Heron Maid

Works Cited

Barbara Korbel, and Janice Katz. “Binding Beauty: Conserving a Collection of Japanese Printed Books.” Art Institute of Chicago Museum Studies, vol. 31, no. 2, 2005, pp. 16–105. JSTOR, JSTOR, www.jstor.org/stable/4104454.

Breede, Manfred, and Jason Lisi. "The Accordion Book." International Journal of the Book 4.1 (2007).

Chiappa, J. Noel. The Production of Japanese Woodblock Prints. MIT, http://mercury.lcs.mit.edu/~jnc/prints/process.html.

Chiba, Reiko. The Making of a Japanese Print: Harunobu's "Heron Maid". Charles E. Tuttle Company, 1960.

Department of Asian Art. “Art of the Pleasure Quarters and the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/plea/hd_plea.htm (October 2004)

Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)

Pang, Mae Anna. “Japanese Woodblock Prints: a Mass Medium.” National Gallery of Victoria, www.ngv.vic.gov.au/essay/japanese-woodblock-prints-a-mass-medium/.

Twyman, Michael, et al. “What Is Printing?” The Broadview Reader in Book History. Broadview Press, 2014. 37-44.

Bull, David. “Encyclopedia of Woodblock Printmaking.” Encyclopedia of Woodblock, www.woodblock.com/encyclopedia/entries/011_07/011_07.html.


This edition of The Making of a Japanese Print is not the original copy as indicated by the two publishing dates in the preface. Since it was originally published between 1923 and 1978, the copyright law protects this work from being released in the public domain for 95 years from the date of publication. Accordingly, we could not publish all of the scanned images onto Omeka since it would conflict with the copyright law. We could, however, provide viewers with a preview that portrays the development of a colored drawing through woodblock printing. The Making of a Japanese Print captures ten images, with the last one being the completed illustration of Harunobu’s “Heron Maid.” By incorporating the drawings from the beginning, middle, and end and using Omeka’s map interface, we have created an interactive experience for the book that evokes an appreciation for the Japanese art that emerged during the Edo period and the process of coloring images through hand-carved blocks.

The digitized version of the book, however, fails to capture the accordion binding and makes it difficult for viewers to distinguish the variation in color as it limits their view to one illustration rather than portraying the recto and verso of each opening side by side. Whereas a physical encounter with the book allows readers to feel the texture of these imprints and add to their knowledge of woodblock printing, the digitized format certainly leaves them dependent on a magnifying glass to take a closer look. Although this remediation hinders the ability of readers to analyze crucial evidence, it also sets forth a distinctive learning experience through the functionalities Omeka has to offer. Nevertheless, these digital and copyright restrictions did not limit our creativity in conveying the essence of the content online.