And I have organized various workshops, artists-exchange projects and exhibitions between Japan and the USA.Īt first, my interest in researching water-based arts and crafts in Japan was because of environmental concerns and thoughts of safety as an artist and a teacher.
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Returning to Japan again at different times, I have continued my research into other arts and crafts that are water-based, such as karacho printing, book binding, paper making, and scroll mounting. This woodblock printing technique is a familiar art form in Japanese culture and, although I was introduced to it as a public-school student, there was still no place to learn the techniques at a professional level. There I was able to research and learn Ukioy–e printing by visiting museums and other places where it was still practiced. In 1987, I received a Research Teaching Fellowship at Doshisya University in Kyoto. It was used to apply dye colors through exquisitely cut stencils to decorate fabric for kimono.Īfter living in the USA for 15 years, I returned to Japan to research traditional arts and crafts that use water-based color pigments. My other process, stenciling, is one that came to prominence in the same time period in Japan. He printed the first American contemporary artists’ Ukiyo-e woodblock prints published through the Crown Point Press. Tadashi Toda, Ukiyo-e master printer in Kyoto. I have studied, researched and had a chance to collaborate with Mr. My Mokuhanga woodblock printmaking process is based on Ukiyo-e which flourished in Japan from the late 17th to late 19th century. What are the direct references, research, or aspects of history that your work includes? Each work takes me to undiscovered dimensions of mind and space. Each individual work is a new opportunity to challenge myself, to further investigate color, to explore my theme, to focus on aesthetic qualities only achievable through the printed process. I work with mono prints and monotypes often, rather than with large edition prints. Following that trail leads me to the possibility of creating another new color, yet to be discovered. And then there is the trail by which it happened. The bridge between my technical and intuitive processes is a strong and fluid one: it enables me to create unexpected colors which I cannot find in the palettes, to find something I never imagined I could discover. The printmaking process constantly gives me new possibilities to challenge myself, to further investigate color. I often choose to work on printmaking imagery with colors at the same time as I am painting and drawing. You can expect to leave the course with a variety of sample printing techniques and a small selection of A5 multi-block prints on Japanese paper along with the skills and confidence to continue carving and printing at home.Where do you reside between technical and intuitive in your work as an artist using colors? On Tuesday you will be spend the day printing using watercolour and ‘nori’ rice glue and spend your time experimenting with producing various print effects on your woodblocks, from flat colour, to sesame printing and colour gradations. You will see a paper dampening demonstration ready to prepare your ‘washi’ paper in readiness for printing. You will then carve a very simple 3-colour separation print, transferring your drawing to separate woodblocks. You will be taught to carve carefully with the hangi-to knife and clear your woodblocks in preparation for printing the following day.
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You will see a short printing demonstration to see the potential of the medium.
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On Monday you will be introduced to the tools and process of mokuhanga through demonstrations and examples. You will be sure to fall in love with both the process and results of this intricate, accessible, mediative, water-based printmaking method which provides endless possibilities during your introduction to mokuhanga.
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With no mechanical press required, only a hand held ‘baren’, you will learn the techniques to achieve various print effects, from ‘goma zuri’ (sesame printing) to ‘bokashi’ (gradation printing), while registering your multi-block image through the simple but brilliant traditional ‘kento’ registration system. Over the course of two days you will learn the skills to transfer an image to Japanese plywood, carve several colour separation blocks in relief and print on mulberry paper with watercolours, following in the tradition of Japanese Ukiyo-e printmaking. Mokuhanga is perfect for anyone interested in a non-toxic, water-based, table-top printmaking technique.