They are drying now, and the paper for the real deal is in the freezer. Other responsibilities delayed the start of the print run, but it will happen soon!
Block 8 test – rock ripples, cliff shading. The next test round will be a little different, but I think all the elements are there.
It’s definitely Spring here. I have a Mexican Plum in front that is COMPLETELY covered in blooms.
They really aren’t any good to eat, sadly, but I think the birds like them.
I’ve finished carving the final, I hope, block for the rockpile print. It’s not quite done in this shot. Chisels are 1mm and 3mm, for scale.
More test printing soon, then hopefully can start printing in earnest this weekend! Stay tuned.
When I started working on the rockpile project, I wasn’t sure where the color would go, what blocks I would need, and so on. I drew and carved the key block, then thought about where the lightest colors would go and carved some color blocks for those, using transfer sheets printed from the key block to locate their edges. I started test-printing in earnest earlier this month, when I had blocks for light grayish, light bluish, green and reddish. First I tested some of the colors I though would be good to use, to see how they overlap and combine to make other hues. I kept notes and spots of color to document the saturation of the pigment I used to print.
After the initial testing, the results of which I showed in the last post, I decided to add some darker shading in some areas. Here are my transfer sheets:
Notice there is a thinner paper of the gampi type laminated on a thicker backing sheet. The lines were printed from the key block, then I marked and colored in the areas of the new blocks that are to remain. The blue is for water and sky shading; the yellow is to darken some areas of the rock, and the pink is for some even darker shadows on the rocks.
These transfer sheets get pasted UPSIDE DOWN on the new blocks using the same registration marks I’ll later use for printing, the thicker backing paper gets peeled off, and often part of the gampi gets peeled off along with it, leaving the face of the gampi with the lines and colors against the wood and visible through what’s left of the gampi. If it is still too thick, I can moisten it a little on one edge, and peel off another layer.
This block is one I’ve already test-printed from, but shows what the transferred gampi looks like after it’s pasted down and the excess is peeled off. It’s super-easy to see what to carve!
Here are my newest blocks after some test printing, and the two surviving test prints with their new shading.
I think it is starting to come together! I think I need a little more color on the trees on top of the hill, and more definition of the cliff face. I’ll see what I can do with my current blocks (there are 7!), but I might need to do more carving.
I’ve added another color, burnt sienna, to the two surviving test prints (there were three, but I made the boneheaded move of printing one upside down, of course) . Also the test on top has a bit of a turquoise bokashi that deserves its own block on the sky and water. I might have registration problems with the green; that is too be seen.
Next, I printed the key block lines in a light sumi on test #2.
Many of these lines are way too heavy, but this will let me see which I can trim down, which I can eliminate completely, and where I truly have registration issues. Progress!
It’s been awhile. I finished the Fall print, but not soon enough to send as a Fall card. We have a brand new year. And, I have made significant progress on a new print!
I finished carving the initial key block some time ago. There are lots of lines; it took awhile! Here is is before and after I cleaned off the transfer paper.
My hope for this print is that I can move in the direction of the subtlety and detail of some of the shin-hanga prints. This is an open question at this point! I think it is possible that many of the lines of this block may get replaced later by lines on other blocks, and so be carved away. (This is called “mudabori”, or “wasted carving.”)
Here’s an early test print showing the key block lines and a light shading block, printed using neutral tint.
Today I started trying out colors! I’m printing without the key block lines at first, to see which areas work well without them.
One more test print adding some green:
I have one more already-carved block that will add a reddish-brown color. Then I will think about what other blocks are needed, what needs to be trimmed, etc. This one will be long in the making, but I think it will be worth it!
I’m getting ready to print another round of “By Starlight,” this time on the excellent washi I received from my friends at Mokuhankan, for sale in their shop. When I printed the first batch, I didn’t take notes. So I did a small run on Shin Torinoko (machine made washi) to test out colors.
First I cleaned up the blocks. They were carved mostly with v-gouges and u-gouges, so were quite rough.
After the first few impressions, things are looking really saturated and bright:
I did my best to tame the saturated color with Payne’s Gray. Here is a comparison with one of the original prints, which is on the bottom.
There’s too much yellow in the center, I believe, and the water near the horizon is too green. The upper part of the sky and the lower part of the water look pretty good though! I will do another test before the official printing. But I am happy with how smooth I was able to get the printing in the test prints.
A few test prints!
This heron is pretty tired of having fish every day.
I’m actually printing the first few colors now, but will need to do some more testing of the final layers. The steak looks best in the one on the left, after I got rid of the line defining the front edge of the upper surface. The yellow is too saturated on the rightmost image and too light on the third; the water looks best on the second; and I like the like brown bokashi in the third image on the topmost and foreground rocks. The blue is required for the water but not working for the rock shadows in the foreground, at the water line and under the bridge. That’s the main experiment that needs to be done!