Event Introduction

The parts of a screen (silk, now made of tetron, etc.) stretched over a square frame are sealed to prevent ink from passing through, and the ink placed on the screen is spread with a squeegee (a rubber spatula) and pushed out onto the paper or cloth placed underneath to print.
*Printmaking that does not involve reverse printing

A technique that takes advantage of the phenomenon in which water and oil repel each other.
When a limestone or aluminum plate is drawn on with fatty crayons or ink and then coated with a weak acidic solution, a chemical change occurs in which the drawn areas strongly attract the oily substance, while the non-drawn areas retain moisture.
The plate is then moistened with water and oil-based printing ink is placed on it, so that the ink adheres only to the drawn areas.
Paper is placed on top of this and printed using a special press.

This technique utilizes the repulsion between water and oil.
The plate is completed by drawing with a ballpoint pen or oil-based marker on a polyester film with a grained surface and then heat-treating it with an iron.
The plate is moistened with water, and ink is applied and printed on paper.

This technique makes use of the repulsion between water and oil. A wooden board is used as the printing plate, and the image is drawn using an oily drawing material, then coated with gum arabic and the plate is made.
The plate is moistened with water and oil-based ink is applied, and then it is colored with watercolors to produce a multi-color print with a single plate.
The wood grain and other wood textures are printed, and woodblock prints can also be expressed with a carving knife.

Water-based colored pencils are used to draw on an aluminum plate that has been sharpened for lithography.
The plate is then made by simply applying a thin, even layer of silicone on top.
The silicone dissolves oil-based materials but repels water-based ones, and when it dries the non-designed areas are coated.
This means that it is no longer necessary to constantly wet the plate with water as with lithography in order to use the repulsive effect of the oil-based ink on the print, and it is possible to print simply by placing ink on the areas to be drawn.

A corrosion inhibitor (ground) is applied to a copper plate, and then lines are drawn on top of it by scratching with a sharp needle.
When the ground peels off, the scratched area is exposed, and when it is placed in a corrosive solution such as ferric chloride, linear depressions are created and the plate is created.
Compared to lines engraved directly, the lines have a softer impression.

When paper is placed on a plate coated with a soft ground (a ground (anti-corrosion agent) made by adding oils and fats to prevent it from hardening, and a pencil or crayon is drawn on top of the plate, the ground adheres to the paper where the lines are drawn and peels off.
When this plate is corroded, it is possible to make use of the strokes of the pencil or crayon.
It is also possible to copy the texture of real objects by pressing leaves, lace, fingers, etc.

A tool called a rocker (berceau), which has countless comb-like teeth, is rocked back and forth to create a grid-like pattern across the entire surface of the plate (sharpening).
The plate surface, which now has countless curls, is then scraped and polished with tools called scrapers and burnishers to create images with a variety of gradations.

Images are engraved directly into copper or PVC plates using a sharp-pointed steel needle.
The engraved lines are "burred" and the printed lines have a distinctive ink smudge.
The burred areas are not durable and it is not possible to print many sheets.

By applying glue or modelling paste to plywood or cardboard, or by attaching materials such as cardboard, thread or cloth to create a plate, and then applying ink to it and printing, the shape and texture will appear in relief, allowing you to express both raised and recessed surfaces.

Wood cut vertically (board grain) is used as the printing block, which is then carved with a carving knife, painted with water-based or oil-based paints, and printed with a baren or press.
In Japan, cherry, katsura, magnolia, and china plywood are commonly used for printing blocks, while in the West, pear, peach, and walnut are commonly used.

The wood is cut horizontally (end of the wood) and used as the printing block, then carved using a burin and printed with oil-based ink.
There are many precise and delicate intaglio engravings (white line engravings). Hard woods with tight grains, such as boxwood and camellia, are suitable for the printing block.

Carve the eraser with a carving knife or cutter and stamp it with stamp ink.
You can also stamp it onto fabric using fabric ink.
If you use a harder rubber plate for printing, you can create sharp lines.

For most plant dyes, the color can be easily extracted by boiling.
Many dyes produce yellow or brown tones, but they can also be used with familiar plants.
The color changes depending on the time of year and part of the plant it is harvested.
There are reference books on the shelves in the atelier, so you can dye while imagining the color you want.
In addition, by using a mordant to fix the dye to the fibers, the color can last longer or the color can be changed.

We always have 60L of Indian indigo liquid on hand, so we can dye at any time throughout the year.
It dyes cotton and linen well, so it is perfect for dip dyeing experiences such as tie-dyeing.
This dip dyeing method only dyes silk and wool lightly.
In the atelier class, you can dye 500g of fabric in about an hour and a half.

Indigo dyeing is usually done by immersion dyeing, but it can also be done by using concentrated precipitated indigo made from indigo.
Indigo can also be used for brush dyeing and stenciling.
It can also be used in combination with persimmon tannins and red iron oxide.

You can experience fresh leaf dyeing by growing indigo from seeds and preparing fresh leaves from July to October.
Normal indigo dye works well on cotton, but fresh leaf dyeing barely dyes cotton or wool, and can be used to dye silk lightly.
(You can also dye cotton with dried leaves by using hydrolases.)

You can make it by crushing bitter persimmons that have been harvested around the time of Obon, but you can also buy concentrated, odorless persimmon juice on the market.
In that case, you can dilute the original liquid with water and use it in your favorite color.
It becomes a little hard when it dries, so it is suitable for cotton or linen materials. It can be dyed in a variety of ways, including dip dyeing and brush painting.
After applying the persimmon juice, it needs to be exposed to plenty of sunlight to develop the color, so it is best to use it from early spring to summer, when ultraviolet rays are strong.
The color can also be changed by using iron mordant.

Dyeing often uses dyes that dissolve in water, but red iron oxide is a pigment.
Red iron oxide is an iron oxide pigment, which is a brown pigment. Recently, red iron oxide in a variety of colors, such as black and red, has been sold.
Because it is a pigment, it does not adhere well to fibers and requires an auxiliary agent.
In addition, with repeated washing, the color gradually fades and becomes a whitish color, making it suitable for vegetable-based materials such as cotton and linen.

Instead of having to go through the process of aligning the warp threads to the same length and get the required number, you can use a table to put the warp threads directly onto the loom.
Depending on the thickness of the thread and your experience, you can weave up to about 2m in a day.
As this is a simple loom, the finished product will be a little loose, but you can make anything from coasters to scarves, and for larger pieces, you can make clothes in several batches.
The scope of your production can be expanded by changing the color of the thread or experimenting with the weft thread.

You can also make your own portable loom using woodworking tools and other craft tools.
Primitive looms use several horizontal bars with the width of the waist stretched between them and weave with a heddles.
Also, card weaving, in which four holes are made in a card and the warp threads are passed through each hole, and the required number of cards (from 12) are prepared for weaving, makes it easy to weave patterns.

Applying soapy water to the wool and rubbing it encourages it to feel, allowing you to create a variety of shapes, from flat to three-dimensional.
It can also be entangled with cloth, not just wool, to create a variety of textures.
Felting is a painstaking process, but it is possible to simplify the process by using compression bags, for example.

You can create 3D felt by using a special needle with a groove at the tip to felt the wool.
You can press the wool slightly to give it the shape you want, then repeatedly insert and remove it vertically to create felt.
You can also use it to repair felt.

We are lending out Ashford's standard spinning wheels.
Place the bobbin on the spinning wheel, adjust it, and thread the end of the material you want to spin onto the thread. While stepping on the pedal at a constant speed, you twist the thread and then pull it back to adjust the thickness and continue twisting.
It takes some getting used to, as you will be using both your hands and feet at the same time, but why not try making your own fun original thread?

By attaching a weight to a stick and spinning it, you can twist the fibers and spin thread.
You can make weights from cardboard or wood. With a spindle-shaped spindle, you can spin thick thread with a heavy spindle and thin thread with a light spindle.
Once you get the hang of it, you can start easily with simple tools, even if you only need a small amount.

You can develop and print film.
However, due to temperature control of the developing solution, etc., only black and white is available.
In recent years, with the rise of digital cameras, many film manufacturers have stopped production, and at the same time, the number of places where you can develop film has decreased.
Why not experience the excitement of not knowing what will be in the picture until it is developed by developing and printing it yourself?

You can make your own pinhole camera from an empty box or can.
The museum also has about 40 pinhole cameras made from empty boxes and cans, so you can just enjoy taking pictures and developing them.
A pinhole camera can be made by painting the inside of a box black, drilling a 0.3 mm hole, and making it possible to attach photographic paper.
You can enjoy changes depending on the depth and shape of the box.
However, this is subject to the weather.

A photogram is a type of photo that involves placing various objects such as leaves or rulers on photographic paper (paper that has already been coated with a solvent that turns black when exposed to light) and shining light on it from above, causing the shapes of the objects placed on the paper to appear white and the areas where the light hits to appear black.
You can enjoy the monochrome composition of the photographed objects.

Using cyanotype (blueprint) solvent, you can enjoy making photograms with Ohisama photography.
After applying the solvent to paper or cloth and letting it dry, you can place various objects on top of it and expose it to the sun to capture the images of the objects placed on top.
Then, you can easily take blue-colored photographs by rinsing with water.
You can easily experience photography without using a darkroom.