Neumann was the son of the artist and teacher, Emil Neumann, and while his brother, Ernst, had gone down to Munich to study at the Academy, Hans had remained in Berlin to study under his father. It was by way of Ernest that he came to know Eckmann. Although Pan had used both etching and lithography as well as some colour woodcut to illustrate the magazine, Eckmann encouraged both brothers to make use of woodcut. 'Concentrate on woodcuts,' he told Hans in 1901. 'The woodcut technique... is forcing you to concentrate on the essentials.' ... It was good advice. Eckmann could see that Neumann was simplifying the technique in a modern radical way. Eckmann took a broad approach but made heavier use of Japanese art, including the keyblock used by the ukiyo-e printmakers. From the start, Neumann used the keyblock with caution and very often not at all, as you can see from his borzoi.