posture and sitting.

Going back to my blurb on knitting, posture, and pain, I suggest that you concentrate on sitting upright and focus on bringing your shoulder blades back toward the spine. Don’t arch your back, but focus on a gentle backward movement of the shoulder blades, and a focus on a plumb-line approach to your spine. If you are sloppy like me, this will be unfamiliar, and uncomfortable because you may not do this naturally, and your muscles will not be happy. However, with time, it gets easier – I’m actually remembering to do it, and occasionally find I’m still upright later on . . .

In this position, you can move your arm as well as your wrist. Tighter movements will be done with the hand closer to the bristles, while holding the hand at the top of the brush gives a wonderful looseness in the stroke. In calligraphy, I expect these same results will apply. If you look at my post about painting the dragon you will also see that the brush can be held at different angles – sideways, for example. Aida san’s book demonstrates the same.

Movement of the Brush

This illustration to the left, from Aida san’s book, shows how the brush may be tilted to achieve a brush stroke while painting. The hand and wrist may also be tilted to create curves, pressure may be applied at the end of the stroke, and gliding motions similar to an airplane landing and taking off can make thin-to-thick line, and vice versa. Ending a stroke with increasing pressure will also create a certain effect.

The Charles E. Tuttle Company has published wonderful art books about Japan. One book which has been in print since 1960 is Japanese Painting as Taught by Ukai Uchiyama, Kay Morrissey Thompson. The reason I mention this is because the next picture is for the artist sitting on the floor, in the traditional manner, to paint. At the same time you can see that the brush is being held very near the top of the handle. Looking at Uchiyama san’s work, you will notice a very loose, wild style which is, nonetheless, very controlled and lively. Mastery of the brush allows for this, and perhaps sitting on the floor adds to the process.

This detail of the photograph shows you how Uchiyama san holds his brush – just the same as Aida san, simply closer to the top of the handle. Practicing this yourself will help you understand the quality of stroke and control obtained by holding the brush at different levels along the handle. Certainly the closer your hand is to the bristles, the more minute control you have. Shoulder and arm movement are more restricted when in this position. Freedom and spontanenaeity increase with distance. However, without a knowledge of how to use the brush, this can be a study in frustration! So, focus yourself, breathe slowly and deeply. Imagine your energy flowing out of the brush tip – your ki – and with practice, your brush may dance with your soul.

Artist in Action

Once more, I believe videos can clearly demonstrate something which is difficult to explain with words. This video will show you how to hold a Chinese (or Japanese, or Korean, or whatever!) brush for calligraphy.

The following video is of the young Japanese artist / calligrapher, Koji Kakinuma. In particular, watch how he changes from thin to thick lines, as well as how he tilts the brush at different angles; you will observe this by observing the brush tip. When the brush is perpendicular to the paper, the tip must be considered to be the center of the line. Tilting the brush, increasing and decreasing pressure – sometimes all combined – vary the appearance of the stroke. Notice, too, that the bristles in the brush are longer in length than a painting brush. Soft, hard, and mixed-hair brushes may be used, each having its own qualities.

Finally, here is a video about the difference between calligraphy brushes and painting brushes.