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In Japanese art history, numerous masterpieces—from Buddhist paintings and hand-painted Ukiyo-e (Nikuhitsu-ga) to modern Nihonga—radiate a uniquely profound beauty by being painted on a specialized substrate known as Eginu (painting silk).

In Japan, where silk has long been used as a support for painting, unique expressive techniques leveraging its inherent characteristics have evolved alongside its elegant texture. To fully unlock the potential of Eginu and bring a beautiful artwork to life, a thorough understanding of proper preparation is essential.

This article explores the captivating appeal and expressive techniques unique to Eginu, while providing a detailed guide to essential preparatory steps such as stretching the silk onto a wooden frame and applying Dosa (sizing). Furthermore, we introduce an overview of hands-on workshops where you can gain a deeper understanding through both lectures and practical application.

Whether you are just beginning your creation with painting silk, or looking for a helpful resource to prepare for or review your workshop experience at pigment.mom, we hope you find this guide inspiring and useful.

Contents

1. Understanding Ekinu: Eginu: Properties and Expressive Appeal

"Eginu" refers to a fabric woven from delicate silk threads specifically crafted for painting. In contrast to the warmth and robustness of washi (Japanese paper), its greatest charm lies in its refined luster, flexible transparency, and meticulously fine surface texture. Let us first examine the structure of silk from a microscopic perspective to uncover the secrets behind Eginu's inherent beauty.

The Structure of a Material Endowed with Beauty

Visual beauty: the secret of gloss and translucency

Eginu is a fabric known as "Kiginu" (raw silk fabric), woven from un-scoured* raw silk spun from silkworm cocoons.
The pearlescent sheen and luster of silk originate from the shape of fibroin, the core protein within silk threads.
When light hits fibroin—which features a clean, triangular cross-section—it undergoes repeated refraction and reflection internally, acting much like a glass prism. This microscopic structure diffuses a soft light in multiple directions, creating a deep, pearl-like radiance. Furthermore, the interplay of this diffused reflection and the delicate weave gives rise to its exquisite translucency. Even the unpainted spaces shimmer depending on the angle of light, entirely thanks to this prism effect.

*Scouring (Degumming): The process of washing away hard components and excess impurities from threads using alkalis or other agents prior to weaving.

Tactile Beauty: Crisp Tension and Fine Texture

Unlike the soft silk used in garments, unworked Eginu possesses a crisp, moderate tension. This distinction stems from the degree of scouring performed during thread processing.

Typical silk textiles are woven using degummed thread (neri-ito), from which the gel-like protein sericin has been removed through scouring. Eginu, on the other hand, is woven with raw silk that retains its sericin.

Retaining sericin maintains a uniform weave while preventing the fabric from losing its shape during storage. Stretching this evenly woven fabric onto a wooden frame creates a support that firmly accommodates the pressure of the paintbrush. The fusion of this moderate tension and the smooth surface woven from ultrafine threads creates a fluid brushwork and painting experience unique to silk.

Painting Techniques That Highlight Its Charm

With a delicate transparency that softly reveals underlying colors and a smooth, finely textured surface, Eginu allows artists to bring out these qualities through unique expressions and traditional painting techniques.

Chromatic Beauty: Vivid Coloration and Soft Blending (Bokashi)

On its meticulously fine surface, paints yield exceptionally vivid and fresh colors. Furthermore, as the paint glides smoothly along the weave, Eginu is perfectly suited for soft blending (bokashi) and delicate gradients.

Translucent Beauty: Ura-zaishiki (Back-Coloring) and Ura-haku (Back-Gilding)

These techniques create an ethereal, profound sense of space that cannot be achieved through surface application alone. By applying colors or metallic leaf to the reverse side of the fabric, light, color, and metallic radiance permeate through the silk to the surface.

pigment.mom offers three thicknesses of Japanese-made Eginu. Among them, our thinnest grade, "Eginu Silk Canvas 2 Chohi Deluxe”, allows you to maximize this exceptional transparency to its fullest potential.

▪️Ura-zaishiki (Back-Coloring)

Comparison of Ura-zaishiki effects viewed from the front
Left: Front coloring only / Right: With Ura-zaishiki applied to the back
 
[Art materials used]
Pigments: Suihi  Hiwairo・Rokusho(Front)
　　　　　 Suihi  Botan(back side)
Binder: OX glue liquid 20％ concentrated
Substrate: Eginu Silk Canvas 2 Chohi Deluxe

Ura-zaishiki is a traditional technique of applying paint to the reverse side (back) of the support. The colors placed on the back subtly show through to the front surface, creating a rich, multi-layered depth of tone.

Even when applying the same colors to the front, the presence of Ura-zaishiki and the underlying hues on the back dynamically transform the color resonance and spatial expression of the artwork.

[Related Article] Detailed explanation and effects of Ura-saishiki:

▪️Ura-haku (Back-Gilding)

@Margarita Serizawa
”Plitvice (Detail)” Margarita Serizawa

Effect of Ura-haku viewed from the front
[Art materials used]
Mineral Pigments (Iwa-enogu), Hide Glue, Aluminum Leaf, Colored Ink (Saiboku), Eginu (Silk for Painting), Kozo Paper (Backing)

Ura-haku is a technique of applying metal leaf to the reverse side of the support. Applying leaf directly to the front creates a powerful shine as light strikes it directly; Ura-haku, however, allows the silk fabric to soften the light, transforming it into a far more delicate expression.

The radiance of the leaf filters through the fine weave of the Eginu, eliciting an ethereal glow that seems to emanate from deep within the artwork.

The compatibility of coloring materials and mediums with silk differs depending on the type.
In addition to expression, please choose based on fixability and storage stability.

[Related Article]

Characteristics of Eginu: Choosing Materials Based on Artwork Mounting (Hanging Scrolls or Framing) and Artistic Style

2. Substrate Preparation and Its Role Before Painting

While Eginu possesses exquisite texture and beauty, it is also highly sensitive to moisture. Consequently, if you begin painting without proper preparation, the silk may shrink significantly upon contact with water, or the paint may bleed uncontrollably.

To unlock the material's full potential and achieve your desired artistic expression, we recommend three essential preparatory steps: stretching onto a wooden frame, hot water treatment (Yubiki), and sizing (Dosa-biki).

Stretching onto a Wooden Frame

When beginning a work, the first step is to stretch the Eginu onto a wooden frame or panel.

This step not only prevents distortion of the painting surface, but also serves a crucial role in building the foundation for techniques that capitalize on transparency.

By suspending the reverse side in midair, techniques such as Ura-zaishiki (back-coloring) and Ura-haku (back-gilding) become possible. Furthermore, a taut, properly stretched surface makes executing smooth gradients and delicate blending effortless.

Reference: [Stretching Eginu onto a Wooden Frame]

Yubiki / Hot Water Treatment (Fiber Shrinkage and Impurity Removal)

To preserve delicate silk paintings for years to come, applying a paper backing (urauchi) after completion is essential. By brushing hot water onto the fabric prior to painting to preshrink the silk threads in advance, you can minimize expansion, contraction, and distortion during the backing process.

Yubiki also serves to denature and remove residual oils and sericin from the silk threads, preventing Dosa sizing or paint from being repelled. Since the protein sericin undergoes thermal denaturation at temperatures of 80°C or above and dissolves in water, please prepare hot water at around 90°C for this process.

[Related Article] About Backing (Urauchi) for Silk Paintings

Dosa-biki / Dosa Sizing (Bleed-Prevention Treatment)

"Dosa-biki" (Dosa sizing) is a preparatory treatment designed to prevent unwanted paint bleeding and enhance paint adhesion. It is a vital process that significantly influences color vibrancy, final finish, and long-term preservation.

Because raw silk (kiginu) absorbs moisture rapidly, painting directly onto untreated fabric causes lines and colors to bleed uncontrollably. Applying a Dosa solution—composed mainly of hide glue and water—across the entire surface forms a transparent film over the fibers. This not only allows for precise linework and coloring as intended, but also ensures that as the moist Eginu dries, its weave and surface tension settle into a uniform alignment.

If you wish to utilize raw silk's natural absorbent properties, Dosa sizing may be omitted—though this applies exclusively when using solid sumi ink (sumi ink sticks).

Reference: [Applying Dosa Sizing to Silk]

3. Stretching Eginu onto a Wooden Frame

Materials and Tools Used

Left: Wooden frame/Eginu
Right: Starch glue/Plastic Spatula / Pushpins / Scissors / Paper Palette

Eginu (Silk for Painting) 
・Size: Cut the fabric one size larger than the outer dimensions of the wooden frame, as you will pull and secure it during the stretching process.

(※Note: The actual painting surface corresponds to the "inner size" of the wooden frame, so please be mindful when cutting.)

・Checking Front and Back: Position the fabric so that the inside of the roll faces up as the front (the painting surface).
・Fabric Alignment (Screen Direction): Confirm the orientation of the fabric according to how you plan to mount the finished artwork.
・Thread Orientation: When mounting as a hanging scroll (Jikuso), aligning the warp threads vertically (top to bottom) ensures a smooth mounting process.

[Thread Directions and Characteristics]

・Warp Threads (Tate-ito): Run along the cut edge. Warp threads retain roll memory and tend to curl up easily.

・Weft Threads (Yoko-ito): Run horizontally between the tightly woven edges known as selvages (mimi). Weft threads are less prone to curling compared to warp threads.

・Selvage Preparation: Stretching the fabric with intact selvages can cause puckering or distortion. Make evenly spaced cuts along the selvages or trim them off before stretching.

[Related Article] How to Cut Selvages:

Wooden Frame: Prepare a wooden canvas stretcher frame or silk frame that allows paste to adhere smoothly.

(*Note: The actual painting area is the inner dimensions of the frame.).

Cooked Starch Paste (Katanori) or Commercial Starch Paste:
For long-term preservation, use Katanori (hard wheat starch paste made by cooking raw wheat starch) or commercially available starch paste (such as shoji paper paste).

*Commercial starch paste is used in this article.

*Synthetic glues containing chemical adhesives like acrylics may dry too quickly, causing distortion during stretching, or damage the fabric due to overly strong adhesion

[Related Article] How to make hard glue

Scissors: Prepare a sharp pair of clean scissors (avoid scissors previously used for adhesive tapes).

Pushpins: AUsed to hold the Eginu firmly in place to prevent shifting as it shrinks while drying.
Guide: Approx. 50 pushpins for an F3 size wooden frame (273 × 220 mm).

Spatula (or Paste Brush): Used to apply paste onto the wooden frame. A plastic spatula is ideal because it allows for easy control of the paste amount and requires minimal clean-up. If using a brush, a Tsukemawashi-bake (Thin Paste Brush / a small paste brush suited for precise application) is recommended.

Paper Palette or Acrylic Board: Used to knead starch paste to an appropriate consistency.

Methods and Steps for Frame Stretching

Here we will introduce an example of the basic method. Please refer to the explanation video and steps below.

【TUTORIAL】Mounting the Silk on the Stretcher bars

Step-by-Step Frame Stretching (Steps 1 to 6)

1. Apply a Seal Coat of Paste (Sutenori) to the Frame (First Layer)

Apply paste to the flat surface of the wooden frame (the back side if using a canvas stretcher bar). Spread it thinly using a spatula or paste brush, and allow it to dry completely.

Apply paste along all four sides, leaving a gap of a few millimeters to 1 cm from the inner perimeter of the frame. Leaving this margin prevents the paste from dissolving when exposed to moisture during Dosa sizing or painting.

・Sutenori (Seal Coat Paste)
New wooden frames absorb glue, so pre-treatment is necessary to coat them with glue in advance to increase adhesion. Skip this step if you have used a wooden frame in the past.

2. Apply Paste to the Wooden Frame (Second Layer / For Securing Eginu)

Once the glue has dried properly, leave a space on the inside and apply the glue as you did the first time. This glue holds the silk in place, so if any areas dry during work, please reapply the glue.

3. Place the Eginu onto the Wooden Frame

Quickly place the picture silk on the wooden frame before the glue dries.
Gently unfold it in the direction it is rolled, making sure it is perpendicular and parallel to the wooden frame. The rest of the work will be easier if you set the silk so that the ends of the silk evenly protrude slightly from the wooden frame.

4. Layer Paste Over the Eginu

Apply glue on top of the picture silk that overlaps the wooden frame.
Again, leave a few millimeters of space on the inside. Use a spatula or your fingertips to firmly press all sides to the wooden frame, pushing out air from the inside to the outside.

5. Secure with Pushpins

Pull the silk with your hands to smooth out the wrinkles while driving in the thumbtacks. Thumbtacks prevent the paper from shifting during drying and keep it taut.

First, put thumbtacks on the top, bottom, left and right of the four corners and sides, adjusting the tension in the areas where the silk has wrinkles or fraying to secure it in place. The shrinkage is especially strong in the warp (warp) direction, so increasing the density of the thumbtacks will produce a beautiful finish.

6. Drying/Complete

Leave the thumbtack in place and let it dry thoroughly in a well-ventilated place. Once the glue is dry, remove the thumbtacks.
・Estimated drying time: half a day or more

[If you want to strengthen the fixing force]
By applying thick masking tape or waterproof tape to the adhesive surface of the picture silk and wooden frame to reinforce it, you can create with peace of mind as you won't have to worry about it peeling off due to moisture during production.

4. Preparing Dosa Solution and Calculating Concentration

pigment.mom recommends an alum-free method using our original Pig glue for sizing 20％” and “Pig Skin Glue (Suitable for Dosa/Sizing)”
Because this method prevents the acidification, deterioration, and discoloration of washi paper and silk, it is ideal for artwork intended for long-term preservation.

Materials and Preparation

Preparing from"Pig glue for sizing 20%"

Materials and tools

・Pig glue for sizing 20％: 
Ready to use simply by diluting. Ideal if you need a small amount quickly or conveniently. Contains preservatives, but refrigeration is required.

・Water (*pigment.mom uses soft water, but tap water is also fine)

・Mixing Container: A clean, easy-to-mix vessel made of stainless steel or glass.

・Container for boiling water and boiling water

・Stirring rod: glass rod, spoon, etc.

Steps to make dosa liquid

1. Place the entire container of Pig glue for sizing 20% in a hot water bath to completely dissolve it.
2. Measure the glue solution and water into a container. Stir well to make the overall concentration uniform.

When making from "Pig Skin Glue (Suitable for Dosa/Sizing)" 

It is suitable for preparing a large amount at once, such as when producing a large-scale work. It takes time to make dosa because you have to swell and dissolve it yourself, but if it is dry, it can be stored for a long time at room temperature. Please add desiccant when storing in hot and humid environments.

[Related article] How to make dosa from solid "plate glue derived from pork"

Calculating Concentration and Quantities (Dilution Calculations & Quantity Table)

The effectiveness of Dosa solution varies depending on temperature, humidity, and the thickness of the Eginu or paper. Use the target concentration values as a general guide, and test and adjust them according to your working environment and expressive goals.

◾️Recommended Concentration for Eginu: 1.5-2%

Dilution calculation for “Pig glue for sizing 20%”

Example: When determining the total volume (ml) of finished product

Example: Preparing 100 ml of 2% Dosa Solution
・Dilution rate 2% ÷ 20% = 0.1 (2% is 1/10th the concentration of 20%)
・Amount of 20% solution Completed amount 100ml × 0.1 = 10 g
・Amount of water to add Complete amount 100ml − 10g = 90ml

Quantity table for making "100ml''

Calculation of “Pig Skin Glue (Suitable for Dosa/Sizing)”

Example: "Amount of glue" when making a dosa solution with a concentration of 1.5% using 100ml of water
100 × 1.5% = 1.5g (“Concentration %” is converted into a numerical value: 1.5% ÷ 100 = 0.015)

5. Applying Dosa Sizing to Silk

Materials and Tools Used

・Brush(Dosa-hake)
・Dosa Solution (it will be easier to work if you put it in a container that can hold a brush, such as a bowl)

Brush Characteristics and Selection Guide

Silk does not absorb moisture as quickly as Japanese washi paper, so a brush with thin bristles that does not absorb too much liquid is suitable. The appropriate amount of liquid makes it easy to spread evenly, and by choosing the width that matches the screen size, you can quickly and neatly finish the product.
As for the characteristics of the materials, wool (goat) is soft and absorbs water well, while nylon bristles are durable and easy to care for, so please choose the brush of your choice.

Comparison of brushes suitable for painting silk dosas

*Product information is as of August 2026.

Steps for Dosa Application

1. Dissolving the dosa liquid

Dosa liquid containing glue hardens into a jelly-like consistency when cooled, and becomes liquid when warmed. Boil the entire bottle in hot water until completely dissolved, then transfer the amount you want to use to a clean container such as a bowl. Cool to around 30℃ before use.
*If it becomes jelly-like, please boil it again.

2. Application

Apply dosa liquid to the surface of the drawing surface (inner part of the wooden frame).
Wet the brush with plenty of dosa liquid and slowly pull it from the edge at a constant speed to avoid brush marks, uneven coating, and uncoated areas. This is done so that the liquid thoroughly penetrates into the silk fibers.

Normally, there is no problem with applying it only to the front side, but if you want to apply the back coloring technique thoroughly, apply it to the back side as well. Smearing on the back side is suppressed, allowing for beautiful transparent expression as intended.
Please be careful not to get water on the part of the wooden frame where the picture silk is fixed with glue.

Left: Dosa liquid before application / Right: After application

3. Drying

Once it is sufficiently dry, you can draw on it.
If you want to strengthen the anti-bleeding effect, adjust the density and apply 2 or 3 layers after drying.

Handling when removing from wooden frame
After the production is complete, either remove it from the wooden frame or cut it out along the inner frame with a cutter.
If you forcefully roll or fold the fabric when removing it, it will not only damage the screen, but also cause the paint and foil to peel off, so please handle it carefully.

6. Deepening Knowledge Through Experience: pigment.mom Workshops

pigment.mom holds workshops where you can learn everything from the basic preparation of picture silk to traditional techniques such as silk coloring and reverse coloring from expert instructors.
Through the instructor's demonstrations and practical skills, you can deepen your knowledge of detailed work tips, points to keep in mind, and materials from multiple angles.
This course is recommended not only for those who are new to painting silk, but also for those who want to solidify their self-taught techniques, and those who want to gain more specialized insight through systematic experience.

Preparing Eginu Silk for Painting 

Using curated tools and a beginner-friendly size, this workshop offers a hands-on experience with the fundamentals of Eginu preparation: frame stretching and Dosa sizing.

Going beyond practical prep techniques, we will thoroughly explain methods unique to Eginu, key points to keep in mind while painting, and mounting techniques optimal for long-term preservation through demonstrations and instructional materials.

You can take home the Eginu canvas you have stretched and sized yourself—still mounted on its wooden frame—so it is ready for immediate use in your home studio.

Preparing Eginu Silk for Painting (170 minutes/excluding break)

Workshop Overview

Date & Reservations  For schedule details and reservations, please visit Workshop - Japanese Painting

　＜TENNOZ ART WEEK 2026 Special Workshop＞
　　Preparing Eginu Silk for Painting (with English Interpretation) September 12.2026
　　Preparing Eginu Silk for Painting September 13.2026

Time 11:10 – 16:00
11:10 – 12:00 (50 min) Morning session
12:00 – 14:00 (120 min) Lunch break
14:00 – 16:00 (120 min) Afternoon session

Venue: “pigment.mom” or “G1-1F”
　▪️pigment.mom (You can enter from 11:00)
　　Please refrain from eating inside the store. Please use a nearby store for lunch. (Surrounding map）
　▪️G1-1F (You can enter from 10:50)
　　You can eat and drink in the venue room.
　　Please refrain from eating things with strong odors, such as cup noodles (lunch boxes are fine).
　　There are also restaurants and convenience stores nearby. Please refer to the "surroundings map" above.

Fee: ¥9,900 (tax included, material cost included)
Eligible Age: 10 years or older
*If accompanied by a guardian, please apply for the option (free of charge) as well.
What to bring: None (we provide a paper bag to carry the wooden frame)

*In the course, animal glue will be used in the "dosa pulling" process. (Due to the nature of the technique, we do not have substitutes available.)

Materials Used

The Eginu used for this workshop is "Eginu Silk Canvas 2 Chohi Deluxe," a grade ideal for expressing the translucent beauty achievable through techniques like Ura-zaishiki (back-coloring) and Ura-haku (back-gilding).

For the Dosa sizing brush, we provide the nylon-bristled "Thin Gesso Brush." Well-suited for applying solution to silk, it is easy to handle and maintain, making it approachable even for first-time users.

[Time Schedule]

11:10 – 12:00 Morning session (50 min)

▪️Practical Session: Frame Stretching
Use a wooden frame of size F4 (333 x 242 mm).
Participants will experience stretching Eginu using a plastic spatula and starch paste. (To allow you to take your work home on the same day, this process follows a modified procedure compared to the steps outlined in this article.)
See: [Methods for Frame Stretching]

12:00 – 14:00 Lunch break (120 min)
▪️Break /Drying Time

Feel free to spend this time browsing art supplies of interest in-store, exploring nearby art venues, or enjoying lunch.

For art event information around Tennoz Isle, please visit the "Tennoz Art Portal Site." [in Japanese]

14:00 – 16:00 Afternoon Session (120 min)
▪️Practical Session: Applying Dosa Sizing
The instructor will demonstrate preparing the Dosa solution while explaining concentrations and their effects. (Note: Participants will not prepare the solution themselves during this hands-on session.)
See: [Applying Dosa Sizing to Silk]

▪️Lecture/Q&A (During Drying Time)
While waiting for the Dosa sizing to dry, we will explore various expressive techniques on Eginu while examining reference artworks. The instructor will also be available to answer technical questions and address inquiries regarding your everyday art practice, so please feel free to ask.

[TENNOZ ART WEEK 2026]　Painting Flowers on Silk Canvas

Painting Flowers on Silk Canvas (180 minutes)

＜TENNOZ ART WEEK 2026 Special Workshop＞

In this workshop, you will paint on silk with pigments derived from nature that have been used since ancient times, such as "gamboge" (a yellow made from tree resin) and "cochineal" (a red extracted from scale insects on cacti). We provide painting silk stretched over an F4-size wooden frame with a pre-drawn flower design.

Through the traditional urasaishiki (painting from the backside) technique, create depth and delicate color gradation by layering colors from both the front and back of the silk. 

Enjoy this special hands-on experience and connect with the artistic sensibilities of Japanese Edo-period painters.

＜Workshops Schedule＞
Please check the dates and preferred language when signing up.
・Sept 11 (Fri)  [Conducted in English] Painting Flowers on Silk Canvas 26/09/11

   *(Japan residents fluent in English are also welcome to join)

・9/12 (Sat)  [Conducted in Japanese] Painting Flowers on Silk Canvas 26/09/12
・9/13 (Sun)  [Conducted in Japanese] Painting Flowers on Silk Canvas 26/09/13

Introduction to Eginu Silk Canvas

You will systematically learn the fundamentals of Kenpon Saishiki (color painting on silk)—a traditional technique on Eginu silk—covering the complete creative process from underdrawing and paint preparation to surface coloring and Ura-zaishiki (back-coloring).

While experiencing the refined color resonance and translucent beauty that bring out the best in traditional art materials, even beginners working with Eginu for the first time can comfortably immerse themselves in the joy of creation.

Introduction to Eginu Silk Canvas (120 min)

Workshop Overview

Date & Reservations  Workshop - Japanese Painting
Time   14:00 – 16:00
Tuition fee   ¥8,800 (tax included, material cost included)
Target age   10 years or older
*If accompanied by a guardian, please apply for the option (free of charge) as well.
What to bring: None (we will provide a paper bag to carry your work in)

*Please note that the design used in the workshop is the one shown on the reservation page.
*In the course, we will use glue, an animal-based adhesive. We have gum arabic (sap) available as an alternative, so please ask the instructor if you would like to use it.

Click here to find out more details about the Introduction to Eginu Silk Canvas (Porcelain Berry) workshop. 

pigment.mom workshops (held throughout the year/special events)

Basic information for private workshops (individuals, corporations, organizations)

Corporate/Group Customers Private Workshop Information
PRIVATE WORKSHOP
 
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Contact Us - pigment.mom

Reference
National Agriculture and Food Research Organization (NARO)
・Biotech Glossary: "Silk Gland" (Kinushisen) [in Japanese]
https://www.naro.go.jp/laboratory/nias/gmo/handbook/app/ka.html (accessed July 24, 2026)
・Secrets of the Silkworm- Part 2: NNew Materials & New Industries [in Japanese]
https://www.naro.go.jp/publicity_report/season/166829.html (accessed July 24, 2026)

Tokyo Cleaning Association
・About Silk: The Material Everyone Longs For [in Japanese] https://www.tokyo929.or.jp/column/fiber/post_158.php (accessed July 24, 2026)

Editor & Writer

Natsuko Shiraishi

Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.

Favorite matière: Paper, dynamic moves of wood fiber

Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.

Favorite matière: Paper, dynamic moves of wood fiber

pigment.mom

PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.

PIGMENT ARTICLES delivers a wide variety of information about art. You’ll find instructions on traditional painting techniques, art materials, and the latest updates on products, workshops, and events.
We invite you to explore our articles for creative inspiration and to deepen your knowledge.

Translator

Atsumi Okano

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.