So I use a mixture of rice paste and wood glue. In the traditional japanese technique a very thin washi paper was used, but a cheap copy paper will do very well for this purpose.īefore printing all the paper has to be removed. Therefore the paper is being rubbed off with a finger and some water, only leaving the drawing. Of course now you can´t see the picture any more. For more detailed work I would need lime tree plywood, alder or most suitable cherry.īecause of the “false” glueing face down, the picture is now back-to-front on the plate and will have the correct orientation after printing. Because here I don´t need fine lines I can use rather soft poplar plywood. In the next step, the copies of the colour separations are glued to the wood face down. They are important to register the different plates so that they fit together. In the picture above the dotted areas shall be lighter using a colour gradation.Īt the right border you see some marks. These sheets were to small, so I copy and enlarge each of them. Here two examples from all in all seven plates: With a highlighter I colour the areas for each plate. I start with a line drawing, that defines the outlines of the coloured areas, but later these lines are not printed.įrom this drawing I make as much copies as colours are planned. These prints are used to make the plates for printing the colours. At first this drawing is cut and printed several times. It defines the outlines of every colour area. Traditionally everything starts with a brushdrawing.
#Moku hanga with regular watercolors how to
Since 2010, he has specialized in Mokuhanga Japanese woodcut techniques, ranging from the most traditional to the most contemporary of approaches.You want to know, how to use the japanese technique of woodcut, based on watercolour? Here you have an example, step by step: Sebi Subirós also gives courses and monographic printmaking sessions at his own workshop and other venues like the EMA in Girona, the Rodriguez Amat Foundation in Garrigoles (Girona), Taller Antonio Saura in Fuendetodos (Zaragoza), the engraving studio of Marbella Museum of Spanish Contemporary Engravings, and other private studios in Barcelona and Valencia. From 2015 to 2018, his workshop was complemented by a gallery, Espai U, specializing in the exhibition of prints, visual poetry and artist’s books. In 2001, in parallel with his own workshop, he mounted an engraving workshop at Josep Niebla’s studio, working with the latter for two years on his prints. As well as making prints and providing technical advice to artists at the workshop, he also gives regular courses in Mokuhanga and silkscreen printing techniques. In 1996, Subirós founded his own workshop, Lupusgràfic Edicions, in the city of Girona, which he still manages. The workshop specializes in the edition of artist’s books and large engravings, working with other artists such as Oteiza, Moises Villelia, Joan Barbarà or Joan Brossa. During this period, he collaborated with artists like Antoni Tàpies, Victor Mira, Emil Schumacher, Rafa Forteza, Miquel Barceló, Jaume Plensa, and Riera i Aragó. In 1986, Sebi Subirós trained in printmaking at Tristan Barbarà Workshop in Figueres (Girona), where he went on to become part of the team, working as an engraver, printmaker and advisor for artists through to 1996.
Japanese woodcut techniques underwent their peak period from the 16th to the 19th centuries, although now they are making a big comeback in both the East and West.
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