The Unfinished Print : A Mokuhanga Podcast

For those of you who are regular listeners to The Unfinished Print know that, outside of my passion for mokuhanga education, I have a deep interest in the history of mokuhanga. From ukiyo-e to today's printmakers, I feel compelled to speak with academics and researchers who are publishing work that documents and interprets its history. It's incredibly important to me to speak with those who have dedicated their lives to writing about mokuhanga and contributing to our understanding of this medium.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I am joined by Alicia Volk, Professor of Japanese Art at the University of Maryland. I wanted to speak with Professor Volk about her books In the Shadow of Empire: Art in Occupied Japan and Made in Japan: The Postwar Creative Print Movement. I was particularly curious about how Japanese printmaking evolved during and after the Second World War and into the Cold War, and how the medium was shaped by the political, cultural, and social circumstances of the time.

Professor Volk and I discuss many things on this episode, including how to understand the creative print movement, sōsaku hanga, within the broader spectrum of war and peace; how the American military occupation influenced not just Japan but also the Western world's understanding of Japanese art and prints; and how Japanese identity in the postwar period was expressed through printmaking . We also discuss collecting and patronage, the role of politics, and the ways in which Japanese prints were understood, circulated, and valued during this period of Japanese print history.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

© Popular Wheat Productions

Opening and closing musical credit - Moanin' by Art Blakey and the Jazz Messengers (1958)

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print: A Mokuhanga Podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

One of the things that I have observed about mokuhanga printmakers is that they are always striving to get better in their practice. Mokuhanga is a printmaking medium that challenges the maker in many different ways, and navigating those challenges through hard work and experimentation can ultimately be a very rewarding experience.

On this episode of The Unfinished Print, a mokuhanga podcast, I speak with Aafke Ytsma, a printmaker currently splitting her time between Germany and the Netherlands. Aafke is a full-time artist who pushes the possibilities of what one can do with mokuhanga.

We discuss how and why Aafke makes such large prints, and how watercolour influences her work. Aafke tells me about her love for the prints of the sōsaku-hanga movement and how they inspire her own practice. We also talk about the risks and rewards of being a full-time artist, crowdfunding and grants. Aafke goes into detail about how she makes her prints through mark-making, and how that process shapes her work.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Aafke Ytsma - website, Instagram

Slidingdoor (2023) 28.5 cm x 39 cm

Sabuchan (2024), 98 cm x 68 cm from the series Summer Autumn Prints

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Rijksmuseum — The Rijksmuseum in Amsterdam is the Netherlands' national museum, with a collection spanning more than 800 years of Dutch art and history. It is particularly known for its holdings of works by Rembrandt, Vermeer, Frans Hals, and other major Dutch artists, as well as its extensive collection of prints, drawings, photography, and decorative arts. More info, here. More info, here.

Art Collective Schaum — Schaum is an art collective focused on contemporary artistic practice and collaboration. The collective brings artists together around shared interests in experimentation, exhibition-making, and developing work outside more traditional institutional structures. More info, here.

Kitaro Paper — Kitaro is a Japanese paper from Echizen, Japan and is associated with traditional papermaking and the production of papers suitable for fine art and mokuhanga. Its papers are valued for qualities such as strength, absorbency, surface character, and their ability to withstand the demands of techniques such as woodblock printing. More info, here.

Mondriaan Fund — The Mondriaan Fund is the public fund for visual art and cultural heritage in the Netherlands. It supports artists, institutions, curators, and other cultural organizations through grants and programs intended to encourage artistic development, international exchange, exhibitions, and public engagement. More info, here.

David Hockney (1937-2026) — was a British artist whose career has encompassed painting, drawing, printmaking, photography, stage design, and digital art. Associated particularly with the Pop Art movement of the 1960s, Hockney is known for his vivid depictions of landscapes, swimming pools, interiors, and everyday life, as well as his continued experimentation with new technologies and media.

A Bigger Splash (1967) 242.5 cm x 243.9 cm - acrylic Liquitex on a white cotton duck canvas

Elise Wessels — Elise Wessels (1943–2023) was a Dutch collector and patron of Japanese prints whose collection, known as Nihon no Hanga, became one of the most important collections of 20th-century Japanese printmaking outside Japan. Beginning in the 1980s, she collected both sōsaku-hanga and shin-hanga, eventually building an exceptionally comprehensive collection. She founded the private museum Nihon no Hanga in Amsterdam in 2009, and in 2022 donated more than 1,100 prints to the Rijksmuseum.

Maureen de Vries - was the curator of the Nihon no Hanga museum in Amsterdam. Her interview with the Unfinished Print can be found, here.

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. Below is a fine example of bokashi by the printer of this Hiroshige print - Hiroshige (1797-1858), Shono ,(1832-1833) from The Fifty-three Stations of the Tokaido 22.9 cm × 35.6 cm SieboldHuis — The SieboldHuis is a museum in Leiden, Netherlands, dedicated to Japanese art, culture, and history. Housed in the former residence of Philipp Franz Balthasar von Siebold, the German physician and Japan scholar who lived in Japan in the 19th century, the museum displays objects from his extensive collection, including prints, paintings, ceramics, lacquerware, maps, and natural-history specimens. It provides an important connection between Japan and the Netherlands and regularly presents exhibitions exploring Japanese art and culture. More info, here. Kawanishi Hide (1894–1965) — Kawanishi Hide was a self-taught sōsaku-hanga artist who lived and worked throughout his life in Kobe. Inspired by Yamamoto Kanae, he began making woodblock prints in the early 20th century and became an important figure in the creative print movement, exhibiting with the Japan Creative Print Association from 1923. His work is particularly associated with the port city of Kobe, which provided many of his subjects, and is distinguished by bold, vivid colours, simplified forms, and his deliberate avoidance of black outlines. He often used a rounded chisel to soften the edges of his forms, giving his prints a distinctive, almost graphic quality. Sunset (?) 12.5 cm x 15 cm 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. Beyond The Night (1995) 55.5 × 40 cm passe-partout - is the French word for picture mat for framing. 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. Daniel's interview with The Unfinished Print can be found, here. Thief (2026) 96 × 66 cm - chine-collé & mokuhanga gomazuri - is a mokuhanga technique where slight pressure is used with pigments to make a "spotty" image, what look like sesame seeds. It can add depth to your prints. Historically it was seen as a lack of printing proificiency. Night, Light, Rain (2024) 29 cm x 43.5 cm by Terry McKenna. Notice the gomazrui in the blue circle. hon baren - a top of the line hand made baren made by craftsmen in Japan. It comes in different strands, 8, 12, and 16. Can be order from Gotō Hidehiko, here. baren suji zuri - is a mokuhanga technique used with the baren and by the baren to create a circular design and can be layered with various colours. A more detailed description of baren suji zuri can be found, here at woodblock.com

© Popular Wheat Productions

Opening and closing musical credit - There Is No Greater Love by Chet Baker (1965)

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print: A Mokuhanga Podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

For the past few years, I have begun to study Japanese washi in my own time. As a mokuhanga printmaker, and through The Unfinished Print, I have been taught to see Japanese washi in many different ways: how it is made, how it is used, and, more importantly for me, how people view this indelible medium in our mokuhanga practice.

I speak with Paul Denhoed, a paper researcher and papermaker based in Japan. I had the opportunity to attend a few of Paul's lectures here in Toronto at the Japanese Paper Place, and I came away from those lectures intrigued and wanting to learn more about Japanese washi.

Paul discusses his work in Japan helping to make washi, what the term washi means, and how the different paper producers in Japan work—and don't work—together. Paul shares his experiences with Richard Flavin, and Hiroaki Imai. We look at how these experiences shaped his work today and continue to shape his work into tomorrow. We also go into detail about kōzo and one of the key ingredients in Japanese washi, neri: how it is used and how it helps create beautiful washi.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Paul Denhoed - Instagram

Washi Academy - is the organization where Paul Denhoed works with Oguni Washi to offer immursive workshps for those interested in seeing traditional Japanese paper making in person. More info can be found, here. Instagram

Paper Talk - is a podcast hosted by paper artist and author Helen Hiebert, who explores how paper is used in many facets of the arts around the world. Her episode with Paul Denhoed can be found, here.

The Art and Craft of Paper by Faith Shannon - is the book referred to in my interview with Paul Denhoed. Faith Shannon (1938-2018) was born in India in 1938 and studied painting and bookbinding at the Belfast College of Art before continuing her studies at the Central School of Arts and Crafts and the Royal College of Art in London. A prominent bookbinder and educator, she taught bookbinding at Brighton Polytechnic, served as President of Designer Bookbinders, and published Paper Pleasures (later The Art and Craft of Paper) in 1987. Shannon worked primarily on commissioned bindings for collectors and presentations, approaching each book as a unique combination of materials, design, craftsmanship, and artistic interpretation.

How "washi" is made - here is a video to get you started on your paper journey. It goes into detail about how Japanese paper is made. It was produced by Japanese Industry Process in August, 2026. You can find the video, 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. Oguni Washi - is a traditional Japanese paper from Niigata Prefecture, deeply connected to the snowy landscapes of Japan's "snow country." Recognized as an Intangible Cultural Treasure by Japan and Niigata Prefecture, Oguni Washi is distinguished by a unique process in which the paper is buried beneath snow until spring. As the snow melts, the paper is brought into the sunlight, resulting in a lustrous, pristine finish. This distinctive approach reflects the relationship between local climate, traditional papermaking knowledge, and the enduring beauty of washi. More info, here. Hiroaki Imai - is a papermaker and one of the people responsible for continuing the Oguni washi tradition in Niigata. He married into a papermaking family and, alongside his wife Chihiro, has continued the family's work while also teaching and demonstrating washi making in Japan and abroad. Imai has also worked to introduce younger people to papermaking through workshops and educational programs, helping to keep the knowledge and techniques of Oguni washi alive. Seiko Musashi – Ogawa washi exporter, art program coordinator, and translator, dedicated to sharing Ogawa's washi beyond Japan. Seiko's interview with The Unfinished Print can be found, here. senka-shi (泉貨紙) – is the paper discussed by Paul, made in Ehime Prefecture, Japan. In addition to Paul's explanation, you can read a well-written article about the paper from the Rethink Paper Project here. The Japanese Paper Place- is a Toronto based Japanese paper store servicing the mokuhanga and arts community in Toronto and around the world for many years. Nancy Jacobi of The JPP and her interview with The Unfinished Print: A Mokuhanga Podcast can be found, here. heritage washi – is a term coined by The Japanese Paper Place to describe traditional Japanese handmade papers made by skilled papermakers using Japanese-grown fibres and traditional papermaking methods. The term emphasizes the importance of preserving these materials, techniques, and knowledge as part of Japan's long history of papermaking.

© Popular Wheat Productions

Opening and closing musical credit - Moanin' by Art Blakey and the Jazz Messengers on Blue Note (1958)

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print: A Mokuhanga Podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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).

https://www.officeharvest.com

Wano Kaze is the Ogawa Washi shop - https://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 Pressfor 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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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 theunfinishedprint@gmail.com

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 :)

Mokuhanga is an artistic medium that can challenge those who practice it. Over a long career, printmakers often feel the desire to see what else they can do with the medium, to push its boundaries and explore where it can take them.

On this episode of The Unfinished Print, a mokuhanga podcast, I speak with Nobuko Yamasaki, a mokuhanga printmaker whose career has taken her from Japan to the United States, where she has settled in Michigan and built her life. Nobuko and I talk about her early work and her mokuhanga teacher, Richard Steiner his teachings and the importance of the artist's name he bestowed upon her. We discuss how mokuhanga continues to evolve in her mind, her use of sumi and how she harnesses its energy, how she incorporates old woodblocks as well as the concept of memory in her work. Nobuko also shares insights on baren making, and her approach to teaching mokuhanga.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Nobuko Yamasaki - website

© 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 :)

Collecting mokuhanga has never been easier. You no longer need to visit galleries as often; you can purchase prints online from anywhere in the world, all from the comfort of your own home. But you'd be doing yourself a disservice to stop there. Seeing prints in person at galleries is a wonderful experience — it allows you to get up close to the work, to see what your potential investment looks like under the lights, and to speak with the people who work in the galleries and collections, who can help guide you toward the right decision.

One such gallery is in Tokyo and New York and has a long history of showcasing wonderful contemporary prints — from mokuhanga and aquatint to lithography and other mediums. The Tolman Collection Tokyo, located in the Shibadaimon district of Minato, Tokyo, has been operating for over 50 years and enjoys a strong reputation both in Japan and around the world.

In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Allison Tolman of The Tolman Collection Tokyo. We discuss how the gallery began — from the hope and a dream of Allison's parents, Mary and Norman Tolman, who built a life and a business in a new country, to their friendships with many of the most important printmakers of their time. Allison shares why prints remain so vital today, emphasizing their democratic nature. She also discusses the differences between contemporary printmakers in Japan and those in the West, as well as the unique experiences of selling prints in Tokyo versus at The Tolman Collection in New York.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

The Tolman Collection - Tokyo, New York

Machida City of Graphic Arts - is a print gallery located in Machida City, Tokyo, Japan. More info can be found, here.

Kitaoka Fumio (1918-2007) - was a painter who moved onto mokuhanga later in life. Kitaoka was a sōsaku hanga printmaker whose works touched on anti-war themes and Japanese society, emigres and the working class.

Tsukiji Fish Market (1988)

Tadashige Ono (1909-1990) - was a socially conscience printmaker of Post-War Japan. Tadashige's early works were influenced by the west with German Expressionism and later in his career, as his personal politics began to change, Tadashige;'s prints began to focus on an industrial Japan.

House (Hiroshima) (1957)

Tōkō Shinoda (1913-2021) - was a calligrapher and painter in Japan. Shinoda saw herself as an artist who combined painting and calligraphy together defying categorization. More information can be found, here from The Royal Ontario Museum, Toronto.

Sound (ca 1990) lithograph on paper 17 5/8" h x 23 3/8" w

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.

Black Robe (1976)

shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945).

Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.

Kawamura Sayaka - is a mokuhanga printmaker based in Japan. Her work has an ethereal quality of mystery and fantasy. More information can be found on her Instagram.

Bon Voyage IV (2019) 27.56 " × 27.56 "

AP - stands for Artist's Proof. When a printmaker is almost ready to print an edition, they will create a few prints that serve as proofs of the final image before the edition is printed.

Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.

Sound Of The Waves (2016) 15" × 12"

Zōjōji Daimon - is a Buddhist temple in Minato, Tokyo of the Jōdo-shū (Pure Land) sect of Buddhism

David Rockefeller (1915-2017) - was an American economist and investment banker who led Chase Manhattan Corporation as its chairman and CEO. From 2004 until his passing in 2017, he was the oldest living member of the Rockefeller family. The youngest of five sons, he was the child of John D. Rockefeller Jr. and Abby Aldrich Rockefeller, and the grandson of John D. Rockefeller and Laura Spelman Rockefeller.

Hasegawa Yuichi (1945-2025) - was a woodblock printmaker from Aizu in Fukushima Prefecture. He was from a family of lacquerware makers. Hasegawa incorporated lacquer resin and metallic paints into his reduction woodblocks, giving them a distinctive texture and gleam. Deeply influenced by Zen and the natural world, he aimed to capture the power and splendor of nature in his prints.

Night Sky No. 5 (2000)

Seiko Kawachi - is a mokuhanga printmaker and painter based in Japan. His work is known for its rich use of color and dynamic energy. A longtime printmaking instructor at Tama Art University, he experienced a turning point in his middle age when he began exploring the influence of Hokusai. Using contemporary materials, his large, powerful prints capture the movement and vitality of the natural world.

Object: The Flying: Ki (The Flying: Introduction) (1985) mokuhanga and intaglio, 65" × 36"

Tama Art University - located in Tokyo, Japan, is one of the country's leading institutions for art and design education. Founded in 1935, it offers programs in fine arts, design, architecture, and media arts, fostering both traditional and contemporary approaches to creativity. Known for its strong emphasis on experimentation and individual expression, Tama has produced many influential artists, designers, and educators who have shaped Japan's modern art scene. More info, 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 :)

For everyone listening to today's episode—especially if you're a mokuhanga printmaker—you can probably trace your first step into the art form back to a single person, someone who sparked your journey into mokuhanga, however it has evolved over time.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with that person for me: Elizabeth Forrest. Elizabeth was my first mokuhanga teacher, the one who encouraged me to study the practice and explore its technical depths.

Elizabeth is an accomplished printmaker with a long and varied career. We discuss her discovery of mokuhanga here in Toronto, her experiences living and working in Japan, and how she has adapted her art through life changes and culture shock. She also shares her thoughts on the importance of residencies, her love of washi, and the ways she sources her materials today.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Elizabeth Forrest : website Facebook, Instagram

Ontario College of Art & Design University : has been a mainstay of art and design education in the city of Toronto, Ontario, Canada since 1876. More information, here.

Akira Kurosaki (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the "Disc Baren," which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here.

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.

sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from "bleeding" into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used.

© 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 :)

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If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

For many artists, an art career takes many twists and turns—an adventure shaped by different mediums, jobs, and ways of sustaining creative work while at the same time, educating oneself with the histories of your chosen path.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Charles Spitzack. We talk about his discovery of mokuhanga and how it connects to his broader printmaking practice. Charles shares his early experiences making mokuhanga, his teaching methods, and how his understanding of the medium developed through a Western American perspective. He also speaks about his time at the Mokuhanga Project Space, and his thoughts on the differences between oil-based and water-based mokuhanga.

Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Charles Spitzack - website, Instagram

Seattle Print Arts - is a printmaking association based in Seattle, Washington, United States. It maintains a membership and is dedicated to the exchange of knowledge related to various printmaking practices. More info can be found, here.

High Point Center for Printmaking -is located in Minneapolis, Minnesota, United States. It is dedicated to increasing the understanding of printmaking and operates a co-op, gallery, and educational programs. More info can be found, here.

Cornish College of the Arts - is an independent art college located in Seattle, Washington, United States. Its programs emphasize experimentation and critical thinking. More info can be found, here.

Mokuhanga (木版画) - is a Japanese word meaning "wood" and "print." Traditionally, it refers to a relief printing method using woodblocks, water, natural handmade papers, and water-based pigments. With the rise of the sōsaku hanga (creative print) movement in the early to mid 20th century, mokuhanga expanded to include works made with Western oil pigments as well.

Today, mokuhanga can be difficult to define, as many artists experiment with new approaches while others remain dedicated to traditional water-based methods. This balance between innovation and tradition shows that mokuhanga is limitless, continually evolving while still grounded in its past.

sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.

Stephen Hazel (1934-20120 - was a painter and printmaker based in the Pacific Northwest. He created works on paper, and educated upon the subject. More info can be found, here.

Beautiful Display 10: Beauties of Chinatown (1977) 24" x 17 11/16"

Katheleen Rabel - is an American printmaker, painter and sculptor. More info can be found, here.

Penedo Alto (sōsaku hanga) 50″ x 39″

Hideo Hagiwara (1913-2007) - was a mokuhanga printmaker who came of age during the sōsaku hanga period of the mid 20th Century in Japan. He studied printmaking with Un'ichi Hiratsuka (1896-1997). Hagiwara made prints that were expressive of the self and abstract. He taught at Oregon State University in 1967.

Lady No. 6 (1975) 24.75" x 18.25"

kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.

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.

monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.

Mike Lyon - is an American artist. His medium has varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Mike's interview with The Unfinished Print can be found, here.

Grass 4 (2010) 77" x 22"

Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada. She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it. Naoko Matsubara's interview with The Unfinished Print can be found, here.

Conducting (2004) 22.05" × 15.59"

Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has produced an incredible mount of work. Katsu's interview with the Unfinished Print can be found, here.

On The Dawn of Night and Fog (2025) 39.37" in × 78.74"

Antonio Frasconi (1919-2013) - was a Urugyuan printmaker who lived and worked in the United States. He cerated coloured woodcuts and was an educator and author. Frasconi's themes could be political in nature. More info can be found, here.

Cows (1955) 7 1/2" x 12 15/16"

The Arts and Crafts Movement in America - flourished from the late 19th to early 20th century, emphasizing simplicity of design, and the use of natural materials as a response to industrial mass production. Inspired by the ideals of John Ruskin (1819-1900) and William Morris (1834-1896) in Britain, the movement in the United States was closely tied to architecture, furniture making, and decorative arts, promoting honesty and a functional beauty. There was a link with social reform, criticizing modernity and industry and fostering communities of makers across the country. In Japan this folk movement was explored in the mingei movement of the early 20th Century.

William S. Rice (1873-1963) - was a painter, educator and woodblock artist from the United States. Having moved to California early in his life, Rice made landscape prints and paintings of California. At the 1915 Panama Pacific International Exhibition, Rice had a chance to see Japanese mokuhanga in person and was influence by those prints in his woodcuts.

The Windy Summit (1925) 9" x 12"

Arthur Wesley Dow (1857-1922) - was an American printmaker who was greatly influenced by Japanese ukiyo-e. He wrote a book on the subject of printmaking called Composition which was published in 1905. Lily (Ipswich Prints x 1901) 5½" x 4⅛" Toledo Museum Shin Hanga Exhibitions (1930 & 1936) - were held at the Toledo Museum of Fine Arts in the United States. These two exhibitions played an important role in introducing Japanese woodblock prints to the American market. They were curated by J. Arthur MacLean and Dorothy L. Blair. Artist Hiroshi Yoshida (1876-1950) had traveled to the United States in the 1920s, helping to set the stage for these exhibitions. More info can be found, here. Walter J. Phillips (1884–1963) - was a British-Canadian printmaker who began his career as a commercial artist. After moving to Canada, he produced etchings, watercolors, and color woodcuts. Influenced by Japanese ukiyo-e, Phillips's prints offer a distinctive view of Canada in the early to mid-20th century.My interview with Sophie Lavoie of The Muse/Lake Of The Woods/Douglas Family Arts Centre about the life and times of Walter J. Phillips can be found, here. Warren's Landing, Lake Winnipeg (1931) 6.30" × 9.45" Kathleen Hargrave - is a printmaker and kiln formed glass maker. Kathleen explored various printmaking methods but uses mokuhanga in her practice. Kathleen's mokuhanga is abstract and uses colour in a fantastic way. More info can be found, here. Resilience 5 Pratt Fine Arts Center - is a nonprofit arts educator in Seattle, Washington. It offers classes and instruction on various artistic expressions such as blacksmithing, glass, jewelry, paintings and printmaking. More info can be found, here. Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. My interview with Keiko Hara and Benjamin Selby of MPS can be found, here. More info can be found, here. Shoichi 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. Utagawa Kuniyoshi - from The Series Bravery Matched With The Twelve Zodiac Signs. A Modern Reproduction 4.13" x 11.15" (2017) printed and carved by Shoichi Kitamura April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here. It Happened To Me (1995) 11" x 14" Andrew Stone - is an American mokuhanga printmaker based in Florence, Italy. He is also a baren maker. The baren is a mokuhanga specific tool. Andrew's interview with The Unfinished Print can be found, here. Tutto Bene? (2024) Davidson Galleries - is a gallery situated in Seattle, Washington. Opening in 1973 Davidson Galleries focus on works on paper. In their stable of artists is Charles Spitzack and Andy Farkas. More info can be found, here. SGC International - the Southern Graphics Council is a member supported printmaking organization which supports printmakers throughout the world. It is located in Kennesaw, Georgia, United States. More info can be found, here. Karen Kunc - is an American printmaker and Professor Emeritus at the University of Nebraska Lincoln and is based in Nebraska. Karen Kunc works in various artistic and printmaking styles but has worked in mokuhanga for many years. My interview with Karen Kunc for The Unfinished Print can be found, here. More information can be found on her website, here. Weight of Air (2018) 12" x 24" Woodcut, etching, pochoir, watercolor Tollman Collection - is a well known Japanese art gallery located in Daimon, Tokyo, Japan and New York City, NY. More information can be found, here. Ballinglen - is an arts foundation based in Ballycastle, Co Mayo, Ireland. The groups aim is to "enhance cultural awareness," of North County Mayo. This is done via fellowships, education, exhibitions and workshops. More info can be found, here. Pomegranate - is a company which sells items such as jigsaw puzzles, holiday cards, etc using different types of artists and their work in these pieces. More info can be found, here. Gustave Baumann (1881-1971) - was a colour woodcut printmaker, and painter of German descent who made his life in the United States. More info can be found, here. Marigolds (1960) colour woodcut 12 7/8" x 12 7/8"

© Popular Wheat Productions

logo designed and produced by Douglas Batchelor and André Zadorozny

Intro music by Oscar Peterson, I Got It Bad (And That Ain't Good) from Night Train (1963)

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

If you're a creative person, going abroad, exploring the world, living in new surroundings, seeing new things can add a new dimension to your work. It can inspire you to see your practice in a new light. The influences you gather over time, especially through travel, can only enrich what you create.

On this episode of The Unfinished Print, a mokuhanga podcast, I speak with printmaker Kay Watanabe. Kay has spent many years splitting her time between Australia and Japan, and in doing so, she's developed her mokuhanga and other print work across two distinct cultural landscapes. We discuss what it means to create in those two different spaces under different circumstances and how Kay navigates this duality, we also discuss her love of washi, the way she develops her prints, and how mokuhanga fits into her broader artistic process.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Kay Watanabe - website Instagram

Gallery Camellia - is an art gallery in the historic Okuno Building in Ginza, Tokyo, Japan.

Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.

Helen Frankenthaler (1928–2011) was a prominent American abstract expressionist painter known for her role in the Color Field painting movement. Her innovative technique involved staining unprimed canvas with thinned oil paint, creating a distinctive luminous effect. "Mountains and Sea" (1952) is a notable example of her influential work. Frankenthaler's contributions have left a lasting impact on postwar American art. Frankenthaler began to make woodcut prints in 1973 and was influenced by Utagawa Hiroshige (1797–1858). More info about her prints can be found at the Frankenthaler Foundation, here.

Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.

Gary Shinfield - is a painter and printmaker based in Australia.

Seraphina Martin - is a printmaker based in Australia. More info can be found here, at Sydney Printmakers.

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.

mokulito - a type of lithography which incorporated woodblock. Artist Danielle Creenaune uses mokulito in her work. She has a fine detailed explanation on its uses, here.

International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.

monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.

Antoni Tàpies - (1923-2012) was a Catalan painter, sculptor, and art theorist renowned for his expressive and textural work that bridged the gap between abstract expressionism and material-based art.

© 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 :)

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If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

Positivity is at the heart of any kind of success. A desire to succeed, paired with a positive mindset, good friends, and hard work, can create momentum and growth in any direction you choose.

On this episode of The Unfinished Print, a Mokuhanga Podcast, I speak with Michael Verne, a gallerist specializing in Japanese prints and paintings. Michael shares his approach to success, the power of positivity in business, and how he navigates the ups and downs of running a small, focused gallery.

Through rich stories, both his own and those of the artists he represents, Michael offers insight into how storytelling shapes his business, sustains its growth, and supports educating people about mokuhanga and Japanese art.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Michael Verne and The Verne Collection - website

The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here.

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.

Morning Calm (1983) 14.5" x 20.5"

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.

Dance of Shimazu (1950's)

Sanford Smith and Works On Paper Exhibit - Sanford Smith (1939-2024) was one of the more important New York City art promoters of his time. Founding Sanford L. Smith + Associates, Sanford Smith created many art fairs such as the Works On Paper show, now known as Art On Paper which focused on works on paper such as prints, watercolours and photographs. More information can be found, here.

Willy Loman - is a fictional character in the novel Death of as Salesman by Arthur Miller, first published in 1949.

Sadao Watanabe (1913-1996) - was a stencil and dyeing printmaker (katazome 型染め) from Japan. His works were specifically Biblical in nature. His work was also in stained glass which can be found in Nagoya, Aichi, Japan.

Eve (1965)

John Carroll University - is a private Jesuit University located in the suburbs of Cleveland, Ohio, USA and founded in 1886.

New Heights Podcast - is a podcast hosted by American football players Jason and Travis Kelce. It is produced by Michael Verne's son Brian Verne who is the CEO of Wave Sports and Entertainment.

The Armoury Show - is an annual international art fair held in New York City, primarily focusing on contemporary art by living artists, but also featuring works by 20th-century masters.

Pace Gallery - is a gallery located in New York City and founded in 1960. Today the gallery is a leader in exhibiting some of the top artists in their media. There are galleries in London, Los Angeles, Hong Kong, Seoul, Geneva and East Hampton. More information can be found, here.

Joel Stewart - is an American visual artist based in Kyoto, Japan. Joel works in ceramics, installation, printmaking and mixed media. More information about Joel can be found, here.

Karatsu (2016) watercolour on paper 30" x 22"

Quiet Elegance - is a book published by the Charles E. Tuttle Company in 1997 written by Betsy Franco and Michael Verne. The Charles E. Tuttle Company is now called simply Tuttle.

Dan Rather - is an American journalist who was the head anchor of the CBC Evening News from 1981 - 2005.

Joshua Rome - is an American mokuhanga printmaker based Vermont after spending many years in Japan. His themes are of landscapes and the human condition. More information can be found, here.

Mixing Hours (1998)

shibui (渋い) - is a Japanese concept that refers to a subtle, simple, and refined beauty.

Yuko Kimura - is a contemporary printmaker based in California who used etching, aquatint, monotype, indigo dye, and cyanotype on pleated, stitched or twisted paper for her works. Yuko creates process videos on her website so you can see her process of her complex works. More information can be found, here.

Fusion no. 22 2010 etching and enamel on copper in abaca handmade paper 8" x 6"

wabi sabi - is a traditional Japanese aesthetic concept that embraces the beauty of imperfection, impermanence, and simplicity. Rooted in Zen Buddhism, it values natural materials, asymmetry.

Takauchi Seihō (1864 - 1942)- was a painter of Nihonga. His paintings were famous because of his travels to the West and the influences gathered from that. More information can be found, here.

Spring and Autumn (left screen) c 1889

Allen Memorial Art Museum - is an art museum located in Oberlin, Ohio and was founded in 1917.

Katustori Hamanishi - is a mezzotint artist known for his diptychs , triptychs and quadtychs. More information can be found, here.

Cosmos Field (2022) 23.75" x 17.75" mezzotint

Shigeki Kuroda - is a visual artist who works in aquatint, mezzotint, drypoint, and etching. For more information about his work can be found, here.

Mild Breeze (1953) 25.1" x 18.1" etching and aquatint

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.

Katsura Moonlight (1982) 15.75" x 11./81"

Tolman Collection - is a well known Japanese art gallery located in Daimon, Tokyo, Japan. More information can be found, here.

Toko Shinoda (1913-2021) - was a Japanese visual artist who was made famous for her works in Sumi ink paintings and prints. More information can be found, here.

Winter Green (1990) ink on paper

Hideo Takeda - is a Tokyo based graphic illustrator, mokuhanga printmaker, and all around artist who challenges what it means to be an artist in this modern world. More information can be found, here.

Green (2009) Painting 13" x 9.5"

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.

'

Sea Meets Sky (Japan Blue Series) woodblock monotype, chine colle, 16" x 14"

Cameron Bailey - is a mokuhanga printmaker based in Queens, New York. His mokuhanga technique is in reduction where Cameron creates beautiful and powerful landscapes. More information can be found, here.

Tempest (2025) 16" x 24"

Shirō Kasamatsu (1898–1991) was a mokuhanga print designer during the shin-hanga movement of the early 20th century, and later focused on his own mokuhanga printmaking during the sōsaku-hanga period of the 1950's. More information can be found, here.

Co

Corridor (1960's/1970's) oban 10"x 15"

Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.

The Acropolis At Night (1925) 10.13" x 16.5"

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.

Mishima River, Mutsu (1919) 14" 9"

Shibata Zeshin (1807 - 1891) - was a laquer ware painter and print designer during the 19th Century.

Album of Lacquer Pictures by the Venerable Zeshin (1887) 6.5" x 7"

Kiyoshi Saitō (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.

Otaru, Hokkaido (1948) 18" x 24"

Munakata Shikō (1903-1975) - arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.

Princess Showing Upper Arm (1958) 9" x 7.5"

Sekino Jun'ichirō (1914-1988) - was a mokuhanga printmaker who helped establish the sōsaku hanga, creative print movement in Japan. His themes were of landscapes, animals and the abstract. Sekino exhibited and became a member with Nihon Hanga Kyōkai and studied with Ōnchi Kōshirō (1891-1955) and Maekawa Senpan (1888-1960).

Cats and There Kittens (1960) 18" x 13"

Katsuyuki Nishijima - is a contemporary mokuhanga printmaker based in Japan who carves and prints his own work. His prints are colourful and focused on the Japanese landscape. More information can be found, here.

Moon Over Lake 10.25" x 14.75"

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.

Bell Telephone (1976) 21" x 15" colour screen print

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.

Craig Anczelowtiz - is a mixed media collage artist who splits his time between New York and Japan. Craig's works focus on Japenese themes and nostalgia. More information can be found, here.

Meiji Beauty #8 (2025) vintage Japanese papers, gouache, plexi, gold leaf, and ink on thick washi 20" x 28"

© Popular Wheat Productions

Opening and closing musical credit -Next Journey by Robomoque (2023) on Gunn-R-Rotation Records

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

Making mokuhanga takes dedication. It demands energy, a sense of empowerment, and joy in the process. It's that passion that pushes you forward, to evolve and mature within the art form.

On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Andrea Starkey. Andrea is deeply passionate about mokuhanga—the way it feels, the process of creating, and how each print takes her on a personal and creative journey.

We discuss how she expresses herself through mokuhanga, her themes, and her love of nature. We also explore the world of selling prints, and how to navigate being an artist in the age of AI. And as always, we dive into Andrea's tools, her paper, and how she uses them to create her beautiful work.

Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com

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.

Andrea Starkey - website, Instagram, Etsy

Tree No. 43. - 4" x 11"

renderer - is a system, program, or process that takes data and converts it into a visual or usable format, usually for display on a screen or output in some other way. What it renders and how depends on the content.

reduction printmaking - is a process in printmaking where the printmaker cuts away on a piece of wood, or linoleum. After every carving, the printmaker makes an impression with pigments, beginning with lighter colours, gradually using darker colours. William H. Mays has a fine description of reduction on his website, here.

Mike Lyon - is an American artist. His medium has varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Mike's interview with The Unfinished Print can be found, here.

Clover - 12" x 12" (2017)

Dick Blick Art Supplies - is an art supply store with various brick and mortar stores throughout the United States, as well as online. Founded in 1911 by Dick Blick in Galesburg, Illinois, BLICK, as it's more commonly known, sells various types of art supplies, much like Jerry's Artarama. More info, here.

Sekishu washi - is a traditional Japanese paper from the Iwami region in Shimane Prefecture, with a history spanning around 1300 years and references dating back to the Heian period. Made primarily from mitsumata and gampi plant fibers, it is known for its strength, flexibility, smooth texture, and resistance to damage, making it ideal for printing, calligraphy, and fine stationery. The paper is still crafted using traditional methods such as nagashizuki and tamezuki, which involve screens made of bamboo or Japanese nutmeg and the use of aibika as a natural binder. These time-honored techniques and materials have contributed to the recognition and preservation of Sekishu washi as a significant cultural craft. More information regarding Sekishu washi can be found at Kokei Japan, here.

Akua - are water-based pigments used in intaglio, mokuhanga, and monotype.

stair treads - are the horizontal parts of a staircase that you step on as you go up or down. They are the flat surfaces where your feet land. They can also be used in different art forms such as sculpture, prints, and architectural artistic practices.

kitakata - is a high-quality Japanese washi paper traditionally made in Fukushima Prefecture, using Philippine gampi fibers and sulphite pulp. The gampi provides a natural sheen, smooth texture, and resistance to moisture and insects, while the sulphite pulp adds strength and consistency. Known for its warm tone and moderate absorbency, Kitakata is ideal for bookbinding, mokuhanga, and other types of printmaking. Its surface holds fine details well, making it a favorite among artists for both traditional and contemporary work.

sepia - is a reddish brown colour. Can be found in various pigments.

Baren Forum - is one of the oldest continuous online communities dedicated to mokuhanga. It serves artists, scholars, and enthusiasts who engage with the medium through both practical and academic approaches. The forum is especially known for its print exchanges, where practitioners share their work based on a shared theme, size, or topic. More information about the Baren Forum and its activities can be found, here.

Woodblock Dreams - was a mokuhanga block started in 2005 by Annie Bissett, a mokuhanga printmaker based in the United States. Annie's new blog can be found, here. Annie's interview with The Unfinished Print can be found, here.

Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.

Village of Miho - 16.81" × 11.69" (1960)

Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.

Seta Bridge - 10.83" × 15.59" (1933)

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.

Unknown reprint - Date unknown

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.

monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.

Okawara washi - is a traditional Japanese paper made in Japan and sold by Awagami Paper. It is typically composed of an even blend of Japanese kozo and Manila hemp, though some versions may also include wood pulp. The paper is known for its strength, flexibility, and subtle texture, making it suitable for printmaking and other fine art applications. While weights may vary, Okawara usually ranges between 50 and 75 gsm.

Dropshipping - is a business model where a seller doesn't keep products in stock, but instead sells products that are shipped directly from a third-party supplier, like a wholesaler or manufacturer, to the customer.

Narcissus no. 4 - 6" x 8"

© Popular Wheat Productions

Opening and closing musical credit - background noise from Madison Square Park in New York City.

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 :)

Слава Українi

If you find any issue with something in the show notes please let me know.

***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***