![]() ![]()
![]() I tested whether it would be better to have shadows in the valleys between the hills on the left of the image, or mist I prefer the mist. I would really like to find a better paper for test-printing, but haven’t found one yet that is inexpensive enough, adequately sized, and tough.Īnyway, here I am really moving away from the monochrome idea! I like the brown key lines, as opposed to blue. It’s pretty different from what I will ultimately print on, but it is dimensionally stable and can take multiple impressions. The next few test prints were done using Shin Torinoko, an economical Japanese paper that is sized, machine made, and with a fiber content of linen and pine pulp. That seems to have helped a little – the top-most try was printed last of these three, and the lines seem less prominent. I was really careful to avoid rounding the edges or hollowing out a hole. I actually took a very fine, 1500 grit, piece of sandpaper to it, to try to reduce the roughness. Was it the paper or the block? I’m afraid it might be the block because it’s got some rough areas due to crazy grain in that area. But the others are horribly registered, especially on the right of the image, because these tiny pieces of paper shrank almost an eighth of an inch in width! Finally, something weird was going on with those vertical lines in the sky. That is it for now! Onward to the test-printing! Jvividkp Tagged carving, color block planning, mokuhanga, woodblock carving, woodblock preparation, woodblock prints, woodblocks 1 Comment First printing of Cedar Path is done!Īnother thing I noticed is just how much the card stock changes size with variation in moisture content! The leftmost try is registered pretty well because I did it all in one go and the paper did not dry much. This really emphasizes the texture, but it also shows that I am trying to carve deeply enough from the beginning so that I’m not doing so much cleanup when I get into printing. #Moku hanga reduction print registrationThis places the potentially-interfering registration marks outside the edge of the paper (red lines).īelow are the cleared blocks tilted so they are lit at a low angle. In the bottom image, two of the shapes are at a little bit of an angle. The second mark in the top image IS in the middle of the paper for the shape that is approximately in the middle, but I think it is far enough away that I can avoid rubbing it. I tried to place the registration marks so that there would not be some weird bump in the middle of the paper that would result in unwanted embossing. #Moku hanga reduction print fullWith fingers crossed! gampi transfer sheets Awagami kozo extra light block with sumiĪ post shared by Karen P yes, as you might be wondering, that is a really long block! If I had made 2 double-sided blocks, I would not be able to fit all the color areas by leaving it in one piece (8″ x 18″), I had more flexibility to position the registration marks and color areas so they would not interfere with each other.īelow are some straight shots showing the full blocks, with registration marks circled. This time I printed the transfer sheets directly onto washi – Awagami kozo extra light – and will paste those down directly. Gampi is affixed to a more sturdy backing sheet with repositionable spray adhesive, printed with the key block, then pasted down to transfer the lines for carving. ![]() When starting with a key block, I usually print the key lines on laminated transfer sheets, as in the first photo below showing transfer sheets (hanshita) for Cedar Path. (I do wonder what will happen to it when I get it home to 50% humidity conditions in Texas!) I expect it would not last as long as a cherry block, but since I don’t publish thousands of any design, that’s not such a huge consideration. ![]() It’s softer than cherry, but is able to hold a pretty good line. This block is magnolia wood, something I’ve never carved on before. traced lines, midway through carving all carved! This time I traced the key lines directly onto the block. Often I’ll use the computer to print out a cleaned-up, precise set of transfer sheets for the key block and/or color blocks, and paste them down as a carving guide. #Moku hanga reduction print freeIf I was at home with this much free time I would no doubt be organizing my sock collection or some other such passtime of questionable value □ First of all, it’s a wonderful opportunity to focus as much as I want on printmaking – which is turning out to be most of my waking hours! There are others here working, so it’s a great environment to concentrate. I’m doing a residency at Karuizawa Mokuhanga School and trying some different carving and printing methods. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |