Barensuji is making marks with the baren, as you print, though other things can be used - fingernails, spoons, chopsticks maybe, or the end of a paintbrush ... lots of possibilities, depending on what you want to produce.
I had no real idea of a desired outcome, and just plunged in, using the tool nearest to hand - the end of a paintbrush, and then a long matchstick. The block was quite dry, or maybe the paint wasn't wet enough? -
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| Lightly use the baren to put down colour, then make the marks |
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Another layer of colour obscured most of the marks
and introduced random texture |
A new print -
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| More vigorous marks |
At this point I lost the plot and started fluffing around with an idiosyncratic version of bokashi (gradation) on the first print -
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First pass with "brown pink" gouache - the block still had
some ultramarine so the resulting colour was a surprise |
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| Second pass, extending upward just a little |
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| On the third pass too, the gouache was stroked upwards |
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| Put a frame round it, and it immediately looks "meant"! |
Giving the second print another go, adding the pink-brown; the block was very dry again -
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| Print and its block |
Third blue print, from that block; still some of the green coming through -
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| Obvious brush marks on first pass |
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| Mostly gone with second inking-up and printing |
And a layer of hills, block too dry and colour too pale and totally unsuccessful! -
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| The sky wasn't printed, but it retains the textures from the first print |
Four prints can fill the time allotted.
The ochre mountain looks more like sand dunes -
Instead of doing the haburashi properly - using a stencil and toothbrush to spatter the block, then printing the spatters - I simply spattered the print, first with gouache straight from the tube (mixed with nori) and then with slightly wetter gouache, which makes bigger droplets.
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