…and no matter where in the world you do it. Mashing ink against paper is mashing ink against paper no matter how you spice it up. Basically, however, it is the same principle regardless of how much detail you include. Sure, it gets complicated as you add detail to the image, and as you carve multiple blocks to include more colors in the print. By carving the block of wood, you can control where ink is applied to the wood, and as a result, where it is mashed onto the paper. Woodblock Printmaking is the art of using wood to mash ink onto paper. Moku Hanga translates to something like “wood pictures” or “wood graphics”, and is the Japanese name for printmaking. As a result, I might be a little irreverent.Īlso, I am going to use the terms “Japanese Woodblock Printmaking” and “Moku Hanga” interchangeably. Everything I know about it is from research, reading, and viewing Japanese Woodblock Prints. Disclaimer:īefore I go on, I should make a little disclaimer: I’ve never made a Japanese Style woodblock print. Seating is first come, first served and available on a drop-in basis, although we do recommend attending for the full hour-long talk.Western Woodblock Printmaking uses oil based inks applied to the block with a brayer (roller), and the blocks are sometimes printed with a press, and Japanese Woodblock Prints (aka Moku Hanga) are made with water-based inks applied with a brush, and are printed by rubbing a pad (baren) across the back of the paper. Illustration: Permission Solo, Micah Schwaberow Ticket Informationįree after museum admission. I have been practicing moku-hanga for almost 30 years now, yetI feel I am just beginning to expolre the potential of this medium." -Michah Schwaberow "Watercolor printed from carved wooden blocks is unlike any other color I know. Even when a satisfactory test proof is achieved, the printing of the final edition is unpredictable. Most of the work for every print is in the days and weeks of preplaning and the months of endless color-testing, remixing, recarving, washing all the blocks and brushes, and beginning again. "Multiple-block printmaking is not spontaneous. Yet the process is simultaneously complex, challenging my craftsmanship at every turn. it is simple, in the way that making a pot is simple: wood and paper, water and pigment, hand and tool. He focuses on the effect of his work and not only the printing itself. "I am trying to make woodblock prints that don't look like woodblock prints - the wood and the knife invisible, the colors and edges as soft and resonant as a watercolor." "I work in the traditional Japanese moku-hanga woodblock technique for many reasons. Schwaberow combines Eastern and Western elements in his prints. Intimate glimpses through small windows." This way unimposing things become more important. He regards his work as "color haiku, large places compressed. Additionally Schwaberow created esthetic gourd vessels. Much of his paper work, mainly the woodblock prints, appeared in some precious editions of typographic books, including Tuolumne, Book I, which received the highest award during festivities at Yosemite National Park.Īt first sight Schwaberow's paper works look unspectacular. At Elizabeth Quandt-Barr's he addressed himself to other print techniques as well as artistic painting. Schwaberow learned all about traditional Japanese woodblock printing methods at the studio of Toshi Yoshida. The artist will break down the process to illustrate the sequence and build up of steps, color components, and materials. Join artist Micah Schwaberow for a special presentation on the traditional art of moku-hanga, woodblock printing. Hour-long presentations start at noon, 1:20 p.m., and 2:40 p.m., with a short Q&A session to follow each The Art of moku-hanga: Japanese woodblock printmaking
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