Hopefully, it won't take too long to finish the job. So you will encounter a mix of old and new as you browse through, which may be quite confusing. Note: The Encyclopedia is in the middle of a major renovation, with the page designs being completely renewed and updated. Each actual entry has a form at the bottom of the page with which anybody is welcome to either ask a question about the item, add your own additional/alternate information to the page, or contribute in whatever way you wish. I would be interested in your feedback and suggestions on how this Encyclopedia can be improved in any way. Just 'dive in' and browse among those entries that interest you.
The 'greyed-out' entries you see in the topic listings represent those not yet written. If you drill down and read something, this menu is always displayed for you to select another entry.Īlthough there are already many megabytes of information here, this book is still in a relatively early stage of development. The menu at the left shows you the broad type of topics included here clicking any of the items will show you a listing of entries on that topic. In a moment, when you enter the Encyclopedia, you will find yourself in the midst of a world of information on Japanese traditional woodblock printmaking. Then a portion of the block was cut away… This procedure was repeated 24 times, ending with a very small block and a very dark pigment.īecause the block is destroyed during the process of printing a reduction print, no more copies can ever be produced, another major difference from the Japanese tradition in which blocks were used and reused many times, as long as there was a demand for the print.Welcome to the world of Japanese Traditional Printmaking! Enough sheets to make up the entire edition were printed this way (Mr.
#David bull moku hanga full
A full block covering the entire area of the image was first printed with the lightest pigment in the print. This is a reduction print – so named because it is made from a single block that becomes reduced in size as printing progresses. The paper is washi, and the way of applying the pigment is the standard Japanese brush and baren method, but the way that the block was carved is completely alien to the Japanese tradition. It is an excellent example of a synthesis of western and tradtional Japanese woodblock techniques. Out of all the woodblock prints you see in the gallery today, this is the only one that was carved and printed by the same person who designed it. Mike Lyon (USA) – design, carving, printing Bull wrote the following description to accompany the print (translated from the original Japanese):Īrtist: Mr. I was delighted when I learned that he had included my print among the eight selected from his personal collection. Bull has included an entirely new section, “David’s Choice”, consisting of 8 interesting and beautiful prints selected from his own personal collection. David exhibits his prior year’s prints and sells subscriptions for his not-yet-produced work of the coming year.įor the first time, in addition to the beautiful prints he produces, Mr. twenty-four times!ĭavid Bull,the well-known Tokyo printer, held his 14th annual exhibition January 23-28, 2003 at Gallery Shinjuku Takano, Tokyo. For the various shades of blue which make up the print, I’d carve a bit, print each sheet, carve a bit more, print each sheet again a little darker, etc, etc, etc. So each of the 52 sheets of paper was printed at least 25 times (but not all papers received the wood grain). But in order to save time and material and increase risk, I carved only three blocks - one to lay down an embossing for the background, one to print wood grain in the background, and the last one to print the 24 tones of the image. Traditionally, each of the 26 blocks for this print would have been carved by hand from separate pieces of wood. This is a reduction print, printed by hand using Traditional Japanese woodblock printing techniques and materials (except, of course for the reduction part). The print is o-ban (large size - about 15 inches high) on hand made, unsized gampi paper. This version included an additional block carved from oak which I used to print the ‘wood grain’ in the background. There are a few contemporary artists pursuing this ancient art and I was lucky to attend a weekend workshop with one of them, April Vollmer. The most well known examples of Moku Hanga are the Ukiyo-e or floating world prints. This is a print I produced for Baren Forum‘s 14th Exchange. Moku Hanga is the art of Japanese woodblock printing.
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