MOKU HANGA BLOCKS FULL
MOKU HANGA BLOCKS REGISTRATION

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. Illustration: Permission Solo, Micah Schwaberow Ticket Informationįree after museum admission.

MOKU HANGA BLOCKS FULL

Seating is first come, first served and available on a drop-in basis, although we do recommend attending for the full hour-long talk.Neil Malone, Passing through 1-2, 2020, water-based mokuhanga, sumi stencil and wood engraving, 64 x 48.5 cm, unique state. Susan Rushforth, Passing Clouds VII, 2021, woodblock print using water-based pigments on handmade Japanese Kozo paper, 35 x 70 cm, unique state. Reproduced with permission of the artist.ĭeborah Metz, Sea Sponge Shapes with Eroded Rock Face Pattern, 2021, four-block mokuhanga, 40 x 57 cm, edition varied. Roslyn Kean, Winter Courtyard Shadows, 2021, multi-block mokuhanga with gold leaf, 76 x 56 cm, U/S. Reproduced with permission of the artist. Trish Yates, Forest Glow, 2021, woodblock, wax, sumi ink, double backed accordion style artist’s book, 11 x 15 x 26 cm, unique state. Stay tuned for the next post about the process….Reproduced with permission of the artist.Įma Shin, Origin #7, 2005, water-based woodblock print with sumi, nishinouchi washi, 55 x 40 cm, edition of 15. There was a long way to go before this print was finished. At this point I had no idea what was causing the problem. One of the biggest challenges was that my inking was uneven and had too much speckling. I tend to do an initial carving, proof, and then carve more deeply and add detail. Chatter is what happens when part of the block isn’t carved deeply enough and the print accidentally picks up the texture. I was surprised by how well the sumi-ink wash sat over the yellow curve. I learned a lot from my first proof (in printmaking a proof is a draft). I remember at that point in the year we were still supposed to go back to school in person, but the infection rate made that look increasingly unlikely. The death rate (yellow) was rising, but always lags behind.

Our infection rate (red) had just spiked. The curves in the background of the image come from the infection rate and death rate in the US at the end of July. I decided to create a relatively simple block so that I could focus on the printing process, especially as I was more familiar with carving.

MOKU HANGA BLOCKS REGISTRATION

Learning the kento registration system from Annie Bissett’s online workshop. Luckily, a version of the workshop was offered online. When Covid hit, and I found that I had to teach advanced students online, learning Mokuhanga became truly urgent. However, I’d been warned it has a particularly steep learning curve. I was drawn to the translucent layers of Mokuhanga and the potential for working at a larger scale. Because I often don’t have access to a litho press, I was looking for another medium to combine with screenprint. In earlier series, I often combined screenprint and lithography. My goal was to learn Mokuhanga, or Japanese Woodblock, with Annie Bissett. I originally planned to spend a couple of weeks at a residency at Zea Mays Printmaking. Hello! I am finally posting about the work I was doing in late July and August.

Moku hanga blocks