With the recent introduction of many innovative Holbein products to Jackson’s, I wanted to look at one of their unique products that has been designed for printmakers and painters alike. Holbein Pigment Pastes are an established go-to for Mokuhanga practitioners across the world, and these little bottles of colour pack a punch when it comes to pigment load. For painters, they represent a highly economical starting point for modifying or creating your own watercolour, acrylic, and gouache.
What is a Pigment Paste?
Holbein Pigment Pastes are cutting-edge single pigments suspended in a base of water, wetting agents, and dispersing agents. Each colour contains a high load of between 30-70% pure pigment, measured to balance with the base ingredients, to create a stable dispersion. Each pigment is extremely finely ground to maintain a smooth consistency whichever way they are used. Straight out of the bottle, they are not suitable as a paint but become so once mixed with any water-based binder, such as acrylic emulsion or gum arabic. On each bottle you will find the pigment name as well as the pigment index code which will be of use when making or modifying paints. One other thing worth mentioning at this stage is that they are not intended for mixing with oil paints or oil mediums.
The 18 colours in the range have been crafted to resemble the colour palette of ukiyo-e woodblock printers of the Edo period. They are available as a boxed set and can be mixed with or used alongside Sumi Ink for black. However, the full range of 20 individual pigment pastes include a carbon black and a titanium white.
Why Were They Created?
Using dry pigments to create colour is a traditional practice used by painters and printmakers alike in Japan. Traditional painting techniques utilised the unique properties of varying grades of ground mineral pigments, mud pigments, and calcium carbonates derived from minerals, shells, and corals. Historical painting techniques employed 16 grades of grinding, from coarse sandy textures to ultra fine powders. Each brought about a different effect when the pigment was mixed with glue, nikawa, and applied to the painting surface.
For printmakers, maintaining control over the colour’s behaviour on the block required particular attention to the grinding aspect of the pigment. It was usual for the printer to do this for themselves. Batches of pigment were ground and prepared in the studio, then combined with some water and alcohol to form a paste that could be stored in readiness for printing. This crucial stage in the printing process controlled the colours and reduced unforeseen faults, especially when aiming for a smooth, even transfer of colour, known as tsubushi-zuri.
Japanese style woodblock print on Awagami Kozo Natural (detail)
How to Use Holbein Pigment Paste
Making your own paints and inks can connect you to the materials and history of your chosen technique however, this close handling of ingredients comes with inherent safety considerations and a quantity of labour that is not for everybody. Some pigments are toxic and there will always be a risk of inhaling free particles of dry pigment. The pre-prepared Holbein Pigment Paste will go a long way to guard against this. The Pigment Pastes are classified as non-toxic, but we would always stress that although not hazardous with proper use, baseline safety measures still apply in that they may be harmful if swallowed, you should avoid eating and drinking while using, and keep out of reach of children and pets.
For making paint with Holbein Pigment Paste you begin with a water-based binder or medium and gradually add the pigment until your desired tone is achieved. This can be the lightest tint, creating a glaze effect, to a fully saturated mixture resembling the pigment shade in the bottle. However, for woodblock printing, both the binder, usually nori paste, and the colour are added to the woodblock separately and then mixed on the block itself. The paste will bind and disperse the pigment colour and add to its brilliance. You can control the intensity of the pigment pastes by diluting them with water and also modify them by combining with water based paints or Kuretake Sumi inks. All this is done before applying your colour to the block.
Woodcut on Shina plywood, Dioxazine Violet block
Three Colours From Holbein Pigment Paste Range
The three colours from the range I have used to create a woodblock print on Shina Plywood are:
Isoindolinone Yellow: this is the single pigment PY110, a luminous orange yellow, sometimes used in place of Indian yellow.
Dioxazine Violet: the single pigment PV23. A cool purple and a semi-transparent pigment. In mass tone it is very dark, appearing almost black in the bottle.
Shadow Green: this is the single pigment PBk 31 Perylene pigment, sometimes classified as a black, it is a deep subtle green which does appear black in mass tone.
Colour swatch of pure pigment pastes diluted with water
For printing I have adjusted the colours by intermixing and including a Sumi ink black to knock back the intense Dioxazine Violet. At this stage, you can ascertain tinting strengths and the opacity that is characteristic of each pigment and explore creating secondary colours by overprinting in layers.
If you want to dive in and try a four-colour process print you can use the Holbein Pigment Paste in Phthalo Blue, Hansa Yellow, Magenta, and Black for your CYMK colours. To see how it’s done in the hands of a master you can watch Katsutoshi Yuasa here.
Woodcut on Shina plywood, Isoindolinone Yellow block
Mokuhanga Printing With Holbein Pigment Paste
This four-block print is made up of some larger solid areas of colour, and some very broken up areas such as the rain/cloud. For larger, solid areas you will require a higher proportion of nori to colour, and you will need to work this out as you are proofing the print. Mixing nori and pigments on the block by brush allows for more expression than when rolling a single colour across the block. By adjusting the amount of colour or by blending areas of pigment into the paste you can create a graduated bokashi effect. Printing without nori can introduce a mottled pattern known as sesame seed printing goma zuri. Historically this was considered a technical fault, but today is often exploited to create atmospheric expressive effects.
Test printing the yellow and gradually adding nori
Aside from the nori paste and pigment variables, the type of baren and the pressure exerted also affect the appearance of the print. The smooth tsubushi-zuri effect requires a lot more pressure exerted through the baren. I have produced the print below using the economy bamboo baren with reasonable results on Kozo Natural Large Paper 46 gsm. However we have recently expanded our range of printing barens from Japan to include the larger Sumi and Beta barens, as well as the Kurosaki Disc baren that features a replaceable face.
Four colour print on Awagami Kozo Natural
Holbein Pigment Pastes are a convenient, versatile, and safe alternative to dry powder pigments. They are permanent, single pigment colours that are non-reversible once dry.
Further Reading
Everything You Need to Know About Printmaking Paper
Woodcut Printmaking for Beginners – What You Need to Get Started
Mokuhanga: Japanese Woodblock Printmaking
The Difference Between Luminescent, Pearlescent, and Iridescent Paint
Shop Holbein Pigment Paste on jacksonsart.com
