Another main step is to apply washes for shading and gradual transitions of tone. Shading is called Dang in Tibetan which is one of the special feature of Thangka painting.
Shading is an important feature of thankapainting, taking up a large portion of the time, and is done very carefully and precisely.
Shading in this context does not mean the treatment of light and shadow within the whole composition, for the distribution of light and dark is .
After cleaning the pigment it had only to be mixed with the binder to become paint. For blending a pigment and binder you can simply mix it.
Paint preparation can take a full day to prepare the five primary colors. Traditionally, the materials included a variety of mineral and vegetable substances minerals, precious stones, bark, leaves, flowers (especially the rock rose), gold, silver, copper, etc.
Each had to be collected from its source in different areas of .
The thangka painter's palette consisted mainly of paints derived from the mineral pigments . Tibetan artists also made some of their paints by mixing the pigments with organic dyes and lakes such as indigo and lac dye. Important mixtures of this type included the blending of each of these two dyes with white. But since the dyes and lakes were mainly used during the shading and outlining stages that followed the initial application of .
The application of colour to the thangkacanvas involved two main steps first, filling in the areas of different base colours, and second, the subsequent shading and outlining of those areas.
To these steps there corresponded the two essentially different types of paint in the Tibetan palette
Mineral pigments (rdo tshon and sa tshon) and
The organic dyes or lakes (tshos)
The mineral pigments had to be mixed with a binder before being applied as paints. .
Steps for Preparing a Thanka Painting
The painters of Tibet pursued their art in an orderly and systematic I way. When creating thangkascroll paintings they proceeded through six clearly defined steps:
The first step was the preparation of the painting surface.
Second, came the establishment of a design on that surface by means of a sketch or transfer.
The third step involved laying down the initial coats of paint, and that was followed by .