![]() ![]() ![]() Wasaburo Kashiwagi, the mayor of Tsuna-town, kindly agreed ot her proposal that would allow her to start a mokuhanga collaborative workshop in his town on Awaji Island. Inspired by her trip to the US, Kadota consulted local government administrators back in Hyogo prefecture, where Mr. Mokuhanga such as Shikibi by Jose Maria Sicila translated by Master Today astonished Kadota because of how effortlessly Japanese technical mastery combined with cutting edge contemporary art concepts. This journey began with a visit to Crown Point Press in San Francisco where Kadota experiened a life-changing moment viewing the work of the Kyoto master printer Tadashi Toda. " In 1992, Keiko Kadota's field research for the Center for the Science of Human Endeavor (SfSHE) established to promote Japanese traditional culture and technology, gathered momentum to globablize the art of mokuhanga. You can pre-order to ensure you'll receive one from the intial order. Washi Arts will have these available in the United States in November 2017. These ball bearing barens are said to be comparable to HON Baren (Hon means genuine or real) and while a hon baren start at $1,000.00 USD, Roslyn's baren cost $175.00 (stainless steel ball bearings) and $185.00 (Delrin® ball bearings). Roslyn told me she knew what she wanted the barens to do and was fortunate that her husband is an engineer and could collaborate with her on the production details. Her Kean Ball Bearing Baren (KBB Baren) is well engineered, beautifully constructed and a pleasure to print with. I was fascinated that Roslyn has developed a new version of the traditional Japanese hand printmaking baren. She has been a practicing printmaker for thirty years. During this time she focused on methods of traditional Japanese woodblock. Both have very helpful staff and can answer any of your questions.Roslyn has studied printmaking in Australia and the UK and did graduate research at the Tokyo National University of Fine Arts. Two other sources for Japanese paper are Awagami Factory and McClain’s Printmaking Supplies. As it’s a heavy paper, it suits my style, but I’m always on the search. The fibers are long and very strong resulting in a paper that can be so thin it’s nearly see-through or very thick and heavy. It is made from the inner bark of the Mulberry tree and referred to as kozo. It’s really quite remarkable and well worth watching a YouTube video on. The paper is well suited to withstand the many stresses of hand printing, drying out and re-wetting. For the most part, it’s handmade and lovely. Japanese paper, known as washi, is unique. I have found the Surikomi Bake brushes to be very good, and I purchase them from McClain’s Printmaking Supplies. Most print artists use the traditional Hanga Bake brushes, but I’ll save that for another post as there is a lot to say. In all of my work, I use the Surikomi Bake brushes which are also used for stenciling. There are many kinds of brushes each with a purpose. Whereas the Western technique requires a roller or brayer. One of the greatest differences between Eastern and Western woodblock printmaking is how the ink or watercolor is applied to the blocks. Photo from McClain’s Printmaking Supplies Brushes However, now I use Futatsu Wari tools that I purchased from McClain’s Printmaking Supplies and I have no regrets. I believe the name of the boxed set was Power Grip. When I first started carving, I used a set of Japanese detail carving tools from Lee Valley. However, there are a lot of manufacturers of woodcutting tools, so some research and testing is a good idea before making any purchase. Japan has an outstanding reputation in bladesmithing and there are many levels of tools you can choose from. The cutting tools are important and I have invested in traditional woodcut tools from Japan. I purchase my shina from McClain’s Printmaking Supplies. It is soft and easy to carve but holds a sharp edge throughout multiple printings. It is a sustainable product grown in Japan and has a fine grain. However, unlike Shina, the surface isn’t finely sanded and has a texture. It carves easily and performs similarly to Shina. However, as old forests were farmed to near extinction other woods emerged as good choices. Cherry was always used in Japan because of its superior hard surface. Interestingly, there are not many woods suitable for this art form. In this post, I will give a brief overview of the most basic materials. It is a craft that requires great discipline and education, and its tools and materials are a good place to start in understanding the art form. All the supplies used are made by hand and have a long history. A large part of the appeal of moku hanga, or Japanese woodblock printing, is rooted in its tools and materials.
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