DOI Heft:
No. 151 (October, 1905)
DOI Artikel:Ertz, Edward: An easy method of making coloured xylographic prints
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20713#0083
Studio-Talk
“a sheep-field in march”
coloured with water-colours, either transparent or
mixed with body-colour. If, however, several
colours have been used in the printing, the impres-
sion will probably be complete, only perhaps
requiring a touch of water-colour here and there.
This rapid sketch of the method by which hand-
block colour-prints can be made will suffice to show
that no special training is needed for their produc-
tion, though naturally much practice in cutting is
necessary before really good prints can be obtained.
The accompanying coloured reproduction of one
of a series of prints executed by me according to
this method conveys a good idea of the results
achieved by the process.
With the exquisite work of the old Japanese
artists before us, it is possible to realise to what
height the art of block-printing may be carried ;
though the modern artist, as a rule, confines him-
self to simpler subjects and less elaboration of
detail. These prints naturally possess more artistic
character than any mechanical method of repro-
ducing designs, as each one bears the individual
impress of the artist.
BY J. R. K. DUFF
STUDIO-TALK
(From our Own Correspondents)
LONDON.— Our coloured frontispiece,Near
Southwold Harbour, by Mr. J. R. K.
Duff, shows that interesting treatment
in pastel and that knowledge of the
true resources of the medium which have won
for him the prominent place which is his among
the exhibitors of modern pastel-work. The Land-
scape in Pastel exhibited by him in this year’s Pastel
Society’s Exhibition was one of the finest things
on the Society’s walls. Unassuming in sub-
ject, unpretentious in technique, the resourceful
rendering of each object in the composition, marked
it as a triumph in the art of pastel. Our illustration,
a Sheep-field in March, shows a quite dissimilar
surface quality and treatment, but the same
thorough understanding of the terms upon which
a relationship can be established between this
apparently obstinate medium and the truths oi
nature. Pastel so often becomes pretty, bright,
ornamental : it is less often truthful. To obtain
grey effects of low-toned colour, to keep good
colour without once being betrayed into the sharp
65
Edward Ertz.
“a sheep-field in march”
coloured with water-colours, either transparent or
mixed with body-colour. If, however, several
colours have been used in the printing, the impres-
sion will probably be complete, only perhaps
requiring a touch of water-colour here and there.
This rapid sketch of the method by which hand-
block colour-prints can be made will suffice to show
that no special training is needed for their produc-
tion, though naturally much practice in cutting is
necessary before really good prints can be obtained.
The accompanying coloured reproduction of one
of a series of prints executed by me according to
this method conveys a good idea of the results
achieved by the process.
With the exquisite work of the old Japanese
artists before us, it is possible to realise to what
height the art of block-printing may be carried ;
though the modern artist, as a rule, confines him-
self to simpler subjects and less elaboration of
detail. These prints naturally possess more artistic
character than any mechanical method of repro-
ducing designs, as each one bears the individual
impress of the artist.
BY J. R. K. DUFF
STUDIO-TALK
(From our Own Correspondents)
LONDON.— Our coloured frontispiece,Near
Southwold Harbour, by Mr. J. R. K.
Duff, shows that interesting treatment
in pastel and that knowledge of the
true resources of the medium which have won
for him the prominent place which is his among
the exhibitors of modern pastel-work. The Land-
scape in Pastel exhibited by him in this year’s Pastel
Society’s Exhibition was one of the finest things
on the Society’s walls. Unassuming in sub-
ject, unpretentious in technique, the resourceful
rendering of each object in the composition, marked
it as a triumph in the art of pastel. Our illustration,
a Sheep-field in March, shows a quite dissimilar
surface quality and treatment, but the same
thorough understanding of the terms upon which
a relationship can be established between this
apparently obstinate medium and the truths oi
nature. Pastel so often becomes pretty, bright,
ornamental : it is less often truthful. To obtain
grey effects of low-toned colour, to keep good
colour without once being betrayed into the sharp
65
Edward Ertz.