Coordinator: Wanda Hemmings
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 / 25.5 x 19 cm)
- Paper Type: No restriction
- Registration period: October 1 – October 31, 2024
- Delivery deadline for finished prints: December 31, 2024
Joanna Bradley, Sydney, Australia
Greater Glider
19×25.5 cm, 1 Lino and 2 Cherry woodblocks, Sakura black oil and gouache on Japanese washi, edition 27. Endangered Greater Gliders, similar to Koalas, eat a diet of eucalyptus leaves. They are nocturnal, they depend on old growth forest, and sleep about 21 hours per day.
To stay safe from predators, such as powerful owls and eagles, Greater Gliders use up to 20 different tree hollows in their range for sleeping and hiding.
Calvin Carlisle, Shaker Heights, Ohio
Obuse
25.5×19 cm, 1 Block, carved from Yamazakura, Watercolor on Rives BFK, Cream, 175 gsm, edition 25. This is a print from a manhole cover that resides outside the Hokusai Museum in Obuse, Nagano.
Pavol Čejka, Harmonia, Slovakia
Meet
19×25.5 cm, One Katsura wood block, Oil based, Sakura. (I didn’t have a black one so I mixed purple red and orange) on Pansion K-156 natural beige, edition 30. This still life was discovered by my wife near our house.
Like a year ago, I enjoyed cutting wood the most. I rarely do that…
Hooray!
https://www.instagram.com/palocejka/
Claudia Dunaway, Burnsville, NC, USA
Look Out
10×7.5 in, one cherry wood block, Caligo safe wash on strathmore printmaking paper, edition 30. www.yummymudpuddle.com
Bea Gold, California, USA
Big Boys
7.5×10 in, , on , edition 40.
Karma Grotelueschen, Lake Redstone, Wisconsin
Flower Line
7.5×10 in, cherry wood, Speedball Professional on Yasutomo rice “sketch”, edition open. Color strips rolled on with two separate stencils, black image printed over, orange accents individually eraser printed
Wanda Hemmings, Tacoma WA
Untitled
10×7.5 in, 3 – 1 plastic dry point, 2 MDF collagraphs, Caligo Safe Wash on old stock 260gsm, edition 25.
Terrie Hodges, Perth, Australia
Pebbles
25.5×19 cm, 1 drypoint poly plate, Charbonenel turquoise, paynes gray, Gamglin transparent base, Posca metalllic silver and pink on Clairefontaine 250gsm, edition 28. This was a drawing I did a couple of years ago and wanted o see in print form. I have used a mixture of tools. The diamond tipped tool was the most successful in creating the pebbles but too delicate for the dot work. I needed a tool with a bigger tip to achieve a good dot. The plate took a bit of testing until all the pebbles were printing evenly. In the end I added some silver and pink since the print seemed too one dimentional.
William Joel, Hyde Park, NY, USA
Elements: Water
10×7.5 in, 1 pine block, Bluish-grey water-soluable ink on Vellum, edition 32. This print is part of a project I recently started, consisting of a print for each of the four elements (water, earth, fire, and air). The first two blocks have already been cut. The current print is for water. The blocks were cut from scrap boards of unfinished pine. Also, no design was developed for each block. Rather, an initial idea allows the image on each block to grow organically as the block is cut. This is similar to a series of drawings I created many years ago.
Roslyn Kean, Sydney, Australia
Jukatu -Tiny House
26×19 cm, White Russian Birch, 10 blocks with keto registration, Mokuhanga pigment and Australian Fisacott relief ink on Pansion K-158, edition 27. 2024
Jukatu –24 tiny houses.
Number 8 is a special number in Japanese culture, 24 represents morning, noon and night
Architectural design is rethinking the space we live in, more energy efficient buildings with a much smaller footprint creating versatile spaces.
Inspired by tiny houses in Asia, often on very awkward sites with extreme elevations, and unusual lot sizes. The clients demand are forefront, but compromise is essential. Working with an amalgam of angled planes, creating large interior skylights and being inwardly focused with natural light and air flow. Unattached buildings with squirreled away spaces and daring engineering.
Martha Knox, Philadelphia, PA
Buford
10×7.5 in, 1 plywood, Gamblin on Stonehenge, edition 30. This is a print memoralizing my black and tan coonhound who passed away this November.
Tom Kristensen, Sydney, Australia
3 Adélie penguins
19×25.5 cm, 4 cherry faced plywood blocks, Holbein gauche on Awagami white kozo roll 42gsm, edition 27. The Adélie penguin is a the smallest of the Antarctic penguins and the most numerous, being widely distributed around the fringe of the Antarctic continent, its conservation status is of least concern. However, life on the frozen continent depends on food produced in the Southern Ocean and climate change and fishing for krill are key threats to penguin survival. Australia is responsible for managing 42% of the Antarctic continent and the adjacent waters. Penguin conservation is a concern of the Australian government.
Lillian Larsen, Wisconsin U.S.
Spring Time Bird
10×7.5 in, One and it was linoleum on wood, Black water based ink on Multi use art paper, edition 32. This was my fifth ever block prints. I am still far from perfect, but I really enjoyed making this price.
Mike Lyon, Kansas City, MO USA
Jessica
7.5 x 10 in, 5 blocks – 1 cherry ply keyblock and 4 baltic birch ply color blocks, Guerra Paint & Pigment – Pyrrole Red BO, Quinacridone Magenta, Carbon Black on iMcClains.com Shin Torinoko, edition 27. All-mokuhanga portrait of Jessica – black cherry ply keyblock composed of six layers of squiggly cross hatch plus a 7th layer of straight hatches at 45 degrees in order to strengthen and provide support to the otherwise too-delicate stretches of very slender lines. Four Baltic birch color blocks were overprinted to create a saturated ‘red’ background with subtle detail. All blocks were laser-engraved and cut out. The keyblock was engraved very shallowly, just a few hundredths of an inch in the printing areas and quite deeply, about 2 tenths of an inch deep in large non-printing areas. Color blocks were similarly deeply carved throughout but leaving a V-shaped paper support area uncarved in the center, about an inch away from printing areas. Paper support edges were softened by sanding. A kento bar the same 5/8 thickness as the blocks was cut with a notched area about 1/4 inch deep to receive the side of each block. A 1/8 inch hardboard was notched about 2 inches deep and taped to the table to receive the top of the blocks and keep them in place during inking and printing. Color blocks were printed with a medium ball bearing baren. Key block was printed with a fine Murasaki baren. This arrangement worked super-well for me and it was so quick and easy to brush up the blocks, set the kento bar, register the paper and print using a backing sheet.
Bronwyn Merritt, Orlando
Future City
10×7.5 in, one cork Lino block, Speedball waterbased ink (black) on Strathmore mixed media paper, edition 30. Just processing abstract ideas about the future of architecture and imagining structures.
10×7.5 in, Marmoleum Block (1), Speedball Oil Based on Rives BFK, edition 30.
Mellissa Read-Devine, Sackville North, Sydney Australia
It’s Relative
10×7.5in, Marmoleum Block (1), Speedball Oil Based, Rives BFK, edition 30, The imagery was inspired by a poem written by my daughter Amy Devine-Rigg.
“Wild Duck in a Bathtub”
stretched halo of bandied movement
signal sighting
a body built for sculling
through brackish creeks behind
the local preschool
ponders its feet in water
tinted by the harsh orange
heat bulb
cool black beads reflect a yellowed
portrait in plastic but fails to recognise
the compliment
black tufted feather mane
catches the embers of bubbles
alighting and drifting their way
along the plastic wall
(nobody has a porcelain tub these days)
if it were to stretch out its wings
it would dazzle the dinosaur sponge
with its undercarriage of black, white
and holographic bl
a body built for sculling
through brackish creeks behind
the local preschool
ponders its feet in water
tinted by the harsh orange
heat bulb
cool black beads reflect a yel
and holographic blue
Julio Rodriguez, Skokie, Illinois
Embrace
10×7.5 in, Two lino & cork, Ocaldo printmaking inks on White Rives, edition 30. This image has been on my mind recently, took several tries at finalizing the design. It’s about all of us coming together and embracing all that we share in common instead of our differences. I been experimenting with cork as a matrix and find it gives me a natural ‘gomazuri’ (sesame-seed printing) like effect which I find intriguing for backgrounds. Another favorite technique here is ‘Karazuri’ (empty-printing or embossing. Hand printed using plastic baren and other tools.
Mary Shoemaker, Illinois
Gatesburg
10×7.5 in, 2 blocks of shina, Speedball on Strathmore 300, edition 27. Hand drawn images were converted to vectors then laser cut onto shina blocks.
Joseph Stieler, Flensburg, Germany
Emma P.
10×7.5 in, 1 Linoleum, Caligo Safe Wash Black on Clairefontaine Japon Simile 150g, edition 28. The print is inspired by a scene still of Diana Rigg as Emma Peel in the television series “”The Avengers”” from the 1960’s.
I had polymer plates in stock and carved one of them (and still didn’t get familiar with that material). When I pressed the first prints, I had the same experience as I had before with those plates: White spots and irregularities in solid black areas. So I abolished that plate and got back to the “”good old linoleum””, carved a new one and felt much better.
Joseph Taylor, Evanston, IL
RAT
10×7.5 in, Birch ply, Graphic Chemical Bone Black on Arches, edition 30.
Frank Trueba, Felton, CA, USA
Sleeping Cat
10×7.5 in, 1 cherry ply, 2 birch ply, tube inks and sumi on Torinoko natural (from Hiromi Paper, #MMN-105), edition open. This mokuhanga print is based on a painting by Kyoto-born Kono Bairei (1844-1895) also known as a teacher and book illustrator. He was considered a master of kacho-e (depictions of birds and flowers) during the Meiji period.
Dana Wangsgard, Berea, KY
2025
10×7.5 in, key block and 4 color blocks, lino, Cranfield Caligo Safe Wash Relief Inks, Black, speedball yellow, orange, ochre, and red, on Strathmore printmaking paper from the roll., edition 35. 2025 is the year of the Snake. I hope your year is a great one!