![]() Participants are invited to bring some simple images and designs that fit into an A5 format, for example simple landscapes, birds or flowers. Various techniques will be demonstrated to achieve shading and texture. The second day you will choose your colours and print your blocks. The first day will be creating your design and learning to carve it into your block of soft Japanese plywood. This workshop will take place over two full Saturdays. It is non-toxic and environmentally friendly. Japanese Woodblock Printmaking with Julie Murphy Japanese woodblock printing (mokuhanga), an ancient technique which involves carving a design into a wooden block and then using watercolour paints and a handheld press to transfer the design to beautiful Japanese paper. Sat 27 May & 3 June 10am-4.30pmĭescription JAPANESE WOODBLOCK PRINTMAKING Julie Murphy is a member of Omagh Printmakers Initiative and has studied Mokuhanga in Japan and with teachers in Ireland and England. All Japanese plywood and specialist Japanese paper (washi) will be supplied and included in the cost. 6.Japanese Woodblock Printmaking with Julie Murphy Japanese woodblock printing (mokuhanga), an ancient technique which involves carving a design into a wooden block and then using watercolour paints and a handheld press to transfer the design to beautiful Japanese paper. The Gallery is located at 110 Spring Street in Saratoga Springs and the exhibit closes on Jan. But there are plenty of other 2D pieces that are well worth the visit. One sculpture by Ilie Lichtenstein called “Nov 2,” features several pieces of white cloth hanging from the ceiling with orange and red thread cascading down from them. The exhibition, which is part of their Entrepreneurial Artist Initiative, is impressive for the small space. Skidmore students have filled the Spring Street Gallery with figurative works, backlit photography, sculpture and other works in an exhibition they’re calling “An Unconventional Kind: Narratives on the Human Experience.” 1 at the Crowell and West Galleries in the Feigenbaum Center for Visual Arts at Union College. Other modern-day mokuhanga artists like April Vollmer and Takuji Hamanaka will also be visiting the exhibition and talking to students and the public about the technique. Half the class will be all about the history of the mokuhanga art form and the other half will allow students to actually create their own works in that style. She and her co-curator Sandy Wimer, a senior lecturer and printmaker at the college are teaming up to teach art history in a more hands-on fashion. “We’re using the show as a teaching space,” Lullo said. Lyon will be visiting campus in March and talking to students in “The Floating World: Edo Prints and Printmaking” class. ![]() The deep blueprint, featuring a woman lying gracefully on a bed, looks more like a photograph in some ways because the lines are so sharp. In the making of “Sara,” an expansive piece in the exhibition, it seems that the technology allowed for a more precise block. Lyon integrates automated machine tools and digital technology to cut the wood blocks. “Most of the artists work in traditional methods but they add modern techniques,” Lullo said. Within the intricacies of Kunisada’s work, the viewer can see the arduous process of mokuhanga in a new light, imagining what it must have taken to carve out such tiny details for each piece.īut the exhibition also includes modern artists like Mike Lyon, who are taking the art form in a new direction. Utagawa Kunisada, perhaps one of the most famous ukiyo-e artists, used the technique in “Untitled Woman,” a piece with a beautiful woman with a deep blue, white and intricately decorated robe. As many would say today, the pieces are a reminder to “stay present.” ![]() It’s a concept which originated in the Buddhist religion and it’s a reminder of the ephemeral nature of the world. Some of the earliest pieces in the exhibition are ukiyo-e pieces or “floating world” pieces from the 17-19 centuries. ![]()
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