One medium calligraphy brush
Choose a pointed brush that can return to its tip and hold enough ink for several strokes.
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CHINESE CALLIGRAPHY · START HERE
Paper, brush and ink: what do you actually need?
Chinese brush calligraphy does not require a large collection of tools. To begin, one brush, black ink and a suitable paper are enough. An inkstone is added if you choose to prepare ink from a solid ink stick.
The difficult choice is often the paper. Fibre and surface treatment are two different things, and both change the way ink spreads.
01 · STARTING MATERIAL
Start with a small, coherent setup.
Changing brush, paper and ink at every attempt makes it difficult to understand what your hand is doing. Keep the first combination simple.
Black ink
Liquid ink is the simplest option for concentrating on the brush. A solid ink stick adds the traditional preparation of ink.
A paper with moderate absorption
For a beginner, a paper that does not absorb instantly makes pressure, speed and brush load easier to observe.
A small dish or inkstone
A dish is enough for ready-made liquid ink. An inkstone is required to grind a solid ink stick with water.
Simplest first setup
Medium brush + liquid black ink + moderately absorbent paper.
Traditional ink preparation
Medium brush + ink stick + inkstone + moderately absorbent paper.
02 · PAPER FIBRES
Xuan, mulberry, hemp and bamboo are not the same paper.
The fibre describes what the sheet is made from. Surface treatment describes how quickly it receives water and ink. Do not confuse the two.
Traditional Xuan
Qingtan bark + rice strawTraditional Xuan is a specific Chinese paper tradition. Its structure gives it a distinctive relationship with water and ink.
Mulberry paper
Paper-mulberry bark fibresLong fibres can produce a strong sheet even when it is thin. Useful for calligraphy, ink work and applications where resistance matters.
Hemp paper
Long plant fibresHemp can produce a resistant sheet suited to repeated practice, handling and stronger brush pressure.
Bamboo paper
Bamboo pulpCommon in Chinese practice papers. Behaviour varies greatly according to fibre preparation and surface treatment.
Mixed plant fibres
Several fibres combinedThe name alone tells you less. Look at absorption, surface, thickness and intended use rather than assuming one fixed behaviour.
Important
A sheet can be made from hemp and still be semi-sized. A bamboo paper can be treated or untreated. Fibre and treatment must therefore be read separately.
03 · PAPER TREATMENT
Untreated, semi-sized or sized: this changes absorption.
Treatment does not tell you what fibre the paper contains. It tells you how freely water and ink enter the sheet.
Untreated / raw
High absorptionInk enters the fibres quickly. Edges open, water differences become visible and hesitation is immediately recorded.
Useful for expressive ink work and visible diffusion. More demanding for a beginner.
Semi-sized / semi-ripe
Moderate absorptionInk still enters the paper, but the line remains easier to read and control.
A very practical starting point for learning pressure, speed and water control.
Sized / treated
Low absorptionInk stays closer to the surface and the edge remains sharper for longer.
Useful for precise characters, detail and slower controlled work.
First calligraphy practice
Moderate absorption / semi-sized paper
Lots of repeated exercises
Resistant practice paper, including hemp or other strong plant fibres
Very sharp characters
More strongly sized paper
Ink diffusion and wash
More absorbent untreated paper
04 · BRUSH & INK
Keep the brush and ink simple at first.
You need to recognise what comes from your hand before comparing several different brushes and inks.
Medium brush
Versatile enough for basic horizontal and vertical strokes, pressure changes and small characters.
Softer brush
Shows pressure changes strongly but requires more control when returning to a fine point.
Liquid ink
Ready to use and ideal when you want to focus exclusively on brush movement.
Solid ink stick
Ground with water on an inkstone. It lets you control density and learn how water changes the line.
05 · FIRST EXERCISES
Learn the reaction of the tools before writing a full page.
A few repeated marks reveal more than constantly changing exercises.
Test the paper
Make one dot, one slow line and one faster line. Observe how far the ink spreads.
Control brush load
Load the hairs with ink without allowing a drop to form at the tip.
Change pressure
Start on the point, press gradually, then release and watch the brush return.
Repeat horizontal strokes
Try to repeat width, direction and amount of ink rather than drawing a perfect character immediately.
Repeat vertical strokes
Compare the beginning, middle and end of each stroke.
Then use a proper model
For real Chinese characters, follow a reliable model so stroke order, structure and proportions are learned correctly.
Starting with extremely absorbent paper
It makes water control unnecessarily difficult during the first sessions.
Using a dripping brush
Excess liquid creates pools and spreading that hide the movement you are trying to understand.
Pressing like a marker
The brush needs to open under pressure and return towards its point.
Changing material after every failed stroke
Repeat the same test before deciding that the paper or brush is responsible.
06 · FAQ
FAQ
What paper should I buy first?
Choose a moderately absorbent or semi-sized practice paper. The exact fibre can vary.
Is Xuan the only paper for Chinese calligraphy?
No. Mulberry, hemp, bamboo and mixed plant-fibre papers can also be used depending on their construction and treatment.
Is semi-sized the same as Xuan?
No. Semi-sized describes treatment, not fibre.
Can I begin with liquid ink?
Yes. It simplifies the first sessions and lets you focus on the brush.
Why does my ink spread too much?
Check paper absorption, water content, brush load, pressure and speed.
Choose the paper by behaviour, not only by name.
Once you know the absorption and fibre you need, compare the relevant ink papers, brushes and ink tools.