![]() ![]() Two other popular 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. 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 Now I use Futatsu Wari tools, pictured below. ![]() 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 blade smithing 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 and many other materials 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 made 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. But 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 mokuhanga, or Japanese woodblock print making, is rooted in its tools and materials. ![]()
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