วีดีโอ

I have a HP OfficeJet Pro 6978

Thanks for your comment, question, and for watching!

Well the paper texture does create a visual effect in some prints especially in the Shin Hanga prints. The tracks left by the baren is called baren-suji. But often streaks left in large open areas are left from brushing the pigment on a block, or even the wood grain itself. It all depends...you should check out Dave Bull's videos, he dives deep into different printing techniques in his "David's Choice" videos. Thanks for watching.

Glad you found some useful information from the video!

I'm glad the video was helpful. Let me know how your next print goes!

I mostly use 3/16' American cherry laminated onto 1/2" birch plywood which I make myself. I often Buy shina plywood from Mcclains Print supply. You can also get Japanese cherry which is the best wood to carve/print from Woodlike Matsumara in Japan: woodlikematsumura.com/en/products/ヤマザクラ挽き板ベニヤ-450x360

Thanks for your comment. I'd love to see your prints when you get back into it.

Thanks for your comment!

Thanks for your kind words!

Thanks Pat! Glad you enjoy the print.

I bought this block from Woodlike Matsumara in Japan. They sell Japanese cherry blocks on their website but the shipping is crazy expensive as you can imagine. Normally I buy American Cherry boards and process them down to 3/16" thick boards. I then glue the cherry to 1/2" birch ply. You can use the woodblocks for 1,000's of impressions before they start to show wear. But I use the blocks every time I need to print a new batch of prints after they sell out on my website. Hope this answers your question?

@ ahh, interesting and thats noted, and yes it did

Thanks so much for sharing, I love seeing people display their art!

Hello, thanks for your comment. For Japanese woodblock printing I mostly carve on cherry wood laminated to birch ply. You can also carve on shina plywood from Japan. For oil based prints, I mostly carve on lino which you can get from most art supply stores. Cheers!

Thanks!

@ anytime

Thanks for your comment!

So glad the channel found you! I use Cherry wood laminated onto plywood for most of my blocks. There is a separate block for every color. I use a water color pigment similar to regular watercolors for the ink. The paper is hand made in Japan using 100% kozo fiber. The paper is called "washi" and it is very strong and doesn't expand/contract much when saturated with water. Please check out some of my other videos that showcase different printmaking techniques. Thanks for your comment!

I use the palette knife to keep ink and paste off of the "Kento" or registration marks. Ink likes to build up on these raised areas and then I get pigment on the margins of the print. I try to keep the margins as clean as possible on all my prints.

Thanks for your comment!

Thanks!

I'm glad you enjoyed it!

I appreciate the feedback! The darker tone of the aged paper does convey a sense of time and mood, but I’m always looking for ways to refine the process and explore different papers.

Thanks Max! I just subscribed to your channel...

@ thank you kindly! ❤️🌊

Thanks, I'm glad you enjoyed it!

I show the process in my video titled "Learning from the Woodblock Print Master: Kawase Hasui". Please check it out and let me know if you have any further questions. Thanks for watching.

That’s interesting, I’d love to see an image of your print sometime.

Glad it was helpful! I've subscribed to your channel in the shed!

felice che il mio video sia stato utile

That sounds interesting. I'd love to see the results.

@stephenwiniecki if the results are interesting, I'll show you for sure ☺️

I'm glad it was helpful.

Thanks for the kind words and encouragement! I'm so glad you're finding this technique useful.

Thanks for watching!

I hope you enjoy the other videos!

Thank you!

I fully dry the paper after each printing session in a drying rack. There is usually several days in between carving and printing. I then "re-moisten" the paper before every printing session the same exact way. I use a spray bottle and have a select number of squirts I give to each sheet depending on the size of the paper. If you did not want to dry the paper in between color impressions, you could put the moistened paper pack in the freezer which I do for smaller prints sometimes.

Hello, The key block and the color separations were predetermined for this woodblock print by studio MDHR. They designed this print and hired me to carve and print the edition. But traditionally the key block would be drawn first, carved, and printed out. Color separations would then be planned from this key block and the appropriate number of key blocks would be carved/printed to complete the print.

Glad it was helpful!

Thanks for your comment! You should give it a try sometime, you will learn a lot about the process.

Bravissimo, con questa bellissima tecnica, crea opere meravigliose!

I'm glad you liked it!

Thanks for your comment! I'm glad you enjoyed the exhibition.

I do carve across the grain with the knife and the bull nose chisel at times. I do this with caution and always stay in control so I don't chip out delicate areas. Gaining experience while carving and clearing with sharp tools is the only way to understand the nature of the grain and how it reacts with different cuts. I am using Japanese mountain cherry for the key block with the lines, and American cherry for the color blocks. The Japanese cherry is harder and holds a better fine line compared to the American cherry. Both carve nicely and print well with water based pigments.

Thanks for your comment!

Thank you for your support. The print is on the way!

@@stephenwiniecki that's awesome. I'm so much looking forward to see it and to show my family. ❣️🙏🏼

@@ashhempsall9803 Please let me know when it arrives safely. Thanks again!

I use different techniques for every print I make. Some are designed from sketches, paintings, personal photographs, or a combination of these. This print was based on my photograph at Jacob Reese Beach in NYC. I planned out the layers based on color values in photoshop. I simplify the information by reducing the image size and I loose a lot of the fine details when I hand carve the individual color layers. Registration is the key to keep all the color layers lined up together. My color choices are made on the spot while printing and the print organically comes together. I've been doing this for many years and it gets easier with every print. I love the long process of printmaking. From the moment I decide to take a photo or make a sketch, all the way until I package the print and send it to a collector. It's a long journey and I hope my love and attention to detail shows in my work. Thanks for your comment!

@@stephenwiniecki So it's reducing the image size in that case. Thank you! As a beginner printmaker myself I'm curious about different techniques! Thanks again

Good paper is tough to find these days...This is some old washi I had laying around. It was from Woodlike Matsumara in Japan. Unfortunately they are not selling 100% kozo washi to the US. You can find some washi in the states at McClains link below... www.imcclains.com/catalog/paper/groupa.html

Thank you so much!

Thanks for your comment!