I’m really happy to see that you use traditional wood carving and printing tools (and even rice paste mixes) because I saw mechanical rollers and tubes in some of the shorts and was a bit bummed out. But you’ve definitely been practicing in the traditional arts. Very cool!
Thanks for your comment. I print with both water based and oil based relief block prints. Japanese printmaking is definitely my favorite carving and printing method, but carving and printing from Lino is always a fun challenge as well. I also experiment with monotype and collage as well. I think it's important not be tied down to one technique. For me the different mediums feed into the next and inspire new projects.
Hello ^^ At 0:48, the result of the first block, the nice variations or shades of the blue color , was it controlled by the liquid drops you added at the beginning ? The way to brush the watercolor painting ? or the baren pressure sensitivity ?
Those darker areas are from me putting the pigment on a fresh new block. It takes time for the block to soak in the moisture and pigment. Because of this, I usually avoid putting the ink directly on the printed surface of the block, rather I place it in a carved away area so I don't get these dark spots. This would be considered a mistake and should try to be avoided. Because this was just test printing a new block set, I wasn't too worried about the outcome of these prints.
I also could have brushed out the pigment a little more before taking this impression. But the block is absorbing that ink at different rates because it's fresh. So taking more time to brush on the pigment and paste is required for a smoother flat tone.
@@stephenwiniecki Thank you ! I understand (I think lol). It's true that it's about flat colors (maybe less for shin-hanga), but I do like the idea of shades, (a little like impressionism). Indeed it looks so technical, the "we don't make mistakes, we have happy accidents" is not often applied ahah ... No wonder each step ( carving, printing) can be two different jobs. Thanks again for sharing your passion.
Hello Anna! The clear liquid is rice paste mixed with some water. The pigment I use are ground pigments/water/and gum arabic, but a simple water color pigment works fine too. The paper I use is made specifically for mokuhanga. It's made in Japan and is called "Washi" made from 100% kozo fibers.
you cannot call this a reproduction if you have taken it upon yourself to "simplify the design from the original" when you carved it. thats just not right....
Thanks for your comment. I copied the original design as closely as possible for the carving. I'm pretty sure it's the same block count as the original. The only difference is I adjusted the colors a little to change it from the original. In this video I am just proofing the newly carved block set. These are not finished prints.
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Beautiful work. Wonderful result. Will check out your other videos. Thank you ! 🌹
I hope you enjoy the other videos!
Hi Stephen, thanks for the video, and awnsers to below questions - was wondering the same thing.
I’m really happy to see that you use traditional wood carving and printing tools (and even rice paste mixes) because I saw mechanical rollers and tubes in some of the shorts and was a bit bummed out. But you’ve definitely been practicing in the traditional arts. Very cool!
Thanks for your comment. I print with both water based and oil based relief block prints. Japanese printmaking is definitely my favorite carving and printing method, but carving and printing from Lino is always a fun challenge as well. I also experiment with monotype and collage as well. I think it's important not be tied down to one technique. For me the different mediums feed into the next and inspire new projects.
wonderful to see the process thanks for posting !
Glad you enjoyed it!
That is so gorgeous! You should be proud! :)
Thank you so much. It is a great exercise to "copy the masters". I learned a great deal from reproducing this small print.
Fantastic!!
Thanks
Beautiful!!
Thank you for the comment!
Hello ^^ At 0:48, the result of the first block, the nice variations or shades of the blue color , was it controlled by the liquid drops you added at the beginning ? The way to brush the watercolor painting ? or the baren pressure sensitivity ?
Those darker areas are from me putting the pigment on a fresh new block. It takes time for the block to soak in the moisture and pigment. Because of this, I usually avoid putting the ink directly on the printed surface of the block, rather I place it in a carved away area so I don't get these dark spots. This would be considered a mistake and should try to be avoided. Because this was just test printing a new block set, I wasn't too worried about the outcome of these prints.
I also could have brushed out the pigment a little more before taking this impression. But the block is absorbing that ink at different rates because it's fresh. So taking more time to brush on the pigment and paste is required for a smoother flat tone.
@@stephenwiniecki Thank you ! I understand (I think lol). It's true that it's about flat colors (maybe less for shin-hanga), but I do like the idea of shades, (a little like impressionism). Indeed it looks so technical, the "we don't make mistakes, we have happy accidents" is not often applied ahah ... No wonder each step ( carving, printing) can be two different jobs. Thanks again for sharing your passion.
Amazing
I'm glad you liked it!
Wonderful work. May I ask, what is the clear liquid, what kind of ink and what kind of paper you are using? Thank you!
Hello Anna! The clear liquid is rice paste mixed with some water. The pigment I use are ground pigments/water/and gum arabic, but a simple water color pigment works fine too. The paper I use is made specifically for mokuhanga. It's made in Japan and is called "Washi" made from 100% kozo fibers.
❤❤❤
wonderful
Thank you Lee
you cannot call this a reproduction if you have taken it upon yourself to "simplify the design from the original" when you carved it. thats just not right....
Thanks for your comment. I copied the original design as closely as possible for the carving. I'm pretty sure it's the same block count as the original. The only difference is I adjusted the colors a little to change it from the original. In this video I am just proofing the newly carved block set. These are not finished prints.