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Bokashi (Japanese: ぼかし) is a technique used in Japanese woodblock printmaking. It achieves a variation in lightness and darkness ( value ) of a single color or multiple colors by hand applying a gradation of ink to a moistened wooden printing block, rather than inking the block uniformly.
The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa-oki nami-ura) print by Hokusai Metropolitan Museum of Art. Woodblock printing in Japan (木版画, mokuhanga) is a technique best known for its use in the ukiyo-e [1] artistic genre of single sheets, but it was also used for printing books in the same period.
Mameban (豆判); a print size about 4.75 by 3.2 inches (12.1 cm × 8.1 cm), sometimes called a "toy print" Megane-e (眼鏡絵); a print designed using graphical perspective techniques and viewed through a convex lens to produce a three-dimensional effect; Meisho (名所); famous sites often depicted in ukiyo-e
Kajikazawa in Kai Province by Hokusai, 1831.From series Thirty-six Views of Mount Fuji.. The term aizuri-e (Japanese: 藍摺絵 "blue printed picture") usually refers to Japanese woodblock prints that are printed entirely or predominantly in blue.
Insects and pests can destroy woodblock prints by eating through the paper or leaving droppings that stain the paper. A common cause of holes in Japanese woodblock prints is the deathwatch beetle (Xestobium rufovillosum). These beetles were commonly found in wood used to build furniture in the Edo period. Woodblock prints that were stored on ...
Woodblock prints allowed two mirror images to be easily replicated on a single sheet. Thus two pages were printed on a sheet, which was then folded inwards. The sheets were then pasted together at the fold to make a codex with alternate openings of printed and blank pairs of pages.
Lyon, Mike (2013), Ryusai Shigeharu, Lyon Collection of Japanese Woodblock Prints; Newland, Amy Reigle (2005). The Hotei Encyclopedia of Japanese Woodblock Prints, vol. 2. Amsterdam: Hotei. ISBN 9074822657. Oxford Reference (2014), Kunihiro, Oxford University Press, ISBN 978-0-19-992301-4
In 1908, aged nineteen, he travelled to London, [1] where he was among a group of woodblock print craftsmen who demonstrated printing techniques at the Anglo-Japanese Exhibition of 1910. He remained in London after the exhibition, restoring prints, making reproductions of prints, and mounting scrolls at the British Museum. [2]