I’ve planned some shadows for the foliage. While I was at it, I also planned some for the branches too! Here are the transfer sheets –
Carving on these new shadow blocks is all finished at this point. On the way, I encountered a little mistake, circled in orange in the upper left image below. The missing bit of wood is long gone, sadly – if I still had it, I might try to glue it on with waterproof glue, even though it is a really tiny piece. I decided to try this time to make a non-janky, properly installed repair. It is still a tiny tiny piece of wood! I cut a sliver of cherry about as wide as the missing part, then chopped it to be about 1/4″ long. I used my knife to hollow out a similarly-shaped hole in the block to hold it.
Just above on the left, it’s glued in, then on the right it’s been trimmed. It is not perfect, but I think it will work well to avoid a gap in the tree-shadows.
I’ve left the grass until the last; it’s kind of complicated with all the overlapping and intersecting lines. It’s just my luck that the gampi didn’t stick as strongly in this corner, so I am having to be very careful about dragging the knife.
Still, I am seeing the light at the end of the tunnel! Only a few more hours, then I can clear the large waste and try it out.
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.
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:
The light gray for the rocks and road is now outlined and somewhat cleared. I am trying to make good use of the whole block, so the big space at the top will also get used. That is why I have the two corner registration slots that you see on the right.
The key lines for the trees and foliage in the background will go into this spot.
By placing the transfer sheet in the second, upper corner kento (circled), I can have those lines far enough away from the light gray color block region to avoid interference while printing.
I’m now ready for the first test-printing of the key block for what I am calling “forest rays.”
This block took some time to carve! Carving is not my full-time job, and indeed I don’t think I spent more than 3 or 4 hours a day working on this block (and usually only an hour or so). I started on January 2, and now am (mostly!) done 3 weeks later. I say “mostly” because test printing will no doubt reveal that some adjustments are in order! Either I forgot to clear a spot, or there is a splinter sticking up, or I need to deepen some of the valleys because they are shallow enough to to let the paper touch, which would risk getting pigment in unwanted areas.
I included the “dramatic lighting” shot on the right to try to further illustrate how deep I’ve carved. The general rule is, the bigger the area of clear space, the deeper the valley needs to be. Paper won’t sag very deeply when the adjacent lines are close together.
Getting pretty close to finishing the first block! The picture doesn’t show it, but there are some large areas that still need to be cleared. After that, I’ll do some testing/tweaking, and finalize plans for the color blocks.