Others today love it for a variety of other reasons but I suspect one of the top ones is that it is largely non-toxic, i.e. I understand why artists want to continue that noble tradition. I admire it, both artistically with hardly a thought of the technical difficulties, but also for the incredible technical craftsmanship. Some love moku hanga I'd guess because of the great moku hanga art that was done in Japan during its heyday. There are so many things to consider and so many things that can go wrong: paper that is too wet or too dry, bad paper, paper with too little or too much, paint that is too wet or too dry, too splotchy or too saturated, smudging everywhere, colors that don't print the way I think that they will, wood that is drier than I'd like and breaks as I'm carving a crucial line, etc., etc., etc. Technically speaking I'm not sure why anyone would take up moku hanga. Great Crested Flycatcher against Blue Sky. Below is the newest print, a 4圆 inch print of a Great Crested Flycatcher, motivated as you might expect by seeing some of the first returning birds of spring. So with that said here are my two newest prints.Ībove is a 6x4 inch print of an Avocet and Eurasian Moorhen that we saw at Minsmere RSPB last year on our trip to England for 'The Natural Eye' show of the Society of Wildlife Artists. Nonetheless I hate to let this blog just die, especially as it's sort of become a blog about my progress with moku hanga. Suffice it to say that the lack of comments, overabundance of spam, and other online outlets all took their toll. I don't think that there are any excuses for the huge gaps between my blog postings.
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