The automatically translated article is temporarily displayed. We are working on the translation to publish the completed English version.
**********Yasunari Ikenaga is a Japanese artist who creates paintings with mineral pigments. "ELEMENTS of IKENAGA YASUNARI 12colors” is a set of pigments specially selected by the artist from his own palette, created in collaboration with PIGMENT TOKYO. With the product’s renewal in 2026, we visited his studio to interview him about his personal philosophy on color.
In our previous interview "Yasunari Ikenaga’s Paint Brushes —Taisei & Kousen—,” Ikenaga shared his ideas about his ideal paintbrushes.
This time, we dive deeper into how his selected pigments create limitless depth and resonate with the linen he chooses as his substrate to achieve his masterpieces. Let’s take a look at the secrets behind his painting process.
Yasunari Ikenaga in his studio
ELEMENTS of IKENAGA YASUNARI: Origins and Recipes
— How did this curated pigment set come to be?
Yasunari Ikenaga (hereafter, Ikenaga / titles omitted):
It all started with a workshop for a group of customers coming from China.
At that time, I received a request that "I would like to know how to express skin tones," so I published the color mixing recipe for skin tones that I usually use to explain how to draw. At this time, a clear concept was born: "With the recipe and pigment set, anyone can draw authentic portraits," which led to the commercialization of the product.
Usually, I only own these kinds of colors. When it comes to "selecting color materials", we choose pigments that will harmonize beautifully with the entire screen, no matter which colors are used next to each other. The number of colors, 12, is neither too many nor too few, and has just the right amount. I don't think there are any other sets like this that are easy to use even for first-time users of mineral pigments.
— How did you choose the pigment colors?
Ikenaga:
Before the renewal, we tried to make it as close as possible to the "skin tone recipe" we were using at the time. The 24-color set consists of pigments with a count (particle roughness) that matches the formula as much as possible, and a few colors that are easy to use on a daily basis.
However, the color recipe changes little by little every month, depending on factors such as the condition of the canvas (support). Also, if a pigment goes out of stock, you will have to completely replace the colors and combinations used.
Initially, the composition consisted mainly of brown and black colors, but with this update, the overall saturation has been increased, giving it a brighter impression than before. Although it is a selection for drawing portraits, it has enough content to rival my full set of paints.
The combination has been changed to be even easier to use, resulting in a lineup that allows you to draw motifs other than people.
— Aside from colors and tones, what other factors did you consider during the renewal of this product?
Ikenaga:
Among pigments, there are some that are inherently difficult to blend with animal glue.
Reds and browns—such as Shin-iwa Azukicha and Natural Iwakogecha —mix smoothly with ease, but I find that the yellow and orange shades in the Shin-iwaenogu series are particularly challenging to control in that regard. However, even with those tricky colors, mixing them with a well-blending pigment like Natural Iwakogecha adjusts their texture, making them much easier to paint with. That is how I work with them in my daily practice.
I don’t hold any preconceived notions about whether natural mineral pigments or Shin-iwaenogu (synthetic mineral pigments) are superior; I simply choose based on color hue and how well the pigment harmonizes with animal glue.
The yellow and orange shades I selected for this new set— Shin-iwa Kibeni” and “Shin-iwa Kincha” belong to a color group that is typically hard to manage. Yet, as far as I know, they possess the absolute best compatibility with animal glue among their kind.
ELEMENTS of IKENAGA YASUNARI 12colors (The Color Lineup: 2026 Renewed Edition)
Top row: Natural Iwakuro No. 13 / Natural Usukuchi Kincha No. 13 / Natural Iwakogecha No. 13 / Shin-iwa Sabicha No. 13 / Shin-iwa Azukicha No. 13 / Natural IwaTaisha No. 13
Bottom row: Shin-iwa Kibeni No. 13 /Shin-iwa Kincha No. 13 / Shin-iwa Uguisu No. 13 / Shin-iwa Kuro Rokusho No. 13 / Shin-iwa Ai Gunjo No. 12 / Shin-iwa Kuro Gunjo No. 12
In Search of Skin Tones: Mineral and Earth Pigments
"Dream within a dream / Anna" 2025 20x50cm
— The pigments you use are fine-grained, and your subdued color palette is striking. What kind of journey did you take to establish this style of expression?
Ikenaga:
Where should I begin... There are a few ways I could answer this, but let’s start with the foundation of my expression: skin tone.
Throughout the history of painting, countless techniques and styles have been built up over time. If you research what you want to paint, you can easily find "recipes" for those past works. In my twenties, I was constantly experimenting, wanting to try everything: "I want to paint in that artist’s style," or "I want to master that technique."
However, in doing so, I gradually lost sight of my own identity and eventually hit a dead end. I decided to stop chasing past recipes and spent a long time searching, asking myself, "What is uniquely mine?"
After much trial and error, I gathered mud from in front of my house, mixed it with animal glue in a blender, and applied it to the canvas. It turned into a muddy, messy surface. Thinking it was a failure, I washed it off with hot water—and the residue that remained on the canvas burst into a beautiful hue. That became my "skin tone."
I felt that with this skin tone recipe, I could pare away everything unnecessary and achieve a minimal, authentic style that was truly my own. With that conviction, my figure painting started anew. To this day, I still build up my skin tones using layers of earth pigments.
People often talk about coarse particles and the mineral texture of pigments as the defining "charm of Nihonga" (Japanese painting).
Because this skin tone serves as my base, I choose mineral pigments that are fine-grained and as close to the texture of earth as possible. Having experienced setbacks in the past when trying to adopt various styles, I try to avoid adding artificial "seasoning" through materials when I paint.
On the flip side, I sometimes worry and wonder if my current work relies too much on such "seasoning."
Mineral pigments are raw minerals, so the material itself is completely exposed. While the general impression of Nihonga might be "natural and subdued," in reality, there are many vivid colors, including chemical-like shades and neon tones. When it comes to those, I personally find them a bit difficult to work with.
— When using mineral pigments, blending colors by layering them is common. From your perspective—having also studied Western-style painting—do you have your own unique processes or rules when painting?
Ikenaga:
Basically, once I mix a color, I only apply it a single time.
Also, because I paint on canvas, I can’t use watery, fluid paint to build up multiple layers through brushstrokes. Including the ground coat, I apply at most two or three layers. If I apply any more than that, the linen substrate physically refuses to take any more paint, and it won't adhere to the canvas.
The underlayer for any area to be colored is always black. On a black ground, applying just a single layer of fine-grained pigment brings out a vibrant, solid color.
As a fundamental rule for layering, I place darker colors first and apply lighter colors on top afterward.
— Are there any key points you keep in mind when mixing mineral pigments with animal glue?
Ikenaga:
To bring out vibrant, beautiful colors within a limited number of strokes, the "prime window" (peak timing) when mixing mineral pigments with animal glue is actually crucial.
When you first begin mixing mineral pigments with glue, they exist simply as separate "sand" and "glue". But after thoroughly kneading them and letting them sit for a few hours, a smooth, unified texture emerges. However, once past a certain point in time, that ideal quality is lost again.
It is slightly different from a gel-like state, but there is an exquisite window of time when these two elements—uncooperative like sand and water—transform into a single, cohesive substance. At that precise moment, the paint flows most smoothly and settles best onto the brush. So as not to miss that "prime window," I apply the paint onto the canvas in a single stroke using a very stiff, fine-pointed detail brush (menso brush).
Some mineral pigments blend extraordinarily well with animal glue, while others do not, so I exclusively use the ones with excellent compatibility that I’ve discovered through my own practice. Since I apply the paint in a single pass with a stiff detail brush, it is an absolute prerequisite that the brush hair holds paint well and releases it smoothly.
What’s more, such well-suited pigments remain unified even after being applied to the surface—the glue and pigment do not separate or fall apart, following the brushstroke beautifully.
Color: expression and aesthetics
“Konpeitō / Mina” 2026 40x40cm
— Like the skin tones, are the garments and backgrounds also created by mixing colors?
Ikenaga:
In my artwork, I rarely use paints (pigments) straight as single, unmixed colors.
In terms of the lineup in this pigment set, I basically mix Natural Iwakuro (black) and Natural Iwakogecha (dark brown) as a base into other colors, lowering their saturation and value to a certain degree before using them.
Additionally, a uniform "color plane" composed of the same tone asserts a strong presence within a painting. To suppress the visual dominance of the garments' patterns and backgrounds, I render them in intricate detail. My goal is to let the facial expressions, hand gestures, and features emerge as distinct color planes that stand out.
It is similar to a camouflage effect: by scattering fine patterns across the clothing and background, I erase the contours of the body and the background space, allowing them to dissolve seamlessly into the canvas.
"Manjū Cat" 2026 25 x 25cm
— How do you select your color schemes and color tones?
Ikenaga:
Since I naturally keep only a limited variety of paints on hand, I rarely think about color schemes in detail. I only own basic hues like blue, green, yellow, and red, so there isn't much room for complex scheme planning—the color combinations naturally dictate themselves.
Generally, I choose colors close to the motif itself, without overcomplicating things by thinking, "What would happen if I placed this color next to that one?" All I really keep in mind is creating a contrast in saturation between the foreground and the background.
The pigments lined up on my studio shelf are about the same variety as this curated set. Through long years of experimentation, they have settled into a selection where any colors placed side by side achieve a beautifully balanced harmony.
—At what point or under what circumstances do you adjust your color-mixing recipes?
Ikenaga:
Basically, I follow the exact same process for everything, starting right from the ground coat.
However, as a prerequisite, the condition of the canvas changes depending on the season. Because of this, no matter how consistently I apply the ground coat, the color payoff and texture will inevitably shift, and the base skin tone changes along with it.
Everything shifts from there in a domino effect—so even if I think, "This worked," and repeat the exact same steps, after doing it a few times, it will inevitably stop turning out right at some point.
That’s why I adjust the recipe each time, tweaking the proportions bit by bit down to the gram. For some reason, after repeating the same process a few times, it eventually stops working, so I have to rethink the recipe every single time.
Though, I imagine that’s true for any artist, regardless of their technique, wouldn't you say?
Test pieces for artwork
— Have you been creating these blending charts and recipes to adjust your colors for a long time?
Ikenaga:
Yes, I’ve done it for a long time because I don’t really trust my own intuition.
If I start doubting myself mid-process, wondering, "Is this truly the right color?", I get stuck and can’t move forward. So I tell myself, "If I follow this recipe, it should turn out fine," and keep my brush moving.
For that reason, I don’t try to change the atmosphere of my paintings from piece to piece. Instead, my approach is to ask: "What will emerge if I cast the motif I want to paint into this established mold?"
It’s precisely because the base recipe is firmly established that I can discern the subtle nuances and "flavors" that different materials or motifs bring out. That’s why I’ve stuck with this method for so long.
Art materials and methods: philosophy of production
"One Peony Blossom / Nonu" 2025 20x50cm
— Your works often seem to feature vertical compositions. What is your intention behind the choice of canvas size and layout??
Ikenaga:
In my mind, a dimension of 80 cm × 40 cm serves as a personal standard. I also like this scale because it happens to be the physical limit that the natural stroke of my arm can just barely reach.
If the canvas size becomes too large, it actually grants too much freedom of expression. That’s why I am constantly contemplating how to compose and fit the motif within that constrained frame.
While I do have horizontal series as well, my work is predominantly vertical. When arranging a model on the canvas, deliberately cropping parts of her upper body—letting her extend out of the frame—is what brings out a woman's beauty most effectively.
"Silent memory / Karen" 2021 80x40cm
— Do you have a specific mental image or personal rules when creating your work?
Ikenaga:
As a matter of etiquette—or rather, a way of presentation—in Bijin-ga (portraits of beautiful women), I refrain from fully rendering the "personal" identity of the subject. If I paint too many fine details, the figure becomes a specific individual. By intentionally leaving elements that identify a person ambiguous, I allow viewers to complete the image using their own memories. That way, the portrait can evoke someone from the viewer's own memory or a cherished person in their life—that is the effect I aim for.
Translating this philosophy into color, my approach is to suppress the hues on the canvas as much as possible, encouraging viewers to mentally complement the "desired color" lurking beneath. Therefore, I avoid pigments that assert themselves too strongly—such as coarse-grained or vivid colors—and instead choose materials with a texture close to earth.
Regarding the models as well, rather than directly capturing their actual skin tone or atmosphere, I project a subtle, internal image onto them.
When I first started painting, I established a few rules for myself: one was "to paint events taking place inside my own room," and another was "not to add painterly seasonings or theatrical flair." There was one more, but I honestly can't remember it anymore.
Ultimately, I am set on avoiding anything "overly painterly." For example, I eliminate dramatic staging like setting the scene in dim lighting, or adding narrative elements such as a specific time of day or backstory. I also avoid theatrical lighting effects and paint strictly using flat light.
*Flat light: A lighting technique that illuminates the subject brightly and evenly without creating strong shadows.
— Are there any substrates or techniques different from what you currently use that you would like to try in the future?
Ikenaga:
I have a strong desire to once again use Funaoka* canvas, which I favored in the past.
People often describe my technique as "dyeing the canvas," but I am not actually dyeing the fabric itself. In reality, my process puts a heavy physical load on the material—it’s like vigorously "punishing" or scrubbing the surface of the linen.
The restrained, refined grain of the Claessens canvas I currently use demands a gentle and delicate approach when preparing the ground coat. At times, I find myself missing that wild, rugged substrate. I suppose both are essential to my work.
*Funaoka Canvas: A domestic canvas brand formerly manufactured by Nihon Gazai Kogyo Co., Ltd.
— Have you had encounters with new art materials that supported your expression once again? And how have you confronted the changing landscape of art materials over time?
Ikenaga:
It feels like gradually coming across materials that make me think, "Yes, this will work."
The ideal "skin tone" that emerged accidentally through endless trial and error—actually, for a while afterward, I couldn't recreate it on my own. Even though I felt I was shaping it reasonably well, I became stubborn, convinced that I had to restore that intuitively discovered "skin tone" to a full 100%. Looking back, perhaps it was a kind of self-indulgence on my part.
After all, the sense of loss over what was first lost was that profound, and at first, when I couldn't find a substitute that could yield that key color for my expression, I felt deeply disappointed.
While I was searching in frustration, thinking, "I can't do it, I can't do it," Nakagawa Gofun released their earth pigment series.
At that time, I needed raw, organic pigments unique to natural materials, and the arrival of earth pigments—which hadn't existed on the market until then—illuminated a clear path: "With these, I can create the skin tone I’ve been searching for." Through them, I was able to establish my expression. Thinking about it now, I realize there are encounters and partings with every single art material.
Even now, when pigments or art supplies that I love undergo color changes for various reasons or become discontinued, it is a truly painful issue for an artist who paints continuously with the same materials.
We spend immense time chasing these lost phantoms, eventually arriving at similar expressions again—yet I often reflect on whether that process is ultimately a good thing or a bad thing for an artist.
I suppose every artist undergoes this battle against the shift and loss of materials and tools. Amid those turbulent waves, while accepting the changing times, we are likely constantly re-questioning whether our materials truly align with our current expression.
Carefully curated through Ikenaga’s aesthetic eye, the colors of "ELEMENTS of IKENAGA YASUNARI" transcend the idea of a mere "pigment set"—they could well be described as the very DNA that forms his artwork.
[Related article]
Please also take a look at our interview article, where Yasunari Ikenaga shares the untold story behind the creation of the Menso brushes he produced and his thoughts on the ideal paintbrush.
IKENAGA YASUNARI
Born in 1965 in Oita Prefecture.
Graduated from Midorigaoka High School annexed to Oita Prefectural College of Arts and Culture.
Known for his Bijin-ga (portraits of beautiful women), which he paints with mineral pigments on self-dyed linen, giving off a unique texture and fragrance.
He also receives numerous offers from abroad for stationery and book cover designs.
His art book "Kimi Omou Byakuya no Koufuku," published in 2014, continues to be a long-seller.
You can find his work on book-cover designs in Spain, America, and Italy; lambda prints in Germany; and stationery designs in Russia.
In Japan, his diverse and unconventional projects include creating original artworks for AKB48 member Yui Yokoyama’s photo book, producing ukiyo-e woodblock prints, and collaborating with love dolls, establishing him as a leading figure in the contemporary Bijin-ga scene.
Official website: https://ikenaga-yasunari.com/index.html
X: 池永康晟 (@ikenagayasunari) / Posts / X
Instagram: Yasunari Ikenaga 池永康晟
[Artwork Used for the Main Visual]
"Equation / Kano" 2024 45x30cm
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 TOKYO
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.