The Painting Surface (paper)

The Painting Surface

With all the tools now assembled, the paper must be selected and then all the ‘four treasures of the studio’ will be ready and painting can begin. Chinese paper is available in many qualities and kinds. It was originally made from the bark of trees and old fishing nets, but is now made from rice-straw, reeds, wood pulp, etc. Some papers are sized and treated with glue, others are not. Altogether there are many types of paper with different levels of absorbency.

This absorbency is an essential quality of the paper. Individual papers – rice paper, mulberry or bamboo –react differently to the brush strokes, so the painting surface can have a determining effect on the style of the painting. The technique of the brush stroke is affected by whether the paper surface is rough, smooth, dull or glossy, more or less absorbent, so the techniques required many include a quicker brush stroke, a drier brush than usual, greater control of the ink, thicker brushwork and a more all-over style.

Sized paper allows for slower brushwork, as the ink does not run so quickly and it is also fast drying. Therefore, fine, detailed work is easier to accomplish on this type of paper.

Practice enables the painter to find out exactly how the brush and ink react with each different paper’s absorbency. Since there is still a considerable amount of individual work required in the making of Chinese papers, the same type of paper may react differently with each different batch supplied. Even the weather, be it dry or humid, can effect the reaction of ink on the paper surface. The painting paper, however, must be placed horizontally on a flat surface and held down by thin, flat weights. Underneath the Chinese paper, an absorbent layer, such as blotting paper or newspaper, is placed to take up any surplus ink.