Since 2010, he has specialized in Mokuhanga Japanese woodcut techniques, ranging from the most traditional to the most contemporary of approaches. Sebi Subirós also gives courses and monographic printmaking sessions at his own workshop and other venues like the EMA in Girona, the Rodriguez Amat Foundation in Garrigoles (Girona), Taller Antonio Saura in Fuendetodos (Zaragoza), the engraving studio of Marbella Museum of Spanish Contemporary Engravings, and other private studios in Barcelona and Valencia. From 2015 to 2018, his workshop was complemented by a gallery, Espai U, specializing in the exhibition of prints, visual poetry and artist’s books. In 2001, in parallel with his own workshop, he mounted an engraving workshop at Josep Niebla’s studio, working with the latter for two years on his prints. As well as making prints and providing technical advice to artists at the workshop, he also gives regular courses in Mokuhanga and silkscreen printing techniques. In 1996, Subirós founded his own workshop, Lupusgràfic Edicions, in the city of Girona, which he still manages. The workshop specializes in the edition of artist’s books and large engravings, working with other artists such as Oteiza, Moises Villelia, Joan Barbarà or Joan Brossa. During this period, he collaborated with artists like Antoni Tàpies, Victor Mira, Emil Schumacher, Rafa Forteza, Miquel Barceló, Jaume Plensa, and Riera i Aragó. Recommended by Emma (Marketing & Communications Manager): 'Water, light, and nature dance together in this delightful new work from Eva Pietzcker. In 1986, Sebi Subirós trained in printmaking at Tristan Barbarà Workshop in Figueres (Girona), where he went on to become part of the team, working as an engraver, printmaker and advisor for artists through to 1996. Medium: Moku Hanga woodcut Dimensions: 16 1/4 x 11 1/2 inches (Image/Sheet) Signature: Signed Artist details: German, 1966 Date finished: 2019/20 Edition: Numbered. Japanese printing: monochrome, colour, with shade variation.įor this workshop, no previous knowledge of printmaking techniques is needed.

Types of paper and preparing them for printing.

Tools: gouges, knives, barens, sharpening stones. Traditional materials, the workbench, lighting, printing table etc.

Critical observation of original 19th century Ukiyo-e from Lupusgràfic Edicions’ private collection.

The differences between Oriental and Western methods. At the same time, it is also one of the printmaking techniques that gives artists the most contact and control over the materials. This means that artists do not have to work with toxic materials and no major equipment is needed. No roller press or other press is needed to print the woodcuts as this can be done by hand with a baren. This technique stands out for its use of water-based inks, allowing for the creation of transparencies and shade variation. Japanese woodcut techniques underwent their peak period from the 16th to the 19th centuries, although now they are making a big comeback in both the East and West.

Moku hanga tools