Sam will get you hands-on with this technique, which uses everyday non-toxic and inexpensive materials, and will equip you to further investigate the process at home.
"I became interested in the process after studying Mokuhanga (Japanese woodblock printing) in Kyoto. I have also enjoyed making stone lithographs with master printmakers. However, I found Mokulito a revelation as it manages to combine the graphic qualities of Japanese woodblock with the tonality of stone lithography.
This is not a precise medium: expect the unexpected! However, with a little practice, serendipity and experimentation, some things can be more predictable and can lead to interesting, rich textured prints."
Mokulito - an introduction by Sam
Mokulito which means “wood lithography”, is a relatively new technique developed in the 1970’s by Ozaku Seishi, and more recently, by Polish printmaker Eva and her father Josef Budka.
Ozaku Seishi is a professor Tama Art University in Tokyo and was responsible for developing the process after a lot of experimentation. He found it disheartening that graduating students of stone lithography never went back to lithography as they could not afford either the stones or the large scale setup to produce more lithographic work.
Mokulito enables the blending of litho tones and sharp woodcut marks on the same piece of substrate using a wide range of drawing materials directly on the surface of the plywood without the use of acids, etches or turpentine.
Lithography, a planographic print medium, relies on a chemical process that keeps the inked image and non-inked image areas separate essentially on the same flat surface. Because oil/grease and water do not mix, greasy ink stays on the grease-drawn areas and is repelled from the non-image areas. Mokulito uses the same principles, but unlike traditional lithography, is cheaper, more environmental and can be done at home.
Here is a recent article in Australian Artist entitled Slow Art, and One Artist’s Journey into Mokulito Printmaking that is an overview of Sam's experience with the process.
Camp Creative Survey
"Sam really was tops and we were privileged to have him pass on some of his very comprehensive experience. He was that rare teacher who inspired each member of the class to give it a go. Taught with a rare blend of good humour, knowledge and individual attention. Everyone felt they received his help and attention. A real advertisement for the quality of CC."
"Sam was very knowledgeable, calm, friendly and generous with his instruction. He showed us works by other artists, theory about the method and was clear with his instructions."
"Great teacher, very organised, lovely positive manner, couldn't have been better."