#Josei moku hanga to amazon registration#

Shina: Japanese basswood or lindenwood often used as easily-carved woodblocks.

Shin-hanga:'new prints'- refers 20th century woodblock printmaking revival often featuring layered color landscapes.

Sakura: Japanese cherry often used for woodblocks.

Ōban: a print size about 15½ by 10½ inches (39 by 26.5 cm).

Nori: Paste to keep pigment in suspension made of rice, potato or tapioca.

Nishiki-e: Multi-coloured woodblock printing.

Moku hanga:Japanese for woodblock prints.

Ita-bokashi: 'block shading' a technique for producing gradation achieved by sanding or abrading the edges of the carving.

Hanshita: The drawings used as a guide to later carving.

Keyblock: Roughly, line blocks often containing color.

Chūban: a print size about 7 by 10 inches (18 by 25 cm).

Bokashi: A graduated color impression often seen in traditional ukiyo-e print backgrounds.

Beta ban: A flat, consistent color block.

Baren-suji: Impression marks made with a baren- intentional or not.

Baren: The traditional printmaking 'pad' that is used by manually pressing the inked block.

Hanga bake have long handles, maru (round) bake resemble shoe brushes.

Bake(hanga or maru): traditional Japanese printing brushes made of horse or hog hair.

I’ve noticed that this reconstituting doesn’t work as well with commercial tube watercolors since there is gum added and it results in a grainy texture. I’m also not quite sure that the step of pushing the pigment through the sieve is necessary since the ground particles are much finer than the screen.Īfter printing, mixing bowls are left to dry around the printing desks and are reconstituted (unless starch paste had been added) by simply adding a little water and stirring with the tokibo without apparent problems. I was a little suprised at the Ultramarine since it is a mineral pigment. I suspect that this will result in less hard-won pigment being lost and may go a bit faster.Īs of several days later, both the Ultramarine and the Indigo did not separate to clear water. Mokuhankan is planning to compare this traditional method of grinding pigments with using a western-style glass muller/ glass slab combination. The idea of keeping a selection of pigments stored in ‘paste’ form in an alcohol/water mix is discussed in ‘One-Point Lesson’ #6 in another section of the Encyclopedia.

Additional references: Preparing powdered pigments can be found in a “Tools and Materials” section David Bull’s Encyclopedia article.

To print, the artist uses a baren, a flat, hand-held disk that is wrapped in a bamboo sheeth, to press the pigment into the paper.

#Josei moku hanga to amazon registration#

A sheet of sized and dampened paper is then placed on the block proper alignment is insured by two registration marks that are carved into each block at the same place. Pigment dispersed in a water and rice paste are placed on the block and smoothed across the surface with a brush that looks similar to a shoe brush. Areas that are not to be printed are cut away, leaving a raised surface, as in the principle of a stamp.

Initially, the artist carves a block of wood for each color to be printed.

To move from the inspiration of the sketch to the mechanics of the print requires thoughtful organization of color and space. The process, however, is labor intensive for the artist, who must undertake the roles of designer, carver, and printer. Wood, water, paper, pigment, paste, and simple carving and rubbing implements are all that is needed to make a print. Japanese woodblock printmaking, moku (wood) hanga (print), is distinguished from other printmaking techniques by the simplicity of material involved in its creation.