エピソード

  • Kazuko Hioki - Conservator : A Humble Utility Project

    Kazuko Hioki - Conservator : A Humble Utility Project
    2026/05/31

    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 :)
    続きを読む 一部表示
    1 時間 21 分
  • Yvonne Hering - Printmaker : Ars Longa, Vita Brevis

    Yvonne Hering - Printmaker : Ars Longa, Vita Brevis
    2026/04/20
    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 :)
    続きを読む 一部表示
    1 時間 16 分
  • Raluca Iancu - Printmaker : Setting Intentions

    Raluca Iancu - Printmaker : Setting Intentions
    2026/03/26
    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 :)
    続きを読む 一部表示
    1 時間 16 分
  • Ogawa Washi w/ Seiko Musashi : Stick To Your Principals

    Ogawa Washi w/ Seiko Musashi : Stick To Your Principals
    2026/02/26
    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). www.officeharvest.com Wano Kaze is the Ogawa Washi shop - 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 ...
    続きを読む 一部表示
    1 時間 14 分
  • Hidehiko Gotō - Printmaker/Master Baren Maker

    Hidehiko Gotō - Printmaker/Master Baren Maker
    2026/01/31

    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 Press for 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 :)
    続きを読む 一部表示
    41 分
  • Roslyn Kean - Printmaker : The Spectrum Of Colours That Exist

    Roslyn Kean - Printmaker : The Spectrum Of Colours That Exist
    2025/12/31
    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 :)
    続きを読む 一部表示
    1 時間 44 分
  • Sarah Brayer : Printmaker - Nothing In Isolation

    Sarah Brayer : Printmaker - Nothing In Isolation
    2025/12/04
    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 ...
    続きを読む 一部表示
    1 時間 15 分
  • Nobuko Yamasaki : Printmaker - Everything Connected

    Nobuko Yamasaki : Printmaker - Everything Connected
    2025/10/31

    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 :)
    続きを読む 一部表示
    53 分