I had planned to print last night, applying maybe the last impression – the dark lines with sumi – on the fireflies, but when I looked at the block, I saw that some lines were missing. Blasted shina plywood again! You can see pretty clearly below that I filled in some places where the top ply went missing. Before printing, I’ll need to let the glue cure and then trim the patches to match the lines they are patching.
I’ve learned before that I need to let the glue cure really well before trying to use a block I’ve repaired this way. The next time I’ll have a chunk of time for printing is Thursday. There are 25 sheets in my stack – 19 of them on the Echizen Kozo – and it has been taking me about 3 hours to get through the stack, clean up my tools, and get the paper packed for the freezer, and I have that kind of time only 4 days a week.
I hope everyone is staying safe out there, and thanks for reading!
Check out that nice embossing! But I’m getting way ahead of myself 😉
The 直島海岸 (Naoshima coast) print was finished awhile back. Here are some in-process images.
This paper was pretty difficult to work with because it is thick and rather rough. I have a lot of it; I will have to figure out how to make it work. On the plus side, it is really tough and stands up well to multiple impressions with vigorous baren work. And it is 100% kozo, and came to me sized. I should not be complaining! Next time I will try starting with a lot more water on the paper.
Here’s the array of pigments I’ll be using. All but the perylene violet on the right were used on the test prints. I decided to add some to burnt sienna, which made it more red (dish at the bottom in the second shot), for a bokashi on the red block that can be seen in the most recent impression, which is shown below.
I’ve finished 8 impressions so far. Two for the key block, one for the lightest shading, two for blue, two for the reddish and orangish hues in the dishes above, and one for shading under the trees on the far shore.
The paper I am using is “Shin Hosho” from Woodlike Matsumura. 100% mulberry. It has a darker, off-white tone than the “Shin Torinoko” I am using for testing. I found I needed to use a darker hue for the first, cream-color shading block. I hope I didn’t’ go too dark too soon! The washi is on the bottom here:
Below are example prints after the 7th and after the 8th impression. I am finding it very difficult to get a nice smooth color on this paper. The color blocks are laying down a sort of granular texture despite plenty of paste and a firm baren.
I started the real run of prints on mulberry paper! I printed the entire key block first in light Payne’s gray, but wanted to darken the border and the lines on the rocks.
I think I’ve mentioned that the rock pile print might call for ‘mudabori’, or wasted carving. This is a technique where key lines are originally carved, then transferred to another block where they are carved to be printed in another color, and the original lines are carved away. It turns out I only removed a few of the lines from the lightest parts of the rocks in the foreground that will be taken care of by a block I will print in a light blue. But I did try one weird trick 🙂
Here’s what I did: I cut a piece of card stock, and used it as a mask.
Then, I did a second print run using a light sepia. To succeed, I needed to match the registration of the first impression exactly. I am pretty happy with the result! I only messed up the registration on one sheet of test paper.
Here’s one of the resulting washi sheets. Sorry about the low light, but you can probably see that the border and the rocks have lines darkened by the sepia, while the trees and distant shore still have fairly light lines.