This week I managed to fit in a session at home, trying the kakewasi (light under dark) technique, or perhaps it was more my version of it than the real thing! And with a few experiments along the way.
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| The first print went quickly and not too badly |
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| Not enough pigment! |
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| Blotchy... |
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... might as well try the lighter-under-darker effect (kakewasi)- but you
do need a clean block - here the white picked up the ochre |
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| Applying more white over it (paper is still damp) doesn't work |
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| The first layer of ochre is very grainy - too dry? |
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Another layer - a gap between "mountain" and "snow"
- and still grainy |
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| Better, but ... still grainy... |
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| Dotting the sky with some nori... |
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... again, the faintness that signals dryness...
(the lines are laid in the non-japanese paper) |
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| At the end of the day - four prints, but many printings! |
Today in class - deomonstrations and "just getting on with it" -
I have photos of, and notes on, the demos, but my main aim was to do the most basic thing - get a good layer of colour. It turns out that more-is-more: more nori and pigment are needed for betazuri than I thought possible!
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| First print of bottom mountain - not enough pigment, and too dry |
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| Second print, after further soaking, and with more pigment - so much better |
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| Top - registration is off; bottom, natural colours are easier to print (ochre) |
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| Trying that mountain again on a sky that didn't really work |
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| The remains of the day |
The mount is smaller than the print size, and hides a multitude of sins!
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The demos provided various ideas for adding the foreground
(atenashi, haburashi, stencils) - and adjusting the sky; something for later... |
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With a little framing, a scrap used as a mask for
printing the sky becomes the star of the show |
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| What other people did... |
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| ... so interesting to hear what they had to say about it all |
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| Carol brought in the large print of limestone cliffs she's working on (4 blocks) |
Class resumes on 1 May. I've set aside Wednesday mornings for printing, and am making a list of what to focus on each week.
Developing skill isn't just a matter of endless practice, it's also important to notice what needs to be done differently. That is to say, insight - focus - attention - analysis - adjustment, but without time and reiteration the new skill can't become habitual.
3 comments:
I so admire your persistence and wish to master the technique.
Going to the classes pushes me on. I'd like to get "fluent" with the carving and printing, and find the right subjects. As with any medium, there's a lot of choice ... and a lot of nuance.
Who knew wood block printing could be so complex? I would think patience is a key ingredient too. I sounds like you are enjoying your classes.
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