Decided to use acid-free paper instead of old newspapers. The real deal starts tomorrow!
Block 8 test – rock ripples, cliff shading. The next test round will be a little different, but I think all the elements are there.
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.
That’s actually the title of the heron print, not any mood I’m in from doing another round of prints! Poor heron, he would love a nice steak, but only has fish at hand. Too bad he wasn’t at the 4th of July gathering I attended recently!
So yes, I am now printing “Frustration” on A4 washi for the Awagami International Miniature Print Exhibition (http://miniprint.awagami.jp/index.html). I’ve thrown a variety of papers into this run, in addition to the Echizen Kozo I hope to submit on, some of them from the sample pack that the Awagami Factory sent to the first applicants to the show. Hakuho Select: This paper is super thick, and even with strong pressure still I can’t overcome the texture on the smooth side to get an even impression. Maybe if I was printing with a steamroller… Bamboo Select: Wow, every impression has resulted in a smooth color distribution. The fiber content is really non-traditional, though. Kozo Natural Select and Kozo Extra Thick Natural: It’s not clear whether these papers are sized. The info sheet in the sample pack lists sizing as 0, but they don’t really behave as unsized papers. They are really thin, and printing on the Kozo Natural Select is like printing on tissue paper! But it may actually yield a real print.
The other papers I’m using are my go-to Shin Torinoko machine made paper from McClain’s, and the aforementioned Echizen Kozo. The Echizen Kozo is a fluffy, luminous paper with a large capacity for pigment. Check out the nice embossing of the current state of the new heron print:
As you might recall, I carved the blocks for this print without registration marks, and used an outside kento. This time, because there is such a huge margin between the printed surface and paper edge, I’ve had to get creative with the registration jig:
One final update … I splurged and got a real baren!
I ordered it from Woodlike Matsumura (https://wx30.wadax.ne.jp/~woodlike-co-jp/zen4/) and it showed up in 4 days, despite the month lead time. It came from http://www.scn-net.ne.jp/~kikuhide according to included literature. So far, it has served me well. It seems more predictable and reliable than the last couple of cheaper baren I have used.
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:
- Cadmium yellow pale (Cotman) 2019-05-27
- Quinacridone gold (Turner) 2019-05-29
- Olive green (Windsor Newton) & phthalo yellow green (Grumbacher Academy), 3:1 – 2019-05-30
- Hooker’s green 2019-05-31
- Phthalo green and Payne’s gray, 1:2 – 2019-06-01
- Phthalo turquoise and Payne’s gray, 1:4 – 2019-06-02
- Phthalo turquoise and indanthrene blue, 1:1? – 2019-06-02
- Indanthrene blue 2019-06-03
- Indanthrene blue 2019-06-05 to darken impression #8
- Phthalo blue red shade 2019-06-06
- Phthalo blue red shade + Magenta + sumi 2019-06-09 to adjust color and darken impression 10
- Sumi (dilute) 2019-06-10 for the key block.
I’m done with the first series of prints! I started out with 14 on Shin Torinoko (sized, Manila linen and acid free pine pulp, machine made) and 9 on Echizen Kozo (sized, kozo with “a small % of acid free pulp”, handmade) and of course I had some attrition. Only one bone-headed move printing a sheet 180 degrees from the correct angle; some places where the paper contacted a part of the block that was too high; and a few “too crude” impressions with some movement or just too much pigment and goo. I think I have ended up with 10 + 6 prints I can be happy with (perhaps after cleaning up a few spots around the edge that I wish were not there). Aside from the bone-headedness, I can solve most of the errors by deepening my carving.
The Shin Torinoko held up much better under the pressure and friction of the baren than the Echizen Kozo did. I mostly didn’t use protecting sheets (baking parchment) until the end, because I have found that it’s easier to feel what is going on without them. Consequently there were places on the handmade paper that had a lot of wear.
The Shin Torinoko held up comparatively well. It is just as thick and cushy to print on, but I guess some are suspicious of its pulp content and fear it won’t last as long. Here is a square-on shot of both back-sides, handmade paper on the left:
So you probably want to see what the final prints look like. First, here are a few of the Shin Torinoko prints, followed by a set of their brothers on handmade, Echizen Kozo paper. I was aiming for uniformity, and I think the bottom row was more successful than the top.
…. and a few details:
The left is on the handmade paper, and the right is on the machine-made. Both reveal a problem in my printing: I printed the key block last, and I used some pretty serious pressure in the earliest impressions — like the first one, in yellow. See how the yellow intrudes on the bottom line of the steak, and interrupts the upper right corner? This is not because there is a flaw in the key block — it’s because the paper is soft and squishy, and the yellow compressed it so much that the key block can’t get a complete impression! There are signs of this on the left, too, in the unevenness of the outline of the leg, and in the intrusion of the deep blue green into the mostly vertical outline of the rightmost stone. I almost want to blame the paper — I feel like strong pressure is needed to get a smooth, complete impression, so maybe a paper that is less yielding would give a better result.
Here are the impressions, in order. There are 6 blocks total:
- Yellow Ochre (block 1)
- Permanent red deep (block 2)
- Emerald green (block 2)
- Dark gray 1 (dilute sumi) (block 3)
- Light gray (neutral tint) (block 4)
- Cobalt turquoise (block 5)
- Brown + sumi + a little permanent red on the waterline and the rocks immediately above and their reflection (block 5)
- Another round of dark gray (dilute sumi) on the handmade paper and some of the others, because they were too pale (block 3)
- Olive green (bokashi on the water, complete impression on vegetation) (block 2)
- Key block (block 6)
- Mystery pale brown bokashi on top and bottom (block 4)
I want to enter this print in the upcoming Awagami Mini Print 2019 Exhibition, so now I need to do it all again on A4 paper.
Here’s progress so far:
I’ve got a couple more impressions to do, then the key block.
Fish again? Sooooo boring….
I started working on this print during my recent trip to Japan. I was gifted a few small off-cuts of cherry-surfaced plywood from the folks at Mokuhankan (mokuhankan.com). These were only 2 3/8 inch by 7 inches, so I opted for a vertical design. Since the pieces are so small, I decided I would use the full surface, and would construct an outside kento – basically a jig to hold the blocks that incorporates registration marks. Using the full surface is sort of risky, because if the edge gets damaged, that affects the image, but I felt it was worth the risk since the dimensions were so small.
Here are the blocks as they were before I started much of the test printing.