Oriental Art Supply 'Core' Catalog

oriental art supply

Oriental Art Supply

CATALOG

TO ORDER: orientalartsupply.com 1-800-969-4471 21522 Surveyor Circle Huntington Beach, CA 92646 Phone: (714) 969-4470 info@orientalartsupply.com

EDITION 0119

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About OAS

Over the past 40 years, Oriental Art Supply (OAS) has developed an impeccable reputation as a supplier of the finest materials for brush painting through mail order.

Ning and Lingchi Yeh founded OAS. Ning is one of the most influential artist-teachers in America. There is a deep respect and trust nurtured through generations of friendship that has prompted studios throughout Asia to offer OAS their best products. Ning knows and demands the highest quality while Lingchi, an MBA, negotiates the best deal. Ja-Shin, their daughter, manages the daily operations while their son Evan helps with marketing.

Art lovers all over the world visit the OAS Showroom in Huntingon Beach, CA as one of the only retail environments built exclusively around Asian Brush Painting and Calligraphy.

Ning Yeh

A Unique Chinese Artist Ning Yeh’s work reflects a fusion of excellence from the East and the West. It is both classical and modern. He carries a family art tradition of four generations. His father, a Chinese army general, is renowned for horse painting.

In 1969, the U.S. State Department invited Ning for an exhibition. He accepted scholarships and received his Ph.D. from Claremont Graduate School. Throughout the next three decades Ning created a nationwide community of students by teaching distinctive classes around the United States.

In the ‘80s, he starred in his first television series, which aired nationally on The Learning Channel. The series, entitled Chinese Brush Painting with Ning Yeh, won an Emmy Award for best Instructional Series and expanded the OAS student community around the country. The companion book Chinese Brush Painting an Instructional Guide is often considered the Bible of Chinese Brush Painting Instruction.

The following decade, Ning collaborated with the Weyerhauser paper company to star in a series of television commercials and provide artwork 2

for their corporate branding efforts. This relationship lasted almost a decade and produced national television commercials featuring Ning’s painting, captured through the lens of elite Hollywood director Irv Blitz, while Jeff Bridges provided the voiceover. In addition, there were many page-sized ads featuring Ning’s paintings appearing in publications like the New York Times, Time and Newsweek magazines.

Meanwhile, Ning self-produced many follow ups to his original television series. This library of instructional videos grew to over 100 titles and are currently being offered streaming on demand via the website OASlife.com.

Ning now finds himself in his artistic prime creating nine new instructional books (5 published, 4 more still being typeset and published). His student community continues to expand internationally through the OASlife.com website and through his books and preferred materials available through OAS.

Styles of Chinese Art

There are three major styles of Chinese Art that OAS primarily supports.

The art forms are interconnected and share both techniques and supplies, while at the same time producing very different experiences by their differences in emphasis. We encourage everyone to try them all as each has valuable lessons to teach and different ways in which they encourage creative growth and expression.

Spontaneous Style Chinese Brush Painting This was the style of Chinese painting that OAS was founded on. It is the style that the Yeh family has cultivated over the last five generations and it is the style of painting that Ning Yeh has been popularizing in the United States and internationally since 1970. Created as a natural extension of Chinese CalArtist Ning Yeh ligraphy, it has both a rich history and a vibrant modern community of artists. Differing from western art, this style of brush painting is focused on capturing the essence of a subject without preoccupation with its appearance. Simple strokes that show beautiful color and shape variation are composed together to depict the essential idea of each subject. The study of Spontaneous Chinese Brush Painting holds a treasure trove of experience and exposure to some of the essential uniqueness of Chinese culture and mindset.

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Chinese Calligraphy The Chinese language is the only modern pictographic language. That means that the characters themselves are actually simple paintings.

This makes the study of Chinese Calligraphy a wonderful way to connect to a very simple form of painting. At the same time, contemplating the deeper meaning of a word or a phrase while painting the Artist Ning Yeh character is a deeply satisfying and mind opening experience. Chinese Calligraphy study not only makes your brush and line work much more confident, it is also a powerful form of relaxation, meditation and contemplation.

Chinese Fineline Painting / Gong-bi The oldest style of Chinese Painting and the one that artists with experience doing western styles of painting will relate to. The style is characterized by detailed outline work and multiple layers of color shading.

Has similarities to two of the main popular modern artforms: tattoo art and comic book art.

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Artist Mary Cheng

Ordering

This catalog contains our core products and materials.

Ordering Online For a more complete list of what we have available, you can shop online at our website at www.OrientalArtSupply.com

Ordering by Phone You can call us at 714-969-4470 or toll free on a landline at 1-800-969-4471.

We have friendly, knowledgeable staff ready to assist you Monday through Friday 9AM - 5PM PST. Please have your major credit card information ready for payment.

Ordering by Mail You can fill out the enclosed order form and send your order along with payment information to: OAS PO Box 6596 Huntington Beach, CA 92615

Shipping

Recommended Shipping OAS has a shipping option called OAS Choice. It is usually our most affordable shipping option and generally takes between 3-9 business days to arrive depending on your shipping address. The shipping charge is figured by order amount according to the following chart: OAS Choice Shipping Charges* Order Total $0-$99.99 $100-$199.99 $200-$499.99 $500+

Shipping $9.95 $14.95 $15.95 Free**

*OAS Choice shipping is done via U.S. Mail or UPS Sure Post **Exclusions may apply to oversize or specialty items.

Other Shipping Options (Specific Carrier, Expedited, International) All other shipping options are available for quote on our website at www.orientalartsupply.com and based on actual estimated shipping cost for the method selected. This includes regular shipping with a specified carrier like UPS or USPS, expedited shipping methods and international shipping.

Satisfaction Guarantee If you are not satisfied with your purchase we will accomodate you with a refund if the following criteria is met: 1. All materials are returned to OAS in a re-salable condition 2. OAS is notified of the return, and the return is securely repackaged and sent with postage paid to: OAS 21522 Surveyor Circle Huntington Beach, CA 92646 5

Sets

Sets are excellent ways for brand new people to get started. We offer a number of sets for different purposes and commitment levels.

Spontaneous Style Brush Painting Sets SETDV601B: Intro Brush Painting Set Perfect for those looking to try Chinese Painting. Enclosed instructional DVD focuses on Orchid and Bamboo with single brush techniques that are clear and simple.

Includes: DV601: Chinese Brush Painting Basics Orchid and Bamboo DVD, H2PRC: Pre-Orchid Bamboo Brush, I19A: 100ml Student Ink, P03B: Handmade Practice Shuen (48 Sheets), CW80: Mini Pie Dish

SET05 Classroom Painting Set A solid, budget-friendly set for those who are going to take a brush painting class. Also good for those who want to learn online from videos on YouTube or OASlife.com.

Includes: HCPRE: Pre Series Introductory Brush Set, P03B: 48 sheets 9 x 13 1/4� sheets, I04S: 50ml Best Bottle Sample Bottle.

Available Color Options For Classroom Set Sold Separately: Option A - Ning Yeh Basic Flower Color Set This set offers the best of both worlds. A combination of Western and Chinese colors that provide quality, intensity, depth, texture and convenience. The colors are tried and tested on rice paper. This is the best set to option if you would like to work on many of Ning Yeh’s red and pink flower lessons. Colors include CC01J: Chinese Yellow prepared Color Option A: Ning Yeh in a jar; CC05 Chinese Vermilion Chips; WCSK050 Sakura Basic Flower Color Set Poster Color White; Winsor & Newton Colors: WCWN322S Indigo 5mL, WCWN004S Alizarin Crimson 5mL, WCWN470S Perelyne Violet 5 mL, WCWN489 Permanent Magenta 5mL; WCS350 Schmincke Cadmium Red Deep 5mL Option B Traditional Color Set This set is for students who want to enjoy the traditional mineral and vegetable colors. It does take time to prepare and mix the colors versus squeezing a tube. They are typically stored in the stackable large dish set, once dried, they can we re-wetted.

Because they are made from natural ingredients, they may mold or smell if not properly stored. Colors include: CC01J: Chinese Yellow prepared in a jar; Chinese Chip Colors: CC03 Color Option B: Traditional Indigo, CC04 Red, CC05 Vermilion, CC06 Crimson, CC08 Dark Color Set Red, CC10 Rouge; WCSK050 Sakura Poster Color White

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Available Color Options For Classroom Set Continued: Option C Budget Friendly and Convenient OAS’ Ideal Companion Watercolor Set is a good and affordable entry level set. The colors are semi-moist and includes all the essential colors, so there’s minimal mixing.

The colors are slightly weaker and not as intense as option A, but still easy to use and great for travel. The set includes: White, Yellow, Vermilion, Red, Crimson, Brown, Purple, Ochre, Light Green, Dark Green, Sky Blue and Charcoal.

Color Option C: OAS Ideal Companion Set

Option D Marie’s Watercolor Set Marie’s Watercolor Set is a very popular set among Chinese teachers. These are semi-opaque Chinese watercolor tubes that are referred to in many Chinese published instructional material. They tend not to bleed when you wet-mount, but they’re known for their weak packaging and mediocre lightfastness. This set includes twelve 5mL tubes: #104 White, #218 Gamboge Hue, #399 Vermilion, #398 Color Option D: Marie’s Cinnabar, #400 Rouge, #390 Carmine, #302 Scarlet, Watercolor Set #684 Burnt Sienna, #593 Green Label 3 (Stone Green), #493 Blue Label 3 (Stone Blue), #451 Phthalocyanine Blue and #495 Indigo Add-On Premium Brush Set Upgrade Substitute the PRE Series brushes included in the Classroom Painting Set with an upgrade to the Premium Brush Set. The upgraded C2D set includes H1C Happy Dot, H2C Orchid Bamboo, C2C OAS Flow and C2D OAS C2C Large Flow. Study each of the brushes characteristics on page 14 and 16 of the H2C catalog.

H1C

Ultimate Artist Set

Premium Brush Set Upgrade

Over the years, every single person who has started with us and progressed beyond the initial “trying” stage ends up purchasing everything that is included in this set. It has the very best of all the core OAS products including artist quality brushes, the finest accessories, paper and ink. The best set for learning on OASlife.com or taking a class with Ning Yeh or similar style instructor.

Includes: Book: BK01 Chinese Brush Painting An Instructional Guide by Ning Yeh DVD: DV101-102 Chinese Flower Painting 1: an Introduction 6 brushes: H1C Happy Dot, C2C OAS Flow and C2D Large Flow, H2G Mt Horse Medium, H2D Orchid Bamboo Large, F1 2.5” Wash brush Colors: CC01 Chinese Yellow, CC03 Indigo, CC04 Red & CC05 Vermilion Chips Ink: I04 OAS Best Bottle Paper: P03BL 48 Sheets of Practice Shuen Large Accessories: Felt (color varies based on availability of inventory), BR08S Brush Roll, CW50 Porcelain Waterbowl, CW60 Large Porcelain Flower Plate, CW30 Large Porcelain Stackable Dish Set, GS401 plastic jar with lid for yellow and a GS400 Fine Mist Spray Bottle.

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Calligraphy Sets Intro Calligraphy Set An excellent gift for someone interested in Asian culture, martial arts, meditation, Buddhism or even Western Calligraphy. An excellent value! Cannot find a more effective combination of instruction and materials at this price.

Includes: C2PRC: Pre Flow brush, I19A: 100ml bottle of student ink, Instructional Booklet, P03C:100 Sheets of Calligraphy Practice Grid Paper and CW80: mini pie dish.

Calligraphy Set High quality set for those wanting a traditionally authentic approach to studying Chinese Calligraphy. One of the best OAS brushes is included.

Includes: C2C: Flow brush, I02: Square Ink stone with lid, I14: 500K oil ink stick, P03C:100 Sheets of Calligraphy Practice Grid Paper.

Fineline (Gong-bi) Set Very few high quality sets and instruction are available for the Fineline or Gong-bi style of painting. This set pairs a complete set of materials as well as a highly effective lesson. The set and included lesson receives praise from beginners and masters alike.

Includes: the Peony Fine Line Lesson, paper, H1F: Red Feather S, 3 S1B: Fine Soft S, Sample Bottle of Fineline Ink (I18), P14B: Small cut sheets of Shimmer Shuen, BP2: 1/2 of a blossom palette, and a CS01: small 12 color Chinese Maries Watercolor Set

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Books

There are so many ways to study brush painting, however we still find books as one of the most effective ways to learn. Here we have a collection of our best books. Of course you can find our full collection on our website at www.orientalartsupply.com

Books by Ning Yeh BK1: Chinese Brush Painting: an Instructional Guide English Edition, 189 pages

Often referred to as the Bible of Chinese Brush Painting Instruction. Written as the companion book to the Emmy winning video series Chinese Brush Painting with Ning Yeh, this time tested book established the template for Ning Yeh’s signature formula of clear, step-by-step instruction woven amongst inspiring story-telling and cultural context for each subject.

189 pages in English.

BK2: A.B.C. of Chinese Brush Painting English Edition, 128 pages

A.B.C. complements the Instructional Guide by offering additional step-by-step, learn by yourself instructions.

Ning expands on traditional Chinese Brush Painting by exploring a variety of different rice papers, offering alternative painting methods and integrating western watercolors. Subjects include: Iris, Tulip, Poppy, Lotus, Hydrangea, Landscape, Figure, Animal and special lessons on the tools of the trade (a catalog of the best brushes).

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BKNY01-04: 108 Flowers Books 1-4 English Editions: BKNY01 142 pages, BKNY02 144 pages, BKNY03 144 pages, BKNY04 135 pages

Described by one of his students as an Encyclopedia of Chinese Flower Painting, this four book set covers 108 different flowers with accessible but satisfying compositions.

The mix of subjects includes many classics but also quite a few beautiful flowers that have not had previous instruction.

BKNY06: Landscape Lessons Book 1 English Edition, 140 pages

Fourteen beautiful, horizontally oriented compositions are featured in this book.

The nature of Chinese Landscape painting makes it challenging to teach but Ning Yeh offers thorough, clear instructions for fourteen accessible but satisfying compositions as well as provides general tips and techniques that apply to all landscape painting.

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Books by Other Authors BK06: Flower and Birds: A Perspective

by O-shi Yang

English Edition, 157 pages

One of our most popular instructional titles not by Ning Yeh. O-shi Yang’s book is easy to follow and covers a wide range of floral and bird subjects. Definitely a must have for your instructional library.

A List of Our Extensive Library of Additional Books is available online at www.orientalartsupply.com

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Videos/DVDs

Oriental Art Supply is the only place you can find exclusive instruction by Emmy Award Winning Artist Ning Yeh. Ning has created hundreds of instructional titles.

We will offer a tiny selection of the most popular titles here. We encourage you to go to our website at www.orientalartsupply.com for the full listing of video titles available on DVD or to sign up for our on-demand streaming video service located at OASLife.com.

Videos on DVD by Ning Yeh DV601: Chinese Brush Painting Basics: Orchid and Bamboo 60 minutes DVD

The first title in the Chinese Brush Painting Basics series. Excellent for introducing people to the artform, as classic Orchid and Bamboo compositions are done with just a single brush and ink on OAS Practice Shuen paper.

DV101-102: Chinese Flower Painting 1: An Introduction

DV21

60 minutes DVD

An absolutely invaluable introduction into the DV601 material set and techniques perfect for a more committed artist. Repeated study of this video unlocks the enjoyment of Ning Yeh’s entire DV101-102 library as essential color loading and blending techniques are explained that are utilized over and over again regardless of subject.

DV21: Chinese Brush Painting with Ning Yeh 10 DVD Set 10 hours DVD

The original Emmy Award winning television series is almost like a curriculum for brush painting. Over the course of 10 hours the following subjects: Introduction; Orchid; Bamboo; Panda; Camellia; Amaryllis; Peony; Horse; Landscape Demo; Signature, Seal and Mounting.

Complete library of DVDs (59 titles) available on our website at www.orientalartsupply.com OASLife.com On-Demand Streaming Video Service Over 70 lessons and growing!

OAS offers a streaming, on-demand video service. Learn at your own pace and for a reasonable monthly fee get on-demand access to a constantly growing library of videos. New titles are released every month.

OASLife.com has one of the highest member retention rates of any streaming video service on the internet.

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Watch and learn on demand with any internet-ready device.

Brushes

OAS established its reputation initially by offering quality brushes to students who had previously struggled to experience the joy of Chinese Brushing Painting due to inferior brushes. To this day, OAS still has the reputation for offering the best brushes at fair prices, making the joy of Chinese Brush Painting available to anyone!

Brush Sets We find people who are new to Chinese Brush Painting have problems even selecting brushes, so we’ve put together these brush sets that have a perfect assortment of brushes for any level of artist. Choose from timeless quality of our Artist brush set or excellent value of our PRE series.

C2D

C2C H2C H1C Top: C2D OAS Large Flow, C2C OAS Flow, H2C Orchid Bamboo, H1C Happy Dot

PBSET01: Premium Artist Brush Set Four of our most iconic, useful, and highest quality brushes. The set contains: our H1C Happy Dot® Brush, H2C Medium Orchid Bamboo Brush, C2C Flow® Brush and C2D Large Flow® Brush. For those who want brushes most likely to deliver the feeling of painting like a master. Great for those who are taking a class or studying on their own.

C2PRD

C2PRC H2PRC H1PR Top: C2PRD PreSeries Large Flow, C2PRC PreSeries Flow, H2PRC PreSeries Orchid Bamboo, H1PR PreSeries Happy Dot

HCPRE: PRE Series Brush Set Four quality brushes that deliver high performance for a value price. The set contains: H1PR PRE Happy Dot Brush, H2PRC PRE Orchid Bamboo Brush, C2PRC PRE Flow Brush and C2PRD PRE Large Flow. A great set for students of any kind whether learning in class or learning on their own.

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Hard Brushes If you are looking to select brushes A La Carte, we divide them into different categories according to their characteristics. Hard brushes have stiffer, bouncier hairs that are good for painting lines and blade-like strokes.

Artist Quality H1C: Happy Dot® Brush 7/8” x 3/16” An absolute delight, it does fine lines, dots, small petals, calligraphy and signatures with extreme ease and delicacy.

H1C Happy Dot Brush

H2E: Orchid Bamboo Brush Small 13/8” x 1/4” H2C: Orchid Bamboo Brush Medium 17/16” x 5/16” The best all-purpose brush for lines or blade-like strokes. Medium is the most popular size and our recommended size for most people. Small is easier to control while the large is the most versatile over time.

H2E Orchid Bamboo Small

H2C Orchid Bamboo Medium

H2D: Orchid Bamboo Brush Large 15/8” x 3/8”

Intro Quality Our PRE Series brushes offer comparable performance to our artist quality brushes at a value price. They are named similarly as their artist quality counterparts just with the added PRE before the name.

H2C Orchid Bamboo Large

H1PR: PRE Happy Dot® Brush 11/16” x 5/32” H2PRC: PRE Orchid Bamboo Brush 13/8” x 5/16”

H1PR PRE Happy Dot

H2PRC PRE Orchid Bamboo

* not to scale 14

Fine grass strokes and orchid flower petals done with ease using the Happy DotÂŽ Brush

Orchid leaves, bamboo leaves, and lotus flower petals done with Orchid Bamboo Brush

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Combination Brushes Combination brushes have a core of hard hair surrounded by soft hair. The result is a brush that can do fuller shapes and more supple strokes while still finishing with a point. The OAS Flow® series are the best combination brushes.

Artist Quality C2C: Flow® Brush 13/16” x 3/8” All artists agree, the Flow is the best brush they have ever used.

Feels like a natural extension of your hand. The tip has its own spirit. When in doubt, go with the Flow.

What is the difference between the Happy Dot and Flow?

Happy Dot is best for fine lines and sharp blades. Flow does cute shapes and more full lines. Flow is really the best brush for painting round shapes like dots.

C2C Flow Brush

C2B Medium Flow Brush

C2D Large Flow Brush

C2B: Medium Flow® Brush 13/4” x 7/16” C2D: Large Flow® Brush 1 3/4” x 3/8” C2E: Super Flow® Brush 21/8” x 1/2”

C2E Super Flow Brush

Intro Quality PRE Series brushes offer comparable performance to artist quality brushes at a value price. They are named similarly as their counterparts with the added PRE before the name.

C2PRC: PRE Flow® Brush 13/16” x 5/16” C2PRD: PRE Large Flow® Brush 13/8” x 5/16”

C2PRC PRE Flow Brush

C2PRD PRE Large Flow Brush

* not to scale 16

Flow brush does small petals and branches with unbelievable ease

Large Flow brush paints you perfect large leaves and petals every time.

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Calligraphy Brushes Our Double Happiness Brushes are our most highly recommended brushes for calligraphy. They have slimmer, longer bodies with agile tips making them ideal for calligraphers. Also great to have in your arsenal for painting!

Artist Quality HSP04C: Double Happiness Brush Small 13/16” x 3/16”

HSP04C Double Happiness Brush Small

HSP04: Double Happiness Brush 2” x 7/16” HSP04 Double Happiness Brush

* not to scale

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Specialty Brushes In painting, it is incredibly satisfying to discover a brush that is perfectly suited for a specific purpose. We are showcasing some of our most useful specialty brushes in this section along with a description of what they are most useful for.

Mountain Horse Brushes These brushes have incredibly stiff bristles that make them excellently suited for painting textures. Whether you are looking for dynamic branch strokes or landscape mountain and rock strokes, Mountain Horse brushes can be used assertively to create texture strokes that suggest a dry brush.

H2J: Mountain Horse Fine 1 x 3/16” H2H: Mountain Horse Small 17/16” x 3/16”

H2J Mountain Horse Fine

H2H Mountain Horse Small

H2G: Mountain Horse Medium 11/2” x 1/4” H2FL: Mountain Horse Large 23/16 ” x 3/8”

H2G Mountain Horse Medium

H2FL Mountain Horse Large

BIFF® Brushes Our secret weapon for perfect bamboo trunks every single time. Nothing is more satisfying than painting an entire forest of perfect bamboo trunks with the BIFF® brushes. The tips can also be tweaked and twisted to make textures and you can use the brushes to make thick calligraphic lines that finish with the look of a very dry brush.

C4C: BIFF Brush Small 11/8” x 5/8” C4E: BIFF Brush Large 11/4” x 3/4”

C4C BIFF Brush Small

C4E BIFF Brush Large

* not to scale 19

Wash Brushes Invaluable brushes to have for applying broad strokes of color and moisture to a painting otherwise referred to as a “wash.” This technique is commonly used in the “wet on wet” landscape painting technique to create the look of mountains in the mist. Wash brushes are also excellent for painting large bamboo trunks. Affordable and surprisingly versatile.

F4: 1” Wash Brush F3: 11/2 ” Wash Brush F2: 2” Wash Brush F1: 21/2 ” Wash Brush F5: 3” Wash Brush F6: 41/2 ” Wash Brush approximate sizes

F1: 21/2 ” Wash Brush

Extra Large Brushes Sometimes you just need a bigger brush. Whether you are doing large calligraphy or larger strokes for impressive painting demonstrations, our Phoenix and Dragon Brushes are large enough to do the job but still a reasonable size to remain practical. The Dragon Brush has stiffer hairs while the Phoenix Brush has softer hairs.

H3: Dragon Brush 21/2 ” x 5/8” C8: Phoenix Brush 31/8” x 7/8”

H3: Dragon Brush

C8: Phoenix Brush

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* not to scale

Gong-bi / Fineline Brushes When it comes to the ancient art of Chinese Fineline painting, we have two well suited brushes. We love the Red Feather brushes for their ability to do excellent outline work. For the multi-layered shading and fills we like the Fine Soft brushes.

Red Feather Brushes Excellent for doing the fine outline work associated with Gong-bi or Chinese Fineline Painting.

H1F: Red Feather Small 5/8” x 3/16” H1M: Red Feather Medium 3/4” x 1/4” H1G: Red Feather Large 3/4” x 7/32”

H1F Red Feather Small

H1M Red Feather Medium

H1G Red Feather Large

Fine Soft Brushes The Fine Soft brushes are soft and smooth, with very fine bodies. They are favorites of fineline artists for filling in the multi-layer color work within outlines.

OAS recommends having several on hand to use in the fine line process - one for ink, one for color, one for wash.

S1B: Fine Soft Small 5/8” x 3/16”

S1B Fine Soft Small

S1C: Fine Soft Medium 1/4 ” x 11/8 ” S1C Fine Soft Medium

* not to scale

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Paper

Quality paper is as essential as quality brushes to an authentic and joyful experience in Chinese Brush Painting. Along with the brush, the nature of the paper is tied to the essence of Chinese Brush Painting so closely that the two can be considered inseparable. Traditionally, paper for Chinese Brush Painting is referred to as Rice paper or Shuen (Xuan) paper. Rice refers to the materials of production, Shuen (Xuan) is a city in Southeast China where the paper was originally produced.

Describing Paper We will focus on three different pairs of characteristics when describing paper. The first is raw versus sized. The second is absorbency and vibrancy. The third is handmade versus machine made.

Raw versus Sized Sizing refers to a process where alum is incorporated into the paper-making process to allow the paper to possess different levels of moisture resistance. Raw paper has no sizing. Semi-sized paper has a little sizing while Sized paper has more sizing. Depending on the amount of sizing, paper can react to moisture like a sponge where the moisture will soak into the paper and be dynamic, or like glass where the moisture will sit on top of the paper and be less dynamic, or somewhere in between.

Absorbency and Vibrancy These are two qualities of paper that often go hand in hand. Absorbency refers to how dynamic the paper is when it comes in contact with moisture.

High absorbency papers will allow moisture to dynamically travel through the paper. This quality is sought after by master brush painters but can be a bit frustrating for less experienced painters. Often, new brush painters will experience difficulty controlling their moisture and predicting how excess moisture will react on absorbent paper. Because of this, it is often easier for newer painters to use less absorbent paper until they have better skill at controlling moisture in their brush and through their application of strokes to paper.

Vibrancy refers to the ability of the paper to show intense colors. Quite often this desirable quality of the paper is linked to absorbency. So the more absorbent or dynamic with moisture a paper is, the more it will show color or vibrancy. Experienced painters will go for paper that has both high absorbency and high vibrancy like our Single Shuen paper. Less experienced painters may be willing to sacrifice some vibrancy to have a paper that is less absorbent or more forgiving with moisture like our Double Shuen.

Machine versus Handmade Traditionally, rice paper is handmade one sheet at a time through an artisanal, labor-intensive process. With advances in modern technology we also have machine-made papers that mimic the qualities of handmade papers. The handmade papers can be of higher quality. The machine made papers are more consistent from batch to batch.

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Practice Paper It is critically important that even during practice, Chinese brush painters choose a paper that reacts in a similar fashion as high quality rice paper. It is only on this type of paper that an artist can practice productively and develop skills of working with rice paper that master artists possess. Fortunately, OAS carries a number of reasonably priced practice papers that behave similarly to more expensive masterpiece-quality paper.

Also, all of OAS’ practice papers are good enough for final composition work and, if lightning strikes during practice and you paint something you absolutely love, all of the papers can be finished with traditional wet mounting to produce work that is suitable for framing.

Practice Rolls Machine made rice paper that comes in a continuous roll is the most economical for practicing repetitive strokes. We have two different kinds of practice rolls. We recommend our OAS Practice Roll for brush painting while our Moon Palace roll is good for calligraphy. Like all of our practice papers, these papers are also good enough for final work, so practice with confidence!

OAS Practice Roll We offer two different sizes of this high quality machine made practice paper. The paper is nice enough that some of Ning Yeh’s most famous commissioned work has been done on this P03 paper. The recommended practice P03A paper for brush painting.

P03A: OAS Practice Roll 12” 12” x 50 feet in a continuous roll

P03M

P03: OAS Practice Roll 18” 18” x 50 feet in a continuous roll

Top: P03 Practice Roll 18”, P03A Practice Roll 12”, P03M Moon Palace 18”

Moon Palace Roll A thinner, more absorbent paper than the OAS Practice Roll. Colors show a bit more vibrantly but moisture can be more difficult to control. Similar to Single Shuen but in a machine made practice paper form. Excellent for calligraphy.

P03M: Moon Palace Practice Roll 18” 18” x 50 feet in a continuous roll

Handmade Practice Shuen We created this slightly thicker, handmade single shuen paper and had it pre-cut into practical sizes. It is really important that artists prioritize painting full compositions when they practice. This P03B paper is perfect for those looking to practice painting smaller compositions.

P03B: Practice Shuen 48 Sheets 9” x 13 3/4 ” P03BL: Large Practice Shuen 48 Sheets 131/2” x 17 3/4”

P03BL

Top: P03B OAS Practice Shuen 9 ” x 13 3/4 ”, P03BL OAS Large Practice Shuen 13 1/2” x 17 3/4”

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Raw Paper The paper in this category is considered classic rice paper or shuen (xuan) paper. Handmade and untreated, it is considered the best paper for high absorbency and high vibrancy. Choose the single for the most absorbency, velvety textures, and vibrant colors. Choose the double for easier to control moisture (less absorbency) and the premium double for more moisture control while still showing more vibrant colors.

Single Shuen (Xuan) A popular choice for experienced brush painters and calligraphers. The most dynamic and vibrant paper.

P10: Single Shuen 10 Full Sheets 10 Sheets 541/2” x 271/4” P10P: Single Shuen 100 Full Sheets 100 Sheets 541/2” x 271/4 P10SAM: Single Shuen 1 Cut Sheet Sample 1 Sheet 81/2 x 11”

Bamboo leaves on single shuen paper. Notice the color variation and smooth texture in the strokes. If you can control your moisture, this paper will produce excellent results.

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Double Shuen (Xuan) Double thickness shuen paper for those who appreciate a less absorbent paper and are willing to sacrifice some color vibrancy in exchange for more moisture control.

P25: Double Shuen 10 Full Sheets 10 Sheets 541/4” x 271/2” P25PH: Double Shuen 50 Full Sheets 50 Sheets 541/4” x 271/2” P25P: Double Shuen 100 Full Sheets 100 Sheets 541/4” x 271/2” P25SAM: Double Shuen 1 Cut Sheet Sample 1 Sheet 81/2” x 11”

Plum blossom on Double Shuen

Plum blossom on Premium “Jade Plate” Double Shuen

Premium “Jade Plate” Double Shuen (Xuan) Double thickness shuen paper that offers more color vibrancy than regular Double Shuen while still providing excellent moisture control. The best of both worlds in one paper!

P27: Premium “Jade Plate” Double Shuen 10 Full Sheets 10 Sheets 537/16” x 275/16” P27PH: Premium “Jade Plate” Double Shuen 50 Full Sheets 50 Sheets 537/16” x 275/16” P27P: Premium “Jade Plate” Double Shuen 100 Full Sheets 100 Sheets 537/16” x 275/16” P27SAM: Premium “Jade Plate” Double Shuen 1 Cut Sheet Sample 1 Sheet 81/2” x 11”

Simple lotus painting on Premium “Jade Plate” Double Shuen

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Semi-Sized Paper Alum is mixed into the preparation of this paper to make it less absorbent so that it partially resists moisture. This allows for techniques that are not feasible with raw paper, like working overlapping strokes while they are still wet. This technique can be used for washes in landscape painting to depict misty mountains or for the popular Ling-nan style of brush painting.

Pi Paper Pi paper is the best paper for painting landscapes. Its ability to partially resist moisture while still showing color intensity makes it an excellent choice for wet on wet landscape techniques and brush painting techniques common in the Ling-nan style of brush painting.

P11: Pi Paper 10 Full Sheets 10 Sheets 571/2” x 301/2” P11P: Pi Paper 100 Full Sheets 100 Sheets 571/2” x 301/2” P11SAM: Pi Paper 1 Cut Sheet Sample 1 Cut Sheet 81/2” x 11”

Simple landscape painting on Pi paper shows the ability of Pi paper to handle washes to create the appearance of mist and clouds.

Dragon Cloud Paper Similar in performance with the Pi Paper but the Dragon Cloud paper is embedded with visible decorative fibers that make the paper more decorative or less neutral in appearance.

P50H: Dragon Cloud Paper White 5 Full Sheets 5 Sheets 553/16” x 27” P50HSAM: Dragon Cloud Paper 1 Cut Sheet Sample 1 Cut Sheet 81/2” x 11”

Bamboo leaves on Dragon Cloud paper. You can see the texture effects that this paper can produce as well as the difference in vibrancy when compared to single shuen paper.

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Sized Paper Sized paper fully resists moisture so that color and moisture seem to sit on top of the paper rather than absorbing into it. This quality makes it the paper of choice for the Fineline or Gong-bi style of Chinese painting. This allows artists to apply multiple layers of color on top of each other producing the delicate nuanced shading and coloring that you see in fineline painting.

Shimmer Paper Our premium fineline paper. The paper has tiny visible mineral powders which reflect light and give it a shimmering quality.

P14B: Shimmer Shuen 5 Full Sheets 5 Sheets 531/4” x 263/4” P14BSAM: Shimmer Shuen 1 Cut Sheet Sample 1 Cut Sheet 81/2” x 11”

Glass Paper Our student quality fineline paper. Glass paper provides the competent performance needed from a fully sized paper for a value price.

P18A: Glass Paper 12 Cut Sheets 12 Sheets 271/4” x 18”

Bird on bamboo leaves painting on Shimmer Shuen.

Shading on the elements throughout the painting on done in multiple layers. This technique is made possible through the sizing in the paper.

P18H: Glass Paper 5 Full Sheets 5 Full Sheets 541/2” x 271/4” P18P: Glass Paper 100 Full Sheets 100 Full Sheets 541/2” x 271/4” P18SAM: Glass Paper 1 Cut Sheet 1 Cut Sheet 81/2” x 11”

Cicada Paper Named after an insect wing because of the translucency of the paper. It is the most popular paper for Fineline or Gong-bi in China. When compared to our other premium fineline paper, Shimmer paper, Cicada is creamier and antique in color while also being more translucent and delicate.

P14C: Cicada Paper 5 Full Sheets 5 Full Sheets 52” x 253/4” P14CP: Cicada Paper 100 Full Sheets 100 Full Sheets 52” x 253/4” P14CSAM: Cicada Paper 1 Cut Sheet 1 Cut Sheet 81/2” x 11”

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Decorative Paper We maintain a sizable library of decorative papers which can bring a fresh look to any subject just by changing the paper.

Colored Paper These raw shuen papers come in beautiful colors that allow you to show whites and lighter colors against a darker background.

P04KH: Khaki Shuen 5 Full Sheets 5 Sheets 54” x 271/2” P04BK: Black Licorice Shuen 5 Full Sheets 5 Sheets 541/4” x 271/2”

Gold Fleck Paper Raw shuen papers with chunky flecks of gold. Wonderful for any subject.

Magnolia lesson featured in Ning Yeh’s 108 Flowers Book 3 painted on colored shuen paper.

P16: White Gold Fleck Shuen 5 Full Sheets 5 Sheets 54” x 271/2” P17: Gray Gold Fleck Shuen 5 Full Sheets 5 Sheets 541/4” x 271/2”

P04KH Khaki

P16 White Gold Fleck

P04BK Black

P17 Gray Gold Fleck

Textures and Fibers These papers have unique textures and unique embeds making them distinctive in both appearance and performance P50H: Dragon Cloud 5 Full Sheets 5 Sheets 553/16” x 27” P51H: Dragon Cloud Leaves 5 Full Sheets 5 Sheets 551/4” x 271/4” P52H: Dragon Cloud Vermillion Grass 5 Full Sheets 5 Sheets 551/4” x 271/4”

P50H Dragon Cloud P52H Vermilion Grass

Pictures of white paper were scanned with a black background in order to show paper characteristics.

P51H Leaves

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Calligraphy Paper In this section we highlight some of our best papers for Calligraphy. Experienced calligraphers can look at all of our paper categories and choose a paper by its characteristics. If you are new to Calligraphy, below are our recommendations for the best papers for Calligraphy.

Single Shuen This can be considered our premium Calligraphy paper. Handmade paper with high absorbency and vibrancy to show intense colors of the ink and to be very dynamic with moisture.

Calligraphy of the character 恩 ēn on single shuen. It is translated as kindness, mercy or charity. The character is a combination of two characters. The character for cause or reason at the top and the character for heart at the bottom.

P10: Single Shuen 10 Full Sheets 10 Sheets 541/2” x 271/4” P10P: Single Shuen 100 Full Sheets 100 Sheets 541/2” x 271/4” P10SAM: Single Shuen 1 Cut Sheet Sample 1 Sheet 81/2” x 11”

Calligraphy Practice Paper Our Moon Palace roll and calligraphy grid paper are a great 1-2 punch for improving your calligraphy.

P03M: Moon Palace Practice Roll 18” 18” x 50 feet in a continuous roll P03C: Calligraphy Grid Practice Paper 100 Sheets 151/8” x 103/8”

P03M Moon Palace Practice Roll

P03C Calligraphy Grid Paper

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Paper Samplers The best way to get an overview of our various core papers is to buy a paper sampler. We currently have three samplers.

Practice Favorites Sampler OAS’ practice papers offer an easier time, especially for beginners, with moisture control, while still producing color variation well. And if a masterpiece should happen by accident on the Moon Palace, Practice Roll or the Practice Shuen varieties, then these papers can be mounted and framed for final presentation beautifully! This sampler includes a PA1N Practice Favorite Samplers sheet of each of the papers described, plus a sheet of OAS’ Calligraphy Grid practice paper.

PA1N: Practice Favorites Sampler 6 Sheets either 81/2” x 11” or 9” x 13”

Artist Paper Sampler The perfect sampler for anyone looking to better understand the various types of rice paper and what they are good for. Have questions about how sizing really affects absorbency and vibrancy? Experience it for yourself with this sampler.

This sampler includes: Raw Papers: Single Shuen, Double Shuen, and Premium “Jade Plate” Double Shuen

PA8

Semi-sized Papers: Ma Paper and Pi Paper Sized Papers: Shimmer Shuen, Glass Paper, Cicada Paper PA8: Artist Paper Sampler 16 Sheets (2 of each type) 81/2” x 11”

PA9

Decorative Paper Sampler

Top: PA8 Artist Paper Sampler We have a wide variety of decBottom: PA9 Decorative Paper Sampler orative papers that are different colors or incorporate decorative flecks of gold or fibers. Here is a sampler containing some of our best selling specialty papers.

The current sampler contains: White Gold Fleck, Grey Gold Fleck, Khaki and Black Shuen papers, and Dragon Cloud Paper.

PA9: Decorative Paper Sampler 10 Sheets (2 of each type) 81/2” x 11” 30

Specialty Papers This section we reserve for papers that are especially suited for different types of artforms or specific techniques.

Marbling/Suminagashi An artform where ink is floated on top of water and manipulated to create fascinating swirls and shapes. Then, paper is placed on the water to imprint the shapes onto the paper. This imprint becomes the painting or can be used as a background for another painting.

P18A: Glass Paper 12 Cut Sheets 12 Sheets 271/4” x 18”

Dragonfish by Ning Yeh

P18H: Glass Paper 5 Full Sheets 5 Full Sheets 541/2” x 271/4” P18P: Glass Paper 100 Full Sheets 100 Full Sheets 541/2” x 271/4” P18SAM: Glass Paper 1 Cut Sheet 1 Cut Sheet 81/2” x 11”

Fish Print/Gyotaku An artform where a fish is covered in ink and color and pressed onto a piece of rice paper to create an imprint. In this section we highlight some of our best papers for Fish Print/Gyotaku. Experienced artists can look at all of our paper categories and choose a paper by its JaShin Yeh Panza’s first experience with characteristics. For those looking for Gyotaku. A print of her teacher’s catch of the day: an Uhu “Parrotfish”. guidance, we recommend Dragon Cloud for a more decorative paper with visible fibers or use Ma paper for a more neutral paper.

P50H: Dragon Cloud Paper 5 Full Sheets 5 Full Sheets 553/16” x 27” P06: Ma Paper 10 Full Sheets 10 Full Sheets 56” x 315/8” P06P: Ma Paper 100 Full Sheets 100 Full Sheets 56” x 315/8” P06SAM: Ma Paper 1 Cut Sheet Sample 1 Cut Sheet 81/2” x 11”

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Ink

Traditonally, Paper, Brushes, ink slate and ink stone are revered as the four treasures of Brush Painting. Ink sticks are made of oil, soot and glue mixed in precise ratios. They are ground in circular motions with some water against an ink slate to produce ink for painting. For those looking for more modern ink options, our Best Bottle ink provides some of the highest quality ink instantly and conveniently.

Bottled Ink I04: Best Bottle Ink 6 ounces of high quality, warm brown-black ink that we consider the best ink for painting. It is a permanent ink that shows excellent variations in gray tones and smooth texture.

I04 Best Bottle Ink

I19A/I19: Student Bottle Ink A reusable student-grade ink favored by most Chinese master artists who enjoy its ‘super’ black intensity. If the ink dries, it can be re-wetted and used again. Available in 2 ounce and 10 ounces.

Left: I19 Student Ink 10 oz, Right:19A Student Ink 2 oz.

I16: Japanese Ink for Calligraphy With a rich and slick black finish and a dynamic fluidity due to less glue content, this is a preferred ink for calligraphers who seek ink that can fully express their dynamic movement. Available in a 6 ounce bottle.

I16 Japanese Ink for Calligraphy

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I18: Japanese Ink for Fineline This Japanese Sumi-e Ink was discovered for its sense of having more glue with the ink. Therefore, OAS included it in our product line especially for Gong-bi and Fineline Artists. Not only does it not bleed with first application like others do, but also, when dry, it does not bleed when additional washes overlap either. Available in a 6 oz bottle.

I18 Japanese Ink for Fineline

Ink Sticks I07/I08: Shanghai Premium Ink Stick Shanghai Premium 101 Ink Stick produces a smooth, shiny dark brown-black ink and is an excellent choice for both calligraphy and painting. It’s highly regarded as one of China’s finest quality ink sticks. It has markings of “101” on the side of the stick to differentiate it from others.

I08 Dimensions: 313/16” x 7/8” x 3/8” I07 Dimensions: 43/4” x 11/8” x 7/16”

Left: I08 Shanghai Premium Right: I07 Shanghai Premium L

I09/I09L: Yellow Mountain Pine Smoke Made from pine soot creating a matte blue-black finish that is gritty in texture. Some artists use this ink for bird feathers to show a subtle variance from the intense line work of the beak and other outlines.

I09 Dimensions: 313/16” x 7/8” x 3/8” I09L Dimensions: 411/16” x 11/8” x 1/2” Left: I09 Yellow Mt Pine Smoke Right: I09 Yellow Mt Pine Smoke L

I14: 500K Oil Ink Stick Made with coal oil, this ink comes close to the standards set by the Shanghai Premium 101 Ink Stick, without the hefty price tag.

Dimensions: 37/8” x 15/16” x 1/2”

I14 500K Oil Ink Stick

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Ink Slates/Stones I02: Ink Stone with Lid 3 3/4” Square with lid

Traditionally ink was produced by grinding an ink stick in water against a piece of slate.

OAS’s Ink Stone with Lid is by far one of the best pieces of slate you can find. The grind is smooth and effortless and the design offers a lid I02 Ink Stone to keep the ink moist or to serve as With Lid another slate or dish, and a spout to pour excess out into a dish.

I02RJ: Suzuri Stone 5 1/2” x 27/8”

The suzuri stone is often used in illustrations for Japanese Sumi-e instructions. Its grinding area is flat with a sloping indentation which forms a small well at one end.

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I02RJ Suzuri Stone

Left: Suzuri Stone, Right: Ink Stone with Lid

Colors

An artist’s color palette is personal and developed over time. That being said, OAS has selected different ways to get started with color that each have their advantages based on your budget and preference. These color options all work well with rice paper and are most stable when it comes to the traditional finishing process of wet mounting.

Chinese Chip Colors CC01: Chinese Chunk Yellow One of the most essential chinese chip colors due to its particular hue and its ability to be blended with indigo to form beautiful, natural shades of green used in most flower and landscape paintings.

CC01: 6-7 grams* CC01L: 10-13 grams* CC01J: Ready to use in 11/2 oz jar

CC01J

CC01 displayed in CW30A large dish sold separately

CC01L

*The Chinese Yellow comes in broken Chinese Yellow chunks. Empty chunks into a jar with a lid. Start with a 1/2 Tablespoon of water and allow the chunks to soften for a few hours. Pour or scoop desired amount in a separate dish for mixing or use alone.

CC02: Burnt Sienna Chips CC03: Indigo Chips CC04: Red Chips CC05: Vermilion Chips CC06: Crimson Chips

CC07: Sky Blue Chips CC08: Dark Red Chips CC09: Lemon Yellow Chips CC10: Rouge Chips All regular chinese chips 3 grams

Burnt Sienna, Indigo, Red, Vermilion, Crimson, Sky Blue, Dark Red, Lemon Yellow and Rouge are little chips in boxes or bags. Empty entire contents, each color in a separate dish and group the chips together on one side. Fine mist spray with water and allow the chips to bind to each other and to the dish. The dish will serve as each color’s permanent home.

Chinese Chips Color Chart

Chinese Yellow

Burnt Sienna

Indigo

Red

Vermilion

Sky Blue

Dark Red

Lemon Yellow

Rouge

Crimson

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Color Sets CS02/03: OAS Ideal Companion Watercolor Set Easy to use and easy to travel with.

CS02 OAS’ Ideal Companion watercolor set provides quality colors with fewer accessories needed. 8 or 12 pan set.

8 Color Set includes: Yellow, Vermilion, Red, Brown, Light Green, Sky Blue, Purple, and Charcoal.

12 Color Set includes: White, Yellow, Vermilion, Red, Crimson, Brown, Purple, Ochre, Light Green, Dark Green, Sky Blue, and Charcoal.

CS03

Top: CS02 Ideal Companion 8 Color Set Bottom: CS03 Ideal Companion 12 Color Set

CS01: Marie’s Watercolor Set Popular with Chinese instructors because of affordability, Marie’s watercolor set also offers a color palette that is associated with classic Chinese painting.

12 color set includes 5 ml. tubes of the following colors: #104 White, #218 Gamboge, #399 Vermilion, #398 CinCS01 Maries 12 Chinese Watercolor Set nabar, #400 Rouge, #390 Carmine, #302 Scarlet, #684 Burnt Sienna, #593 Green Label 3 [Stone Green], #493 Blue [Stone Blue], #451Pthyalocyanine Blue and #495 Indigo.

White W6: Da Vinci Gouache White 37 mL tube

W2 Dr. Martin’s Bleedproof

Semi-opaque color allowing the color to be able to mix with paint to create lighter shades. It comes in a 37 mL tube.

W2: Dr. Martin’s Bleed-Proof White 30 ml Jar

Opaque white watercolor. Great for line and dot accents for the center stamen/pistils of flowers. It is not intended for mixing. It comes in a 1 oz/30 mL jar.

WCSK050: Sakura Poster Color White 30ml Jar

WCSK050 Sakura White

W6 Da Vinci White

Opaque white offering the best of both worlds. Dilute with water to mix with other color to show gradation or keep its original strength for accents.

It comes in a 1 oz/30 mL jar.

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Mounting

Chinese paintings are traditionally finished with a wet mounting process that flattens and reinforces the original rice paper and rejuvenates the colors to the vibrant state when they were still wet.

Instruction DV19-20: SIGNATURE, SEAL & MOUNTING DVD Part of the Emmy Award winning series Chinese Brush Painting with Ning Yeh, this DVD provides step by step instructions for the wet mounting process. Also included is a section on signature and seal placement. All together an essential guide for how to finish your masterpieces.

GLS017: Mounting Techniques Lesson Easy to follow booklet explaining the traditional wet mounting process with a couple critical tips not covered in other instruction. Excellent as a companion to Signature, Seal & Mounting DVD or good enough as a stand alone as a value option for mounting instruction.

DV19-20 DVD

GLS017 Mounting Technique Lesson

Mounting Paper P07: Western Mounting Paper 5 Sheets 5 Sheets 26” x 40”. 60lb. weight American-made card stock. Strong yet flexible enough to stretch evenly when mounting, making it a breeze to handle. With over 40 years of experimenting, we find that it is the best choice available for those who are first-time mounters and need something sturdy in the beginning for their first wet mounting experience.

P15: Chinese Mounting Paper Chinese mounting paper is a machine-made rice paper. It’s thin and flexible, enabling masters or experienced mounters to mount larger paintings, preparation for scroll mounting and those who are wishing to mount their finished pieces on similar paper that they originally painted on.

Since it is a machine-made rice paper, artists also like to paint large scale masterpieces on it.

Sold by the foot or by the roll P15-24B: 24” by up to 8 feet P15B: 39” by up to 8 feet P15-24P: 24” x 320 feet P15P: 39” x 320 feet P03: Practice Roll OAS’ Practice Roll is excellent paper for dual mounting purposes. Primarily, it can be used as blotting paper. Putting your painting face down on a piece of this paper so that any excess color is soaked up making it less likely that there will be color bleeding on your finished painting. Also it can be used as mounting paper for paintings that are 14” wide or smaller.

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Mounting Accessories M1A: Mounting Paste Weight: 2.7 ounces, yields approx. 11/4 Gallons of paste A strong, smooth, cellulose adhesive that dries clear.

Wheat, flour and starch pastes are usable for wet mounting your masterpieces but it’s difficult to use and over time may attract bugs to eat away at the artwork.

Methylcellulose is archival, and requires just water. No cooking necessary!

M1A OAS Mounting Paste

KS: Krylon Krystal Clear Spray 11 oz.

A premium acrylic clear coating for added durability and protection.

When Chinese paintings and Japanese Sumi-e work dries, the finished works often fade. This aerosol spray, when applied to finished dry paintings, restores the colors and ink back to how it looked at first stroke delivery and also stabilizes the color for any possible bleeding that may occur during the wet-mounting process.

KS Krylon Crystal Clear

M2: Mounting Paste Applicator This is one of OAS’s trade secrets when it comes to applying paste to the back of your masterpieces for wet-mounting. This handy painter’s tool has a lightweight styrofoam base and handle with fine soft synthetic hairs that will enable you to apply an even, thin layer of paste. Unlike the M2 Mounting Paste Applicator traditional Wash or Hake brush that may leave loose hairs during application, its bristles are so small that any stray hairs will not show up in your finished artwork. 53/4” x 27/8” x 2” M3: Mounting Presser Yet another of OAS’ secrets. This mild cleaning scrub is used to clean delicate surfaces making it ideal for OAS to be able to recommend our customers to use for rubbing all the bubbles and wrinkles out when they adhere the mounting or backing paper to their artwork. 57/8” x 35/16” x 3”

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M3 Mounting Presser

Signature / Seal Signature/Name Seal

SIGN: Signature Card A very special service that has been offered by OAS for over 40 years. Your name will be translated into Chinese by an artisan who is a native Chinese speaker and possesses the skill to provide you with the most thoughtful Chinese name translation. Choosing a name for a person is an honored tradition.

Along with the translation you will receive a calligraphy sample of your new name along with a stroke diagram to detail how you should reproduce your name to sign your paintings.

SL7: Name Seal For decades our family has been doing business with a master carver in China. Carving seals is an artform in itself and we have yet to encounter an artist who outdoes our carver in terms of beauty, balance of composition, carving skill, and consistency. There are drastic differences in quality between a poorly carved seal and a well carved seal. It is not an area to settle for something cheap as you are often choosing between a beautiful piece of functional art and a tourist ex. 5/8” negative ex. 3/4” positive trinket.

Available in four different shapes: square, round, rectangular or oval.

For square and round there are two sizes: small (approximately 5/8”) or medium (approximately 3/4”).

For oval you may choose shape: regular or irregular. Regular and Irregular shapes are subject to availability.

The square and round stones typically have a dragon carved on top, while the oval and rectangle pieces are plain. Stone colors will vary.

ex. 1 x 1/2” positive

ex. 1 x 1/2” negative

Finally, imprints are available as positive or negative.

With each piece, OAS makes an imprint on a card that provides use and care instructions on the back.

Seal ink/paste is sold separately.

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Mood Seals Capture the mood with a beautiful seal. Each piece is selected and hand-carved in China, so while the carvings are fairly uniform, no two stones are the same. Use these seals to capture the spirit of a painting, accent a card or letter, or simply enjoy for the unique pieces of art they are.

SL3C01: Love 5/16” Square Positive

SL1C1: Love 9/16” Square Positive

SL1C2: Love SL1C3: Love 5/8” Square Negative 9/16” Round Positive

SL1E1: Tranquility SL1E2: Tranquility SL1E3: Tranquility SL1E5: Tranquility 9/16” Square Positive 9/16” Square Negative 9/16” Round Positive 7/16” Round Positive

SL1K3: Harmony SL1K4: Harmony 9/16” Round Positive 9/16” Round Negative

SL1N1: Joy 5/8” Square Positive

SL1M3: Commitment SL1M4: Commitment 9/16” Round Positive 9/16” Round Negative

SL1N2: Joy SL1N3: Joy 5/8” Square Negative 5/8” Round Positive

SL1N4: Joy 5/8” Round Negative

SL1J2: Happiness SL1J3: Happiness SL1J4: Happiness SL1A3: Perseverance 5/8” Square Negative 9/16” Round Positive 9/16” Round Negative 9/16” Round Positive

SL1A4: Perseverance SLP3A Seal Ink Paste 1/2” Round Negative 2 7/8” diameter, 54 grams Small red oil paste seal pad traditionally used for chops and soapstone seals.

Sometimes referred to as cinnabar.

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Accessories

A joyful painting area is also properly accessorized. Here is a categorized collection of some of our most useful accessories.

Water Bowls We have a couple different useful tri-sectioned water bowls for loading and rinsing your brush. The porcelain bowl is beautiful and a joy to use while the plastic one is practical, light and durable.

CW50 PB CW50: Large Porcelain Water Bowl 3 Sections. 6” Diameter PB: Plastic Water Bowl 3 Sections. 6” Diameter

Left: CW50 Porcelain Waterbowl Right: PB Plastic Waterbowl

Stackable Dishes Stackable porcelain dishes that are practical and excellent for storing primary colors, especially chinese chips.

CW30

CW30: Large Porcelain Dish Set (5 Stackable Dishes plus 1 lid) 5 dishes plus one lid, 31/2” diameter by 1/2” tall CW30A: Single Stackable Porcelain dish 1 dish 31/2” diameter by 1/2” tall

CW30A

Top: CW30 Large Dish Set Bottom: CW30A Single Dish

Flower Plates

Indispensable accessory for mixing secondary colors. Porcelain versions are better for home painting areas. Plastic version is cheaper and more durable for travel and class use.

CW60: Large Porcelain Flower Plate

CW60

CW45

9 sections: 71/4” diameter x 1/2” deep

CW45: Small Porcelain Flower Plate 7 sections: 6” diameter x 1/2” deep

BP2: Plastic Blossom Plate

Left: CW60 Large Porcelain Flower Plate Right: CW45 Small Porcelain Flower Plate

2: 7 sections: 6” diameter x 1/2” deep

One plate is slightly smaller than the other.

Though the plates are packaged nested with one on top of the other. It is not recommended to use one as a lid for the other plate.

BP2: Plastic Blossom Plate

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Felt FELTW: Felt ‘Scotch Guarded’ White approximately 24”x36”

FELTG: Felt ‘Scotch Guarded’ Gray approximately 24”x36”

Brush Holders

Left: FELTW White Felt Right: FELTG Gray Felt

BR08A: Brush Roll with Single Layer Pockets Dimensions: 133/4” x 141/8” 10 Individual pockets. Roll up your best brushes and take them on the road!

BR08A Brush Roll with Pockets

BRP-D: Dragon Porcelain Brush Rest Dimensions: 63/8” x 2” x 11/8”

Traditionally ornate dragon porcelain brush rest. 6 spots for resting brushes.

BRP-D Dragon Brush Rest

BR10: Black “Oriental Gate” Brush Hanger Dimensions 17” x 12” x 4”

16 pegs for hanging brushes, 8 pegs on each side.

Some assembly required. Brushes pictured are not included.

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BR10 “Oriental Gate” Brush Hanger

Miscellaneous Accessories GS400: Fine Mist Spray Bottle 4 oz Surprisingly useful for adding small amounts of water to dilute colors as well as apply water onto paper for misty mountain techniques.

Bottle Dimensions: 57/8” x 15/8”

GS400: Spray Bottle

PW1: Cherry Wood Paperweights “Painting & Calligraphy” and “Making a Special Connection” Elegant dark cherry colored wood rests filled with heavy metal to add extra weight. Both carved with teal colored characters for “Painting and Calligraphy” and “Making a Special Connection”. 73/4” x 11/8” x 1/2”

PW1: Cherry Paperweights

PW3-BK: Black Paperweight Paperweight ideal for keeping rolled paper from curling back up or paper shifting on top of your felt. Colorful tassel on top and patterns of old coins etched into the design. 8” x 5/8” x 3/8”

PW3-BK: Black Paperweight

GS404: Glass jar w/ gold lid 1.23 oz.

Popular for storing softened Chinese chunk yellow for future use. 15/8” x 2”

GS404: Glass Jar

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POSTMASTER NOTE: TIME DATED MATERIAL