Coordinator: Mike Lyon
Details:
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper
- Theme: Open
- Paper Size: Chuban (10 x 7.5 in / 25.4 x 19.1 cm)
- Paper Type: No restriction
- Registration period: April 1, 2026 to April 30, 2026
- Drop-out deadline: May 31, 2026
- Mailing deadline for finished prints: June 30. 2026
- Colophon download
Participants
Joanna Bradley, Australia
Pink-eared duck, algae & reflection
19 x 25 cm, 4 blocks: 3 shina plywood, 1 solid cherry, Gouache, sumi and sakura oil on Awagami washi, edition 27. Tom Kristensen convinced me to use sumi instead of Sakura oil part way through the printing. Sumi is harder to use than oil but it allows for layering and gomazuri texture.
The duck has a downward scoop on its bill to strain and eat algae from swamps.
You can read more about it on our website. https://doubledaggerart.com
Palo Čejka, Modra/Harmonia, Slovakia
Stone
19.1 x 25.4 cm, 1 block of unknown wood (found plank), Oil based. Sakura on Shiramine 110g, Awagami., edition 30. 4 colour reduction from 1 block.
Stacy Cotey, Calumet, MI, USA
Take an Angel by the Wing
7.5 x 10 in, 1 block Shina plywood, Watercolor on Washi, edition 50. I designed this for my husband in memory of his father who passed away in June.
E.O. Dean, Tumwater, WA, USA
川上御前
10 x 7.5 in, six cherry blocks, Holbein artist watercolor (Prussian blue) and Yasutomo bokuju sumi on kizuki hanga (distributed by McClains), edition 31. https://artisans.coop/pages/seller-profile/serdar-zanati-llc
Chris Doogan, Brooklyn, NY
Thicket, red bushes at dusk
7.5 x 10 in, 2 blocks, 1 weathered cedar and one cherry, Charbonnel aquawash on Arches cover stock, edition 34. First two colors printed from a weathered cedar board.
Next two printed from a cherry block reduction style.
Inspired by a bike trip through the Delaware Water Gap. Https://ChrisDooganArt.com
Inga Eičaitė, London, UK
TTT study
19 x 25.4 cm, 2 blocks of katsura, Organic Catechu pigment + Windsor & Newton Watercolours on Awagami Okawara Thin Natural, edition 35. Mokuhanga base + inks + collage elements. https://ingaeic.com/
David Gilbert, London, UK
Pond Life
7.5 x 10 in, 3 blocks, shina ply, Own made inks from raw pigments on Pansion White 95gsm, edition 30. Pond Life’ is a Mokuhanga print, using shina plywood and hand printed with a baren on Pansion paper.
I printed this using my own inks made from basic artist’s pigments to give me greater control of the colours: Cerulean, Ultra Marine, Indigo, Phthalo Blue, Tartrazine, Aureolin, Cadmium Yellow, Cadmium Vermilion, Quinacridone Magenta and Sumi.
The scene is a magical winter morning swim in the Highgate Men’s Pond, Hampstead Heath, London UK, where I swim in all seasons. https://davidgilbertart.com
Fernando Gómez, Vitória, ES, Brazil
Junkyards tribute
25.4 x 19.1 cm, Three blocks.One woodcut and two linocuts., Caligo washable oil inks and tipographic oil black ink. on Hanehmühle Hemp, 80 grams., edition 36. I made some proofs mixing water-based colors and tipographic oil ink, but it didn’t work because of the thickness of the first colors, so I made a new one with oil-based inks. I also used a paper stencil with two coats of shellac when printing. The first and second colors were printed with the press; the final color was hand-pulled.
Martha Knox, Philadelphia, PA
Ascending
10 x 7.5 in, 2 plywood blocks, water-based blue ink and oil-based black ink on Bristol, edition 30. Wings catch the wind and
climb to the highest bough, where
another watches. https://www.marthaknox.com
Tom Kristensen, Sydney Australia
Emperor penguins
19 x 25.5 in, 6 blocks: 5 cherry-faced plywood, 1 luan plywood, Holbein gauche and sumi on Awagami kozo roll, edition 30. Emperor penguins are the largest species of penguins and breed in huddled colonies on the winter ice formed at the ocean edge. All penguins depend on protein produced in the plankton-rich southern oceans. Now an endangered species these birds are impacted by climate change, increasing numbers of fishing trawlers, and lately by bird flu.
This design a nod to Kiyoshi Saito, master of the winter woodblock scene. https://doubledagger.com
Brad Ladwig, Honolulu, Hawaii
salt shaker & cigarettes
10 x 7.5 in, 6 shina plywood, Holbein tube watercolors, gouache & liquid pigments on Pansion light natural, edition 30. some inspiration from tokuriki’s still lifes with simple objects from around my space. fish shaped salt shaker. cigarettes are imagined (don’t smoke). need to spend more time trial proofing colors, etc….still fun.
Mike Lyon, Kansas City, MO USA
Small Buddha Reclining
7.5 x 10 in, 4 solid cherry blocks, Guerra Paint and Pigment dispersions, yellow, lt blue, red, dk blue on McClains Shin Torinoko, edition Baren edition 27. My recent very large (77 x 122 inches) Reclining Buddha mokuhanga design reduced to 7.5 x 10 inches (a bit of each side clipped). Seems to work decently at either scale. Non-Baren impressions have red and lt blue blocks printed two or more times. Blocks are laser-engraved and baren-printed with a few carved areas improved by gouge. https://mlyon.com
Jacek Machowski, Kraków, Poland
Fire from the sky
25.4 x 19.2 cm, 2 cherry-veneered plywood blocks, powder pigments, binder made of nori and nikawa glue with mica on Woodstock Betulla 225gms – machine-made paper, edition 31 pcs. in this color scheme intended for this exchange. At the end of 2025, I began sketching a design for a new nagajo (New Year’s card). I wondered what 2026 would be like. 2025 was filled with anxiety and suggested that 2026 could only get worse. The Russian president had no intention of ending the aggression against Ukraine. Israel was committing genocide in the Gaza Strip, and it showed no signs of stopping. The US president was threatening numerous countries with withdrawal of support, attacks, or even land seizures. China was making hostile moves around Taiwan. These thoughts emerged in the sketch and began to mature. An interesting, apocalyptic landscape emerged… so interesting, in fact, that I decided to leave it and nengajo another… Since the beginning of the year, the design had been waiting, and I would occasionally return to it to improve it. The US attacked Iran. Israel attacked Lebanon… The message has become even more relevant… unfortunately. When the exchange of 104 was announced, I decided it was a good time to do this work… I hope that when the exchange is completed, my graphic will be outdated and the conflicts will be extinguished… unfortunately, looking at the constant rhetoric of Donald J. Trump, Binyamin Netanyahu, Vladimir Putin,… and more names could be added, I fear that the graphic will remain a current image of some parts of the world. https://machy.pl/
Kate Milford, Brooklyn, New York
Hozen-ji
10 x 7.5 in, 8 shina plywood blocks, Watercolor pigment on Nishinoushi, edition 49. I designed this print based on one of my husband’s photographs of Hozen-ji in Osaka. In the past when I’ve worked from his photos, we did digital color separations, but this time I tried to do it by eye. Between that and printing during a heatwave, it was a whole new learning experience! Thanks so much to the Baren Forum for this opportunity to try something new. https://Instagram.com/katemilfordnagspeake
Sarah Ann Mitchell, London
Reflection
25.4 x 19.2 cm, 8 Shina blocks, Jacksons watercolours on Pansion, edition 40. This image is derived from a photo I took many years ago in Goa. Finally I have found a way of experimenting to portray foliage, water and reflection using Mokuhanga. There are ten colours and blends. Https://www.sarahannmitchell.com
Adam Ritchey, Fayetteville, Ark.
Tidelands
7.5 x 10 in, Single woodblock, Black on Unknown, edition 30. This edition was printed at the open print studio at the Community Creative Center, Fayetteville, Arkansas. https://adamritchey.com
Julio Rodriguez, Skokie, Illinois, USA
Red, White & Blue – Happy 250th America !
7.5 x 10 in, Two linoleum blocks, Watercolor Printmaking Inks on Rives Heavy, White, edition 30. Happy 250th birthday America ! Image idea taken from an Oliver Gal design. Hand impressions taken from two linoleum blocks (keyblock & two-colors block) plus an additional reduction impression taken from color block.
Leslie Rose, Washington DC
The Vendor
7.5 x 10 in, 1 block, Gouache with rice paste on Nishinuku, edition 32. Based on a photo taken in China of an elderly woman https://leslierosefineart.com
Jurgen Stieler, Flensburg, Germany
Waiting
10 x 7.5 in, One Linoleum block, Caligo Safe Wash Magenta plus Speedball Professional Graphic Black 1:1 on Clairefontaine Simile Japon 130g/sqm, edition 31. I mixed Magenta and Black to create a warm Black, and it turned out as a reddish black on the slab. When rolled out and on the paper, it appears as normal black to my surprise. Hand pulled with baren and roller.
Andrew Stone, Florence, Italy
mitochondria (I get my energy from my mom’s side of the family.)
7.5 x 10 in, 5 shina (linden) blocks, tube watercolor and rice paste on Machine-made kozo /Awagami Kozo heavyweight plus added dosa/sizing, edition 40. My image is a fiction, loosely based on my memory from biology classes, of electron microscope photographs of the twin-walled mitochondria, and the cristae and nodules where cellular respiration takes place inside them……
In mammals, all mitochondria come from the egg of the mother, as sperm do not have them.
Mitochondria are the intracellular organelles that convert glucose into ATP, the chemical currency that powers almost all intracellular activities. Mitochondria are believed to have been single-celled organisms, ingested and symbiotically made part of more complex cells and organisms, during the earliest stages of developing life in the primordial sea. They contain their own DNA, and replicate themselves during cell division. So ALL of our life’s activities, from conception to death, are made possible by the energy-producing organelles, inherited only from your mother’s maternal lineage, that cooperatively live inside every cell, and power every thing we are and do.
-Thanks, Mom. https://rospobio.blogspot.com
Zanna Tachibana, Karuizawa Japan
View from Rose-Colored goggles
25.4 x 19.1 cm, 6 blocks shina plywood, Holbein pigment paste on Echizen Kitaro Hankusa, edition 35. Location based theme hence the title “fromâ€, rather than through. Great opportunity to practice techniques that are still new to me. Practicing every studio day!
Cydney Taylor, Olympia, Wa. 98502
Not titled
7.5 x 10 in, 3, shinia, the first two were reduced once, the third is a laser cut : my drawing laser cut by Bob Douglas, watercolour, nori on washi, bleed print, edition 27. I didn’t keep track of what kind of washi I used. It is thin but seemed tough, although the fibres would lift and sometimes erode so I used less nori, less pressure, less damp, less pigment as the edition went along. To me, it is about two characters standing alone, in an environment of interconnection.
Joseph Taylor, Evanston, Illinois
8647
10 x 7.5 in, 1 Shiina block, Akua on Canson drawing, edition 30. https://JoeTaylorart.com
Frank Trueba, USA
Daruma Otoshi
10 x 7.5 in, 8 blocks (sides); 7 birch ply and 1 cherry ply, tube watercolor and gouche on Hiromi Paper torinokp natural (MMN-105), edition open. Daruma Otoshi is a traditional Japanese children’s game of skill and patience. Players use a small wooden mallet to knock out individual, colorful cylindrical sections from the bottom of a stacked tower without letting the “”Daruma”” head on top topple over.
Running out of the Hiromi Paper, a few prints were done on Rives Lightweight cream.
Monique Wales, Oakhurst, California, USA
Diversity Is Beautiful
7.5 x 10 in, 3 Shina Plywood Blocks, Holbein Watercolors on Shiramine 110gsm, edition 29. 3 block, 8 layer Mokuhanga using Mokume and Bokashi techniques, celebrating the interaction between a rainbow of transparent colors. Https://www.moniquewales.com
Late dropouts
- Audrey Briel (Australia) 7/8/2026