Hi folks, as far as Obata goes, I imagine you are speaking of Chiura Obata. I have not seen many of his prints, mostly paintings.
My mother studied with him at UC Berkely many years ago. My sumi-e teacher sensei Koho Yamamoto also studied with him, though
not in such a nice situation - in the WWII Japanese detention camps. He did some wonderful paintings, and I had the pleasure of
seeing a videotape of him painting - he was so fluid with the brush.
And as for Akua inks,
Barbara, I have worked with the inks w/woodblock using the Japanese method of brushing onto the block and hand-printing on dampened paper.
Working in this method, the colors will layer over each other quite well, as the inks are not being applied in a thick way, plus with this
method of printing it is more like dying the paper, rather than the ink just sitting on top of the paper. applying the ink with a brayer would achieve
a different result, I'm sure.
happy printing,
Sarah
While we are sort-of on the topic, let me put a plug in for waterbased Createx pure pigments, which mix up well with either rice paste or monoprint medium for brushing on the woodblock. They are so much more intense than anything you can get by mixing dry pigments and water that it is astonishing. It's like when Technicolor arrived in the movies. Wow what a difference. Well, I guess some people like the more subdued natural old fashioned pigments too. But if you are wondering, how the heck did so and so get those strong primary colors on their plate, that's how.
Jean Womack