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This small woodblock print serves as Danhieux's identifying image within the international mokuhanga community, where artists frequently circulate compact self-representations through online directories, exhibition catalogues, and conference materials. Avatar-format prints in the mokuhanga tradition are typically pulled from a single block or a limited block sequence, with the constrained dimensions encouraging economy of line and a reduced color palette. The water-based pigment and [washi](/glossary/washi) substrate allow even a small image to carry the soft edges and absorbed tonal qualities that distinguish mokuhanga from oil-based relief printing, where ink sits more sharply on the paper surface. Within Danhieux's wider practice — which engages the medium through IMC submissions and collaborative exchanges — a personal avatar print functions as both a working sample and a calling card, demonstrating registration accuracy and pigment handling at miniature scale. The form reflects the broader contemporary mokuhanga community's tendency to treat small editioned works as a connective tissue between printmakers across geographic distances.