![]() At any rate, it’s pretty nice for the price, so I can use it for simple prints without many overlapping colors. I wonder if I might be able to add more sizing to this paper to toughen it up and be able to have less trouble testing prints that have lots of overlays. I have a stack of Shin Hosho from Wood Like Matsumura set aside for this one that paper is pretty tough! I’m plowing forward despite the frustrations, and am succeeding at my aim to get more pigment onto the prints! Pretty soon though, I need to just take the plunge and actually print the things. And more frustrating for testing this particular print, when an area gets more than one or two impressions, fibers start to separate from the face of the paper you can see that below. Unfortunately it’s weak and floppy when damp, and seems to shrink and swell more than I’d like. I recently received some “Student Kozo” paper from Kitaro, and with some hope, am using it for this round of testing. It’s been a bit of a struggle, mostly because there are so many areas to print – 11 wood faces, 18 printable areas, 18 sets of registration marks, and lots of areas that overlap so they get printed multiple times. I’m in my 4th round of test printing for the Forest Rays project. Back to the carving bench! Januvividkp Tagged Forest Rays, mokuhanga, printing, shin hosho, washi, woodblock, woodblock printing Leave a comment 15 impressions in! Forest Rays I’m looking forward to the next print! It will be a simple one, and I’ll aim to finish within a month – fingers crossed. ![]() I had thrown in a few sheets of Student Kozo as warm-up sheets, but I gave up on them about 18 impressions in because they were fouling the blocks with fibers that kept coming off. When I started printing, I thought “Excellent, this paper is really tough, and I’ll need it for this print!” but by the end it was quite soft and barely hanging on. The paper is Shin Hosho from Woodlike Matsumura. (I had prepared separate key lines for the trees and foliage in the distance, but decided not to use them – that would have made 26 impressions!) back of some prints and colors used before the rays and key lines drying Lastly, my husband made me a bench block.7 pieces of wood (6 self-made cherry ply and 1 shina ply from McClain’s), 19 printable areas including the key block, 25 impressions. Second, I learned that my body and hand posture is quite important not only for control, but for my own comfort and ability to work for an extended period of time. I have learned several things so far in this process: the in order in which one proceeds with carving is important: working from outside in and big to small, is the general rule. This wood is much harder and although it takes much more care and effort in carving, thus far I am pleased with the results. So I switch to a fruit wood laminated block (I believe it is pear or cherry). I quickly discovered that the plywood was too soft a wood to hold the lines I wanted. The first block I used was shina plywood. I then transferred the image on to the block. I began with a simple sketch of one of my favorite subjects, our cat. ![]() Building on what I learned this summer (2018) and from the recent Japanese woodblock print exhibit at the Walters Art Museum this fall, I am attempting to create a simple two color woodblock print, mokuhanga style.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |