DOI Heft:
No. 16 (July, 1894)
DOI Artikel:Woodcut printing in water-colours: after the japanese manner
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0132
Woodcut Printing in Water-Colours
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" registering "
the impression
(fig- 3)
the colour, and the rice paste sprinkled upon the action the artist has elected to depict. The
it and thoroughly worked with the pigment, the printed sheet is then placed on a board resting on
colour itself is manipulated to give the required a block (f) to the left of the artist. When the re-
variation of density. A sheet of moistened paper quired number of sheets are printed they are
is laid in place, and the impression is taken by replaced on the shelf (c). Another block is then
rubbing a pad (called a " baren ") over the surface. brought forward, and the second printing gone
through in similar fashion, and so on,
until the required number of impres-
sions has been taken.
A special kind of printing, known as
a dry impression (embossing), is used
when it is desired to represent designs
of the same colour as the ground, but
differing in brilliancy. It is executed
after the printing has been finished and
the paper has become quite dry; then
the sheet is laid on a special block, not
charged with colour, the pattern being
brought out by rubbing with the
" baren."
To give an idea of the time occu-
pied in this method of printing, Mr.
Tokuno instances several examples.
Of one block of the Yinaka genji, the
No presses are employed, nor is any great force printer turned out 3000 sheets a day from the
used. The baren is skilfully moved in zigzags over black block. Of the easiest colour impressions,
the relief surfaces of the blocks. To prevent the such as the uniform green for leaves, 1200 to
paper sinking into the hollows, or becoming 1800 can be printed in a day; of those requiring
smeared by contact with other portions, would graduated tints, 600 or 700. Although the
seem almost impossible, yet no special precautions earliest books were printed with two to four
are used to guard against it, and experienced hands blocks, Professor Fenollosa speaks of as many as
work without any fear of disaster. 120 impressions employed for a single print.
The " baren " is a firm pad, and consists of a The specimens of Japanese woodcuts here re-
stiff disc of card made from layers of paper pasted produced are intended to show the exquisite
together. This disc, slightly turned up at the edges gradation of the wash. As coloured facsimiles
(like an old-fashioned watch-glass), a flat coil of were not practicable, we have chosen originals
twisted cord fits into it, over which is drawn tightly printed in two impressions only, black and grey,
a sheath (Take-no-Kawd) of the bamboo. The It is possible in early proofs of the coloured prints
covering is twisted at the back to form a handle, to distinguish the grain of the wood very clearly,
round which is wound a piece of paper. The and this shows evidence that the block may be
ribbed surface of the bamboo covering helps to prepared with more than one colour on different
give a sharper impression, by limiting the contact portions. Thus a red sky at the top of the print,
to the ribs ; it also prevents the wet paper sticking and blue water in the foreground, can be worked
to the baren. This rib is kept as nearly as possible at one impression, or various portions of a com-
at right angles to the direction of the baren as it position may be modified. In some few cases the
follows its zigzag course over the block. wet pigments are evidently allowed to run into each
In Fig. 2 we see the Japanese craftsman at work, other on the block, so that the transition from one
The block to be printed is placed face upwards on to the other is managed as imperceptibly as in
the printer's table (a). He lays on the required painting. But to do more than indicate the broad
colour with the brush (b), shown on the table at principles of the work is not possible here; espe-
his right hand. The paper being moistened ready cially in the absence of coloured diagrams,
for the impression, is piled on the shelf (c) of the Some interesting experiments in this art by Mr.
box (d), a sheet is laid in place on the block, and J. D. Batten will form the subject of an interview,
then rubbed lightly with the " baren," as shown in in our next issue.
116
~ -----.
1 ' !
\ %
i 1
j
t
\
1 -
* I
xf X : 1
V \
\ \
' I
" registering "
the impression
(fig- 3)
the colour, and the rice paste sprinkled upon the action the artist has elected to depict. The
it and thoroughly worked with the pigment, the printed sheet is then placed on a board resting on
colour itself is manipulated to give the required a block (f) to the left of the artist. When the re-
variation of density. A sheet of moistened paper quired number of sheets are printed they are
is laid in place, and the impression is taken by replaced on the shelf (c). Another block is then
rubbing a pad (called a " baren ") over the surface. brought forward, and the second printing gone
through in similar fashion, and so on,
until the required number of impres-
sions has been taken.
A special kind of printing, known as
a dry impression (embossing), is used
when it is desired to represent designs
of the same colour as the ground, but
differing in brilliancy. It is executed
after the printing has been finished and
the paper has become quite dry; then
the sheet is laid on a special block, not
charged with colour, the pattern being
brought out by rubbing with the
" baren."
To give an idea of the time occu-
pied in this method of printing, Mr.
Tokuno instances several examples.
Of one block of the Yinaka genji, the
No presses are employed, nor is any great force printer turned out 3000 sheets a day from the
used. The baren is skilfully moved in zigzags over black block. Of the easiest colour impressions,
the relief surfaces of the blocks. To prevent the such as the uniform green for leaves, 1200 to
paper sinking into the hollows, or becoming 1800 can be printed in a day; of those requiring
smeared by contact with other portions, would graduated tints, 600 or 700. Although the
seem almost impossible, yet no special precautions earliest books were printed with two to four
are used to guard against it, and experienced hands blocks, Professor Fenollosa speaks of as many as
work without any fear of disaster. 120 impressions employed for a single print.
The " baren " is a firm pad, and consists of a The specimens of Japanese woodcuts here re-
stiff disc of card made from layers of paper pasted produced are intended to show the exquisite
together. This disc, slightly turned up at the edges gradation of the wash. As coloured facsimiles
(like an old-fashioned watch-glass), a flat coil of were not practicable, we have chosen originals
twisted cord fits into it, over which is drawn tightly printed in two impressions only, black and grey,
a sheath (Take-no-Kawd) of the bamboo. The It is possible in early proofs of the coloured prints
covering is twisted at the back to form a handle, to distinguish the grain of the wood very clearly,
round which is wound a piece of paper. The and this shows evidence that the block may be
ribbed surface of the bamboo covering helps to prepared with more than one colour on different
give a sharper impression, by limiting the contact portions. Thus a red sky at the top of the print,
to the ribs ; it also prevents the wet paper sticking and blue water in the foreground, can be worked
to the baren. This rib is kept as nearly as possible at one impression, or various portions of a com-
at right angles to the direction of the baren as it position may be modified. In some few cases the
follows its zigzag course over the block. wet pigments are evidently allowed to run into each
In Fig. 2 we see the Japanese craftsman at work, other on the block, so that the transition from one
The block to be printed is placed face upwards on to the other is managed as imperceptibly as in
the printer's table (a). He lays on the required painting. But to do more than indicate the broad
colour with the brush (b), shown on the table at principles of the work is not possible here; espe-
his right hand. The paper being moistened ready cially in the absence of coloured diagrams,
for the impression, is piled on the shelf (c) of the Some interesting experiments in this art by Mr.
box (d), a sheet is laid in place on the block, and J. D. Batten will form the subject of an interview,
then rubbed lightly with the " baren," as shown in in our next issue.
116