Japanese woodblock is a marriage of patience and persistence. The gentle washi paper and the carved block combined with a bit of magic creates a one-of-a-kind print. The pressure of the hand-held baren forces the watercolour pigment inside the damp fibres of the paper to produce a stained-glass effect.
Learn more about Japanese woodblock printmaking through reading. See my Book List.
The Tradition of Japanese Woodblock
With origins in China, Japanese woodblock is a 400 year old printing technique refined by Japanese craftsmen during the 1700’s. Commonly known as Ukiyoe, these artworks were an affordable alternative to traditionally inaccessible aristocratic paintings. Dynamic and highly popular, Ukiyoe reflected fashion, theatre and pursuits popular with the newly wealthy merchant class.
Adopted by modern artists in the early 20th century in Japan, the surprisingly 'eco-friendly' process is now used by international artists who adore its versatility and often complex nature. The ability to create intricate detail, vivid colours and delicate painterly effects makes it a highly desirable and unique printmaking medium.
My Print Process - Mind Map II
Steps to Creating a print
1. Cut the woodblock to size using a handheld jigsaw and avoid any injuries!
2. Transfer images to the woodblock
3. Carve with special tools
4. Cut each piece of professional grade washi paper to size
5. Use water based ink and nori rice glue with hog hair brushes
6. Work up a sweat printing with a hand-held disk baren
7. Flatten prints using my favourite hard-cover books
All my prints are created in my home studio in Toa Payoh, which is one of Singapore's oldest housing estates. I import most of my tools and paper directly from Japan - much to the interest of my local postman!
Learn Japanese Woodblock Printing
Join my Japanese Woodblock Easy Print Workshop to learn how to print using a 400-year-old technique! Ask me about private classes.
Washi ain't always washi...there are many types to choose from depending on your budget. Kozo, Gampi and Mistumata are the main three fibres used. Go for the best you can afford. McClains has good service and variety. Woodlike Matsumura is based in Japan but has an English website. Recently I've been working with both thicker paper that needs to be dampened and thinner paper that can be used dry.
Cherry wood was the traditional craftsman preferred wood but unless you have very deep pockets, it's a tad pricy these day due to diminishing stock. Locally-sourced timbers include basswood. Try Artfriend or timber suppliers.
Pigments & Glue
Waterbased pigments including gouache and watercolours can be used. Sumi calligraphy ink can also be used as a black. Nori rice glue can be bought from Kinokuniya book store or made by hand.
A baren and your arm form a 'press', so choose wisely for best effect. A quality barren will put you back a few hundred dollars, or you can grab something reasonably priced at Art Friend (top right). I have a traditional Murasaki baren (top left corner) that cost about USD150 and a plastic disk baren (bottom right - designed by my teacher Akira Kurosaki) for USD30. Learn more about barens and the time involved in making them here. Both barens can be bought at online stores run by McClains Printing Supplies and Woodlike Matsumura.
Tradition barens - they do eventually need to be re-shealthed. I'm yet to do this but it does look a bit tricky.
Plastic barens - the one shown here comes with a re-stickable textured surface for when the bumps start to wear out.
Ball-bearing barens - they say these are especially good for linocut or oil-based woodcuts. A bit of an investment - about USD250 upwards.
Whichever you decide, make sure to place a piece of baking paper or greaseproof paper in between your print and the baren. This will help to prevent any ink from staining your baren, and from wear and tear to the washi paper.
Some washi papers come with it and others don't. If you like a fuzzy sort of image - then unsized is for you! Otherwise, make sure your paper is sized when you purchase it. If you are doing an edition with a lot of colours, you may have to resize your paper halfway through. I'm learning how to do this!
Drying Your Prints
Prints that have been made on damp paper usually need to be pressed as they tend to buckle if allowed to dry naturally. If you don't have time to press your prints immediately after printing, I suggest the following steps.
STEP 1: After class, allow your prints to dry naturally on a clean horizontal surface. If you forget your prints inside a plastic folder, it's lightly that they will develop mould.
STEP 2: Use a damp sponge (a small makeup one or cut a kitchen sponge in half. If you have a big wide brush, you can use that too. Lightly dampen the back of the print with water until the surface is shiny but doesn't have pools of water.
STEP 3: Place your print between clean sheets of newsprint or photocopy paper. You need a sheet on top and a sheet below of each print. Lay this paper pack on a flat surface and place a few heavy books (hardcover ones work well!) on top. Leave for 10 minutes.
STEP 4: Now replace the damp newsprint/copy paper with dry ones. Leave for 1 hour.
STEP 5: Now replace the damp newsprint/copy paper with dry ones again and leave for at least 24 hours.
By then your prints should be dry and flat!
Materials List & Suppliers
Discover the tools and materials you'll need when printing Japanese woodblock at home. This list is aimed at students in Singapore, but should serve as a rough guide for beginner and intermediate students who are able to shop online. Many materials can be bought from US and Japan based suppliers over the internet.