I certainly am looking forward to seeing my woodblock friends at this year’s International Mokuhanga Conference starting tomorrow!
I give a presentation on Friday morning concerning the application of apprenticeship-based learning in higher education. I think that I’m prepared… I’ll take many pics and post them asap. I just wish that I could spend the rest of the week and see the whole shebang.
This process animation is from publisher Shōzaburō Watanabe “The Process of Color-Block Printing”, printed in 1935 from an Utagawa Hiroshige (1797-1858) design “Hamamatsu”, no. 30 from the series Fifty-three Stations of the Tokaido, 1850.
I’ve always loved senjafuda.Senjafuda (in Japanese- literally “thousand shrine cards”) are taken by travelers and pilgrims where they are pasted on rafters and posts. They don’t look as junky as you might expect- much better than graffiti IMO.
Making and collecting senjafuda (some are quite spectacular) is very popular thing to do in Japan. As an artist, they’re very convenient to make- you have some left-over wood? Perfect. Some extra paper scraps? A piece here a piece there, and voilà!
I plan to use this as a demonstration and simple print for my printmaking students to start mokuhanga. The idea is to print around 200 (this test batch is only 14) to bring and give away at my IMC2017 Mokuhanga Conference talk at the University of Hawaii in late Sept. Shhh! it’s a secret surprise…
Technically, it’s obviously a 3-color print- actually 5 impressions as the red and black are over-printed. I took a hint from Mokuhankan’s print parties in Asakusa and printed the black keyblock last- that keeps the lighters colors clean! Normally, the black keyblock is printed first, but sometimes the black bleeds into the later lighter colored blocks resulting in a dingy mess.
As Thomas Edison said: “There are no rules here- we’re trying to get things done”.
Incidentally, I’m using ‘black hole’ sumi or sumi no kaori (literally “scent of carbon”?)- anyway it’s velvety-smooth-nano-vanta-fiber-crow-in-a-coalmine-event-horizon bahahalackkkk! If you’re interested in buying this glorious stuff, the only place I could find is a calligraphy shop in France of all places. See: Comptoir de Secritures
Well, after 200 hours of work, I seem to have finished this print before it finished me! I really don’t know the number of impressions at this point- but it’s at least 30. I have a total of 50 decent prints that I will post for sale soon. I ended up using 7 blocks- click on the image and you can see the hi-res version. Enjoy!
I started proofing my next print- “Qufu” (see right). I split the key block (outlines) into two blocks- one black sumi the other background key block is a gradation from dark blue upward to dark brown. With these proof prints, I will then use inks and brush to simulate and anticipate the additional colors. I plan to use my earlier impression tests to -try- to be as efficient as I can with the coloring while keeping in mind that the more colors, the more blocks.
It’s a real puzzle to consider the resulting combinations of overlapping colors- plus, I know that I’ll use at least 2 gray shadow blocks (nezumi-ban) in addition to the color ones. I’m trying to follow my observations from shin-hanga prints in the fact that the blacks in the key block won’t show as much contrast since it will be surrounded by dark greens, reds, yellows. The background key block will be a shift from warm to cool color blocks, so I am hoping that things will work together. One thing that I have learned is that you can’t proof too much- well, for me right now. Today’s term: “nishiki-e” meaning multi-color prints.