I’m doing a residency at Karuizawa Mokuhanga School and trying some different carving and printing methods. First of all, it’s a wonderful opportunity to focus as much as I want on printmaking – which is turning out to be most of my waking hours! There are others here working, so it’s a great environment to concentrate. If I was at home with this much free time I would no doubt be organizing my sock collection or some other such passtime of questionable value 😉
Often I’ll use the computer to print out a cleaned-up, precise set of transfer sheets for the key block and/or color blocks, and paste them down as a carving guide. This time I traced the key lines directly onto the block.
This block is magnolia wood, something I’ve never carved on before. It’s softer than cherry, but is able to hold a pretty good line. I expect it would not last as long as a cherry block, but since I don’t publish thousands of any design, that’s not such a huge consideration. (I do wonder what will happen to it when I get it home to 50% humidity conditions in Texas!)
When starting with a key block, I usually print the key lines on laminated transfer sheets, as in the first photo below showing transfer sheets (hanshita) for Cedar Path. Gampi is affixed to a more sturdy backing sheet with repositionable spray adhesive, printed with the key block, then pasted down to transfer the lines for carving. This time I printed the transfer sheets directly onto washi – Awagami kozo extra light – and will paste those down directly. With fingers crossed!
Another change from my normal practice:
You’ll see the kento (registration marks) printed directly on the transfer sheets! This is because the transfer sheet is too light to place into registration marks on the color blocks.
Stay tuned for more experimental results!