Although I originally imagined this print as done in monochrome – perhaps all in blue, in homage to the aizuri-e tradition – and even mocked it up in blue, I abandoned that plan pretty early in the test printing process.
Here’s the final palette I landed on. I used a fair amount of sumi in the last few impressions! Number 14 was the key lines; the 15th was a bokashi to deepen the shadows on the bushes ahead.
I waited until near the end to print the key lines. Here’s what the print looked like just before, with impression 13 (grayish violet) as the most recent:
After adding the key lines and the deeper shadows, and drying –
I’m now wondering if I can pull off a sunset image with the same blocks! Hmm… might need more/different shadows.
I’m sort of sad, because carving is my most favorite part! I’m all done with clearing the waste wood, and ready to start test printing – after I get rid of the remnants of the transfer sheets.
I’m trying to carve deeply where there are broad open areas, without carving too deeply in narrow areas, because that can trap paste and lead to blobs when printing. Apologies for the focus being a bit selective in the shots below, but this may give you an idea of how deeply I’ve carved.
I’m still not sure of the color scheme … I guess that will get figured out in the test prints! My original thought was monochrome-bluish, so I will begin that way and branch off as seems appropriate.
I’ll close with a Springtime picture. I must confess, this was last weekend, and the plum tree is pretty much done with its blooms by now and moving on into leafing out. There is still some Spring left though, and the bees are out in force!
Tada! There it is – two sides of the same hunk of wood.
Actually it did not take that much time to paste down all the transfers.
Those familiar with woodblock printing will notice a whole bunch of registration marks! 4 sets in the left picture, 3 sets on the right. So I’ll be doing MINIMUM 7 impressions (probably more), with ONE PIECE OF WOOD! I think I was able to place all of the pieces so that I have enough distance between color regions and registration marks to avoid unwanted pigment transfers.
In the right-hand image, the key lines are covered up by some copy paper that is taped on, to protect them while I am carving the color regions.
Two posts in one day! Making up for lost time, I suppose.
Here, I’ve got all my color block areas lined up. First, I am working on the sky, which takes up most of the left picture. If you look carefully, you will see the little area in the lower left is labeled “different block” – indeed, I need to preserve it, for use on another block. So before I pasted down the sky block sheet, I taped some plain paper on the sheet itself to mask the parts of the transfer I don’t want to mess up (middle picture). After pasting down, I used the knife to separate the part I want to preserve – and there we go, I have my little “different block” piece, unscathed, to paste down someplace else.
In the views above, the part lined by blue tape are the key lines. I have taped down a protective sheet that will stay there while I carve the color blocks.
Moving on to the other side of the wood! There are two flaws in the wood that I wanted to make sure to avoid. When planning out where the color block pieces would go, I used tracing paper to make sure they would fit on my wood. I used this piece again to verify that the placement I had planned would still be missing the flaws.
For the next transfer, I didn’t have anything I needed to preserve on the transfer sheet, but I wanted to avoid getting glue all over the block since other pieces will get pasted there.
I just taped some paper to the block so I would only get glue where it was needed. I was able to peel up the unneeded part of the transfer, with clean wood underneath.
That’s it for today! One note to end this post: we are moving into the warmer parts of the year, gradually, as evidenced by the Cat Thermometer 😉
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.
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:
It’s been awhile! I was derailed a bit by the deep freeze we suffered in mid-February. Here’s what it looked like before it got messed up. Really beautiful, but really cold without any heat!
I kept carving through it all, but got out of the habit of updating here. I’ll try to fill in the details!
In the last post, I was showing how I used a second kento (registration slot) to separate the line block for the little trees and background foliage from the light gray block for colors that will show on the road and rocks. Here’s what it looks like pasted down and part of it carved.
I need these little lines for some of the other color blocks! But I didn’t use them right away, and plowed ahead with other color block carving. Below, the rightmost block is for dark grey. The one on the left has two corner kentos (see the lower left), and will be used for two colors – a shadow greenish color for the ground, and a lighter greenish color for some foliage.
There’s more to catch up on, but I will leave that for another post.
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.
One of the things that makes me scratch my head for a long time is, how do I do the color separations for a complex print? I’ve taken various approaches, including just starting to carve color blocks and keep adding them until I’m happy at one extreme, and planning them all out from the start and just going with it at the other extreme. The print I am working on now is the most complex so far, and I am being careful. I’m striving to make the best use of the wood, since if I don’t avoid it, I could end up using dozens of blocks. I also expect there will be many revisions to my plans along the way. Here’s how I have approached it so far.
First of all, I made a mockup in a drawing program that attempts to approximate the print. I used the same scan that I used for the keyblock transfer and floated it transparently on top, then made layered vector objects underneath that so I could easily change the fill or transparency, add gradations, change the boundaries etc.
With this, I could make some hypotheses about what colors I would need and how they would combine. I can’t really explain how I did that though! Just experience mixing colors I guess. (To those who are trying this at home: Don’t be paralyzed! Guess-and-test will get you there. Emphasis on the test! 🙂 )
I made a list of the colors I thought would go on each area of the print, combining to make the colors I wanted to be there. Then I did the color testing I mentioned in the last post, overlaying regions of color with a brush to test out those hypotheses.
I made a table listing all the regions of the print as rows, with the pigment to be applied as columns. These are still just guess! Then I made a ton of printouts, and colored these with colored pencil to indicate the regions I thought would be color blocks. These sorts of steps help make sure that all of the regions of the print are considered, and that I don’t end up with a big white spot because I forgot to put color there.
I used these “coloring book pages” to figure out which color regions could be combined on the same piece of wood. Those two on the left can be clearly combined if I flip one of them 180 degrees, and if the wood is long enough and wide enough that the registration cuts don’t interfere.
From when I initially made that table, I changed plans about the outlines of the trees in the distance. Not only the farthest trees, but the two at mid-distance, need to have lighter outlines than the main key lines of the image. On the right-hand image above, the pencil sketch on the right shows that I can put both the light gray of the roadway and rocks, and the key lines of the mid-distance and distance trees on the same block, if I use different sets of registration marks. On the “coloring book page”, the lines that are over-lined in green will go on the block where the light green blobs are on the right half of the shot; the gray of the road and rocks will go at the bottom. The white circles on the very right show the placement of the registration cuts – two corner cuts near the bottom, and straight cuts on the upper right.
I also decided I needed more subtle control over the fill and shading of the trees in the distance. That’s why I isolated each individual background tree twice on this last block. By placing the top two registration marks circled in orange, I can print the small tree where the upper yellow circle is; with the lower two orange-circled registration marks, the larger tree will print where the large yellow circle is. Flip that block around, and I can do the same thing again to print some shading for these trees where the green highlights are. The trick is to position the registration cuts so they won’t interfere with regions that will print.
In all, I think I can get away with 8 more blocks for the basic structure of this print; then I’ll need about three more for the special shadows that reveal the sunbeams.