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MokulitoPrinting Lithograph

Lithographis a process that has been used to create paints by using stones thatare attractive to the eye. Researchers saw the need to go an extramile and try the process of lithograph on wood and this turned out tobe successful and named it mokulito (Bewick, &amp Martel, 2009).However, there is still a need to experiment this technique on allkinds of woods (Wood, 2009).

Woodssuch as Red gum, white gum, Tasmanian oak Sassafras’s and Blackwood remain untested in the process of Mokulito, therefore, there isa need to perform this technique on these woods. Given the fact thatthese woods are readily available in my immediate environment, I canproduce high quality prints using them and make sales in the localmarket to boost my economic situation. The University can benefit ona project like this by being the first institution to document andshowcase prints that are going to be produced by these woods.Consequently, the total cost of printing using such woods woulddecrease, and this will increase the profit margin of the artist.This reduction in prices will trickle down to the consumer because ofthe reduction in production costs. Before commencing the process ofmokulito, it was important to observe the basic rules of mokulito.These rules of mokulito include

  • The drawing, processing, and printing of the plate must be done within a few days.

  • After the processing is done, the printing should commence without any delay.

Thewoods being tested were all prepared into plywood’s after whichthey were sandpapered. Sandpapering the surfaces of the preparedplywood was to make them soft and eliminate the oil that is on thesurface of a freshly prepared plywood. When the surface of theplywoods were smooth and flat to the highest degree possible, drawingwere made on the surface using materials that were purely oil-based.It was important to observe that at no given point, was the oil-basedpaint able to accumulate on one surface so as to produce a flawlessproduct.

Aftercompleting the drawing process, the plate was then talced just as itis normally done on those wood that have been experimented on theearlier experiments (Colich, 2014). The plates were then sponged ongum Arabic, after which it was allowed to dry over ten hours atmaximum. Afterwards, the gums were washed off from all the platesthat were prepared using cold water.

Duringthe printing process, etching ink was the substance that was used.The etching ink that was used was extremely loose to allow it to runfreely on the applied surface. It was applied in large quantities toallow it to flow freely. For maximum results to be achieved, it wasapplied to the plate using a foam roller. Furthermore, to have variedpaints as the end product of this process, I used markers that wereof different colors. The inking process is done up to a point wherethe whole block is completely filled with the ink.

Employinga pressure system that resembles a wooden block the printing wascarried out using the process of press etching (Bakshi, 2006). Thefirst print turned out to be faulty because some of the ink usedmanaged to settle on the grain. After the printing process, anothercolor was applied on top of the previously applied color.

Fromthe result obtained, the conclusion made was that mokulito printingon woods like Red gum, white gum, Tasmanian oak Sassafras’s andBlack wood produced the same prints as those on other woods.


Bakshi,V. (2006).&nbspEUVsources for lithography.Bellingham, Wash, SPIE.

Bewick,T., &amp Martel, Y. (2009).&nbspAgeneral history of quadrupeds: the figures engraved on wood.Chicago, University of Chicago Press.

Bridgewater,A., &amp Bridgewater, G. (2012).&nbspPrintingwith wood blocks, stencils &amp engravings.Newton Abbot, David &amp Charles.

Colich,A. (2014).&nbspWood.

Wood,P. (2009).&nbspScientificillustration: a guide to biological, zoological, and medicalrendering techniques, design, printing, and display.New York, Van Nostrand Reinhold Co.