The Mall Galleries were kind enough to send me a couple of photos of my work on the wall. By some miracle, still unexplained to me, they did make it through Customs and into the show. There was a bit of a problem with Customs that made me fear that even though I had shipped the works there that they still would not get in. So it was a great shock about 8 years or so ago to find out that two of my linocuts were chosen to be included in the annual show. I just admired the work that was in it so much that I wanted to also be in. It wasn't so much that I thought my work was good enough to get in. As the years went on and as I realized that artists I admired from Birdforum, like Nick Derry and Tim Wootton, actually were members and exhibited there I decided to apply for the show. The group was The Society of Wildlife Artists. To make a long story short it was through that book that I realized it was possible to make art based on birds that was lively, exciting and not totally removed from the world of art as I knew it.Įventually I realized that there was a particular group, with an annual exhibit that included some of the artists from that book but that included even more artists that I liked. Perhaps it was through the Wildlife Art section of Birdforum but I don't think so. I'm not quite sure how I stumbled upon 'Drawing Birds' by John Busby. I had no guidelines, no one I was trying to emulate. I still cringe when I look at the watercolors from that time.īut as bad as the work was there was another problem. Sufice it to say though that the transition from many years of abstract painting and drawing was not easy. Perhaps some day I'll show them as proof of just how bad they were. It was approximately 12 year ago that I made my first artworks using birds as subject matter. Both have very helpful staff and can answer any of your questions.Completed 8 block Moku Hanga print of American Woodcock by Ken Januski. Two other sources for Japanese paper are Awagami Factory and McClain’s Printmaking Supplies. As it’s a heavy paper, it suits my style, but I’m always on the search. The fibers are long and very strong resulting in a paper that can be so thin it’s nearly see-through or very thick and heavy. It is made from the inner bark of the Mulberry tree and referred to as kozo. It’s really quite remarkable and well worth watching a YouTube video on. The paper is well suited to withstand the many stresses of hand printing, drying out and re-wetting. For the most part, it’s handmade and lovely. Japanese paper, known as washi, is unique. I have found the Surikomi Bake brushes to be very good, and I purchase them from McClain’s Printmaking Supplies. Most print artists use the traditional Hanga Bake brushes, but I’ll save that for another post as there is a lot to say. In all of my work, I use the Surikomi Bake brushes which are also used for stenciling. There are many kinds of brushes each with a purpose. Whereas the Western technique requires a roller or brayer. One of the greatest differences between Eastern and Western woodblock printmaking is how the ink or watercolor is applied to the blocks. Photo from McClain’s Printmaking Supplies Brushes However, now I use Futatsu Wari tools that I purchased from McClain’s Printmaking Supplies and I have no regrets. I believe the name of the boxed set was Power Grip. When I first started carving, I used a set of Japanese detail carving tools from Lee Valley. However, there are a lot of manufacturers of woodcutting tools, so some research and testing is a good idea before making any purchase. Japan has an outstanding reputation in bladesmithing and there are many levels of tools you can choose from. The cutting tools are important and I have invested in traditional woodcut tools from Japan. I purchase my shina from McClain’s Printmaking Supplies. It is soft and easy to carve but holds a sharp edge throughout multiple printings. It is a sustainable product grown in Japan and has a fine grain. However, unlike Shina, the surface isn’t finely sanded and has a texture. It carves easily and performs similarly to Shina. However, as old forests were farmed to near extinction other woods emerged as good choices. Cherry was always used in Japan because of its superior hard surface. Interestingly, there are not many woods suitable for this art form. In this post, I will give a brief overview of the most basic materials. It is a craft that requires great discipline and education, and its tools and materials are a good place to start in understanding the art form. All the supplies used are made by hand and have a long history. A large part of the appeal of moku hanga, or Japanese woodblock printing, is rooted in its tools and materials.
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