KU Prof Elaine Cunfer and I took the class along with five other students. I know a bit about Japanese prints, but had never tried my hand at the traditional Moku Hanga woodblock printing technique. April, a great teacher and printmaker, has travelled to Japan to perfect her skills. “Migration” Moku Hanga print © 2008 April Vollmer She has an extensive gallery of her prints online at. Moku Hanga is nothing like my prior printmaking experience. I am used to the down and dirty printing of Oaxaca or Tom Huck’s Evil Prints. I came to class dressed in my ink-stained black shirt and raggedy painting jeans. I learned there is no need to dress like a hobo to print Moku Hanga. The pigments are water-based and do not stain clothes like oil-based relief printing inks. 2 horizontal pattern prints based on nature © 2011 April VollmerĪpril suggests beginners might start printing with tube watercolors, but a more economical color can be had by mixing pigments. She uses the pigments from Art Guerra. For wood and carving tools she recommends McClain’s Printmaking Supplies. The wood we used was shina plywood, imported from Japan. The shina and carving tools are rather expensive. A small, 8 by 10 inch, piece of shina ply costs $6.35. April says the expense is due to the currency imbalance between the Japanese yen and the U.S. If you have never used real shina ply, it is a joy to carve. McClain’s will send you a free sample find details here. Ukiyo-e print by Utamaro, circa 1800, printed with mica background. (Wikipedia)Īpril showed us master Ukiyo-e prints by the likes of Morunobu and Utamaro before demonstrating her technique. One of the secrets of the art is cutting a precise registration corner and landing pad for the printing paper. Blue Vortex, woodblock, (detail) © 2005 April Vollmer The best paper, naturally, comes from Japan. More of April’s tips: Your work table should be about navel level. Printing is not done with a press, but by rubbing the baren, a light weight disk, on the back of the paper. Printing starts from a balanced standing position with a quick burst of energy using upper body strength. April says she can print faster with a baren than printmakers who use a press. She claims she can print an edition of 25 in one morning and I believe her.

She also demonstrated the proper way to hold the paper, set up one’s workspace, and sharpen cutting tools. There was one student who had no prior printmaking experience even he came away with successful prints. We managed to do an edition of two-color prints with a single block of shina by carving the second color on the reverse side. If you have the opportunity to study with April Vollmer, you can learn a great deal in a brief amount of time. April Vollmer seems pleased with her students’ prints at Printmaking Center of NJįor more insights into the history and current state of Moku Hanga (also spelled mokuhanga) check out April Vollmer’s comprehensive essay in Art in Print.There is also a brief (4-minute) documentary video filmed by Dempsey Rice of April Vollmer at work, here. UPDATE: Dec.12, 2012: April Vollmer sent a note about the post above: “I hardly recognize myself your review is so flattering, but it is great to have someone describe the class. I always have fun, and people learn a lot. I always talk about the history, and how the technique fits into Japanese culture. I do hesitate about the refinements, it can be overwhelming.

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