MOKU HANGA JAPANESE WOODBLOCK REGISTRATION
Registration opens to non-members beginning on April 24. Registration open to CSP members only through April 23. The above fee includes $30 for materials supplied by the workshop instructor. Workshop Fee: $250 CSP members $285 non-members
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For more information please visit Registration
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Her book on the history and contemporary use of mokuhanga, Japanese Woodblock Print Workshop was released by Watson-Guptill in 2015. Her work has been exhibited internationally and published in journals including Science, Printmaking Today, and Contemporary Impressions. Vollmer is Communications Attaché for the triennial International Mokuhanga Conference. and internationally, actively promoting cultural exchange through printmaking. She has specialized in mokuhanga, Japanese woodcut, since she visited Japan with the Nagasawa Art Park Program in 2004. We will discuss options for purchasing additional tools and paper during class.Īpril Vollmer is a New York artist, author and educator with an MFA from Hunter College, New York.
MOKU HANGA JAPANESE WOODBLOCK PLUS
While printmaking experience is helpful, no specific prerequisites are required.Įach participant should bring a simple drawing on tracing paper, approximately 7 x 9 inches, a hard pencil, along with additional tracing paper, tape, plus any woodcut tools or barens they might already have.
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The first day we will cover image transfer, registration, cutting and proofing. Location: Printmakers at the Tannery Art Center studio, Santa Cruz, Californiaĭescription: Introduction to Mokuhanga is a two day class that will cover the basics of this traditional Japanese, water-based technique through the creation of an original print. Lastly, my husband made me a bench block.Workshop Title: Introduction to Mokuhanga Second, I learned that my body and hand posture is quite important not only for control, but for my own comfort and ability to work for an extended period of time. I have learned several things so far in this process: the in order in which one proceeds with carving is important: working from outside in and big to small, is the general rule. This wood is much harder and although it takes much more care and effort in carving, thus far I am pleased with the results. So I switch to a fruit wood laminated block (I believe it is pear or cherry). I quickly discovered that the plywood was too soft a wood to hold the lines I wanted.
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The first block I used was shina plywood. I then transferred the image on to the block. I began with a simple sketch of one of my favorite subjects, our cat. Building on what I learned this summer (2018) and from the recent Japanese woodblock print exhibit at the Walters Art Museum this fall, I am attempting to create a simple two color woodblock print, mokuhanga style.