The lecture and workshop will be in English. > carving images in the wood with various knives and gouges
> transferring a sketch onto a woodblock an introduction into the history, tools, materials and traditional methods
MOKU HANGA PRINTMAKING EARLY 1900S SERIES
This workshop series is aimed at art students and artists, those interested in learning a new technique, collectors and art lovers who want to gain an insight into how Japanese prints are made.Ī four-day initiation into the technique of Japanese woodblock cutting and printing, moku hanga. Her work is regularly exhibited just before the start of the shin hanga exhibition, a selection was shown at the Art on Paper fair (Brussels, 6-9.10.22). She studied graphic arts in Tokyo, Japan, and Antwerp. 1987) works with various media: drawing, printmaking, video and audio. Using the exhibition and Koyuki Kazahaya's contemporary artistic practice as a starting point, participants will be initiated in printmaking techniques. In the context of this exhibition, RHoK Academy and the Art and History Museum invited Koyuki Kazahaya to conduct a workshop series on Japanese woodcut and block printing. The shin hanga movement ('new prints') marks a new start for Japanese printmaking, where traditional printmaking is being cleverly rediscovered and reinvented. The knife is used to cut the outline of a shape or form.From 13 October 2022 to 15 January 2023, Museum Art & History hosts a selection of 220 Japanese prints from the early 20th century. Deep and thin lines are cut using various size ‘V’-shaped tools, whereas large areas and textures are carved with different ‘U’-shaped tools. Usually, one hand holds the block while the other is for engraving.įor cutting variations, the nature of each tool must be understood. To prevent the block from moving, both hands should work together. Grab the tool with your writing hand in such a way that the tool extends beyond your index finger and thumb to guide and control it in the appropriate direction. To engrave properly, the tool must be held correctly. An example of an early Japanese print is shown Right. This traditional Japanese printing method emerged in the 17th century. Remove all the white areas intended to be ink-free or remain white in the print using the tools. Mokuhanga means woodblock print in Japanese. However, if engraved on both sides of a line, a black line will emerge. The grand old master - then 71 years old - outlines his view on the state of Western and Japanese printmaking in a rather poignant way. In 1982 Toshi Yoshida wrote a remarkable article. The young artist Ryusei Okamoto, then under his born name of Yoshimi Okamoto, was Toshi Yoshida's student. Because of the depressed surface level, the engraved line will appear white in print. Toshi Yoshida (1911-1995) made this statement in 1982. Relief Printmaking and drawing are not the same things in drawing, the drawn line is the pictorial area, whereas in relief printmaking it is the opposite. The key block or black is printed first and then gradually the other colours are printed one after the other.
Ink is prepared from organic and inorganic substances. In Moku-Hanga, water-based ink is applied to the block using a brush. The Japanese woodcut tools include a knife, ‘V’-shaped gouge, round gouge, flat chisel, long round chisel, and a clearing chisel. The design is then transferred to the surface using nori paste,a sticky substance made from boiled rice. The surface of the wood is polished using a sharp whetstone. It requires at least two years of seasoning. The woodblocks are made from cherry or s akura. Traditional woodblock printing techniques in Japan have remained unchanged for centuries. This primary method is applicable to all relief printmaking mediums. The ink is transferred to the paper by applying pressure either manually or with the aid of a press. The rest of the areas stand at their original level to receive ink from a brayer. In relief printmaking, the printmaker cuts and gouges the surface of a flat block using sharp tools, removing all areas intended to be ink-free or remain white in the print.
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