Now that Floating (to the left!) is done, it’s time to get back to what I was working on before. My idea was for a path through trees, dappled with light, with sunbeams filtering through the leaves. I wasn’t sure how to accomplish the sunbeams, so in a sense, the work on Floating let me test out an idea. I think it turned out as I expected, so It’s given me the courage to move ahead!
I haven’t posted this snapshot yet because it’s really sloppy, but this is about as far as I got with test printing. Mainly the aim was to test out some colors to see what works. I will probably make some more test prints; I think the bluish green is too blue, and I have since removed the hard line between the ground and the background foliage from the key block, hoping to make that a mistier transition.
It seems like a pretty complicated project so far. Here’s the stack of blocks; one is empty on the back so that’s 9 faces, and I think the test prints have about 15 impressions looking back on my notes.
I’ll give a sense of sunbeams by overlaying shadows that intersect and darken.
Originally, I thought the shadow blocks would be really straighforward, without much detail, and had planned to carve them on shina plywood. However, after making the transfer sheets and seeing the size and shape of some of the areas that need to be preserved, it’s pretty obvious they need to go on cherry. So, today I will make one more block! Because that one little bit of shadow on the upper left goes all the way to the top, neither one will fit on the blank face I’ve got — it’s a tiny bit too short.
It took me awhile – about a month! – to work out the design for my next print. Here’s a little cartoon preview; the final print probably won’t look anything like this, but I hope to capture the same (or better and more mystical!) mood. I’m satisfied enough, though, to move forward with drawing and cutting key lines.
The path was long – I started with a pencil sketch, then imported into a drawing program and did a few vector versions so I could test out color/shading variations, then traced a couple of times before being happy with the lines. Above is the finished line work, and how it appears after transferring to the block, plus the first day’s carving.
There are lots of lines here! Some of them are not going to be part of the key block, but will be saved as other transfer sheets that I will use later when I carve color blocks for regions that won’t have outlines, such as the areas of light and shadow on the path.
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.
Shipping is (was?) kind of slow because of the reduction in flights, but a few days ago I got a package of goodies from Mokuhankan! Three small prints, and a “cat bus” print party print, possibly printed by Dave (I saw him print some on his Twitch stream!)
(I feel lucky that my shipment was able to get here. It took a long time – like 3 weeks or so. Now Japan Post is not accepting any shipments to the USA, because there are no flights to put them on. This is a real hardship for businesses in Japan whose customers are mostly in other places.)
So what’s in the small packages? Here are the three prints with no wrapping or plastic in the way.
The detail and printing skill of these little prints is really impressive. Here are some closeups:
And check out the beautiful embossing on the heron! The official name for this technique is karazuri, or “empty printing.” I’m in awe of the fine lines and delicate detail of these prints.