Hi Stephen, I’ve often wondered how close this ‘modern’ approach would get to a woodblock print. You’ve just convinced me that this works! The toned paper imparts a softer light to the image and somehow gives it the effect of age also. I would be very interested in seeing how you separate the layers in the original image using PS to generate the carving layers. Thank you so much for taking the time to share this work.
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.
This is really interesting, I love the effects of woodblock carving and noticed my lino cuts have recently taken accidently a bit of the feel. Japanese art is a long way from my style but I like pushing the boundaries so thanks for an interesting nudge
WOW, You've opened up vast possibilities. I love the look of traditional watercolor printing method, but didn't want to carve wood. Or do brushes and watercolor. This uses all my existing tools/materials,and translates the look to oil base. Please, write a book . Will the print be for purchase?. Thank you for all your videos.
That's really nice! I love Hatsui. As an artist just getting into linocut via my interest in mokuhanga, your videos are such an informative bridge between the two. For the prints, I like the tone and mood of the aged paper though I feel it's a bit dark.
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.
Very nice. I have tools and material for both Lino/oil and woodblock/water, but haven’t had the time yet to explore them enough to find my preference. Fascinating to see you combine technique and outcome this way. Did you scratch the surface of the Lino with sandpaper before carving to achieve a wood grain effect? I can see texture in the shots.
Hello. Thanks for your comment. I did enjoy replicating the woodblock look using lino and oil based pigments. There are limitations, but I believe you can achieve a very similar look or style with this method. I did scratch the surface of the lino with sandpaper. I used an 80 grit sandpaper and I really scored the surface in the direction that I found in the original print I was using as a reference. The lines are not from the woodgrain, but the brushing of the pigment on the block. These little has postcard prints were printed very fast to achieve faster production. Time for you to put those tools and materials to use, just get started, the rest will follow!
Hey Stephen- love this video and the result. The only thing I'm a little lost by is how you manage to lay down the paper exactly where you want it to print. Any links or info you can give me on how to do this precisely and consistently? Thanks!
Good question! The method I use for keeping the registration lined up is from traditional Japanese Woodblock Printing. Essentially there is a corner and a straight line carved into the blocks surface. Every block has these marks and the paper is aligned this way.
@@stephenwiniecki Thank you, this is super helpful. With that in mind I'm assuming that your transfer paper is both consistent between layers, and the same dimensions as the paper you are using for the print itself?
Yes. I print my transfer sheets from the same photoshop file with the printed border locked. I print all the transfer sheets at one time and trim them all to the same border as closely as possible. Practice and consistency is key to achieve accurate registration. But after doing it a few times it gets easier and is almost never an issue any more.
Very cool, and very interesting! It looks like the washi was dry when you printed it. I suppose this technique removes one of the main headaches of traditional mokuhanga: balancing moisture content of the wood and paper to get a good impression while keeping the registration consistent! I'm curious what kind of ink you use, and what kind of transparent extender. Thank you so much for sharing this process!
The washi was moistened for this video. The moisture in the paper is a must for mokuhanga printmaking. I can show in a video how I prepare my paper for printing. Thanks for watching and commenting.
Wow! Your explanation and demonstration are fabulous! Quick question for someone who knows nothing about these processes. Are you running the transfer papers through a laser or inkjet? I am guessing laser but not sure. I know how much time and effort it takes to walk us through the creation of your art, so thank you!
Very interesting ! and great channel. I kinda have the same objective but for digital. I have been trying to analyse the japanese printers trying to answer some interrogations : how much the paper texture participates to the visual ? If the tracks on the prints are made by the barrel ? If they used the same colors pigments ? ... It's difficult to find a complete guide about the japanese prints; Of course we can see on youtube how it's made, the techniques ... but I wish we have expertise videos about the way they made some effects ...
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.
A while back I made a bijin-ga hybrid print. It was cheap magnolia for wood, water-based ink and Japanese brayer, handmade washi, and a regular baren. Looked almost like mokuhanga. Perhaps lost a little of the subtlety and softness of mokuhanga proper.
Me again with few questions ( in another message to help with the algorithm lol ) ... Your video really made me think to try linocut. I would have loved to know mokuhanga art long time ago, but now, as I am 45, I think it's too late to start as it will require so many years to learn. Without saying linocut is easier and that it doesn't require great skills, I believe it might be more affordable/accesible and reasonable ( already the matter of price : cherry wood vs lino ...) I have few questions : in the video, you use your traditional tools , is it "overkill" for the lino? Do you recommend getting these tools for linocut? they look amazing but I believe it's expensive. Maybe it's the case in the video (sorry if i missed the info), but is it possible to use washi paper ? ( for the texture as we talked in my other comment) ... Did you import the tools from Japan ? I will watch your other videos and maybe I will get more replies to my questions (or more questions to ask ahah ) I will try not to bother more ... but Thanks ^^
I carve my lino the same way I carve a woodblock. First with the knife along the edge and then clear with chisels etc. I recommend learning how to carve with a knife to get more control and more delicate textures, but using a u-gauge or v-gauge also works just fine for lino especially. You do not need the best tools to get started. Just start with what tools you have now. It's all about learning from experience, printmaking is problem solving. Thanks for your questions.
Molto interessante tutti e due le gradazioni, ma io preferisco su carta chiara. Anche io sto provando a creare stampe su linoleum e mi da tanti consigli. Grazie
Hi Stephen, I’ve often wondered how close this ‘modern’ approach would get to a woodblock print. You’ve just convinced me that this works! The toned paper imparts a softer light to the image and somehow gives it the effect of age also. I would be very interested in seeing how you separate the layers in the original image using PS to generate the carving layers. Thank you so much for taking the time to share this work.
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.
Another cracking video for our delectation and education 😊 in my own humble work, i'm experimenting with wood block and intaglio mixed effect. 🌻
That sounds interesting. I'd love to see the results.
@stephenwiniecki if the results are interesting, I'll show you for sure ☺️
This is really interesting, I love the effects of woodblock carving and noticed my lino cuts have recently taken accidently a bit of the feel. Japanese art is a long way from my style but I like pushing the boundaries so thanks for an interesting nudge
Glad it was helpful! I've subscribed to your channel in the shed!
Wonderful video. Thank you so much!
I'm glad you enjoyed it!
WOW, You've opened up vast possibilities. I love the look of traditional watercolor printing method, but didn't want to carve wood. Or do brushes and watercolor. This uses all my existing tools/materials,and translates the look to oil base. Please, write a book . Will the print be for purchase?. Thank you for all your videos.
Thanks for the kind words and encouragement! I'm so glad you're finding this technique useful.
Hello again, this print is now available to purchase on my website if your still interested here:
www.stephenwiniecki.com/print-shop/
That's really nice! I love Hatsui. As an artist just getting into linocut via my interest in mokuhanga, your videos are such an informative bridge between the two. For the prints, I like the tone and mood of the aged paper though I feel it's a bit dark.
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.
Very nice. I have tools and material for both Lino/oil and woodblock/water, but haven’t had the time yet to explore them enough to find my preference. Fascinating to see you combine technique and outcome this way. Did you scratch the surface of the Lino with sandpaper before carving to achieve a wood grain effect? I can see texture in the shots.
Hello. Thanks for your comment. I did enjoy replicating the woodblock look using lino and oil based pigments. There are limitations, but I believe you can achieve a very similar look or style with this method. I did scratch the surface of the lino with sandpaper. I used an 80 grit sandpaper and I really scored the surface in the direction that I found in the original print I was using as a reference. The lines are not from the woodgrain, but the brushing of the pigment on the block. These little has postcard prints were printed very fast to achieve faster production. Time for you to put those tools and materials to use, just get started, the rest will follow!
Hey Stephen- love this video and the result. The only thing I'm a little lost by is how you manage to lay down the paper exactly where you want it to print. Any links or info you can give me on how to do this precisely and consistently?
Thanks!
Good question! The method I use for keeping the registration lined up is from traditional Japanese Woodblock Printing. Essentially there is a corner and a straight line carved into the blocks surface. Every block has these marks and the paper is aligned this way.
@@stephenwiniecki Thank you, this is super helpful. With that in mind I'm assuming that your transfer paper is both consistent between layers, and the same dimensions as the paper you are using for the print itself?
Yes. I print my transfer sheets from the same photoshop file with the printed border locked. I print all the transfer sheets at one time and trim them all to the same border as closely as possible. Practice and consistency is key to achieve accurate registration. But after doing it a few times it gets easier and is almost never an issue any more.
@@stephenwiniecki incredible, i appreciate it so much. thank you and great work
Very cool, and very interesting! It looks like the washi was dry when you printed it. I suppose this technique removes one of the main headaches of traditional mokuhanga: balancing moisture content of the wood and paper to get a good impression while keeping the registration consistent! I'm curious what kind of ink you use, and what kind of transparent extender. Thank you so much for sharing this process!
The washi was moistened for this video. The moisture in the paper is a must for mokuhanga printmaking. I can show in a video how I prepare my paper for printing. Thanks for watching and commenting.
Wow! Your explanation and demonstration are fabulous! Quick question for someone who knows nothing about these processes. Are you running the transfer papers through a laser or inkjet? I am guessing laser but not sure. I know how much time and effort it takes to walk us through the creation of your art, so thank you!
I have a HP OfficeJet Pro 6978
Thanks for your comment, question, and for watching!
Very interesting ! and great channel. I kinda have the same objective but for digital. I have been trying to analyse the japanese printers trying to answer some interrogations : how much the paper texture participates to the visual ? If the tracks on the prints are made by the barrel ? If they used the same colors pigments ? ... It's difficult to find a complete guide about the japanese prints; Of course we can see on youtube how it's made, the techniques ... but I wish we have expertise videos about the way they made some effects ...
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.
@@stephenwiniecki Thank you for the details by your experience ! Yes I know his channel and twitch channel, it was interesting indeed
A while back I made a bijin-ga hybrid print. It was cheap magnolia for wood, water-based ink and Japanese brayer, handmade washi, and a regular baren. Looked almost like mokuhanga. Perhaps lost a little of the subtlety and softness of mokuhanga proper.
That’s interesting, I’d love to see an image of your print sometime.
Me again with few questions ( in another message to help with the algorithm lol ) ... Your video really made me think to try linocut. I would have loved to know mokuhanga art long time ago, but now, as I am 45, I think it's too late to start as it will require so many years to learn. Without saying linocut is easier and that it doesn't require great skills, I believe it might be more affordable/accesible and reasonable ( already the matter of price : cherry wood vs lino ...) I have few questions : in the video, you use your traditional tools , is it "overkill" for the lino? Do you recommend getting these tools for linocut? they look amazing but I believe it's expensive. Maybe it's the case in the video (sorry if i missed the info), but is it possible to use washi paper ? ( for the texture as we talked in my other comment) ... Did you import the tools from Japan ? I will watch your other videos and maybe I will get more replies to my questions (or more questions to ask ahah ) I will try not to bother more ... but Thanks ^^
I carve my lino the same way I carve a woodblock. First with the knife along the edge and then clear with chisels etc. I recommend learning how to carve with a knife to get more control and more delicate textures, but using a u-gauge or v-gauge also works just fine for lino especially. You do not need the best tools to get started. Just start with what tools you have now. It's all about learning from experience, printmaking is problem solving. Thanks for your questions.
Molto interessante tutti e due le gradazioni, ma io preferisco su carta chiara. Anche io sto provando a creare stampe su linoleum e mi da tanti consigli. Grazie
felice che il mio video sia stato utile
I think the tinted paper is slightly more interesting. Perhaps lending an antique or aged look.
I agree, I prefer the naturally toned paper for this design.