Panel 1

About Us

About Tanuki Prints

“We take great pride in what we do.”

Tanuki prints are printed in the same centuries’ old tradition of the Japanese ukiyo-e period such as Hiroshige’s “Sudden Shower Over Ohashi Bridge”, 1857 (right).

Japanese-style woodblock or mokuhanga is a labor-intensive high-touch process that involves using multiple woodblocks to hand-print water-based inks. Learning the skill takes decades of practice to create quality results. These prints use the best materials available and will last for generations.

Please scroll down for a ‘nutshell’ version of the woodblock printing process.

So, what the heck is a ‘Tanuki’?

left: A real Tanuki- ain’t he cute?

right: Our beloved Tanuki statue
Woodblock print designed by Utagawa Kuniyoshi in 1842 depicting how Tanuki unorthodoxically catches a goose dinner

Tanukis are often called a Japanese “raccoons” or “badgers” even though they are more closely related to dogs and foxes. The mythological tanuki has many special powers and is considered a potent good luck symbol. In folklore, tanukis were shape-shifters whose disproportionately large testicles had magical powers. You often see statues of tanuki-san holding a sake gourd in front of bars beckoning passersby to join him in a drink. For everything you ever (or never) wanted to know about tanuki, go here.

The Tanuki Team

John Amoss, proprietor, is a Professor of Printmaking at the University of North Georgia. His prints have been exhibited in North America, Europe, Asia, and Africa.

Teaching woodblock

Woodblock printmaking is a passion for John- he has served as a guest print maker in Tokyo, has won several awards for his work and is in several museum collections around the world. John is married and has two sons. He is also a member of the band, The Hobohemiansenjoys long-distance backpacking and is an Appalachian Trail thru-hiker, 1980.

34Slogo  34&S, LLC. is an Athens, GA-based promotions and marketing company for artists.

You will hear more from them soon!

Panel 2

The Process in a Nutshell

The Traditional Japanese-style Woodblock Printing Process

(1) 0:00>0:17- Applying ink and paste the the carved woodblock
(2) 0:18>0:23-Positioning the paper in registration marks (kento)
(3) 0:27>0:45- Using a baren to apply pressure to make the impression.
Repeat this process 32,000 times for the Appalachian Trail Series!


It Starts With Preparations

< There are many preparations that need to be made for woodblock printing (moku hanga)- here printing brushes  (maru bake) are being softened using a shark skin in the traditional manner.

> A variety of natural dry pigments are mulled with water to make environmentally-friendly inks. Home-made pure pigment inks results in the most saturated colors.

< Starch paste is prepared. Paste (nori) is used in varying degrees along with the ink as a way to keep pigment particles in suspension resulting in smooth printing.

> Recovering the hand-made printing pads (baren) with new bamboo skins.

< A variety of woodblock carving tools need to be sharpened on a waterstone.


< An initial drawing/design is created (in this case for the Appalachian Trail Series design “Vermont”) using a dry erase board which allows for easy drawing and erasing.

> A photo of the drawing is then taken, flipped horizontally, and printed out. The image is inked by hand and scanned.

< Color separations are created using the computer. This process helps to decide which colors are to be used and how many blocks are to be carved.

Preparation of Woodblocks

> One quarter-inch thick cherry wood facing is laminated onto blocks using waterproof glue. It requires on the average 11 blocks per design.

< The laminated cherry blocks are planed, then sanded four times using a variety of grits, next they are wet-sanded to raise the wood grain, dry-sanded, then buffed smooth.

> Each block is carved using both hand and mechanical processes. Most prints average 20 colors each- one block can be used for more than one color.

Printing Prep

< Sized (coated with dosa, or glue) hand-made mulberry paper (washi) from Japan is cut to size along the paper grain.

> The paper is brushed with water and kept damp during the printing process- this allows the pigment to be better absorbed by the paper.

< Print like crazy and then dry the prints.

Binding (for print series)

> Hand-made paper and fabric are combined to serve as a protection. The bound presentation case allows the 8″ x 10″ prints to be easily removed for display and framed in standard-sized frames.