top of page
Writer's pictureLaura Rachez

Gansai Tambi Watercolors: My first try and my impressions in pictures.My opinion on Kuretake Gansai Tambi watercolors


Journey to the heart of vibrant colors: my test of Kuretake Gansai Tambi watercolors, My opinion on Kuretake Gansai Tambi watercolors


A box of Kuretake Gansai Tambi watercolors opened, revealing a palette of 12 pans of bright, intense colors. The box is green with gold Japanese script. The pans are arranged in two rows and contain varying shades of pink, blue, green, yellow, brown, and gray. The palette sits on a light wood table, next to a sketchbook and a ceramic pot.
Here is the Gansai Tambi 12-color palette I used for this review. As you can see, the pans are packed with intense and vibrant pigments. I couldn't wait to discover these colors and test them on paper!

In the world of creation, the call of color is an invitation to travel. Lately, a palette of vibrant shades has captivated my eye: Kuretake Gansai Tambi watercolors. Like precious stones, these small watercolor pastilles seem to whisper promises of enchanting landscapes and flowers with delicate petals.

Guided by curiosity and the desire to let my brushes dance on the paper, I decided to go and meet these captivating colors. Today, I open the doors of my studio for a gentle artistic exploration. Together, let's discover the secrets of Gansai Tambi and let ourselves be carried away by their magic.


Kuretake and the Gansai Tambi: a Japanese heritage

Before diving into the heart of my experience, it is important to understand the origin and specificities of these watercolors.

Kuretake: a century of expertise:

Founded in 1902 in Nara, Japan, Kuretake is a company specializing in the manufacture of art supplies. Initially known for its calligraphy inks and brushes, the brand has gradually expanded its range to offer a variety of products for artists, from markers to felt-tip pens to the famous Gansai Tambi watercolors.

The Gansai Tambi: Japanese watercolors:

"Gansai" means "intense color" in Japanese, a term that reflects the main characteristic of these watercolors. Their production is based on a traditional Japanese process that differs from that of Western watercolors.

Manufacturing features:

  • Highly concentrated pigments: Gansai Tambi are distinguished by a higher concentration of pigments than classic watercolors. This gives them a particular opacity and intensity.

  • Specific binders: The composition of Gansai Tambi incorporates traditional Japanese binders which contribute to their creamy texture and unique finish.

  • Refillable cups: Presented in the form of solid cups, Gansai Tambi can be refilled once exhausted, a common practice in Japan which is part of a sustainability approach.


It is important to note that these characteristics give Gansai Tambi a behavior and rendering that can differ from Western watercolors. Their texture, opacity and intensity can surprise, or even destabilize, artists accustomed to other types of watercolors.


My Gansai Tambi palette: a rainbow of surprises (but incomplete!)


A hand holding a thin brush and applying a touch of red paint to a watercolor chart. The chart shows squares of different colors, with the names of the colors written in Japanese and English. You can see the grainy texture of the paper and the opacity of the paint.
To better understand the nuances of my Gansai Tambi palette, I made a color chart. It is always an interesting exercise to familiarize yourself with new colors. I applied each color on the paper by varying the amount of water to observe the different intensities and possible gradients. I immediately noticed the opacity of the pigments, very different from my usual watercolors.

For this first exploration, I opted for a palette composed of the following colors: natural peach, pink, Indian red, brown, gray, big spade, lilac, yellow green, lime green, azure blue, cobalt blue and deep gray blue. As soon as I opened the box, I was struck by the intensity of the pigments. (You can also see the palette in a photo a little further down).

Accustomed to Sennelier watercolors in tubes, which I distribute in my pans, I immediately noticed a fundamental difference: the opacity. Gansai Tambi are much more opaque than the traditional watercolors I am used to. We could almost compare them to a mixture between gouache and watercolor, with a creamy texture and a covering finish.

This opacity is explained in particular by the presence of white pigments in certain colours, which reactivate on contact with water. This is a rather destabilizing aspect at first, because you have to learn to manage this particular intensity and texture.

A small downside all the same: I found that my palette was seriously lacking a yellow and an ochre color. Indeed, the "yellow green" really leans towards green and cannot replace a primary yellow. As a result, I had difficulty achieving certain color mixes.


Setup and first impressions

A hand holding a thin black felt-tip pen and drawing curved lines on a white sheet of paper. The drawing depicts abstract shapes and geometric patterns. Part of the Micron pen with its blue cap can be seen. The sheet is attached to a drawing board with adhesive tape.
Before starting to paint, I made a preparatory drawing in Indian ink with a Micron marker. I really like working with these markers because they offer a precise and indelible line. As you can see, the drawing is quite simple, with geometric shapes and some natural elements. I wanted a subject that would allow me to test the Gansai Tambi colors without too many constraints.

Preparation of the material

As usual, I used a 300 g Canson fine grain paper, which I taped with paper tape to a rigid support. I then made a sketch for my subject with an ochre colored pencil (Faber Castell). To finalize the outlines, I used a brown ink felt-tip pen (Micron) with a fine tip.


First touches of color and disappointment

My opinion on Kuretake Gansai Tambi watercolors, I started by lightly coloring the background of my paper with touches of natural beige, pinkish beige, yellow green and a hint of gray, diluted with a lot of water. That's when I started to be disappointed by these watercolors. The white pigments present in some colors create a rather destabilizing effect. The paint is much less transparent than a classic watercolor, which surprised me.


A hand holding a paintbrush and applying blue watercolor paint to a sheet of paper. The paper is attached to a drawing board with tape. A watercolor palette and a green box can be seen on the table.
Here I am applying the first layers of color with Gansai Tambi. I chose to start with a light wash for the background, but I quickly noticed that the opacity of these watercolors is very different from what I usually use. The result is less transparent and more covering, which requires an adaptation of my technique.

Difficulties and adaptations


Opacity Management

After drying the background (with the help of a heater), I started painting the details. I had a hard time doing the large colored areas, because I usually work with more transparency. The opacity of the Gansai Tambi forced me to adapt my technique.

Problematic color mixes

Mixing colors was also a source of difficulty. The presence of white pigments tends to smear certain shades, making it difficult to obtain natural tones. I feel that these paints are best suited to raw use, without too much mixing.

Limited color palette

The limited color palette I had available was also a hindrance. Usually, I use a wider variety of shades, which allows me to be more comfortable and achieve the effects I want.


Resumption of contours

The opacity of the Gansai Tambi had another unexpected effect: it "extinguished" my initial drawing. So I had to go over the outlines one last time with my brown (Micron) marker, which I rarely do with my Sennelier watercolors.


My verdict on Gansai Tambi: mixed feelings

My experience with Gansai Tambi leads me to a mixed assessment. I think that these watercolors can destabilize, or even disappoint, people accustomed to classic watercolor and working in transparency. Their opacity and their particular texture require an adaptation and a different approach.

For artists like me, who like to think outside the box, Gansai Tambi can be interesting, but with some reservations. I would advise to choose only a few colors individually, the ones that attract you the most, and to use them more like gouache, in thick and opaque touches.

They can be useful for adding touches of bright colors at the end of work, for details or specific effects. On the other hand, I do not recommend using them in transparent washes or for complex mixtures, at the risk of obtaining results "dirty" by the white pigments.


A purchase to consider...

In the end, the Gansai Tambi are more of an accessory than a central tool for watercolor. They can bring a touch of originality and pep to your creations, but will not replace your classic watercolors.

If you have a comfortable budget and enjoy exploring new materials, feel free to try them out. But if you're already happy with your current watercolors and are looking for transparency and subtlety, it might be best to stick with your old ways.

And you, what do you think?

Did you know about Gansai Tambi watercolors? Have you ever had the opportunity to test them? Share your impressions and advice in the comments! Maybe you found some tips to use them better? I'm curious to hear your feedback.


Thank you for reading and see you soon for new artistic adventures!


If this article has made you want to start watercolor painting, know that I offer workshop classes for all levels in my area. Do not hesitate to contact me for more information



0 views0 comments

Comments


bottom of page