Mokuhanga means “woodblock print" in Japanese, and is used to refer specifically to the water-based, centuries old traditional methods honed by the Japanese for whom it was the primary printing technology. Yoonmi is a professor of Printmaking at the University of Kansas. She developed her technical ability and teaching tools over multiple residencies at the Mokuhanga Innovation Lab (MI-LAB) in Japan where she returned with a cohort of other artists who later formed the “Mokuhanga Sisters” collective who regularly collaborate and exhibit together. In addition to its mission of providing in-depth technical instruction to international artists and educators, MI-LAB also emphasizes the use and knowledge of traditional materials and tools, supporting a dwindling community of niche artisans who find it increasingly difficult to support their crafts.
I came to the class curious about several aspects of Mokuhanga. Traditional Japanese printmaking doesn't use a printing press but instead employs a rubbing tool called a baren. A baren is a highly specialized disk shaped tool designed to fit the palm and consists of three elements. The Tsuna, a coiled cord of knotted bamboo thread. The Ategawa, a backing disk of layered washi paper laminated together with a fine starch glue and treated with Kakishibu (dye made from fermented persimmon juice) and lacquer. And the Tsutsumi, the bamboo leaf over wrapper designed to protect the tsuna. The current design was refined to its present form in the 18th century during the popular height of Ukiyo-e printing in Japan. Being untethered from a ton (literally) of equipment by having what amounts to a high quality printing press in my pocket was an extremely enticing idea. Another draw was color. I love the way water based ink penetrates the printing paper instead of sitting on top like many oil or rubber based products. I’m drawn to the subtle gradations and fades characteristic of Ukiyo-e prints. Water based inks also come with the added benefit of being far less toxic to body and planet than the products I’m used to, which often employ harsh chemicals at least for clean up. Finally, I was intrigued by the Kento notch registration systems ability to effectively build up image layers between blocks with near perfect fidelity.
Woodblock printmaking in Japan was so ubiquitous that it resulted in a highly specialized workflow with separate artists, printers and carvers sub-specializing in key blocks (outline blocks) and secondary color blocks, of which there could be a dozen. It’s only relatively recently that the whole process has been adopted and implemented by single craftspeople. While it’s daunting to reach for a commensurate level of technical prowess as a group of dedicated and professionally employed craftspeople, it’s inspiring to have their impeccable workmanship as a model of what’s possible.
I’m excited to continue learning the history and technical possibilities of this branch of relief printmaking and am including resources for anyone interested in taking a deeper dive.
