Light Show is drying

Here they are! This makes it look like there are a lot of them. I guess there are; there are more than can be seen in one of these views 😉

I made 19 on Echizen Kozo, three on practice paper, and 3 on the Kizuki Hosho I recently got from Kitaro paper. The Kitaro paper is a little more off-white; one of the sheets is the lower-right-most in the right-side image below.

After drying a little in open air, they will be pressed between mat boards to finish drying flat. Then I will take a serious look. I’m hopeful that once they are dry the Echizen Kozo will be a little tougher than when it was damp.

If you are wondering what’s on the far wall…

“Light Show” reprint

As my tease from the last post might have suggested, I’m reprinting the fireflies. I’ve got my colors lined up:

… and I’ve done some repairs on the blocks. One of the hazards of Shina Plywood is that the top ply is pretty thin, and has a tendency to slough off, especially if you try to make a thin line across the grain.

Luckily, the thickness of this top ply is about the same as some micro-lumber I happened to have lying around. I was able to glue it down with waterproof glue for an almost seamless repair. In the left image, you see a repair I printed with — but while printing, another piece came off!!! *sigh*. On the right, a repair I hadn’t trimmed yet. It needs to be trimmed down to match the line, and also there are some areas where I need deepen the trough so I don’t get unwanted pigment spots.

In other stories of printing woes, the beginning of the end:

The takenogawa (“skin of bamboo”) doesn’t last forever. This one is on a murasaki baren I purchased in July last year. I’ve been good about rotating the cover, and using camelia oil, but it’s developing holes. It’s hanging in for the time being, but eventually I will have to bite the bullet and learn how to re-cover it.

I will leave you with another pleasantly embossed image, and evidence of further progress!

Fireflies have flown

The fireflies are done and are now winging their way to Tokyo. It was hard to part ways with them, but I hope they will find good homes. I ended up with 12 good prints on the good paper; here they are:

I have more prints on the machine-made paper, but I am not sure what I am going to do with them. I told @the_ungawa that I would post a comparison:

The nice, handmade paper from Iwano san is on the left, and the Shin Torinoko is on the right. The tone of the right-side paper itself is cooler, and this shows in the print. As impressions stacked up, it seemed like the machine-made paper was a little more reluctant to accept the pigment. (I did use a lot of paste, especially in early impressions, trying to achieve a smooth texture. Maybe I could have gotten away with less paste early on to keep the paper from “filling up.”) It’s actually pretty hard to tell with my less-than-stellar photography but the version on the left is warmer and more luminous.

The back side of the print is kind of interesting. Lots of lines are visible in the handmade paper below, but the impressions are much less visible on the Shin Torinoko.

It took me 2 weeks for this run. I wasn’t able to print every day because of work, travel and evening duties. 10 blocks, 12 impressions total:

  1. Cadmium yellow pale (Cotman) 2019-05-27
  2. Quinacridone gold (Turner) 2019-05-29
  3. Olive green (Windsor Newton) & phthalo yellow green (Grumbacher Academy), 3:1 – 2019-05-30
  4. Hooker’s green 2019-05-31
  5. Phthalo green and Payne’s gray, 1:2 – 2019-06-01
  6. Phthalo turquoise and Payne’s gray, 1:4 – 2019-06-02
  7. Phthalo turquoise and indanthrene blue, 1:1? – 2019-06-02
  8. Indanthrene blue 2019-06-03
  9. Indanthrene blue 2019-06-05 to darken impression #8
  10. Phthalo blue red shade 2019-06-06
  11. Phthalo blue red shade + Magenta + sumi 2019-06-09 to adjust color and darken impression 10
  12. Sumi (dilute) 2019-06-10 for the key block.

Fireflies and cherry

Yesterday I started printing the next run of the fireflies. I’m doing 20 total, 6 on shin torinoko more or less as practice prints, and 14 on the nice paper made by Iwano san for Mokuhankan. I really wish there was more of the latter; I feel like I’ve barely warmed up and I’m done, time to move on to the next impression.

Still, it takes me about 2 hours to do 20 at this stage, and my arm is sore today. The first block is solid yellow, and it is a pretty big expanse to cover with solid, even pressure. I think they are looking pretty smooth, if I do say so myself:

No time this evening after scheduled activities for more printing. Instead, I have cherry woodblock news.

My first relief printing used materials other than cherry. Linoleum, some random plywood, even lacquered particle board. The early water-based pigment prints used shina plywood. It carves easily, but is kind of spongy and is hard to carve fine detail into. Or, you can carve it, but it might well slough off and make you sad. Also, I hear from people who make more than a few tens of prints, shina wears out.

Japanese mountain cherry is one of the few preferred woods for carving wood blocks in the Japanese printmaking tradition. I got a chance to use it for the heron print. It’s hard, but not difficult to carve. It’s easy to do what you intend, carving cherry. Bad things seem to happen less often. Plus, it is very durable, and tens of thousands of impressions can be made with a block carved into cherry. So, I have been looking for ways to get more of this good wood, or wood like it, to carve blocks with.

This weekend, when I dropped off some kitchen knives to @irontoadamant (https://www.irontoadamant.com) for sharpening, I also got a double sided cherry faced woodblock. He doesn’t have a lot of these available yet, but is working on making them more widely available. It’s a very pretty piece of wood –

Both faces are hand-planed (with tricksy Japanese planes!) and quite smooth and flat. My fingers can’t feel any changes over the small places where there is some discoloration. The top layer is good thick cherry, more or less rift-sawn but shallowly, and if I were to guess the center is nice flat baltic birch. It’s pretty big – 7.25 x 8.5 “.

Attempting to be able to take matters into my own hands last week, I had ordered some cherry thin lumber from Ocooch Hardwoods. It arrived today. I gave them some special instructions: The harder, the better, and flat-sawn is best (I heard from Dave Bull at Mokuhankan that flat-sawn wood is better for woodblocks). Here’s todays’ shipment guarded by the shop supervisor.

Each is 6″ x 24″ and 1/4″ thick, pretty much on the nose. Looks fairly flat-sawn to me. No warping or cupping. Any hardness assessment will have to wait until I formulate a plan, laminate some blocks to the planned dimensions, and commence carving! Who knows when such a plan will form.