Last Updated on: July 31, 2026

Yasunari Ikenaga is a Japanese artist who creates paintings with mineral pigments. ELEMENTS of IKENAGA YASUNARI 12colors is a set of pigments specially selected from his own palette, created in collaboration with pigiment.live. With the product’s renewal in 2026, we revisited his studio to interview him about his personal philosophy and inspiration on colors.

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 a sense of limitless depth and how they harmonise with the linen he chooses as his substrate to achieve his distinctive style. Without further ado, let’s take a look at the secrets behind his painting process.

Yasunari Ikenaga in his studio

Pigment Selection: The Origins of Ikenaga's Formula

— How did this curated pigment set come to be?

Yasunari Ikenaga (hereafter "Ikenaga") :

It all started with a workshop we held for a group of visitors from China. During the class, they asked me how to create the skin tones as I do. To demonstrate my process, I shared the actual color-mixing recipes I use for painting skin. At that moment, a clear concept came to mind: "With these recipes and the right pigment set, anyone can now paint a traditional figure painting with ease." And that’s how this vision led to the creation of this product.

Even for my own artwork, I only use a limited number of colors like this set. Regarding the ELEMENTS of IKENAGA YASUNARI pigments set, I selected the pigments that harmonize beautifully across the entire canvas, no matter which colors you place next to each other. The 12 colors offer the perfect variety for me, being neither too many nor too few. I think this set is also ideal for people who are trying mineral pigments for the first time.

— How did you select the pigments for this set?

Ikenaga:

When creating the previous edition, my main focus was to match my original skin-tone recipe as closely as possible. The 24-color set was composed of pigments which particle sizes were selected to match that recipe, with a few of my frequently used colors added to the mix.

However, my formulas change slightly almost every month, influenced by factors like the condition of the canvas (substrate). Other than that, if a certain pigment is discontinued, I have to completely overhaul the blending ratios and the other colors I combine with it.

Initially, the set focused mainly on browns and blacks. With this renewal, I have increased the overall saturation, giving the entire palette a much brighter shade. Although it was curated primarily for figure painting, this color lineup is almost like my own full studio palette. I believe these new combinations are now easier to work with, making this set fully capable of painting a wide variety of motifs, not just figures.

—Aside from colors and tones, what other factors did you consider during the renewal of this product?

Ikenaga:

Among the variety of pigments, there are some colors that take more time to blend well with animal glue. While certain reds and browns, such as Shin-iwa Azukicha and Natural Iwakogecha, mix smoothly with ease, the oranges and yellows in the Shin-iwa (artificial mineral pigment) series can be more difficult to control. However, when using those pigments, adding some easy-to-blend pigment like Natural Iwakogecha helps to adjust the paint texture, making it much easier to work with a brush. That’s how I adjust paints in my daily practice. 

Plus, I don’t really have any bias about whether a pigment is natural or synthetic. For me, it’s much more important to select a color based on the color itself and its compatibility with animal glue.

For this new set, I selected Shin-iwa Kibeni and Shin-iwa Kincha, simply because they blend the best with animal glue out of all the yellows and oranges that tend to be difficult, as far as I know.

ELEMENTS of IKENAGA YASUNARI 12colors (The Color Lineup: 2026 Renewed Edition)

Top : 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 : 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

Pursuing the Perfect Skin Tone: Mineral and Earth Pigments  

"Dream within a dream / Anna" 2025   20x50cm

— The pigments you use are fine-grained, and your limited color palette creates beautiful tonal color. What kind of journey have you had to establish these color expressions?

Ikenaga:

Hmm, where should I begin? There are several directions we could talk about, but let’s start with the most important part of my work, which is the skin tone.

Painting history is full of precedents, with countless techniques and styles built up over centuries. Whenever you research something you want to paint, you can easily find a recipe for it. In my twenties, I was constantly experimenting and wanting to absorb all the knowledge, thinking: “I want to try that artist's style,” or “I want to master that technique,” etc.

However, along the way, I gradually lost sight of my own identity and hit a wall. I realized I had to stop chasing existing formulas and that’s when I spent a long time asking myself, “What style is uniquely mine?”

— When using mineral pigments, one technique is to blend colors by layering them. From your perspective, as someone who also has a background in Western-style painting, do you have your own unique processes or rules when painting?

Ikenaga:

Basically, I only apply each mixed color once. Also, because I cannot layer watery paint multiple times with brush strokes since I paint on a canvas. So, I overlay at most two or three layers. 

If I apply any more than that on a linen canvas, the paint physically won't stick to the surface anymore.

For the areas I color, I always make the base layer completely black. It is because the single layer of fine-grained pigment pops better on a dark background. 

Another basic rule for layering is that I apply dark colors first and layer bright colors on top.

— Are there any key points or tips when kneading mineral pigments?

Ikenaga:

To bring out vivid colors with a limited number of brushstrokes, the timing when mixing mineral pigments with animal glue is incredibly crucial.

When you start dissolving mineral pigments in animal glue, at first it is literally just sand and glue. But after kneading it thoroughly and letting it sit for a few hours, a smooth sense of unity begins to emerge. However, if too much time passes beyond that point, it doesn’t work anymore. 

It’s slightly different from a typical gel state, but there is a delicate moment when it transforms from something disjointed like sand and water into a single, unified substance. That exact moment is when the paint adheres best to the brush and flows most smoothly. To capture that peak window without missing it, I apply it to the canvas in a single pass using a stiff menso brush.

Among mineral pigments, some blend exceptionally well with animal glue, while others do not. In my practice, I only use those that I’ve found through experience to have great compatibility. Since I apply it in a single draw with a stiff brush, the primary requirement is that the bristles hold plenty of paint and release it effortlessly. 

Furthermore, these kinds of pigments don't separate from the animal glue after being placed on the canvas. Instead, they follow the movement of the brush beautifully.

Color: Ikenaga’s Aesthetics

“Konpeitō / Mina” 2026   40x40cm

— For garments and backgrounds,  do you usually mix colors the same way as skin tones?

Ikenaga:

For my paintings, I mostly don’t use a single pigment.

For example, let’s look at the lineup of this new set. I basically use Iwakuro (black) and Iwakogecha (dark brown) as a base to mix into other colors, lowering the saturation and value to a certain degree before applying them.

Moreover, a surface color composed with the same tones tends to stand out strong in a painting. For patterns on garments or elements in the background, I would draw them in fine detail when I want to tone down their presence. By doing so, I aim to create an effect where the faces and hand gestures naturally pop out to the surface.

This technique creates an effect similar to camouflage. By painting detailed patterns across the garments and background, I erase the contours of the body and the background space, letting them melt into the picture.

"Manjū Cat" 2026   25 x 25cm

— How do you choose your color palettes and tones?

Ikenaga:

Since I have only a few choices of paints in my studio, I don’t really have to think much about color combinations. Because I only have basic colors like blue, green, yellow, and red, there’s not much room for complex palettes, so the combinations naturally fall into place.

Basically, I just pick colors that are close to my motifs. I don’t really overthink things like, "What happens if I place this color next to that one?" All I keep in mind is creating a contrast in saturation between the front and the background.

The pigments on my shelf are about the same in variety as what’s in the "ELEMENTS of IKENAGA YASUNARI 12colors" set. But after experimenting with them over many years, they’ve become a well-balanced selection where any color naturally looks good next to another.

—When do you adjust your color-mixing recipes?

Ikenaga:

Basically, I paint in the exact same way throughout the whole process from the base coat.

However, the condition of canvases changes depending on the season. Because of that, no matter how consistently I apply the base coat, the color and texture appear differently, while the tone of the skin-color changes along with it.

From there, everything changes like a row of dominoes. Even if I do the exact same thing that worked before, after repeating it a few times, it stops working at some point.

So, every time I adjust my recipes, I try to change the proportions little by little, gram by gram. Yet, for some reason, the formula stops working after a few times, so I just have to rethink the recipe all over again. 

But honestly, I think that’s probably what happens to all the artists using any technique, isn’t it?

Test pieces for artwork

— Have you always created color-mixing charts and recipes?

Ikenaga:

Yes. I don’t particularly trust my own intuition, so I’ve always done it this way. I wouldn’t be able to keep going if I start wondering whether the color is the right shade or not. That’s why I keep convincing myself that if I follow the recipe, it will eventually work.

Therefore, I usually don’t change the mood from one painting to another. Instead, my approach is to apply the motifs I want to paint with these fixed templates and see where it leads me to.

Because of these base recipes, the results will turn out quite differently even with a very tiny change in the materials and motifs. That’s why I’ve been using this method for a long time.

Ikenaga’s Philosophy: Materials & Technique

"One Peony Blossom / Nonu" 2025   20x50cm

— Vertically long compositions are often used in your paintings. Is there a particular reason behind the size and layout you choose?

Ikenaga:

For me, 80 cm × 40 cm is the ideal format. What I like about this size is that I can reach the edges with a single hand stroke.

If the canvas is too large, it offers too much freedom of expression. Instead, with the limited space, I only need to think about how I should fit the motif into it.

Although I do have horizontal series, I mostly paint with vertical compositions. When positioning a model on the canvas, framing only the upper body allows the female figure to look the most beautiful.

"Silent memory / Karen" 2021   80x40cm

—Do you have your own rules when creating your artwork?

Ikenaga:

As a visual approach in Bijin-ga,* I avoid depicting a person’s personality too specifically.

If I paint too much detail, a model becomes a specific individual. By intentionally leaving identifying features ambiguous, the viewer can draw from their own imaginations. My intention is for my paintings to remind the viewer of someone from their own memory or a loved one.

By applying this concept to color, my technique is to keep the palette as subdued as possible, allowing viewers to mentally complement the colors they wish to see beneath the surface. That’s why for this reason, I choose colors and textures close to soil, instead of using loud, coarse-grained, vivid pigments.

As for the models, rather than capturing their exact skin tone or atmosphere, I loosely project an image I hold inside onto them.

When I started painting, I decided on several rules. One is to paint something that happened in my room and another is not to add painterly touch or narratives.

I have simply decided not to do something “painting-like”.

For example, I reduce dramatic staging scenarios, as well as narrative settings such as time or backstory. I also avoid dramatic lighting, choosing instead to render everything in flat light.*

*Bijin-ga: Japanese art term for paintings of beautiful female figures.

*Flat light: A lighting method that illuminates the subject evenly without creating chiaroscuro.

— Are there any different techniques or substrates you’d like to use in the future?

Ikenaga:

I have a strong wish to paint again on Funaoka canvas*, which used to be a favorite of mine.

Although my method is often described as dyeing the canvas, I’m not actually dyeing the fabric itself. In reality, my technique involves scrubbing the linen’s surface, putting quite a bit of stress on it.

Currently, I’m using a beautifully woven Claessens canvas, which requires a delicate preparation of the painting surface. Sometimes, I find myself missing that wilder canvas. I suppose both canvases are essential to me.

*Funaoka canvas: A Japanese canvas formerly manufactured by Nihon Gazai Kogyo Co., Ltd.

— Have you had any new encounters with art materials that once again support your painting practice? Also, how have you adapted to changes in material availability over time?

Ikenaga:

There are times when I come across certain materials that make me think, "Perhaps, this will work.

When I was experimenting through trial and error, I accidentally created my ideal skin tone. However, for a long time afterward, I couldn't recreate it on my own. Even though it seems that I was getting close enough, I was very stubborn in believing it had to 100% match that skin tone that I created intuitively. Looking back now, perhaps it was a sort of self-indulgence.

The sense of failing in the beginning was quite major to me. When I couldn't find an alternative to the key color for my expression, I felt truly disappointed.

While I was struggling and repeating "I can't do this anymore," Nakagawa Gofun Enogu, the Japanese pigment manufacturer, released their earth pigment series.

At that time, I needed natural pigments and the appearance of earth pigments (which hadn't existed on the market before) allowed me to see a path forward to create my ideal skin tone. In fact, I was able to establish it as my own color palette. Looking back, I feel there are both good encounters and great farewells with each art material.

As someone who continues to paint with the same materials, the color changing or discontinuation of certain pigments has always been a painful issue for me. 

Artists spend so much time chasing after these lost elements until we finally find an alternative that can achieve a similar effect. Yet, whether that process is ultimately good or bad for an artist is something I often wonder about myself.

Perhaps every artist experiences this battle with the changes and losses of their tools and materials. As artists, we may accept the shifts of time while constantly questioning whether what we have now truly suits our expression.

ELEMENTS of IKENAGA YASUNARI 12colors is a pigment set curated through Yasunari Ikenaga’s aesthetic vision. It goes far beyond a simple pigment collection. In a sense, it is as essential to creating his artwork as the artist's DNA itself.

[Related Article]

Please check out our following interview with Yasunari Ikenaga, where he shares the story behind the Menso brushes he produced and discusses his ideal brushes.

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 and self-dyed linen give off a sophisticated texture and atmosphere.

Ikenaga is also known for his stationery and book cover designs from overseas.

His book "Kimi Omou Byakuya no Koufuku" published in 2014 has been 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, he has collaborated with AKB 48's Yui Yokoyama for her photo book, ukiyo-e prints and love dolls, and is 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 Featured in 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

pigiment.live

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.

Translator

Atsumi Okano

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.

Completed her post-baccalaureate program at the School of the Art Institute of Chicago in Painting and Drawing.
While working with PIGMENT ARTICLES mainly as a translator, she also creates paintings and installations with translucent materials as an artist.

Favorite matière: Interaction of intentionality and coincidence created by the layers of transparent materials and colors.