Here’s the paper I will use for the current print. I’ve got 25 pieces of Kitaro’s Kizuki, and 5 pieces of a few other kinds I had lying around that I will use for testing. Because this is a really small print, I picked a sheet of the Kizuki that was on the thin side. It’s a completely handmade product, and there’s actually noticeable variation in the thickness.
I’m applying a small dot of clear nail polish to one corner – the corner that will be inserted into the corner kento (registration notch) – of each piece of paper. This is a trick I learned from the printers at Mokuhankan. For a simple print with only one or two impressions it wouldn’t be that important, but reinforcing this corner prevents it from wearing and changing shape with repeated impressions. That way it’s possible to get precise registration every time.
Here’s how the paper is placed when printing. I’m demonstrating with a block for a different print. First the corner is inserted into the corner notch on the right, then it’s placed against the little ledge on the bottom left, then laid flat on the block. It’s not necessary to reinforce the edge on the bottom left, but the corner can easily wear if it’s not strengthened!
I apologize for not posting much in the way of in-progress notes about this print. There are some things I’d like to talk about, and I might get to them eventually. But in the mean time, I’m done! Here are some shots of the prints drying.
This print run included 30 prints – 4 on Shin Torinoko as practice prints, 20 on Kitaro’s (https://www.washi-kitaro.com/) Kizuki, and 6 on the Shin Hosho I ordered from Matsumura-san. There’s some variation in thickness in each of these washi batches. One of the sheets from Kitaro was noticeably thicker than the others; this didn’t seem to affect the printing very much, though. The Shin Hosho sheet I used was thinner than any of the sheets I used for the Naoshima Coast print, and I really liked printing on it! It was easy to get a smooth, intense impression. You might remember I struggled with smooth impressions on the Naoshima print. I think if all the sheets had been like this one, printing would have been a piece of cake!
Here’s an example of the finished print, held so the embossing can be seen. This is one of the Shin Hosho sheets, but the Kizuki prints also turned out quite nicely; the paper color is a little creamier on those.
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.
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!
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.
3-way bokashi on the water (live dangerously!): Primary yellow, Holbein Opera, Holbein Prussian Blue. Used a big shoe brush. Sheds like a dog, but it’s a good way to get a big brush on the cheap. Block 2.
Holbein Opera bokashi on the sky, rim of the boat. Block 1.
Grumbacher Academy Payne’s Gray, round bokashi on water. Block 3. This one has the water sparkles cut out. Used the big shoe brush again; brush marks visible on most copies.
Grumbacher Payne’s gray: sky bokashi. Block 4. This one has the clouds cut out.
Grumbacher Payne’s gray on Block 5, which has the boat interior, the shade of the boat, the man, and the hills and their reflection.
Windsor Newton Indanthrene Blue: Block 3 (water sparkles)
Indanthrene bokashi on Block 4 (sky)
GB Payne’s Gray, round bokashi on water. Block 3 (water sparkles). This time I used two brushes rather than the big shoe brush, to try to smooth out the brush marks.
GB Payne’s Gray on Block 6. This one has the darkest shadows on the water, the shaded side of the boat with its gear and pilot, and the above-water parts of the hills. I omitted the hills.
GB Payne’s Gray roundish bokashi on the sky, block 4. Small hill was omitted.
GB Payne’s Gray bokashi on the small hill, block 4.
GB Payne’s Gray bokashi on the tall hills and their reflection (block 5)
GB Payne’s Gray again on block 6, darker in the corner (omitted hills).
I am hereby appointed the ambassador for Grumbacher Academy Payne’s Gray 🙂
I took only a couple of process shots. The first is after impression 3, and the second is after impression 4.
If I were to carve these blocks again, I would try to think of a way to avoid the hard line at the horizon. It’s not just a matter of merging blocks 1 and 2, because the strong yellow on the rim of the boat and the lamp and its reflection need to be independent of the water blocks. But probably dividing responsibilities among the blocks differently could yield a more harmonious horizon.