1/12/2024 0 Comments Moku hanga woodcut tools for saleWith 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. If 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. NovemNovemvividkp Tagged Kitaro washi, mokuhanga, paper, printmaking paper, printmaking problems, test printing, test prints, washi, woodblock printing 1 Comment This time, for sure Forest Rays At any rate, it’s pretty nice for the price, so I can use it for simple prints without many overlapping colors. I wonder if I might be able to add more sizing to this paper to toughen it up and be able to have less trouble testing prints that have lots of overlays. I have a stack of Shin Hosho from Wood Like Matsumura set aside for this one that paper is pretty tough! I’m plowing forward despite the frustrations, and am succeeding at my aim to get more pigment onto the prints! Pretty soon though, I need to just take the plunge and actually print the things. And more frustrating for testing this particular print, when an area gets more than one or two impressions, fibers start to separate from the face of the paper you can see that below. Unfortunately it’s weak and floppy when damp, and seems to shrink and swell more than I’d like. I recently received some “Student Kozo” paper from Kitaro, and with some hope, am using it for this round of testing. It’s been a bit of a struggle, mostly because there are so many areas to print – 11 wood faces, 18 printable areas, 18 sets of registration marks, and lots of areas that overlap so they get printed multiple times. I’m in my 4th round of test printing for the Forest Rays project. Back to the carving bench! Januvividkp Tagged Forest Rays, mokuhanga, printing, shin hosho, washi, woodblock, woodblock printing Leave a comment 15 impressions in! Forest Rays I’m looking forward to the next print! It will be a simple one, and I’ll aim to finish within a month – fingers crossed. I had thrown in a few sheets of Student Kozo as warm-up sheets, but I gave up on them about 18 impressions in because they were fouling the blocks with fibers that kept coming off. When I started printing, I thought “Excellent, this paper is really tough, and I’ll need it for this print!” but by the end it was quite soft and barely hanging on. The paper is Shin Hosho from Woodlike Matsumura. (I had prepared separate key lines for the trees and foliage in the distance, but decided not to use them – that would have made 26 impressions!) back of some prints and colors used before the rays and key lines drying 7 pieces of wood (6 self-made cherry ply and 1 shina ply from McClain’s), 19 printable areas including the key block, 25 impressions.
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