Benjamin Selby - Printmaker: It's A Reflection of Self
Release Date: 06/26/2023
The Unfinished Print
When creating mokuhanga, one requires time – time to prepare, time to plan, and time to explore. The essence of the work emerges from this delicate balance of managing one's time and integrating life within mokuhanga. In this episode of 'The Unfinished Print,' I have the pleasure of speaking with printmaker Wuon-Gean Ho. Wuon-Gean approaches her mokuhanga with a keen focus on work-life balance, emphasizing creation not at the expense of life but as a means to enrich and enhance it. Join me as we delve into Wuon Gean's unique perspective on mokuhanga, how it skillfully blends with her...
info_outline David Barker of The Muban Educational TrustThe Unfinished Print
Several years ago, a book caught my eye, called "Lu Xun’s Legacy". Published by the Muban Educational Trust, a non-profit dedicated to the preservation of woodblock art in China and located in London, England, it opened my eyes to Chinese woodblock prints. Reading the book, I realized how little I knew about printmaking, woodblock or otherwise, from China. All I really knew was that Japanese woodblock has roots within Chinese printmaking and I was curious as to how that transpired. Today, I speak with Senior Research Fellow at the Muban Educational Trust, David Barker. David’s interests...
info_outline Jack Moranetz - Printmaker : Evolve NextThe Unfinished Print
Embarking on the journey into the world of mokuhanga, each of us starts with a unique desire. It begins with early prints, guided by exploration, and the innate desire to create something—anything—all viewed through the prism of mokuhanga, shaping our voices in this captivating journey. In this episode of the Unfinished Print, I speak with the burgeoning mokuhanga printmaker Jack Moranetz. We discuss how he got involved in the art form, his early prints, his visit to Japan and meeting David Bull, collaborations, and how he approaches his printmaking. ...
info_outline Hiroki Morinoue - Printmaker: The Philosophy of The PastThe Unfinished Print
On this episode I have the pleasure of speaking with Hiroki Morinoue, an artist who resides and creates on the Big Island in Hawai'i. Together, we delve into his personal journey with mokuhanga, reflecting on his experiences at MI Lab, exploring his unique color palette, and gaining insights into his meticulous process in crafting mokuhanga prints. Additionally, we uncover Hiroki’s life in Hawai'i, his ventures, and his relationships with prominent galleries such as Studio 7 Fine Arts, print studio’s like Shark’s Ink, and the arts center at Anderson Ranch. Please follow The Unfinished...
info_outline Henry Smith PhD - Physical ChemistryThe Unfinished Print
In this episode of The Unfinished Print, I speak with Henry Smith, Professor Emeritus in the Dept. of East Asian Languages & Cultures at Columbia University. Together we delve into the scientific aspects of Meiji woodblock prints, exploring the trajectory of Nishiki-e during the late Edo and Meiji eras. Additionally, we examine the significance of cochineal and naphthol dyes, and scrutinize particle sizes. Henry's scholarly contributions include groundbreaking articles on subjects such as Hokusai and the Blue Revolution, with the introduction of Prussian Blue to the Japanese...
info_outline Tuula Moilanen - Printmaker : Life Is An ExperimentThe Unfinished Print
When it comes to the idea of longevity, my guest on this episode of The Unfinished Print has just that: the hard work and sacrifice to make a career in making mokuhanga, bringing the art form to people worldwide. Today I speak with mokuhanga printmaker, graphic designer, and writer, Tuula Moilanen. Currently living in Finland, Tuula has made mokuhanga for almost 40 years and has been an essential part of the worldwide mokuhanga community, teaching, instructing and overseeing the art form’s growth. Tuula speaks about her twenty years in Japan, her teachers, and how she...
info_outline Hellory - Printmaker: Each Line Will Have Its Own LifeThe Unfinished Print
It’s been said before, yet I feel it’s worth repeating that when making mokuhanga, you don’t make it alone. So many people influence us that it may be difficult to pinpoint who or what impacts our creative lives the most. In this episode of the Unfinished Print I speak with mokuhanga printmaker Hellory. Based in Italy, Hellory makes multi-colour mokuhanga with luxury techniques. She learned these techniques from her mentor, Giovanni Berio Ligustro. We discuss the intertwined artistic lives of Hellory and Ligustro. What learning from a mentor was like, what studying...
info_outline Darrel C. Karl - Collector : A Responsibility of StewardshipThe Unfinished Print
As a collector of mokuhanga, I am constantly exploring the reasons behind my love of collecting mokuhanga and why I make it and educate myself about it; it seems to be layered, even for my modest collection. So it is always fascinating to speak to someone who has been collecting for many years, with a deep understanding of why they collect and how they do. I speak with mokuhanga collector Darrel C. Karl about his collection of prints, paintings and scrolls. It's one to admire. Collecting for years now, Darrel was kind enough to speak to me about his collection, how he began it,...
info_outline Gaston Petit - Printmaker/Author : The Most Important Thing Is To Do SomethingThe Unfinished Print
A few years ago, I was recommended a book called Evolving Techniques in Japanese Woodblock Prints. Written by Gaston Petit, it was a new book for me. Going through it, I realized how forward-thinking it was; even though it had been published in 1977, its instruction is still relevant today. It was fascinating how it approached woodblock printmaking, taking it into the future. On this episode of the Unfinished Print, I speak with printmaker and author of Evolving Techniques In Japanese Woodblock Prints, Gaston Petit. We discuss how he got to write the book, interviewing some...
info_outline John Resig - Digital HumanitiesThe Unfinished Print
When making mokuhanga and producing The Unfinished Print, I have looked towards various online tools for research and inspiration. One of these tools is ukiyo-e.org. A Japanese woodblock print database which collects and archives woodblock print collections from around the world. John Resig is the chief software architect at the who, in 2013, for his love of mokuhanga and the Japanese woodblock print, and through his own collection, developed ukiyo-e.org. Those researching, collecting, and making mokuhanga can explore some of the best Japanese print collections at the click...
info_outlinePlease follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at [email protected]
Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.
Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known.
Benjamin Selby - website, Instagram
West Texas A&M University - a public university located in Canyon, Texas, established in 1910. Georgia O’Keefe (1887-1986) was head of their art department from 1916-1918. More info can be found here.
Richard Steiner - is a mokuhanga printmaker who has been making prints for over fifty years. He has lived and worked in Kyōto, Japan since 1980. He is currently still making work. His interview with The Unfinished Print can be found, here.
Peace, peace (1990)
Terry McKenna - is a mokuhanga printmaker based in Karuizawa, Nagano, Japan. He studied under Kyōto-based mokuhanga artist Richard Steiner. Terry also runs his mokuhanga school in Karuizawa. His interview with The Unfinished Print can be found here. Richard Steiner's interview with The Unfinished Print can be found here.
Kyōto International Mokuhanga School - is a mokuhanga school owned and operated by long-term mokuhanga printmaker and artist Richard Steiner. Students will learn mokuhanga from Richard in Kyoto. For more information regarding his school and price, here.
Ōsaka Station - is a transfer hub located in the Japanese city of Ōsaka, Japan. It serves over 2 million passengers daily. It contains shopping and restaurants and is a labyrinth unto itself. It opened in 1874. More information can be found here.
serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.
Arizona State University - a public research university located in Tempe, Arizona, near Phoenix. It was founded as Territorial Normal School in 1885 and has undergone several name changes over the years, coming to its current iteration in 1958. More info can be found here.
Kintarō - is a Japanese fairy tale first published in English in 1908 by Y.T. Ozeki in the book Japanese Fairy Tales, published by the A.L. Burt Company. The story is about Kintarō, a brave boy whose exploits as a brave warrior are passed down throughout Japanese history. His image was widespread in ukiyo-e, as well as in sculpture, candy, and the like. He has been in modern video games, manga, and anime.
Kintarō Fighting an Eagle - Edo Period (1603-1898) by Kitagawa Tuskimaro (1794-1836). Tsukimaro was a little-known ukiyo-e print artist but was most successful under his teacher Kitagawa Utamaro (1753-1806).
International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.
Printed books in the Edo Period (1603-1868) - were books published in woodblock on low-quality paper. Yet, these books contained many exciting and beautiful designs and techniques.
Jacob Bautista - is an artist and teacher based in Amarillo, Texas, USA. His work is expressed through etching and stone lithography; more information about Jacob and his work is here.
Bitten (2018) photoshop
Alligator gar - is one of North America's largest freshwater fish and is considered a living fossil in that its origins go back as far as 100 million years ago. These particular gars are primarily found in the Southern United States.
Spillway - a structure which controls the amount of water going into a dam or levee.
Gyotaku - are Japanese fish prints. These prints are created in various formats, such as inking the fish after its caught using washi and paste(直接法), the indirect method where washi is pasted to the fish, which is then inked on the fish (間接法), and the transfer method, (転写法), where the image is pressed onto washi which is then transferred to wood or another type of surface and pressed onto that. For more information there's a great video here, about gyotaku printmaker Bruce Koike from Oregon, who has been making these prints since the 1980's.
shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few. Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945).
Sea of Shizuura, Namazu (1938) 15.4"x10.2"
Tsuchiya Kōitsu (1870 - 1949) - apprenticed under artist and print designer Kobayashi Kiyochika (1847-1915) and worked as a lithographer. Kōitsu then joined the Watanabe atelier in 1935. Kōitsu also collaborated with Doi Sadachi publishers, amongst others.
Kintai Bridge, ca 1930's. postcard size print
Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui, is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies early in his career. It wasn’t until he joined the Watanabe atelier in 1918 that he began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese countryside, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.
Takatsudo (1931)
All I Knew Growing Up by Benjamin Selby (2022)
Ben's lecture at the International Mokuhanga Conference, Photochemical Mokuhanga, can be found here.
tamari (溜まり) - is the pooling of ink between the carved lines of your woodblock. Pooling is exposed when testing your carving but can be fixed by recarving the part of the block causing tamari or altering the amount of ink or water used.
cyanotype - a type of work that uses iron compounds and creates various blues when exposed to UV light. More info here.
Van Dyke Brown - is a photographic printing process named after painter Anthony van Dyck (1599-1641). The method uses various chemicals, then exposes the negative of the photograph as print to ultraviolet light. The final print is a brown colour. Very similar to cyanotype, but the chemicals create a different shade of print. More info can be found on Mark Hillier's blog, and here.
sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.
Artist's Nude (1984) by Sekino Jun'ichirō (1914-1988) 14.7" x 10.6"
Akua - are water-based pigments used in intaglio, mokuhanga, and monotype.
Kitaro Japanese Paper Company - founded in 1872, Kitaro focuses on making high quality Japanese washi in Fukui Prefecture. More info, here.
Alone by Benjamin Selby (2021) 10.5" x 14.5"
murasaki baren - is a mid-range mokuhanga baren. “murasaki” meaning “purple” , come in two types of weight (medium and heavy), and two types of sizes (10cm and 12cm). They are reasonably priced baren.
Yuki baren - is a heavy ball bearing baren made in Japan. It is used to print large flat colours.
Combing Her Hair (1928) 15-1/4"x 10-1/2" by Natori Shunsen (1886-1960)
sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used.
opening and closing musical credit - Ahmad Jamal - Pavanne (1960) from the album Happy Moods on Verve Records
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***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***