Tanuki Print’s Appalachian Trail Series Progress Report

at flipbook1

Sorry that I’ve been pretty ‘mum’ about any prints lately. Since December I have been very busy designing and printing a series of hand-made fourteen 5″ x 7″ (8″x10″ paper size) shin hanga– style woodblock prints featuring an image from east state along the 2,100-mile Appalachian Trail. This is at least a 2.5 > 3-year project for me!

I was a thru-hiker back in 1980. 38 yrs later and counting, I continue to re-hike sections of the trail which conveniently starts at Springer Mountain- which is about 30 miles from my home in the North Georgia mountains.

Basically, my idea with this project is to combine two of my interests: backpacking and woodblock printmaking. I’d like to think that it mirrors other historical pilgrimage print series such as Hiroshige’s Tokaido Road.

As an added connection with the trail, I am taking soil samples from each site and integrating the actual dirt with the ink!

Proofs are in the pudding

Here are my printed proofs of the first 7 prints. I hope to finish with all 14 proofs by Dec., 2018 (fingers crossed). The remaining images to be designed and proof printed (the last half) are: NJ, NY, CT, MA, VT, NH, and ME. After all of the 14 prints are proofed, I will then print 100-200 copies of each design– no small feat as the average number of impressions for each design average around 20 colors each- the number of blocks are averaging around 11 each design. The 80+ laminated cherry blocks are stacking up already with an anticipated total number of 165 by the time I am finished. The paper is Iwano Kizuki from Kitaro Washi which will cost at least US$5,000 for the final editions…

It’s interesting to note that this printmaking process has been similar to long-distance hiking- planning is important, but mainly keeping moving with one step at a time and ignoring distractions are the key.

The final edition will be 1600 prints: 14 designs, 20 passes each which equals to 32,000 impressions! My guesstimate is that this will take around a total of 140 8-hour days to print- and at least 3 weeks to bind them- about the same number of days it took me to hike the 2,100 miles of the trail. I’m interested to see which is more difficult…

The ultimate goal is to market 100 sets of these 14 prints to hikers and trail enthusiasts- in 2019 to an institution that I hope is interested. At some point, I will make presentation cases to contain them.

As one of my friends once said “I don’t need luck, I have patience”.

It’s getting a bit more efficient and my turn-around time (while working full-time) for a design from start to proof has gone from around 3 weeks to 9 days! I’m pretty pleased at my ability to accurately print the values and coloring of my initial computer designs.

 


-COMPLETED PROOF PAGES & PRINTS- as of 6/15/18


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Cover design
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Title Page
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Intro letter
1GA
1. Springer Mountain, Georgia
2NC
2. Clingman’s Dome, North Carolina
3TN
3. Roan Mt, Tennessee
4VA
4. Shenandoah N.P., Virginia
5WVA
5. Harper’s Ferry, West Virginia
6MD
6. Raven Rock Shelter, Maryland
7PA
7. Lehigh Gap, Pennsylvania
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8. Sunfish Pond, NJ

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MA

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13. Presidentials
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14. Mt. Katahdin

at flipbook1– .pdf document similar to the animation above.

BACK TO TANUKI PRINTS

Bokashi Jig

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Sudden Shower Over Shin-Ohashi Bridge, Hiroshige, 1857

I’ve always wanted to to an irregular bokashi or gradation (yes, my desires are irregular).

The classic example of such a thing is Hiroshige’s Sudden Shower Over Shin-Ohashi. The problem with irregularity is consistency of ink application within an edition.

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Shimoi-san dabs sumi with a tokibo at just the right places. Photo courtesy of Yuya Shimoi.

Last week, Shimoi-san of Ukiyo-e Reproductions showed how he recreated the dark rain clouds while he was printing “Sudden Shower”. I asked him if he used a jig and he said “no, jigs didn’t work as well” and posted a few pics showing his technique of directly inking which is probably the traditional way to do it. However, I’m not good enough to trust myself with placing the pigment, brushing, and printing consistently.

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This is a photo from Shimoi-san of the irregular bokashi effect. Nice job! Photo courtesy of Yuya Shimoi.

Getting jiggy

I had remembered David Bull using a jig in 2009 to create a very smooth bokashi arc for a fan print he was working on. He used a Lazy Susan to help with the brushing- I thought that was pretty ingenious.

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Dave Bull’s curved bokashi jig. Photo courtesy of woodblock.com.

I cannot imagine how someone in the Edo period could brush freehand that cleanly and I’m sure there was another trick at the time. Anyway, Dave’s print really looked nice and I squirreled that information away.

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The resulting impression of using Dave’s curved bokashi jig. Photo courtesy of woodblock.com.

My jig

I am printing a third print of a series of 14 (much more on that much later) and wanted to capture a rainstorm in the mountains.

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You can see the similar effect as in Sudden Shower that I am looking for: A dark, foreboding cloud just as the rain has started, but not as undulating as Hiroshige’s design.

For this print, I am using 11 blocks with 17 impressions in the shin-hanga style. The rain, incidentally, is printed with gofun, or Chinese white. The rain is my first attempt of Kyoto-style printing: Unlike the Tokyo/Edo ukiyo-e transparent style (like the rest of the print), opaque pigments require more pigment- under very light baren pressure. In this case, it’s the last thing to print.

I’m at the proofing process and wanted to get everything ‘just so’ for a much larger edition. I know how gradations tend to ‘creep’ over time- a little or too much there cumulatively can lead to a little or a lot too much there. So, to that end, any fluctuations in the bokashi would render the edition too variable and I wanted some help.

I remembered Dave’s jig and made one of my own, albeit not as clever.

Here’s a few pics:

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The jig- basically, 3 pieces of wood with an “L” shape on the left to fit around the block’s corner.
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Here’s the backside of the jig.
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The jig in action- the idea is for the hanga bake (printing brush) moves along the jig’s irregular contour. I normally would use my left hand to held it in place, but I needed it to take the pic.

Given using the zokin, nori, and hanga bake correctly (note in the above photo, the black dot indicating which side of the brush is loaded with sumi), the jig worked well- I had to keep the brush at a consistent angle, but overall, I’m quite pleased with the relative consistency!

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18 proof prints- now on the next design!

Thanks to both Yuya Shimoi and David Bull.