Blending different cultures, whether artistically or internationally, comes into play in everyone's mokuhanga. Your work is infused with your life, your city, your family, and even cultures from abroad. I personally think it's inescapable, and that's what makes mokuhanga such a beautiful medium to explore.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Inga Eičaitė, a mokuhanga printmaker who splits her time between London, England, and Lithuania. Inga and I discuss her mokuhanga work and what inspires her to make it, her love of anime, mixing different printmaking mediums with her mokuhanga, comparing the use of Korean hanji paper and Japanese washi, and making emakimono. We also discuss how community has become an important part of Inga's practice through art fairs, and Inga speaks about her time in Lithuania and her desire to help grow mokuhanga there.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Inga Eičaitė - website, Instagram

Angel_o18_For Shinji Ikari (2025) 36cm x 56.5cm

Bauhaus (art/design) — A German art and design school founded in 1919 that combined art, craft, and architecture. It emphasized simplicity, functionality, geometric forms, and the idea that good design should be accessible and useful.

Jainism — An ancient Indian religion centered on non-violence (ahimsa), compassion, self-discipline, and respect for all living beings. Jain philosophy places a strong emphasis on avoiding harm and living a spiritually disciplined life.

Cowboy Bebop — A landmark Japanese anime series from 1998 that follows a group of bounty hunters travelling through a futuristic solar system. It blends science fiction, noir, Westerns, crime, and jazz, with a strong emphasis on character, atmosphere, and music.

Evangelion — Neon Genesis Evangelion is a Japanese anime series from 1995 that combines mecha science fiction with psychological, philosophical, and religious themes. It follows teenagers piloting giant machines called Evangelions while confronting mysterious enemies and their own emotional struggles.

MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here. Ozu Washi - is a paper store located in the Nihonbashi district of Tokyo. website, Instagram Jon Lee - is a mokuhanga printmaker and tool maker based in Arizona. His interview with The Unfinished Print can be found, here. nb2203 (2025)

East London Printmakers — A London-based, artist-run printmaking studio and collective that supports artists through access to printmaking facilities, technical expertise, workshops, and a community of printmakers. It is particularly associated with contemporary and experimental approaches to printmaking.

Raluca Iancu — is a Romanian-American printmaker and educator whose practice includes mokuhanga and other forms of printmaking. Raluca is an Associate Professor of Art & Visual Culture, Printmaking, at Iowa State University and serves as Vice-Chair of the International Mokuhanga Association. Her work can be found here.

Overpasses 5.01 (Itoshima) (2023)

Carol Wilhide Justin - is a mokuhanga printmaker based in London, England. Her work focuses on the natural world and the process of making mokuhanga. Carol's interview with The Unfinished Print can be found, here.

Meanwhile (2017) 90 cm x 60 cm

Michiko Hamada - is a mokuhanga printmaker based in Japan. She is an instructor at MI Lab. Her Instagram can be found, here.

Until It Dissapears (2022) 41 cm x 47cm

Chihiro Taki (b. 1988) - is a mokuhanga printmaker who lives and works in Japan. She helps to teach students at MI Lab as an instructor.

あるく日 (2015) 140cm x 100cm

mokume — A Japanese woodblock printing technique in which the grain and texture of the wood are used to create a distinctive, organic pattern in the printed image.

Osamu Sugiyama - 10 Views of Mt. Fuji - Moonlight over Shinobino Moor (33cm x 43cm)

hanji — Traditional Korean paper made primarily from the inner bark of the paper mulberry tree (dak). Its production involves a highly developed process of pulping, sheet formation and drying. Traditional knowledge and skills associated with hanji-making are currently being considered for inscription on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2026.

Jackson's Art Supplies — A major British art-materials retailer founded in London in 2000, supplying a wide range of fine-art materials, papers, paints, brushes and specialist tools. It now has shops including locations in Dalston and Fulham. More, here.

Shepherds London — A specialist London supplier of fine papers, bookbinding materials and related craft supplies, particularly known for high-quality and handmade papers used by artists, printers, bookbinders and designers. More info, here.

Jacek Machowski - is a prolific mokuhanga printmaker based in Poland. Jacek explores mokuhanga in all its dimensions, testing and making tools, as well as collaborating with other printmakers. His interiview with The Unfinished Print can be found, here. More info for Jacek can be found, here.

Matthew Willie Garcia — is a printmaker whose practice includes mokuhanga, screen printing, projection mapping, animation, and large-scale installation. His colourful and distinctive work explores queer identity, often using ideas of time, space, science fiction, and the universe as points of departure. At the time of this writing, Matthew was the Grant Wood Printmaking Fellow at the University of Iowa, where he held the fellowship from 2024–2025. His interview with The Unfinished Print can be found here. More information about Matthew and his work can be found, here.

Betazuri (ベタ摺り) — a mokuhanga printing technique in which a large, solid area of colour or ink is printed evenly across the paper, rather than using the woodgrain or leaving areas unprinted. It is often used for backgrounds or broad areas of flat colour.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Ramsey Lewis Trio - Summer Breeze (1974) & Charlie Parker - Summertime (1949)

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) The opinions expressed by guests on The Unfinished Print: A Mokuhanga Podcast do not necessarily represent the opinions or beliefs of André Zadorozny.

Producers of mokuhanga prints who also teach art at the academic level have always intrigued me. The balance between the solitary work of a printmaker and the responsibilities of teaching a wide range of artistic disciplines must be both complex and, at times, challenging. It raises questions such as: How much of my own creative journey can I pursue while also dedicating myself to students who look to me for guidance as both an artist and a teacher?

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Melissa Schulenburg—an independent printmaker, member of the Mokuhanga Sisters collective, and Charles A. Dana Professor of Art & Art History at St. Lawrence University in Canton, New York.

Our interview explores Melissa's work as both an educator and a practicing mokuhanga printmaker. We discuss the role of tradition in her practice, how her visits to Japan, participation in MI-LAB, and involvement with the Mokuhanga Sisters have shaped her artistic development. We also take a look inside her printmaking toolbox, discussing the papers, pigments, and tools she relies on, as well as her deep connection to nature and the influence it has on her work.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Melissa Schulenberg - Instagram note* Melissa's website is under construction at the time of publishing.

harimaze-e (貼交絵) is a format of mokuhanga that was particularly popular during Japan's Edo period (1603–1868). It consists of a single sheet of paper onto which multiple separate images were designed and printed. These compositions could include individual scenes arranged together on one sheet, sometimes functioning as diptychs or triptychs. Harimaze-e were commonly produced in a chūban format, measuring approximately 24.8 × 36.3 cm.

Cutout Pictures of The Tōkaidō Road (1848-49), Published by Ibaya Senzaburō (Dansendō), 26.5 cm x 39cm.

The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese. MI Lab - is a mokuhanga artists residency located in Awatabe Town, Echizen City, Fukui, Japan. More info can be found, here. floating kentō - is like the traditional kentō registration technique but is carved on an "L" shaped piece of wood, and not onto the wood block. Shōichi Kitamura - is a woodblock carver and printmaker based in Kyoto, Japan. Shoichi has been involved in MI Lab through his demonstrations on carving. More info can be found, here. Bravery Matched With The Twelve (Zodiac) Signs by Utagawa Kuniyoshi (1798-1861) - A Modern Edition (ca. 2017) 4" x 11.4" carved by Shōichi Kitamura International Mokuhanga Association Conference - is a conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. More information can be found, here. The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. More info, here, and here. Snake and Moon - was a print project created and assembled by The Mokuhanga Sisters in 2025. 9 individual prints created with red sumi ink from Nara, Japan and assembled in a decorative box. More info can be found, here. Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989 to 2012, where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937–2019). Her work can be found here. Her interview with The Unfinished Print: A Mokuhanga Podcast can be found here. Dream Seller (2012) Ed. 22 25cm x 35cm Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing. Tōsai Pigment Paste - is a brand of pigments manufactured by Holbein, Japan. They were conceived by mokuhanga printmaker Richard Steiner. Tōsai is the name given to Richard by his teacher. Richard's invteriew with The Unfinished Print can be found, here. Masaban - was a Mokuhanga Sisters exhibtion exhibited in Echizen, Japan in 2024 during the 2024 International Mokuhanga Association Conference held in Echizen that year. More info, here. Katie Baldwin - is a contemporary mokuhanga printmaker, illustrator, book maker, and artist based in Huntsville, Alabama. Her work can be found, here. Her interview with The Unfinished Print can be found, here. April, woodblock (2007) 17" x 25" Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here. Returning Sails at Otoro from Eight Superb Views of Kanazawa (mid-1830's) 11.6 cm × 17 cm Ralph Kiggell (1960-2022) - was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print: A Mokuhanga Podcast can be found, here. Giant Chiamera II (2021) ed. of 10, 127 cm × 90 cm Hara Shobo - is a gallery with locations in Tokyo and Kyoto, Japan. They specialize in ukiyo-e and shin hanga. More info, here. Tsukioka Yoshitoshi (1839–1892) was a renowned Japanese woodblock printmaker and one of the last great masters of the ukiyo-e tradition. He is best known for his dramatic and emotionally intense imagery, particularly in series like One Hundred Aspects of the Moon and Thirty-Six Ghosts. Working during a time of cultural upheaval in the Meiji period, Yoshitoshi blended traditional techniques with modern themes, Yoshitoshi is famous as a print designer for his expressive linework, rich colour, and innovations in print design during this period of Japanese history. Eight Battles of the Modern Era (近世八戦争, 1868-1869) 26cm×36cm shōmen-zuri (正面摺) - "front burnishing," is a deluxe mokuhanga technique used to create black-on-black pattern which creates a contrast. Unlike standard printing, where pigment is rubbed from the back of the paper into the fibers, shōmen-zuri applies heavy friction directly to the front face of a dried, printed sheet—often over a carved relief block—using a hard burnishing tool like a polished boar's tusk or agate. The intense pressure compresses and polishes the ink, producing a glossy, light-reflective pattern against a matte background that beautifully mimics silk damask, lacquered armor, or fine textiles as the print catches the light. Gotō Hidehiko - is a master baren maker and printmaker based in Kanagawa Prefecture, Japan. His interview with The Unfinished Print can be found here. More into at the Baren Kikuhide website. Distance of Night (1991) 55 cm × 40.5 cm Sarah Brayer - is a visual artist who is based in Kyoto, Japan. Her works are predominantly poured Japanese paper (washi). Sarah was the first Western artist to work at the Taki paper mill in Echizen. This is where she currently make her paperworks. Sarah have worked continuously in Echizen since 1986 as the only Western artist to do so. Sarah Brayer has also produced mokuhanga in her career. More information can be found, here. Sarah's interview with The Unfinished Print can be found, here. Ebb and Flow (2025) 29 cm × 44.5 cm hangitō - a Japanese carving knife which is primarily used for mokuhanga and comes in a variety of blade sizes. McClains has a varied assortment, here.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Another Land by Dave Holland. Edition Records (2021)

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) The opinions expressed by guests on The Unfinished Print: A Mokuhanga Podcast do not necessarily represent the opinions or beliefs of André Zadorozny.

The longer you create mokuhanga, the more your individual tastes reveal themselves in your own work, your style, your ideas, and your unique way of seeing the world. These are the qualities that make a mokuhanga artist or craftsperson shine, and they represent the place many practitioners aspire to reach.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with someone who has spent decades refining his style, developing his ideas, and defining his relationship with mokuhanga at the same time exploring a variety of printmaking mediums. Daniel Kelly lives and works in Kyoto, Japan, and for many years his work has been exhibited in galleries all around the world. It can also be found in private collections and in some of the world's most important museums.

We discuss Daniel's studies under Tomikichiro Tokuriki and the lasting influence Tokuriki has had on his work. Daniel explains his preference for papers from outside Japan and why he generally avoids using Japanese washi. He also details his creative process, discusses his use of multiple printmaking mediums alongside mokuhanga, and he reflects on the advantages each brings to his practice.

We also talk about galleries, selling work, and Daniel's views on tradition—and how, in some cases, it can hold artists back.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Daniel Kelly - website

Children's Parade (2025) [16" x 28") Lithograph on kozo

Typhoon (2002) Lithograph, woodblock, and platinum on Nepalese paper.

Tomikichirō Tokuriki (1902-2000) - was a Kyoto based mokuhanga printmaker and teacher. His work touched on many themes and styles. From "creative prints" or sōsaku hanga in Japanese, and his publisher/printer prints, or shin hanga prints of traditional Japanese landscapes.

Spring Night at Hirasawa Pond (1970's)

deshi (弟子) - is an apprentice under a teacher in Japanese culture. It can be found across many disciplines such as martial arts, fine arts and sport.

Citty Lights Bookstore - City Lights Bookstore is a famous independent bookstore in San Francisco's North Beach neighborhood, founded in 1953 by poet Lawrence Ferlinghetti (1919-2021).

Clifton Karhu (1927-2007) - was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.

Shijo River Bank - Famous Places of Kyoto (18.5" x 15.2")

Honoré Daumier (1808–1879) was a French printmaker, painter, and sculptor best known for his sharp social and political satire. Working primarily in lithography, he created thousands of prints that critiqued politicians, the legal system, and everyday life in nineteenth-century France. Daumier's ability to combine technical mastery with keen observation of human character made him one of the most influential printmakers in Western art history, and his work continues to inspire artists today.

Les Plaisirs de l'Hiver (1836) Colour Lithograph [7" x 8.3"]

Ted Coyler - is a Canadian printmaker originally from Nova Scotia, Canada. He studied under Toshi Yoshida and makes mokuhanga with mixed media as well as CEAHD lithography. More info, here.

Tsumago (20" x 14")

CWAJ (College Women's Association of Japan) Print Show - is one of Japan's most respected exhibitions of contemporary printmaking. Established in 1956, the annual exhibition showcases both emerging and established artists working across a variety of printmaking techniques. Organized by the College Women's Association of Japan, the show has played an important role in promoting contemporary Japanese prints to international audiences while supporting educational scholarships and programs. For many artists, inclusion in the exhibition is a significant mark of recognition within the printmaking community.

Maurice Sanchez - is a New York–based master printmaker specializing in lithography and collaborative fine art printing. Working through his workshop Derrière L'Étoile Studios, he has collaborated with many major contemporary artists, helping translate drawings and ideas into technically precise and visually rich prints. More info, here.

Untitled (1988) by Maurice Sánchez, Barbara Kruger & James Miller - photo offset lithograph on Rives BFK wove paper

*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--header-height)" dir="auto" data-turn-id="eca2b98f-93c8-4ae7-9b5e-055c2f26e7e4" data-turn-id-container="eca2b98f-93c8-4ae7-9b5e-055c2f26e7e4" data-testid="conversation-turn-23" data-turn="user"> *]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]" dir="auto" data-turn-id= "request-6a36d760-e71c-83ea-bbb2-d3ba24251332-9" data-turn-id-container= "request-6a36d760-e71c-83ea-bbb2-d3ba24251332-9" data-testid= "conversation-turn-24" data-turn="assistant">

Tatyana Grosman (1904–1982) - was a Russian-American print publisher and founder of Universal Limited Art Editions (ULAE) on Long Island, one of the most influential print workshops in postwar American art. Working closely with artists in a highly collaborative studio environment, she encouraged experimentation with lithography and other print techniques, helping to redefine printmaking as a primary artistic medium rather than reproduction. Through ULAE, she supported landmark collaborations with artists such as Jasper Johns, Robert Rauschenberg, Helen Frankenthaler, and Cy Twombly, playing a central role in the resurgence of American printmaking in the 1960s.

Nihonteki (日本的) - is a Japanese word meaning Japanese-style. And is often used to describe a thing thsat reflects qualities that are associated with Japan. It's often used to describe something that reflects qualities associated with Japan such as aesthetics, behavior, design, or cultural approach.

Tamarind Institute - was originally founded in Los Angeles in 1960 by June Wayne, and is a world renowned center for fine art lithography. Established to revive and sustain the art of lithography, which was in decline in the United States, Tamarind quickly became a leader in the education and promotion of lithographic techniques. In 1970, the institute moved to the University of New Mexico in Albuquerque, where it continues to thrive as a key institution in the printmaking world. Dedicated to advancing the lithographic arts through rigorous education, collaborative projects, and the production of high-quality prints, the Tamarind Institute's influence extends globally, contributing significantly to the development and appreciation of lithography as a vibrant art form. More info, here.

Michael Verne - is a gallerist based in Cleveland, Ohio, USA. Michael specializes in contemporary Japanese prints and paintings. Michael's interview with The Unfinished Print can be found, here.

Sarah Brayer - is a visual artist who is based in Kyoto, Japan. Her works are predominantly poured Japanese paper (washi). Sarah was the first Western artist to work at the Taki paper mill in Echizen. This is where she currently make her paperworks. Sarah have worked continuously in Echizen since 1986 as the only Western artist to do so. Sarah Brayer has also produced mokuhanga in her career. More information can be found, here. Sarah's interview with The Unfinished Print can be found, here.

White Spread (2026) - poured washi [23.75″ x 36.25″]

Ren Brown Collection - is gallery in Bodega Bay, California featuring contemporary Japanese prints, handmade ceramics and jewelry, Japanese antiques, and works by California artists and sculptors. Each piece reflects a dedication to quality, cultural heritage, and creative expression. More info, here.

Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here.

Majushri - on a bicycle (1980) [20" x 29"] seriagraph

Kremer Pigemente - is a European based seller of various types of pigments for the world market.Kremer sells different pigment powders, binders, tools, and specialty chemicals tailored for fine art painting, restoration, monument preservation, and specialized handcrafts. More info can be found, here.

Fauvist Colour Theory - is an approach to colour developed by the Fauves in early 20th-century France, including artists like Henri Matisse (1869-1954) and André Derain (1880-1854). Instead of using colour to describe reality, they used it expressively—often applying pure, unmixed pigments directly from the tube to create intense, non-naturalistic effects. Colour became independent from form and light, used to convey emotion, rhythm, and visual impact rather than accurate representation. This liberated approach to colour was short-lived as a movement but had a lasting influence on modern and contemporary art.

Kathy Caraccio - is a master printer, artist, curator, professor, and collector who has collaborated with hundreds of artists from around the world. Through her studio, she has fostered a vibrant, supportive community rooted in shared creativity and craft. More info can be found, here.

Offering (1973) viscosity etching [11"x11")

Stanton Macdonald-Wright's colour theory - formed the basis of Synchromism, an abstract art movement he co-founded in 1913 with Morgan Russell. Synchromism, meaning "with colour," sought to construct painting through colour alone, treating it as the primary driver of form, rhythm, and spatial depth rather than line or traditional representation. Drawing parallels with musical composition, Macdonald-Wright and Russell aimed to create visual "harmonies" where colours functioned like chords, building dynamic and structured relationships across the canvas. The result was one of the earliest American contributions to abstraction, grounded in a systematic exploration of colour as an expressive and structural force.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Lester Young / Oscar Peterson

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) The opinions expressed by guests on The Unfinished Print: A Mokuhanga Podcast do not necessarily represent the opinions or beliefs of André Zadorozny.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I have the opportunity to speak with Kazuko Hioki, Head of Preservation and Preservation Librarian/Conservator at the University of Hawai'i at Mānoa. We discuss how washi was used in book preservation during the Edo period in Japan, its connection to mokuhanga, and the many ways washi was used during this period of Japanese paper history, including recycled paper practices, traditional papermaking methods, and the role of washi in book creation.

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Kazuko Hioki - here are some of Kazuko Hioki's articles where you can read and get a real understanding of her work.

Investigation of Historical Japanese Paper: An Experiment to Recreate Recycled Paper from 18th-19th Century Japan Characteristics of Japanese Block Printed Books in the Edo Period: 1603–1867 Tamarind Institute - was originally founded in Los Angeles in 1960 by June Wayne, and is a world renowned center for fine art lithography. Established to revive and sustain the art of lithography, which was in decline in the United States, Tamarind quickly became a leader in the education and promotion of lithographic techniques. In 1970, the institute moved to the University of New Mexico in Albuquerque, where it continues to thrive as a key institution in the printmaking world. Dedicated to advancing the lithographic arts through rigorous education, collaborative projects, and the production of high-quality prints, the Tamarind Institute's influence extends globally, contributing significantly to the development and appreciation of lithography as a vibrant art form. More info, here. Edo Bakufu, also known as the Tokugawa Bakufu, was the military government that ruled Japan from 1603 to 1868. During this period, Japan experienced remarkable political stability and economic growth, maintained through a strict social hierarchy and a system that required regional lords (daimyo) to alternate their residence between their domains and Edo. The Edo Bakufu fostered an environment in which culture, education, literature, theatre, and urban centres flourished. The bakufu came to an end with the Meiji Restoration in 1868, which restored imperial rule and marked the beginning of Japan's modernization. Tohoku Region - is a region in Northern Japan which consists of six prefectures which are Aomori, Akita, Iwate, Yamagata, Miyagi and Fukushima. Tosa, Kōchi - is a city located on Shikoku island, in the prefecture of Kōchi. Ki no Tsurayuki (872-945) was a court noble promoted as provincial governor of Tosa and promoted washi. More info can be found, here. Eta - were one of the outcaste groups of Edo-period Japan. Associated with occupations involving animal carcasses, leather production, butchery, and executions, they were marginalized within the social hierarchy. Their descendants are today generally referred to as Burakumin. kusazōshi - were popular illustrated books made during the Edo Period combining text and imagery. gōkan - were a type of kusazōshi popular in late Edo-period Japan. Longer and more complex than earlier forms, they featured historical tales, adventure stories, romances, and popular fiction. Their illustrations also highlighted the craftsmanship of the artists, carvers, and printmakers who produced them.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Lester Young / Oscar Peterson

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

When mokuhanga becomes a passion, I find it has the ability to clarify everything, in how you see the world, how you take everything in, and even how you analyze it. Mokuhanga has the ability to make so many things come into focus, pointing you into a clearer direction. On this episode, I speak with Australian printmaker Yvonne Hering. Yvonne has taken her passion for mokuhanga and made it her life's work. Through her own prints, her travels to Japan, and her dedication to teaching, she has helped bring mokuhanga to people around the world. We talk about her teachers, and how patterns in prints led her to try mokuhanga for the first time. We discuss her early days in Tokyo, and how the tradition and history of mokuhanga play a major role in her own work. We also explore her thoughts on selling prints through auctions, her evolving process, and the development of her Washi Fusion approach. Yvonne also speaks with me about her love of mokuhanga books, her studio practice, and her connection to Echizen.

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Yvonne Hering - website , Instagram

More notes to come

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Oscar Peterson

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

Mokuhanga is a medium that invites an adventurous side to ones personality. It can carry your ambitions to different places, allowing you to explore and grow—not only in your work, but in yourself. Raluca Iancu joins me, a mokuhanga printmaker who investigates her practice through other forms of printmaking, travel, and learning from diverse teachers and instructors from around the world. Raluca speaks with me about how she discovered mokuhanga, how her work is shaped by other printmaking mediums, and how her travels and residencies have influenced her practice. We also discuss her time with MI Lab and her role as Associate Professor of Art & Visual Culture, Printmaking at Iowa State University, and how these experiences inform her mokuhanga work. And finally, we explore if mokuhanga can be a medium for change—whether it can serve as an act of activism or a tool for transformation.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com Instagram @andrezadoroznyprints or email me at [email protected]

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. If there are any issues with something you've heard in the episode please don't hesitate to email.

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Raluca Iancu - website, Instagram

More notes to come

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Oscar Peterson

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

As regular listeners may know, in my free time, I'vbe been researching Japanese washi. I'm looking for the "perfect paper," something that I can return to again and again in my own prints. It hasn't been straightforward. There's a lot of washi out there. A lot to test. A lot to understand. The search continues. I'd like to introduce you to a papermaking community in Saitama Prefecture, Japan — Ogawa Washi. In Ogawa and Higashi-Chichibu, papermakers have been producing washi for over 1,300 years with studios continuing to operate there today. I had the opportunity to speak with Seiko Musashi; Ogawa washi exporter, art program coordinator, translator, about the history of the area, who is making paper now, and how these paper maing studios continue even as generations change and family lines shift. We also talk about how Ogawa connects outward. In the past few years they've hosted longer, week-long workshops in mokuhanga and washi making. Including groups from RMIT University, University of Massachusetts Lowell, and earlier visits from the University of California Santa Cruz through connections with Terry McKenna and his Karuizawa Mokuhanga School. It's one of the ways this small papermaking community stays active and engaged with artists from outside of Japan. Seiko has dedicated much of her life to sharing Ogawa's washi beyond Japan — and in our conversation, we reflect on what the future might look like for communities like Ogawa.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com Instagram @andrezadoroznyprints or email me at [email protected]

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. If there are any issues with something you've heard in the episode please don't hesitate to email.

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Ogawa Washi - these are the following links to Ogawa Washi and Seiko Musashi (Office Harvest).

www.officeharvest.com

Wano Kaze is the Ogawa Washi shop - www.wanokaze-washi.com

Patty Hudak - is an American artist who splits her time between Vermont and NYC, who works in installation, and mokuhanga. She has travelled the world, and is a part of three artist collectives. Patty's interview with The Unfinished Print can be found, here.

Come Closer

Mia O - is one of the most interesting and creative mokuhanga printmakers working in the medium, today. As a South Korean born, Japan based printmaker Mia's work moves outside the traditional formats of mokuhanga, through shape, collage, colour, and even the folds of washi. Mia's interview with The Unfinished Print can be found, here.

Untitled

Michi no Eki (道の駅）- is a community driven space crated by the Japanese government in order for local people from the area ususally found off of highways. You can find toursim information as well as rest and get food and drink.

kōgyō kumiai (工業組合）- is a manufacturing collective in which groups of manufacturers or craftspeople cooperate for mutual benefit.

Terry McKenna - is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan. Further details about Terry and his school can be found, here. Additionally, you can listen to Terry's interview with The Unfinished Print: A Mokuhanga Podcast, here and Richard Steiner's interview here.

Your Magic Tree (2013) 43 cm × 26.2 cm

Tokyo Metropolitan Art Museum - is a major public art museum located in Ueno Park in Tokyo. Founded in 1926 as Japan's first public art museum, it is operated by the Tokyo Metropolitan Government and is known primarily as a venue museum, hosting a wide range of temporary exhibitions rather than maintaining a large permanent collection. It presents major international shows, large juried exhibitions by Japanese art associations, and exhibitions organized by independent artist groups. More info, here. The Great Britain Sasakawa Foundation - is a UK-based not-for-profit organization that promotes relations between The United Kingdom and Japan. Established in 1985, it supports projects in areas such as arts and culture, education, research, policy, and public engagement that strengthen understanding between Japan and the United Kingdom. It provides grants to individuals and institutions, funds exhibitions and cultural exchanges, and supports academic research related to Japan. More info, here. Daiwa Anglo-Japanese Foundation - is a UK charity established in 1988 with support from Daiwa Securities Co Ltd to strengthen links between Britain and Japan. It promotes UK–Japan relations by awarding grants to individuals and organizations across diverse fields, offering scholarships to outstanding British graduates to study Japan and its language, and organizing a year-round public programme to deepen understanding of Japan in the UK. Its London headquarters, Daiwa Foundation Japan House, serves as a cultural hub hosting lectures, seminars, exhibitions, and other Japan-related events, while its Tokyo Office supports scholars, administers grants from Japan, and contributes to the wider network fostering UK–Japan exchange. More info, here. Richard Flavin (1943-2020) - was a printmaker, papermaker, letterpress printer, and artist with a strong interest in Japan, particularly traditional culture, and utilitarian antiques. He was committed to Japanese hand papermaking and woodcut printmaking. More info, here. Richard Flavin Washi House - can be found, here. Timothy Barrett - is a master craftsman, scholar, and innovator in hand made papermaking. He is the founding director of the papermaking program at the University of Iowa's Center for the Book, established in 1986, which is one of the few facilities in the United States where both Western and Japanese-style handmade paper are produced and taught. Barrett's work brings together research, teaching, and artistic practice, emphasizing the expressive, historical, and functional qualities of paper as a material. Timothy Barrett has written many books on papermaking such as Japanese Papermaking (2005), and Nagashizuki: The Japanese Craft of Hand Papermaking (1979). Paul Denhoed - is a Canadian paper maker who has lived in Japan for twenty five years. He currently works with Oguni Washi in Niigata, where Paul teaches students how to make Japanese washi. More info, here. shodo -is the name attributed to calligraphy in the Japanese style, which involves writing characters using a brush and ink. Echizen - is a region in Fukui Prefecture, Japan, known for its long history of papermaking. The area is home to many paper artisans. One notable figure is Iwano Ichibei. He is a Living National Treasure in papermaking and the ninth generation of his family still making paper today. More information can be found here.in English, and here in Japanese. kawara ban - were single sheet prints in Edo Period Japan which reported newsworthy events in writings and illustrations and made in various formats and sizes. They were mass-printed on inexpensive paper to keep costs accessible, emphasizing short-term public enjoyment rather than preservation. kawaraban of Commodore Perry entering Japan. Nicholas Cladis - is an artist and paper historian who teaches and lives in Iowa. He lived in Echizen from 2014-2020 where he studied how to make washi, taught at the Fukui Prefectural University, as well as being the International liaison for the paper making union. More info can be found on his website, here. You can find Nicholas' episode with The Unfinished Print, here. Nasu Kozo - paper is some of the best Japanese washi from Ibaraki Prefecture. It is durable, strong, and highly absorbent perfect of mokuhanga. Sekishu-Banshi Washi- is, like Nasu kozo washi a traditional and very durable handmade paper from the Iwami region of Shiman Prefecture. It is an UNESCO-recognized, unbleached, and hand-beaten paper which has been used for calligraphy, restoration, and shoji as well as mokuhanga. Here is a video from UNESCO about Sekishu-Banshi. Ogawa Washi Michi no Eki - is the michi no eki discussed in our interview with Seiko Musashi. More info, here. neri - is a natural, viscous, plant-based mucilage used in traditional Japanese papermaking to keep fibers evenly suspended in the vat, prevent them from clumping, and slow the drainage of water through a screen. It is typically extracted from the roots of tororo-aoi (sunset hibiscus) and is essential for the nagashi-zuki technique, where it helps distribute fibers smoothly and uniformly during sheet formation. Hosokawa shi - is one of the traditinal handmade papers made in Ogawa. It was added to the UNESCO Representative List of Intangible Cultural Heritage of Humanity in 2014. More info, here. Mariko Jesse - is an illustrator, and mokuhanga printmaker who splits her time in Tōkyō, London, and California. Her work can be found, here. Mariko is also a part of the collective, wood+paper+box, which can be found, here. Mariko's interview with The Unfinished Print, can be found, here. Japanese Paper Company - is an online Japanese washi shop which sells Japanese washi. An interview with Megan Adie, a co-owner of the JPC, with The Unfinished Print, can be found, here. More info about the JPC can be found, here.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

I'm trying to make my travels to and from Japan as fruitful as possible—through interviews, printing and carving, and by continuing to educate myself about mokuhanga. The goal is to keep improving, to make work I'm truly proud of, and to bring you the highest quality content I'm capable of.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I'm joined by Gotō Hidehiko, a mokuhanga printmaker and master baren maker. As most people likely know—or certainly should by now—Gotō-san is one of the finest craftspeople working today. His baren are nothing short of exceptional, spanning a wide range of models and price points. The baren is one of the essential tools of mokuhanga, fundamental to the process and the prints themselves.

Join me as I speak with Gotō Hidehiko about his history with mokuhanga and baren making, his relationship with his teacher Kikuo Gosho, and what he learned during his time studying with Gosho-san. We also discuss tools Goto-san has developed to improve mokuhanga printing, as well as how he approaches both mokuhanga and baren making in the present day.

I would like to thank Yoshiko Yamamoto of Arts and Crafts Press for her help with translation—without her, this interview would not have been possible.

This episode was recorded in Goto-san's studio in Oiso, Kanagawa, Japan. You may hear some background noise, which couldn't be helped. Thank you for your patience.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Gotō Hidehiko - Baren Kikuhide website, Yoshiko Yamamoto - Arts and Crafts Press website

Bumpōdō - is an art store based in Tōkyō, Japan, and founded in 1887. The website can be found here, in Japanese. The English pdf, can be found, here.

ategawa - is the "top" portion of the baren, or as David Bull called it, "the backing disc." It is the hard disc made by using layers of, hopefully, aged washi from the Meiji Period or just as old with persimmon juice. Mokuhankan has a very good description of how a baren is made, here.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Spadina Station live music

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

One of the hallmarks of mokuhanga is building a strong foundation grounded in tradition. By studying deeply and making work informed by those who came before us, today's mokuhanga printmakers help carry this beautiful tradition forward. On this episode of The Unfinished Print, a mokuhanga podcast, I speak with Roslyn Kean, a mokuhanga printmaker who is continuing the tradition of mokuhanga while developing her own unique perspective. Roslyn's work is a wonderful example of how mokuhanga can be both rooted in tradition and open to exploration. Roslyn and I talk about her studies with Tōshi Yoshida and her time in Japan. We discuss her perspective on mokuhanga as a medium, her baren making, and how Australia has become an important place for printmakers, including the positive impact of diversity on Australian printmaking. Roslyn also shares insights into her process, from dampening paper and papermaking to the skill and care involved in handmade work, as well as how to source tools and equipment for making mokuhanga.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com, Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Roslyn Kean - website, Instagram More notes to be added soon.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Introduction music while working - Stormy Weather from The Oscar Peterson Trio Plays The Standards (2016) Musical Concepts

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)

For many of us, travel to Japan is something we do once in a while. We save and plan, then journey to a country that offers so much to our mokuhanga practice. But for others, the trip becomes extended, and Japan becomes a place to build a life and make work. Japan becomes central to who they are and how they see the world.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Sarah Brayer, a visual artist who has made her home in Kyoto, where she has created a wide range of visual art such as mokuhanga, poured washi, fusuma murals, and aquatint. In our interview, we focus on Sarah's mokuhanga history, her studies with Toshi Yoshida, her life in Kyoto and how the city shapes her work. We also discuss her mokuhanga work, how she views the medium and where it fits into her life today.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website: andrezadoroznyprints.com, Instagram @andrezadoroznyprints or email me [email protected]

Notes: may contain a hyperlink. Simply click on the highlighted word or phrase.

Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.

Sarah Brayer - website, Instagram

River Mist Kyoto (1982) 7" x 21"

aquatint - is an intaglio printmaking technique used to create rich tonal effects rather than lines alone. By dusting a metal plate with fine resin particles and then heating it to adhere the grains, the artist creates a textured, acid-resistant surface. When the plate is placed in acid, the exposed areas etch around the resin particles, producing a range of tones similar to watercolor washes. By stopping out areas and etching in stages, printmakers can build subtle gradients, deep shadows, and layered atmospheres, making aquatint especially popular for expressive, painterly prints.

etching - is an intaglio printmaking process in which an image is created by using acid to bite lines into a metal plate. The plate is first coated with a waxy, acid-resistant ground, and the artist draws through this ground with a needle to expose the metal beneath. When the plate is submerged in acid, the exposed lines are etched into the surface. After the ground is removed, ink is worked into these incised lines, the surface is wiped clean, and dampened paper is pressed onto the plate with a high-pressure press, transferring the inked image. Etching allows for incredibly fine detail, expressive line quality, and a wide range of textures.

raku yaki - raku ware is a traditional Japanese pottery style that originated in 16th-century Kyoto and is closely tied to the tea ceremony. Characterized by hand-shaped forms, low-temperature firing, and simple glazes that embody wabi-sabi, it was historically cooled in the open air and produced by the Raku family lineage. In contrast, Western raku refers to a later adaptation in which red-hot pieces are placed into combustible materials to create dramatic crackle and metallic effects, a process distinct from the original Japanese method.

Kyoto Seika University - located in Kyoto, Japan, is a leading private institution specializing in art and design education. It offers undergraduate and graduate programs in fields such as painting, sculpture, graphic design, and manga. Known for its rigorous curriculum, Kyoto Seika emphasizes both practical skills and creative expression. With a strong tradition of nurturing talented artists and designers, the university fosters a dynamic environment that encourages innovation and artistic growth.

ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.

Torii Kyomasu II (1706-1763)

Mary Cassatt (1844–1926) was an American painter and printmaker who became a prominent figure in the French Impressionist movement. Known for her intimate portrayals of women and children, she used soft yet expressive color, loose brushwork, and innovative printmaking techniques to capture everyday domestic life. Living much of her career in Paris, she exhibited with artists like Degas, who influenced her approach to composition and perspective. Cassatt's work remains celebrated for its sensitivity, modernity, and groundbreaking representation of women's experiences.

Ren Brown Collection - is gallery in Bodega Bay, California featuring contemporary Japanese prints, handmade ceramics and jewelry, Japanese antiques, and works by California artists and sculptors. Each piece reflects a dedication to quality, cultural heritage, and creative expression.

Micah Schwaberow (1948-2022) - was an American mokuhanga printmaker who fused Western and Eastern imagery to create a unique perspective. His work often featured landscapes, portraits, and cultural themes.

Celebration (2015) 10" x 5 1/2"

bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. A wonderful example of bokashi in the sky can be found below, in a print by Paul Binnie.

Acropolis - Night (2007) 11.85" × 16.46"

Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.

Sumidagawa (from Forty-Eight Famous Views of Edo) (ca. 1861) 8 7/8" x 6 7/16"

Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints.

Honmonji Temple in Snow at Ikegami (1931) 15.5" x 10.25"

Daniel Kelly - is a visual artist and printmaker based in Kyoto, Japan. Daniel Kelly has shown all over the world, and is many museum collections as well. More information can be found, here.

Three Persimmons (2015) 12″ x 40.5″

nezumi ban - otherwise known as the "mouse block" or "grey block," this is usually the first base color in a mokuhanga design. Because mokuhanga relies on building color through layered printing, the grey block forms the foundation of the image. This technique was widely used during the golden age of ukiyo-e in the Edo period (1603–1868) and the shin-hanga (new print) period (1910-1960).

Mendocino Art Center - is a creative retreat and cultural landmark and is a place where artists and visitors alike can explore art, and connect in a profoundly inspiring coastal environment. More info, here.

sizing/dosa - is a liquid form (prepared) animal glue which is brushed onto your washi, hanji, or other natural papers to stiffen the paper and prepare it for keeping the colour in your woodblock print. It has come to pass that size tends to be acidic and will break down the print over time. It's a bit of a double edged sword. Recipes for size can be found, here.

arches - is a brand of Western watercolour paper that is acid-free.

Tōsai Pigment Paste - is a brand of pigments manufactured by Holbein, Japan. They were conceived by mokuhanga printmaker Richard Steiner. Tōsai is the name given to Richard by his teacher. Richard's invteriew with The Unfinished Print can be found, here.

Kathy Caraccio - is a master printer, artist, curator, professor, and collector who has collaborated with hundreds of artists from around the world. Through her studio, she has fostered a vibrant, supportive community rooted in shared creativity and craft. More info can be found, here.

Oriental Bleak - mixed media collage 22" x 22"

fusuma - is a traditional Japanese sliding panel used as a door or room divider in homes, temples, and tea rooms. Made with a wooden frame covered in layers of paper or cloth, fusuma slide along wooden tracks and can be removed or rearranged to change the layout of a space. They are often decorated with painted landscapes, patterns, or calligraphy.

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)