THE QALAMS
To calligraphy, all you need is a qalam, ink and paper.
For calligraphy, the tool of choice is the qalam. It is a reed, which is cut. Iranian qalams, the best ones, are treated and prepared beforehand. They then take on a brown colour which makes them easily recognizable. The qalams is carved on a bone tablet (maqta) using a simple knife (Opinel or cutter).
The ink used is specially designed for calligraphy ; Indian ink is too thick and is not suitable. In order to protect the qalam tip and to regulate the amount of ink absorbed, silk threads (liqa) are first placed at the bottom of the inkwell.
The most suitable papers are those that are heavy in weight and very smooth. Watercolour papers, which absorb ink, are not suitable. It is necessary to prepare the paper before calligraphy or illumination. For this, it is coated with a mixture of water and starch or cornstarch powder). After natural drying, it still needs to be polished, either with an agate stone or with a muhreh (a tool with a glass plate).
THE PAPERS
Papers in the East, but parchments in the West, where the paper arrived later.
GOLD
Gold, the noble material of illumination
In the West, gold is applied directly to the leaf (24 carats, double gold). This technique makes it possible to make flat tints, but does not allow a great fineness of line. In the East, leaves (24 carats, single gold) are therefore crushed in a little honey, one after the other and with the finger, until a completely smooth paste is obtained. It takes about an hour for a booklet of 20 leaves.
Then fill the bowl with demineralised water and add a drop of washing-up liquid. It is this liquid that will allow the gold to precipitate in 24 hours. The water must then be removed to use the gold powder that remained at the bottom of the bowl. The whole operation must be repeated once. To apply the gold, it will be necessary to mix a little powder with a drop of gum arabic and a little water. The work is done with a very fine brush. For it to shine, it will finally have to be browned with an agate.
THE PIGMENTS
Natural pigments guarantee the brilliance of your work over time.
I mainly use natural pigments, of mineral, vegetable or animal origin (cochineal, vegan abstain ;-)). They are found in powder form. Mineral pigments will require two operations, because they are less fine. They are first ground with alcohol at 90° and using a wheel (three models in the photo), on a polished glass plate.
Then, as for the other pigments, you will have to add a binder (different recipes) which will allow the adhesion to the paper and iron with a wheel. The whole process results in a smooth, ready-to-use paste.
GOUACHE AND WATERCOLOUR
Accessible paintings in a very wide range
The preparation of natural pigments can seem tedious and somewhat expensive. You can use good gouaches and watercolours instead. The gouaches are used for the solid colours. Watercolours are used for shadows and modelling.