![]() ![]() ![]() There were some minor problems, like ink coverage. I had few if any problems in the first edition of 20 on Nishinouchi paper. I think that the first print in which I haven't felt the need to tear my hair out as I printed the edition is this one of a female Purple Finch and male Hairy Woodpecker. I just haven't done many during that time. that is why I say that this is my third year of making moku hanga prints. I may spend months toying around with various possibilities. The end result is that it takes me a long time before I decided to actually make a new print. So I wanted ambitous prints, but using a medium in which I was a rank beginner. I want my prints to some extent to be the same as paintings, just done as multiples. It's also true that after an initial start in printmaking of just using anything as a subject I've gotten more and more ambitious. To make a long story short I had to learn how to approach moku hanga in a way that made sense for me. There are so many variables, so many things to learn, and such a rich tradition to contend with. But I learned everything from books and trial and error.Īnyone who does moku hanga printmaking I think will tell you how complicated it can be. If I'd taken a course I might have learned this right off. For one thing I wasn't going to be able to carve small outlines around every shape. But given all the problems I encountered I knew that I would have to modify what I did in moku hanga to some extent. I haven't done any other types of printmaking since then. I do know that the prints did not look as similar to one another as I would have liked(that is an understatement!!).īut still the possibilities were obvious. I can't even remember everything that went wrong. My fingers got paint on them and they went onto the paper. I had all sorts of splotches in my print rather than the smooth, rich, even color I was expecting. On the other hand when I made that first print technical difficulties required me to yell out to my wife that I'd have to skip lunch and then as the day went on I had to yell out again and ask if we could delay supper.Įverything went wrong!! The paper was too wet or too dry. The fact is that the print at top of this post is only my sixth moku hanga print!! What can I say? As soon as I tried my first moku hanga print I loved the possibilities that I was now seeing first hand. If you read this I imagine you will know who you are.īack to why the title might be misleading though. ![]() So I first should say thanks to both the artist and the family. The family bought a large number of my works in late 2016 and it was the proceeds of those sales which helped to fund most of my early moku hanga supplies. I'm not naming names here, more for privacy reasons than anything else, of that artist or of another family that was also instrumental in my deciding to try moku hanga. His colors in particular seemed to offer something richer than what I was getting in my previous linocuts and woodcuts. I did that largely because I'd seen the prints of one wildlife artist in particular who used and still uses moku hanga to make brilliantly colored, quite creative prints. I did make my first moku hanga print at the beginning of 2017. The title is true and accurate but it's possibly misleading. Edition not complete as of 02.10.19 but it will be between 20 and 25. ![]()
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