Mokuhanga, or Japanese water-based woodblock printmaking, has been practiced in Japan for centuries and is known for its beauty and complexity. The process starts with a color painting or drawing. Each color is isolated and transferred to separate woodblocks. I used a type of Japanese plywood called shina. Carving begins with registration marks (kentō). These can be carved directly into the block margins or into a plywood registration jig that fits around each block. A specialized knife, the hangitō, is used to carve outlines at a 45-degree angle, ensuring clean ink edges and preventing pooling. Larger areas of excess wood are removed with U-gouges.
Printmaking papers are prepared a day in advance, and the workbench is carefully set up with the necessary supplies. The woodblocks are moistened, rice starch paste (nori) is diluted, and water-based paints or pigments are mixed. Once everything is ready, a soft brush applies colour to the block, with small amounts of nori added between the paint areas using a chopstick or brush. A Japanese printing brush is then used to blend the pigment and nori, working in circular and cross-grain motions to achieve a smooth, even application.
A sheet of dampened printmaking paper is carefully aligned with the registration marks and covered with parchment-like backing paper to protect it during rubbing. Using a hand-held tool called a baren, the artist applies pressure to the paper and woodblock. Starting with light circular motions, pressure is gradually increased using the base of the thumb and shoulders, covering the entire surface. Achieving a successful print typically requires several proofs.
After a print is pulled, it is returned to a dampened stack of papers, separated by newsprint, to await the next layer. Each block is printed one at a time for all prints in the edition. In mokuhanga, as with other relief and intaglio printmaking, the image is reversed from the plate. The translucency of water-based paints creates a luminous quality, with the whites of the image coming from the paper itself, not added white paint. Ambient humidity, paper type, baren choice, and effects like woodgrain textures all influence the process.
I chose to present the woodblocks from one of my mokuhanga prints alongside their final printed counterpart to offer a deeper insight into the artistic process. The blocks themselves are integral to the craftsmanship of the work, showcasing the layers of carving that bring the final image to life.
I have a number of book resources about mokuhanga, but my main learning aid was a handbook with basic mokuhanga techniques from the Mokuhanga Innovation Laboratory Artist in Residence in Echizen, Japan. The MI-LAB residency program and materials support international artists learning water-based woodcut.