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Posts tagged ‘woodblock’

Washi, washi

For the last X number of years,
I’ve been using Torinoko paper exclusively for
my mokuhanga prints.
Despite the finicky nature of it, I kept
right on using it because I had simply gotten used to it.
That, plus it’s reasonably inexpensive.

For the two prints I’m currently working on, I’ve
decided to dump the Torinoko for a while,
and expand my Washi horizons.

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three woodblocks

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Last weekend, the three blocks
for the first print (of two) were finally ready
to be proofed all together. I hastily mixed up three
values of grey ink and proceeded to proof on Shin Torinoko, 
which is a really crappy thin version of Torinoko.
Not good, period.
No photos of THAT will be posted here!

I’m also using my Hon baren for the first time. Lovely as it is,
it has a very different “feel” than the baren that I’ve 
grown accustomed to and will require 
more practice.

Today, I sacrificed a few sheets
of better quality paper to proof with, Nishinouchi and 
Tosa Maruishi.
Both printed nicely. However Nishinouchi is
much too thin to use for this large size image. Once dampened,
it’s very difficult to handle, so that one is out.
I’ll try a few more before I settle on one for the edition, I’ll also 
be experimenting with special techniques and possibly
color on these blocks before 
I get the edition started.

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two proofs

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Nishinouchi is on top and Tosa Maruishi below.

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bokashi edge proof

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This is a proof variation using bokashi (gradation printing)
around the outer edge of the block.

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1 Feb 2016

calendar printing @TLP

 
 
Oh it’s a good feeling,
not only getting my edition of 100  calendar prints
completed in record time,
but not having a single one get screwed up in the process.
 
Things were much easier this time, now that we
have the necessary bits to 
lock the jig down to the base of the letterpress.
This made a huge difference, in the past the jig would either
slide around or lift up at one end
when the roller passed over it.
  
 
 
Susan’s expertise was essential at this point
since I had pretty much forgotten
everything that I learned in letterpress class!
 
 
 
 
Once we got the jig and 
pressure issues worked out, the actual
printing went smoothly and I was done 
in two hours!
 
 
 
 
 
 
 
Comments Off on calendar printing @TLP
30 Jun 2012

Done

 

Untitled
14″ X 14″ moku hanga reduction woodcut
edition: 5
Last week, after working on this image
for two months, I decided it was
time to bring it to an end.
This was my first color woodcut,
and the first time for me to
use more than one block (both
sides of two blocks were used). I was
surprised at how much wood that was left
on the blocks, it was possible
for me to keep right on printing but
enough was enough!
Generally I like to keep careful records
of ink mixtures, number of times
I print, etc.
Somewhere along the way, I lost
track of doing that. I think
that at least 12 different colors were
used, or countless variations of those. The background
was printed at least 8 times, and
overall the entire image
was overprinted roughly
35-40 times.
The paper (Torinoko)
held up very well despite
eventually showing some signs
of wear.
I guess I’ll continue pursuing color
printing since I just invested
in a wider selection of color inks!
Comments Off on Done
23 Apr 2012

continuing on with color……

Since my last post on this color woodblock,
I’ve been steadily overprinting
with pale washes of color to warm up
the flesh tones. Although my
selections of reds are limited and
the ones I’m using aren’t exactly the
correct shades, but I’m
making do with what I have on hand.
One thing I really like about using multiple
blocks is the ability to print
numerous colors one right after the other.
What a time saver!
This weekend I’ve printed four times already.
The last was using this block to start
building up some of the shadows in the face.
I used the same pale blue-gray as the background.
At this point it doesn’t register as blue,
but I’ll plan on cautiously overprinting
the same area until it
gets to where I want it.
The background, shirt, tie & vest
are “on hold” for now until the face is done.
Then I’ll have a better idea
what direction those areas
will go in.
18 Mar 2012

color woodblock printing

I’ve ventured into scary territory….color woodblock printing!
My last attempt at any sort of color printmaking
was at least 30 years ago. Back then I
tried color lithography & etching,
 everything I did was a dismal dud.
So it was B&W only from that point onward.
But this year I wanted to try explore new areas
of printmaking. Not only is this my first
color woodblock print, but also the first multi block one.
It started with a master sketch and
separate color break downs. It wasn’t long
before I threw all of that aside, too tedious
and time consuming, and decided to
just “wing it” and see what happened.
I have two 14″ X 14″ blocks and
am using both sides of each. The reduction
process is pretty comfortable for me
so I’m using that technique as much
as possible.
After trying some dry pigments (not
successful for me), I settled on using gouache.
So far, I think I’ve printed 18 times.
I’m being very safe and either watering down,
or muting every color I use.
Consequently my image looks flat at the moment.
Luckily I have plenty of
wood left so I intend on continuing
to overprint to beef up the image.
Plus, I’ve made some ridiculous carving blunders,
and I hope to correct those as well.
4 Mar 2012

A Day for Experimenting

Finally, the holiday hoopla is over
and I can re-focus my attention back to printmaking!
For a while now, I’ve been itching to experiment
with woodblock & chine colle combined.
I’ve used chine colle extensively with etchings,
and it works beautifully, so why wouldn’t it work with woodblocks I wondered??
So today I hastily started to experiment, first starting
with a photographic image printed (from my computer) on Sekishu paper.
Sekishu is a thin Japanese paper that accepts inkjet
quite well, and holds up when dampened
with the methyl cellulose glue that I use as an adhesive.
I didn’t bother carving the block now
 since this is
“experiment day”. I simply brushed on the ink & nori
onto the block.
I’m using a new ink as well, Gamblin dry pigment in
raw umber. Weird stuff, I don’t think
that I mixed it properly as it kept separating
while I was using it…will have to work on this!
Once the block is inked, my image is cut out of the Sekishu,
backed with glue and placed face down on the block.
then on goes the print paper on top
and the baren is used as usual.
To complicate things, the print needs
to be stretched on a board with
watercolor tape once printed.
Otherwise, the Sekishu would pop off as the
two papers dry. This will make it
a bit difficult when printing an edition.
So was “experiment day” a success??
Not entirely, but it’s opened the door
for further exploration.
7 Jan 2012