3/14/2023 0 Comments Nori glycerine moku hangaBeautiful accurate color and nice information. I’m wary about the claim “complete” – there are several prints of Hiroshi’s out there that aren’t contained here, but the vast majority are. I couldn’t stop looking at these prints and still can’t- each page revealed a new world for me. While living in Atlanta, I was perusing a local bookstore and they had a pile of these books. OK, so this is the book that starting all this nonsense □ “The Complete Woodblocks of Hiroshi Yoshida” “The Complete Woodblocks of Hiroshi Yoshida”,Īmazon (later edition by Tuttle) ABE Publishing, 1987 203 pages, in English and Japanese I’m struggling with the binding at the moment and have discovered that I’m a much better printer (or a much poorer binder)- still in the prototype stage…Īnyway, I thought that I’d share a few of the 75 or so books I own relating to Japanese-style woodblock printmaking- the first installment concentrating on my three favorite artists: Hiroshi Yoshida, Toshi Yoshida, and Kawase Hasui. As I think I said before, I’m done with the printing of the Appalachian Trail Print series. When I was printing in Tokyo, a veteran printer looked at my ‘bound and sealed’ brushes and said “sugoi!” which meant ‘impressive!’ □ The second (and I can’t remember who showed me this) to prevent cracks from happening is to bind them with twine (I prefer polyester twine- around 1/2 mm thick) that you can pick up at a local hardware store) and seal them with marine varnish. The most simple way to minimize this is to let the brushes dry with the wood handle UP- if the hair side is up, the water tends to settle in the holes. Maru bake and hanga bake brush rack in order of size (top to bottom) and color (left to right). The obvious problem was that the wood expanded with the water (as wood does) and where the hair holes and hanging eyelets lie, the cracks tended to develop. One of the things that really discouraged me was when one of my maru bake brushes started to develop cracks which leads to the inevitable and dreaded mange. As you probably know, there are so many variables and learning this stuff takes a lot of faith and delayed satisfaction. So anyway, I hope you like my gizmo and thanks for watching! Posted in me, printmaking techniques, Uncategorized Brush CareĪbout 25 years ago, I started ordering decent-quality tools to help my woodblock printing. You get more or less a pretty consistent edition for all these three really large bokashis here. Some of them overlap with each other, but that way, I can hold a brush and spin this thing around. I have listed where these colors start and end. Now, when I’m doing the outer area, the background, it requires a lot more accuracy and I want to make sure everything looks very consistent. This isn’t exactly final, but you get this idea of what it’s supposed to look like eventually. So that’s the circular impression of the tree. So let’s look and see what this guy looks like. I’ve never done this before, but I know a lot of people do. So I fit it in the kentos and I’m able to print standing and I’ve kind of been enjoying printing on the standing up. The really wide one that I’ve been doing right now, which is proved to be a challenge, but this thing is really helping a lot. If I when I get to the point of wanting to print, I’d then lock it up like this and go and get some paper and… But, you know, I can wipe things, I can ink things in a circular motion. I’m eyeballing this on this particular impression here, because accuracy isn’t quite as important as, say, the background was earlier. But right now, I do want it to rotate because I’m going to add some bright orange in the middle to this. And then I got this lock here and that will keep it from rotating– if I don’t want it to. So here we have this block and I’ve got it so that it is secured by these wedges and a pretty good job. And when I go over a couple of features that I find interesting, I hope you do too. Is rotating or say, lazy Susan-style jig. So what I came up with is th There are 8 circular bokashis: yellow, red, and blue in the background red and brown on the tree keyblock red and brown in the tree redish on the background trees… John: So normally where I print is this traditional bench I made about 20 years ago where I sit down at it and I really enjoy using it, but for this print I’m making, I had to create a jig because of this circular fade or bokashi. Please note the intro tune is from Wheel. I know it’s unusual, but it REALLY helps! A few people were asking about how I inked and printed a new print that I’ve started, so I’m posting a quick description of my newest “jig-thingie”.
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