Lorrain transparent water based Paints in Kyoto Japan

Testing the Paint

 I normally use a male paint like a WN Gouche Paint to start a Painting and then follow it with watercolour paint, the small hand full I have listed as Female Paint.

As on my website in my new book "Painting with Edward" I write in section 2 on Method,  That Male Paint is first and then Female Paint is second. The paint goes on in a sequence of Yellow followed by Red, which is followed by Blue. This is for Male Paint  as well again for Female Paint.

Lorrain Paints seem to completely out perform WN paints both the Gouache and the Watercolour range. I have developed my whole understanding of the Female Element of Composition from The WN range of Paint since 1982, for some 28 years. Lorrain Paint is a significant range of paint for the Female Element of Composition found in Japan. It is Female Paint. It stains reliably, it flocculates when flooded with water, when dry it can be flooded and the paint laid down does not move again. The translucency is consistent without the usual muddiness developing. Every pigment has these female characteristics.The pigments are strong and can be used as a male paint on dry paper. The readily replace the roll of Gouache.

Lorrain Paint has very finely ground pigments, ground cool between granite rollers without experiencing the hotter stainless steel rollers and possible over heating of the ingredients. Mixed with Oyster Shell for calcium and Gum Arabic from Sudan means high Chroma and high Translucency. The paint is very reliable and stains permanently. The quality is very high. It can sustain an enormous amount in the wet environment. It is very suitable for my wet in wet work. The medium is a strong glue that rebinds itself to the next wash. I can flood the paper again and again building my complexity and powerful Female Element in the composition with every colour in their range. My struggle has been to find the Female paint in my western world.



To achieve the Female Element of Composition effortlessly this paint is needed.

Thank you Lorrain Co. in Kyoto, Japan.

Following is a colour analysis for your complete understanding:

This is the colour wheel:

 

Yellow is first and Red and Blue went over the top 

The next volley of photos shows yellow first.

 

Here is Yellow on Blue, this is very rare:

Apart from WN Madder, Red never floculates like this with so much chroma:

Here is Red on Yellow

Here is Red on Red:

Here is Red on Blue:

Now lets look at Blue on Yellow:

Blue on Red:

Blue on Blue:

Lorrain Paints in Kyoto Japan

Visited Lorrain Paints manufactured in Kyoto.


 Today I had a very privilaged inspection of the manufacturing process. Lorrain Paints are the most superior transparent water based paint after Winsor and Newton. The difference is greater Chroma and greater transparancy.

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Shinto Blessing of the Emirau Project at Hakusan Shrine in Japan

Hakusan Shrine

Today, the Emirau Project was presented to the Goddess Himesan at the Mount Hakusan Main Shrine at Shirayama, north of Nagoya on the Japan Sea,  in Japan, through the watercolor painting of “Tench boy and Marlin” painted by Edward Car.  A special Shinto ceremony was performed at Hakusan to alert the Goddess Himesan about our project and to attract her enthusiasm and support. The painting was placed in front of the Goddess in such a way so that she could see it well. Huge drums were beaten, several monks chanted, a maiden danced to unique Shinto music of flute, bells and drum.

The Goddess Himesan of Hakusan Mountain has a modest shrine at the Tokyo Tskiji Fish Market seen with the two lions at the gate. The shrine deals with the mountain and the sea. The mountain Hakusan behind the Shrine site at Shirayama is the home of the most powerful, wildest and action full female Goddess in Japan. Seamen and mountain men alike seek her support in their most harsh encounters and project experiences.

Hakusan is also known as Shirayamasan and Himesan.

The story about the boy at Tench Island goes back to 2003 while sitting there at the men’s end of the beach a small boy, left in the painting, was out in the ocean in his dugout traditional outrigger slowly being taken out to sea. Tench some 300 meters across peeks out of the water something like a meter, it is one of those coral pillars climbing 1000 meters up off a submerged ridge on the rim of the Manus Trench falling another 6000 meters into an abyss. Tench sits right in the middle of the sub equatorial drift, in a constant west bound current of a persistent 2 knots. The boy appeared to be swept away from the Isle, home for some 50 people keeping a unique language.  Actually as the boy slowly paddled back after good hour or more, against the current, it was clear he had caught a record size marlin. Coming closer to home, there was an excitement on the beach as his mother standing in the surf helped him untie his outrigger off the marlin. The fish was bigger than his dugout. The boy was about ten years old. No man was allowed to touch the fish. The Marlin now belonged to the domain of the women.

The meaning of the painting and the meaning of the Heroic Emirau People together with the Tench people and the Mussau people was well understood by the monk at Hakusan Shrine. 

Aichi Triennale 2010

If you want to understand Japan, the Japanese people and their world or even your own world somewhere in the Western society look at this Exhibition. The Japanese Artist is on the money and to the point. The Japaneses Artist has documented what is going on very clearly and understandably. The Artist knows everything.

The young Japanese Artists from all over Japan do not follow the Government decision that animation is the new representative tend for Japan. Rather it is a deep complex  inwardly directed suffering and Existential Psychopathy. The Japanese psychology is extremely obscure, a twisted multi layered agony hiding behind screens providing voyeuristic advantage and no real engagement. The people are deeply alone doing the hard yard all by themselves, living and making do in a living hell. There is a clear decision that intellect cannot help them. There is a clear recognition that the intellect and more learning cannot help them. What is summarized and presented by the artists is that people have an awareness of being deliberately lied to, set up, undermined and blown away. Japan is not about suicide as a silent personal solution anymore, it is being slowly honest about the set up against the people coming from particular Globalization interests. The "Aichi Triennale 2010" had the substance missing in the State chosen animation artist Tabai representing Japan in Venice next year at the 'Art Olympics'.

Here is an allegory of the blackboard full, neurotically over full, and the chalk exhausted disrespectfully excessively covering the entire floor. All regardless of the student, learning viewer.

Here the painting is so obscure. It is fragmented into vertical strips meaningless on a shop window front. The shop has nothing to do with the painting. The viewer is looking to find the painting, many walk off. They don't find it. The artist is alone as the viewer is perpetually alone. A very strong truth.

Here the fragments of our living are placed in a room allegorically. In someones room. Those long bits are roads with cars.

This is a most obscure work. The wall is covered by well known confectionery wrapping. The neurotic endless chewing gum wrapper touches the endless effort of the Japanese people. And it is still respectfully glued to the wall with tedious effort. The twisted experience leaves the viewer with significant realization of their own truth and feel nausea.

The same obscure installation of a completely sand papered room with objects completely and obsessively sand papered. The sand papered flute sits there in a sand papered world, a common living room of a common apartment.

This is a video of kids descibe an animals week of life at the zoo. This strongly allegorical representation of an animals life at the zoo by children strongly refer to the meaninglessness of aweek of adult life.

Another video of children each descibing their idea of hell.

This is part of a collection all describing the endless effort simply put in. All are excessive. People are doing more than they should.

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The lattice house is again obscure until you walk in and remember the peaking that is going on everywhere from behind the transparent curtain, venetian and lattice.