![]() Maybe that’s why these objects are, after all, very different from mass-produced Sears catalogues: slower is sometimes better. Another thing I discovered at this exhibition is that even though faster methods of production were available to Japanese designers in the late nineteenth century (such as engraved or lithographic reproduction), they still produced these commercial books through the extremely time-consuming moku hanga method. There is also an intriguing card of brightly-colored woolen circles, which turn out to be color samples, each one with its particular formula written in pen and ink beside it. The items on display range from landscape and nature scenes to decorative arrangements of plant motifs, some of them influenced by Japanese contact with Art Deco and Art Nouveau movements in Europe. She thought it was like someone collecting old Sears catalogues.” “Even a Japanese friend of mine, whose family was involved in the design business for hundreds of years, asked me why I wanted to collect all this stuff. “There really hasn’t been interest in it until recently,” Pevtzow said. It is curious why this material hasn’t been exhibited more often. Through investigation of printing techniques dating back to the Edo period (1603-1868) for the style known as Ukiyo-e, this class will explore and demonstrate a close appreciation of nature in the practice of art-making. 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.Arabesque patterns, mid nineteenth century, woodblock printed book and ink on paper ( click to enlarge) Art and nature come together in this hands-on exploration of Mokuhanga printmaking, also known as Japanese woodblock printing. 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. Moku Hanga Karlerik Krantz 66 subscribers Subscribe 3.8K views 4 years ago Moku Hanga Workshop in Stockholm 2017, with Thomas Hallon Hallbert, part 1. 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. You will see a short printing demonstration to see the potential of the medium. (3) The wooden pestle is held at a slight angle away from the pigment to be ground and pushed with moderate pressure back and forth. one tablespoon of damp pigment is then placed onto the top of the block. On Monday you will be introduced to the tools and process of mokuhanga through demonstrations and examples. Process: (1) Wearing a mask, add a small amount of clear (preferably distilled) water to the dry pigments in a jar and stir. 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. 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. ![]()
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