Japanese Woodblock Printing Process: Rebecca Salter RA Explains

Nori (rice paste) is a crucial medium in Japanese woodblock printing that transforms water-based paints into printable materials by making them slippery, sticky, and preventing rapid drying; it can be easily made at home by mixing white rice flour with water, and while homemade nori lasts only about 24 hours without refrigeration or 4-5 days when refrigerated, it offers a cost-effective alternative to commercially purchased versions, though both types should not be frozen as they become unusable.

Japanese woodblock printmaking (mokuhanga) is a traditional relief printing technique that uses wood blocks, water-based pigments, and brushes to create layered prints; the process involves designing a composition, transferring it to wood blocks using rice paste and registration marks, carving away negative space with specialized tools (knife, gouge, and bull-nose chisel), and printing each color layer separately while maintaining precise alignment through registration marks.

Moku Hanga is a traditional Japanese woodblock printing technique where artists prepare pigments by mixing cement powder with water (more diluted for translucency) and nori paste, then apply the mixture to a carved wood plate using a brush, place paper on registration marks, and transfer the image by rubbing with a baren tool; the process requires cleaning tools and plates with water and soap after use.

Cornstarch (maicena) can be used as a natural binder for creating pigment pastes suitable for techniques like serigraphy. The mixture is cooked slowly with water until it reaches a yogurt-like consistency. This creates a paste that can be applied to fabric and will dry to create a fixed color layer.

Mixing nori paste with watercolors creates a superior medium for graduated washes and smooth color laydown. The paste reduces granulation and provides better flow characteristics compared to watercolors alone. This mixture works particularly well with Chinese and Japanese watercolors, creating brighter, more vibrant colors with smoother transitions. The paste acts as a sizing agent that helps control how paint interacts with different paper surfaces.

Japanese printmaking evolved through four distinct periods: Ukiyo-e (17th-19th centuries) was a collaborative effort requiring four specialists (artist, carver, printer, publisher); Shin Hanga (1915-1942) maintained the quartet but added modern sensibility; Sosaku Hanga (1904-present) broke from tradition by having the artist handle all stages alone; and Gendai Hanga (1970s onward) embraced abstract and contemporary themes. An original print differs from a reproduction in that it is created through direct artistic intervention on a medium like woodblock, copper plate, or stone, with each print made separately and possessing unique characteristics, while reproductions are mass-produced copies made through photo-mechanical means.

Traditional Edo-period woodblock printing operated through the 'Ukiyo-e Quartet'—publisher, artist, carver, and printer—each with distinct responsibilities. The Shin-hanga movement sought to revive this collaborative approach. However, the Sōsaku-hanga movement emerged as an alternative emphasizing complete artist control over all production stages. This evolution from collaborative to individualistic approaches fundamentally transformed Japanese printmaking, with the Yoshida family embodying this transition across generations.

In Japanese printmaking, there are two distinct paradigms: Shinhanga and Sosakuhanga. In the Shinhanga paradigm, artists were hired by publishers to create designs, after which block carvers created the printing blocks and printers executed the printing. This was a collaborative process involving multiple specialists. The Sosakuhanga paradigm, in contrast, meant that the artist was exclusively involved in the entire production process—from creating the design to carving the blocks or working with etching plates and lithography, and finally printing the pieces themselves.

Creative print art (Sōsaku hanga) emerged in Japan around 1900 as a revolutionary movement where artists took complete control of the traditional woodblock printmaking process, carving their own blocks, printing, and publishing their work, thereby shifting from the traditional collaborative model involving publishers, block carvers, and printers to an artist-driven approach that blended Japanese artistic traditions with Western artistic influences.

When Japan opened to the West, new technologies including mass printing on presses, lithography, and photographic printing disrupted the woodblock print industry. The woodblock print, which had been used for everything from beautiful images of courtesans to textbooks and instruction manuals, was put out of business by these new technologies. The Shin Hanga (New Print) movement emerged in the first decade of the 20th century as a self-conscious attempt by Japanese art dealers and publishers to appeal to the foreign market. The Sosaku Hanga (Creative Print) movement represented a different approach where artists worked alone and did everything in the print-making process. The eight artists of this movement saw themselves as having a mission to save what they considered Japan's national treasure - the woodblock print.

Getting your hands on something will get you a lot farther than otherwise. I tell you what. This represents the importance of practical application and hands-on experience in learning and personal growth.

The Practice step involves directing learners to apply what they've learned through hands-on activities. This step generates new experiences that feed back into the learning cycle. Effective practice helps learners internalize concepts through doing, which is essential for convergers and accommodators who learn best through action and social interaction.

The practical application phase involves students selecting materials and equipment for processing, then executing their plans. Teachers provide guidance focused on safety during the process. This stage integrates knowledge from multiple subjects including mathematics, science, and language arts (communication skills) while developing practical skills.

This section covers: 'practical' means dealing with actual matters rather than theory; 'hands-on' means involving direct participation or experience; 'applied' means put into practice. All relate to practical application rather than theory.

After reviewing written instructions, practical application through hands-on experience helps verify that systems function correctly. Testing equipment or processes after studying documentation ensures understanding and confirms that everything works as expected.

Historical Japanese woodblock prints used natural pigments from tree bark and flower petals, which were highly sensitive and required dark museum displays. Modern prints use chemical factory pigments, mostly mineral compounds, which are much more durable and can be displayed in normal room light. High-quality woodblock printing requires proper paper selection (Iwano paper is superior to Morata paper) and tone evening, the most difficult skill requiring printers to ensure no areas are too strong or too weak. The key block is printed with light gray and minimal pigment to prevent it from showing through to the back of the paper.

Japanese woodblock prints require careful storage in acid-free materials (folders, tissue paper, metal drawers, or museum-quality boxes) and display in low-light conditions with UV protection to prevent damage from humidity, sunlight, and environmental factors; avoid PVC plastics which release harmful acids, and consider using reproductions for display while keeping originals safely stored.

For short-run woodblock printing, registration marks are unnecessary as each piece is trimmed individually. However, production runs require registration marks and firmly fixed blocks. Woodblock prints require proper preservation: original packaging can cause foxing in damp environments. The best preservation is keeping prints 'naked'—out of packaging. Libraries use special techniques like airing prints on sunny days or storing them in nitrogen-filled vaults. The presenter emphasizes that prints need to be 'naked' to be preserved in optimal condition.

This segment covers the sizing process for Japanese woodblock prints, including brushing sizing onto paper and waiting 30-40 minutes for drying. Prints can be floated in hot water for 15-25 minutes to separate them from weak backing paper, as the prints themselves are made on strong washi paper. However, not all prints can be safely washed - it depends on the pigments used. Prints with red and purple colors may bleed when exposed to hot water. Only prints where the artist knows the paper type, pigments, and production method should be washed. Random prints from unknown sources should not be washed as they may be destroyed. The host discusses the controversy of sharing restoration techniques, as some collectors believe such knowledge should only be left for experts.

Professional conservation services cost thousands of dollars but ensure proper preservation of valuable prints. Amateur techniques work best for minor repairs on non-valuable pieces. Archival book repair tape (acid-free, archival-quality) can be used for small edge tears but has significant limitations—it does not adhere well to fibrous washi paper and western adhesives can permanently lock into the paper structure, making removal nearly impossible. For larger repairs or brittle paper, professional intervention is essential. The choice between amateur and professional methods depends on print value, repair complexity, and collector resources. Professional conservators use specialized equipment and techniques unavailable to amateurs.