Octopi Reenacting Human Amusements, 1842 by Utagawa Kuniyoshi
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ALTThe 47 Ronin Crossing Ryogoku Bridge After Accomplishing Their Revenge, by Utagawa Kuniyoshi
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Charles de Sousy Ricketts (British, 1866–1931)
The Dragon
woodcut
Sheet: 19.5 x 24 cm (7 11/16 x 9 7/16 in.); Image: 8.7 x 9 cm (3 7/16 x 3 9/16 in.)
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Ito Shinsui (1898-1972)
Spring at the Foot of Mount Asama (Asama yama no haru)
Showa period, 20th century
woodblock print, from the series Ten Sights of Shinano (Shinano jukkei), published by Watanabe Shozaburo, dated Showa nijusanensangatsu (March 1948)
Horizontal oban:25.5 x 38.5 cm.
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Chizuko Yoshida the first entitled Hanahara C (Field of Flowers C), numbered 13/100, dated ‘92; the second entitled Ryuhyo A utoro nite (Ice Floe A - in Utoro [Hokkaido]), numbered 6/70, dated '95; the third entitled Soshunfu and Early Spring Music Notes, numbered 6/50, dated 2004
Yoshida Family Collection
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Snowdrops in a Blue Mason Jar
By Jeff Stanford, 2026
Buy prints of this image at: https://fineartamerica.com/featured/snowdrops-in-a-blue-mason-jar-jeff-stanford.html
or more of my images at: https://jeff-stanford.pixels.com/
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Yoshida, Tsukasa (1949 - Present)
Tsukasa Yoshida (b. 1949) is a modern Japanese woodblock artist.
He hails from the famous Yoshida art family and is the son of Toshi Yoshida and grandson of Hiroshi Yoshida. His work blends symbolism and realism, taking on a decidedly modern tone.
Not easily discernible from his ancestors in talent and art-form, but with a style very much his own. He is a master of land- and moonscapes. These prints display nature, often with no or only a few human elements and create very strong atmospheres. Another common theme are prints of cats. Next to these more classic print themes, he makes innovative abstract works.
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ARTIST RESEARCH: VALERIE LEUTH
Valerie Leuth is an American woodblock printmaker. She owns her own print company Tugboat Printshop and her work on it is phenomenal. I read an interview she had done saying that she tries to capture the glow and radiances experienced in everyday life. After reading this I knew this is something I also wanted to achieve in my woodblock pieces. As I was looking through her work I found many that felt very movement based so I was able to note techniques she had used to achieve it and place it into my own work. I also was looking at all the work she has completes so I could get ideas on colours and layers I could use for my own designs. I found with her work there is an insane attention to detail and precision which is extremely difficult to achieve normally in woodblock carving.
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With the leftover ink from the etching I said I’d print a few more woodblocks. I was really glad I did as I got to use purple and pink. I think these might be my favourite prints from the woodblock section. The print of the swing and bonfire in the middle really worked out well for me. I was a big fan of the gradients and felt the purple only added to it and didn’t take away from the underlying colours.
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Yesterday I went back into the printmaking room as I wanted to try out some other colour combinations for my woodblock prints and print some more etching plates. I layered a few prints together to see if I could come up with some cool compositional ideas. I was quite happy with the one on the top left of this photo. I also mixed together some pink which I combined with yellow. It reminded me of the pattern design I had made with paper for the graphic design elective.
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Kasamatsu Shiro
Joshoko Temple
1967
artelino
“Sakura Momiji; Joshoko-ji” Cherry tree in autumn color at Joshoko-ji temple. Shiro’s rare sosaku-hanga style print. The stamp on the right margin indicates, “carved and printed by Shiro”.
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I got chatting to my friend Amy and she had this great idea where I should have the brightest colour in the middle and have it darken out on the edges. This was the most difficult thing I had done as the rollers were super hard to move in a circular motion without leaving roller marks. Also the ink wasn’t blending great but I tried it with yellow to red and then blue. I wasn’t thinking tho when the bonfire block would go on top you wouldn’t see the blue so I made another one that went from yellow to red. This one was by far my favourite one. It came out exactly if not better than u had ever wanted it to come out.
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As I hadn’t really done any printing with the swing I said I’d do a few prints. I liked the gradient background from the bonfire block so I did the same for the swings. I did a blue to yellow. It wasn’t blended very well but I thought that it helped with the motion of the swing. I wasn’t thinking and inked up the swing set as a blue so it ended up coming out quite harmonious. I think it ended up being one of my favourite of the ones I did of the swing. I also did one where I did a gradient of red to yellow on the blue background as contrast and I was also pleased with that one.
I also wanted to test the capabilities of ghost printing which is essentially the more you print the less ink will be on the block so you get different colours and opacity. I started off doing one with no background just to see how it looked and then decided to add a yellow background ( I seem to love yellow???) for contrast. I did vary where my ghost prints would be on the page so on the bottom on with the yellows the middle print has a first pass background of yellow and a second pass of the swings which would be my first ghost print.
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I then had the idea to do a gradient background and a solid colour bonfire. I did a yellow to red (this time the yellow appeared) and a blue for the bonfire block. I didn’t want to use black as I thought it would be too big of a contrast. I think if there was brown ink I would have used that but I made do with what was there. I thought the blue worked well, but I however was not a fan of the blue and yellow turning the sky a green colour so I probably should have done a gradient on the bonfire block as well.