In the last post, I talked about removing the leaves that should be sunlit from the base color block, so that I could use it for a blue sky without having the sunlit leaves go dull. I decided also to remove the trunks and limbs of the trees from that block, so I could have more control over their final color. Here’s the plan:
Wow, gluing this transfer down onto an already carved block was a bit of a mess. Glue collected in the depressions and refused to spread where I wanted it. I ended up with a really rough paste job and no good peel at all, as you see on the left. But the registration seems to be good at least – it is lining up with the previously carved areas!
The one on the right is after the new areas have been carved and cleared. I had to be very thorough in washing it, and in scraping out the excess transfer glue with a toothpick.
Next, I’ll need to verify the registration of the new carving, but after that NO EXCUSES, time to start printing on real paper.
Well, I am on round 3 of test printing for the forest rays. I’ll mention a few highlights here.
I got the shadow blocks carved! Here they are, still with the hanshita remnants, and after cleaning them off below.
And I tested those shadows!
There were more test prints; above I show one example of the first two testing rounds. In the first, I used a creamy yellow as the base color for almost all but the road. This worked out well for the ground and the foreground leaves that are caught in sunlight, but the yellow as sky just doesn’t work. In the second, I used a blue base color, but I think that didn’t work out as well for the ground.
Next attempt involved using a couple of gradients on the base color; the left-hand image is early in the test printing process after using a creamy yellow gradient up, and a blue gradient down, plus the light gray on the road and rocks. The righthand image has all the impressions except for the key lines, going at top speed and not trying particularly hard to get an even impression – just trying to quickly get an understanding of how this approach might affect the final colors.
I like the way I was able to recapture some of the intensity and tonal variation in the ground while keeping the blue sky, but the sunlit leaves on the left really suffer. I think I will need to alter the base color block to carve away the sunlit leaves. Alternatively, or maybe in addition, I might isolate the bright green leaves on their own block (they are currently part of the next under-layer) so I can intensify them without affecting the rest.
Now that Floating (to the left!) is done, it’s time to get back to what I was working on before. My idea was for a path through trees, dappled with light, with sunbeams filtering through the leaves. I wasn’t sure how to accomplish the sunbeams, so in a sense, the work on Floating let me test out an idea. I think it turned out as I expected, so It’s given me the courage to move ahead!
I haven’t posted this snapshot yet because it’s really sloppy, but this is about as far as I got with test printing. Mainly the aim was to test out some colors to see what works. I will probably make some more test prints; I think the bluish green is too blue, and I have since removed the hard line between the ground and the background foliage from the key block, hoping to make that a mistier transition.
It seems like a pretty complicated project so far. Here’s the stack of blocks; one is empty on the back so that’s 9 faces, and I think the test prints have about 15 impressions looking back on my notes.
I’ll give a sense of sunbeams by overlaying shadows that intersect and darken.
Originally, I thought the shadow blocks would be really straighforward, without much detail, and had planned to carve them on shina plywood. However, after making the transfer sheets and seeing the size and shape of some of the areas that need to be preserved, it’s pretty obvious they need to go on cherry. So, today I will make one more block! Because that one little bit of shadow on the upper left goes all the way to the top, neither one will fit on the blank face I’ve got — it’s a tiny bit too short.
This one is done! 13 impressions, 7 blocks. I’ll let it dry between blotter-boards for a couple of days, then it’s off to Awagami! Also I’ll put it in the store once I trim and tidy them (there are a couple of spots I need to clean up.)
It’s so much more pleasant to print on quality washi! This time I am using the Kizuki from Kitaro. I’m 4 impressions in at this point; here’s what the print looks like after 3. I did two impressions of the yellow to build the color and get a smoother tone.
Here’s the latest block set, hot off the carving bench!
It’s a bit of a departure. No key block, and carved on shina! I’m working on a quick print on A4 paper, for the Awagami International Miniature Print Exhibition. The print needs to be in Japan by July 31, and given how unpredictable mail can be these days, I think I need to allow a month for shipping. There’s NO WAY I can have the complicated Forest Rays print done, and besides, it won’t fit on A4. Hence, a temporary diversion.
Shina is quick to carve, and I had a ton of it laying around so I didn’t have to make new blocks. But shina has definite downsides. I’ve had the top ply come off of thin lines before. This piece was part of a fairly large area, so I am surprised it peeled off. I’m just glad I noticed, and saved the piece! I’ll be able to glue it down when the wood is dry.
When I made the plan for how to put the colors on the blocks, it seemed obvious that by rotating one of these 180 degrees, I could fit both of them on the same block:
It turns out it was not that straightforward! When I lined the two transfers up with a light board, to make sure they would both fit on the block without interfering with each other’s registration marks, I ended up with this situation. If I place one of the transfers at the position of the normal corner registration mark (red circle, upper left), the registration corner of the OTHER transfer sheet is hanging out in space (green circle, lower right). So without special provisions, I can’t fit them onto the same piece of cherry.
You can already see the solution (or part of it) in the image above. By gluing the cherry to a larger piece of plywood, and using small pieces of cherry strategically placed, I’m able to move the registration cuts out to locations that will let me place both colors on the same block: