Say, between 30-120 gsm, though this is not a hard and fast rule. Importantly, if you’re printing by hand instead of a press, you’ll probably want a light to light-medium weight paper. The higher the GSM the heavier the paper. When you shop you’re going to notice a term on the package or product listing called, “GSM.” This stands for grams per square meter and is a measure of a paper’s weight. A Paper’s GSMĬhoosing a paper of the right weight is really helpful for printing linocuts, woodcuts or rubber blocks by hand. I’ll also provide some specific recommendations. But I’m going to give you suggestions on what to look for in paper to help guide you. So, I don’t think there is necessarily a perfect paper for hand printing. There are so many different types of paper to choose from and what you have available will partially depend on where you live. If you were to ask me what block printing ink I think is the best, I would give you a couple suggestions and feel pretty confident that it will work for you. Her woodblock prints have been exhibited throughout the United States and in Japan, Canada, and the U.K.What to Consider When Choosing a Paper for Hand Printing Annie’s print work builds on her 25+ year career as a freelance digital illustrator, serving a national clientele that has included Time-Life Publications, National Geographic Society, American Express, and the Wall Street Journal. Open to beginners as well as people who have already done some mokuhanga and want to refine their practice.Īnnie Bissett is a mostly self-taught artist who has been working primarily with mokuhanga since 2005 when she studied briefly with New Hampshire woodblock artist Matt Brown. Participants will also learn a few of the printing techniques particular to the Japanese method, especially how to create a bokashi (gradation) and how to create and control printed textures. The workshop will touch on all aspects of the process: transferring images to woodblocks, carving with Japanese tools, using the Kento registration system, and printing with brushes and a baren. This five-day, beautifully paced workshop will allow participants to delve deeply into this rich traditional art form, offering time to begin to develop the sensitivity to materials that is essential to using the technique successfully. Like many art forms, these can take years to truly master but can draw you in with your first attempt. The way that waterborne pigments behave on a piece of wood, the intricacies of carving, knowing exactly how much water is needed to create a strong impression, discovering how various papers receive color, and learning myriad special techniques that were developed over many centuries. It’s nontoxic, fume free, easy to clean up, and easy to put down and pick back up.īut these simple tools and practices belie the complexities of the process. It’s low tech, portable, and can be practiced at home or almost anywhere. Complexity comes by way of diverse tonal application of colors and impressionistic printing. A knife, some wood, a few tubes of paint, a stiff brush, some paper, water, and a tool for hand burnishing is all that’s needed to make a mokuhanga print. The simplicity lies in the ease with which one can get create an image. The Japanese method of multicolor woodblock printing (mokuhanga), with its use of brushes and watercolors and hand pressure, is both simple and complex. ![]() ![]() ![]() Why Mokuhanga – the big points: requires very small workspace, small select number of tools, prints with a baren, uses replenishable wood products, needs none of the intense or stationary equipment of western printmaking – including a printing press, can be editioned or printed to create endless interpretations, offers control over color and tones, capable of delicate detail, works equally well for small and large prints, suitable to a wide range of papers, while a historic process it easily adapts to contemporary statement, might just be the most environmentally friendly printmaking process.
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