Initially, a preparatory drawing is transferred onto 3/4” birch plywood before the block is carved. Once carved, the key image, usually black, is transferred onto additional blocks (for colors) and these are further cut to line up with the key image, i.e. black. There may be as few as three and as many as seven color blocks per each image. The blocks integrate and print as few as eight and as many as fifteen colors per image. Each complete set of color and key woodblocks is a point of departure for the creation of new images. After carving the blocks, which can take several months to complete, proofing of color impressions begins.

At this stage, I test various washi and seek to create unique color impressions each with slight variations to hand inking and choice of color. Every individual color impression takes many hours to complete. To pull one good impression, I spend on average 10 to 12 hours. Most of the time spent is on the actual rubbing, manually transferring ink onto washi. Using small hand-made wooden barrens, I carefully apply pressure onto the paper from behind evenly transferring the ink from the block. After each color block is printed, I blot the impression using newsprint to remove excess ink. This allows for an even distribution of ink throughout the printed area. Given that I prefer to add a good amount of ink modifiers to my inks, such as Daniel Smith’s Miracle Gel, the blotting in between the printing blocks strips the overlapping inks making the printed colors even more transparent. There are several Hiromi papers I have relied on over the course of years. Close proximity to the Hiromi Paper International in Los Angeles and the best washi available in the Western world has enabled all of the above discoveries to develop and mature.

For my large color prints, I chose 38” x 73” Okawara machinemade paper (HP-15). Okawara serves my intentions on many levels and I have been relying on it since I began making my large woodcuts in 2002. It is extremely durable paper, which can hold multiple layers of ink without getting torn or saturated. The long Kozo fibers offer flexibility while sustaining intense rubbing activity and absorbing a range of delicate details. It is one of the most forgiving papers I have used and the amount of pre/post-printing maintenance is relatively minimal. Okawara stores, rolls, travels, ships (of course, prints) well and small handling creases seem not to affect the look. This paper comes with deckled edges on two longer sides. One side is grainier, which is considerably coarser than many other washi, and on this textured side I choose to print my multiple color blocks. The other side is smoother and allows for continuous wooden-barren rubbing activity without tears to the paper. Kozo Okawara Machine-made is a giant–one of the largest sheets available on the market. Given its strength, flexibility, and large size, it is remarkably reasonable and affordable washi.

For my smaller prints, which range in block size from 12” x 16” to 24” x 37”, I have worked with Hosho Professional (HM-51), Mulberry handmade (HP-64 & HP-65) and Kozo-shi (MM-1). While each of the papers works differently, producing slightly dissimilar results, they are all great washi for relief printing. Hosho is remarkably absorbent and seems to pull just about every detail. There is vertical grain texture to this paper, which is also, to some lesser extent, visible in Mulberry. The grain seems to work well in absorbing multiple layers of ink from several blocks and this is particularly true when printing from multiple color blocks on an etching press. Under the pressure of a printing press, the paper creates a delicate embossment and this seems to offer an attractive aspect in the appearance of a print. I normally do not desire or seek to have this detail in my prints, though with Hosho, it has grown on me. While the paper “feels” warm in hands and its amazing absorbency offers a rich look to virtually any impression, to some, Hosho may seem too white, if not, cold in appearance. This look may work especially well for some imagery. The Mulberry washi is considerably stronger paper, much more elastic and forgiving than Hosho. Mulberry is slightly lighter in weight and seems to offer more delicate appearance to my prints. I have used Mulberry for many years and most of my prints until recently were printed on this paper. While it has served me extremely well on a printing press, I have especially liked this paper when hand-rubbing my prints.