![]() ![]() He was a founding member of the Paper Road Tibet project working to research and revitalize Tibetan papermaking in Tibet and also worked with the International Tibetan Archive Preservation Project in Lhasa carrying out conservation work and training. He began studying Tibetan language and culture in the early 70’s and has traveled extensively in the Himalayan region for more than 35 years researching papermaking and documenting papermakers, scribes and printers. Jim Canary is Head of Conservation at the Lilly Library, Indiana University, Bloomington, Indiana, and adjunct faculty in the Henry Hope School of Fine Arts teaching Book Structures. I will bring a selection of woodblocks that will be available for printing at off times during the week. Several natural dyes from the area will be prepared, including an indigo vat, and materials will be dyed to make a Tibetan stitched binding on the last day. We will collectively make a sampler of each paper. Paper pulp will be cooked and beaten from several indigenous fibers lokta, rechag pa, edgeworthia and saa or paper mulberry. In the workshop we will make models of palm leaf manuscripts-incising, making ink, inking them, and then fashioning simple covers. We will have the opportunity to see into the world of these books with slides, video clips, and examination of a wide range of materials. The long thin shape of the leaf influenced later manuscript traditions as Buddhism travelled through SE Asia and north to the Himalaya. Sacred texts originating in India were often made on varieties of palm leaf. She teaches printmaking and book arts at the University of Alabama Huntsville. In 2004 she was one of seven artists selected to learn traditional Japanese woodblock printing from master carvers and printers at the Nagasawa Residency on Awaji Island, Japan. She received her MFA from University of the Arts and served as Victor Hammer Fellow from 2011-2013. Katie Baldwin produces artist books and prints under Queen Anne’s Revenge Press. ![]() ![]() One of the wonderful aspects of this process is that it does not require a press, or a large workspace! All participants will have the opportunity to carve and print their own two-color woodblock images. Participants will learn about tools, materials, and the carving sequence and printing methods associated with this process. This workshop will be an introduction to the printing process mokuhanga, which uses water-based pigments (or sumi ink), a kento registration method, and is printed by hand with a baren. A press is not required.Learn how to achieve multiple colors in a woodblock image with perfect registration through the traditional technique of Japanese woodblock printing. It is very different from Western style woodcut that uses oil-based inks. Essential to this process are appropriate materials, including imported Japanese plywood (shina), waterbased pigments, washi and special brushes to apply the colour. Many printing variations are achievable with slight adjustments of water, use or not of rice paste, and local applications of pigment. ![]() Printing using a baren on Japanese washi papers with gouache pigments give mokuhanga it's pronounced characteristics: the colours are absorbed into the paper as a graphic stain thanks to the long fibres characteristice of washi. A waterbased printmaking method, mokuhanga involves planning a graphic image, transferring the outlines to one or more woodblocks, carving and printing it.Īn effective registration method using carved notches in the wood called "kento", ensures that the separated colours fall exactly where you want them. Today this technique is being explored by many contemporary printmakers. An example of an early Japanese print is shown Right. This traditional Japanese printing method emerged in the 17th century. Mokuhanga means 'woodblock print' in Japanese. ![]()
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