Kuretake Gansai Tambi Watercolor No.101 GOFUN WHITE

Gofun White (胡粉) is the oldest white of Japanese painting – and in Kuretake's Gansai-Tambi series it comes as a hand-crafted watercolor pan. The pigment PW18 (calcium carbonate) is obtained from ground oyster shells and produces a white that differs fundamentally from any mineral or synthetic opaque white: soft, slightly warm-toned, silky-transparent rather than chalk-hard. The large-format pan can be worked directly with wide brushes and dissolves in water in a creamy, uniform manner.

Special Features

• Gofun pigment (PW18 – calcium carbonate from oyster shells): A white pigment used in Japan since the 12th century. Compared to metallic white pigments, it acts characteristically softer and warmer in tone – not a dull chalk white, not a cool titanium white, but a lively-transparent white with a hint of warmth.
• Variable opacity through water dilution: Applied pure with little water, the pan behaves almost like gouache – opaque and full-bodied. With more water, a transparent, glazing application is created that lightens other colors without covering them.
• Creamy-soft consistency: Gansai-Tambi colors are hand-crafted by Kuretake in Japan. The pigment dissolves evenly and lump-free – no rubbing or long soaking required.
• Large pan (48 × 28 mm): The format allows working with wide watercolor and sumi-é brushes; the color area is large enough to load generous brush strokes directly from the pan.
• Lightfast (pigment-based): Gansai-Tambi colors are pigment-based. Lightfastness is provided with normal use (not excessive dilution).
• Not document-fast: Water-based pigment color – not water-resistant after drying, not document-fast.
• Non-toxic: Suitable for regular artistic use.

Application & Tips

• Highlights on dark paper: Gofun White is excellent for light accents on toned or black paper – the slightly warm tone looks more natural than a pure, cool white and blends harmoniously into watercolor compositions.
• Lightening and mixing: In Japanese painting, Gofun is classically used to lighten other color tones or create delicate glazes. In the Gansai-Tambi system, No. 101 can be mixed directly on the palette with other pans.
• Sumi-é and calligraphy: The soft, semi-opaque white can be used for calligraphic accents and script on dark backgrounds – with a fine brush and little water, a precise, silky line is achieved.
• Layering and glazing technique: Those working in multiple layers can use Gofun White as a first layer to lighten an area before other Gansai-Tambi colors are glazed over it. The transparency remains controllable through regulated water addition.
• Snow effects and texture: Traditionally, Gofun is used in Japanese print graphics to make snow or light textures appear three-dimensional. Applied pure and thick, it creates a slightly raised, matte surface.
• Paper: Works on smooth, calendered watercolor paper as well as on Washi – the rougher the surface, the stronger the granulation effect of the calcium carbonate.

For Nihonga and Gansai Enthusiasts

Gofun (胡粉) has a history dating back to the Heian period (12th century). Originally, the term in Japan referred to lead white, which, however, blackened in Japan's humid climate – whereupon ground oyster shells became established as a substitute over centuries. The pigment PW18 (CaCO₃) has low tinting strength, making it ideal for transparent reworking without dominating the underlying color tones. In Nihonga painting, Gofun is classically used as an underpainting, for surface preparation of Washi, and for lightening mineral colors. Kuretake's Gansai-Tambi version makes this traditional pigment accessible in a practical pan format – without the labor-intensive grinding with Nikawa glue required for loose Gofun powder.

Technical Specifications