Printing Process

The next step is the best part where the writer gets to explore and further experiment and investigate on the printing process of traditional Japanese woodblock print. It begins with a preparation of sketches and choosing the right images to be used for printing (Figure 14). The decision of choosing nature as the main theme was inspired by Hiroshige's beautiful landscape of Autumn Moon over Ishiyama. During the ukiyo-e period, the artist would provide a picture of line drawing called hanshita to the carver. The drawing is made on a thin paper, either of kōzo or mitsumata fibre. These types of paper are the best to use because it can be easily transferred to blocks. The paper then is treated with dōsa, a sizing and later rubbed with baren to flatten the surface on to the block. Instead of ink, the Japanese used sumi as the medium of drawing as ink will be blurred out with the moisture of paste when hanshita is placed. Pasting a hanshita requires care and speed since the paper is soft and thin. An amount of paste is spread evenly on the block. The paper then must be quickly adjusted into position and then rubbed to make it even. When the paper is in contact with the block, the top layer must be peeled off. According to Justin Sander, there is another alternative way to paste the sketches onto the blocks with the help of the photocopy machine. Sketches on A4 paper need to be photocopied for each of the blocks. As seen in Figure 15, arabic gum must be quickly spread evenly on each of the block by using a sponge and then the sketches are rubbed evenly using hand. It is left to dry for a few minutes and afterward is ready to be carved. 

Figure 14: Line sketch

Figure 15: Method of pasting sketches onto the blocks

Each of the blocks needs to be classified for colours and key block (Figure 16). Generally, one block can be used for more than one colour. That is why it is necessary for the artist to plan well before printing based from the explanation by Justin Sander in the videos below. However, to avoid shrinkage or distortion of the design, it is better to use less pigment. It is also important to ensure that the blocks are the same size in width and height.

Figure 16: Classified colours and key block

Figure 17: How to hold a tō

After each of the blocks has been classified, the next step is to start carving. The process of carving can be divided into two categories. Firstly, lines need to be cut to an even depth by using tō and then the process continues with the removal of the unnecessary parts using other tools. It is important to make sure that all the tools are sharp. Figure 17 shows the way of how the tō should be held which is by holding it at a 30 degree angle. The left hand should always be placed behind the right hand to avoid from any injury. According to Yoshida T., and Yuki R., (1966), the thumb on the top serves to regulate the pressure so that the block is cut to an even depth, regardless of the soft or hard parts of the grain while the middle finger of the left hand serves to support the tō and prevent it from slipping. Hughes A. A., and Morris H. V., (2008) also agreed that, in order to exercise control and pressure, the end of the handle must sit in the palm, while the forefinger rests on the top of the brass sleeve, and the thumb and the second finger are placed on either side. To secure the block while cutting, the block must be placed on another board with a strip of wood attached on top (Figure 18). The shape should be cut from the centre part until the outer edges. Subsequently after the cutting of the shape is completed, unneeded parts of the block should be removed. For the ukiyo-e artisan, sōainomi, marunomi and aisuki are suitable tools to be used to cut away the unnecessary parts. The areas that are cut away will be white, leaving the uncut top surface to hold the ink and produce the print. Since tools available were limited at the time, those tools have been replaced by komasuki and sankakutō (as shown in the video below). During the experience of cutting, the writer learned that it is important to go along with the grain as it is much easier to carve. To cut the key block, great skill and care are highly important as it consists only of lines of drawing especially when working with the curves. Each of the blocks was carved based on the shape needed. Since only four Japanese grain blocks were available, the writer used a reduction method in one of the blocks to produce multiple colours for printing. As mentioned earlier, it is necessary for the artist to plan well before printing. However, should there be a mistake in cutting, the artist can replace the soiled block with another fragment of block and glue them together as shown in Figure 19. 

Figure 18: The block is placed on another board with a strip of wood attached on the top 

Figure 19: Replacing a soiled block

After the cutting of the blocks is completed (Figure 20), the next step is to create kentō which is a device to insure the register of the paper during the printing process. For centuries, it has been proven that kentō is the best method to apply in order to secure the paper from moving. Kagi and hikitsuke were cut directly on each of the block to keep the margin the same width as the key block (Figure 21). Kentōnomi and aisuki were used to create kentō by cutting away the unnecessary parts. Kentō must be placed on a flat and smooth surface to make sure that the paper fits during printing. The depth required is two times the thickness of the paper. 

Figure 20: Carved blocks

Figure 21: Kagi and Hikitsuke

After the kentō is completed, the next step is to print the blocks for trial proof. Based on the example given in the video below, in order to apply pigment on the block in the way of the traditional Japanese woodblock print, a proper brush needs to be mixed with ink and water and then straight away applied onto the block. This is agreed by Rothenstein M., (1970), who mentioned that in Japan, the water soluble printing inks commonly used are applied to the blocks with brushes of various kinds. Brush inking offers a good deal of freedom since different shapes on a single block may be coloured separately. As mentioned earlier, the basis of traditional Japanese woodblock print is by using paste as their basis of colour which must be mixed with pigment using a brush. The paste is called himenori, which is made out of refined rice and water. For instant results and to avoid any hassle, the author decided to use the ready packed Daler Rowney System 3 block printing water-based ink. 

In contrast to the traditional way, the modern way of applying pigment onto block is by using a roller. As shown in the video below, the ink must be mixed together with a scrapper before it is rolled up with a roller to get a well blended flat colour. Before proceeding with the printing, the artist needs to moisten the papers. This is to avoid the papers from having wrinkles. The papers need to be moist with a sheet placed on top of another sheet. Based on the Japanese traditional way of moistening papers, the printer uses the mizubake to apply water in sufficient quantities to alternate sheets. This is followed by the pilling of the sheets according to the otosu or hawasu method. Nevertheless, the most common method is hawasu. It is created to ensure the evenness of moisture. Based on Figure 22, the sheets are placed on yoko-ita which is known as plate by slightly sliding each sheet about one inch onto another sheet. The entire sheets are then covered with wet flannel cotton cloth and left in this condition overnight. However, according to Justin Sander, another easier way to moisten the papers is by using spray bottle. The water needs to be sprayed evenly on the paper and covered with another paper, leaving the paper for a few minutes and then the paper is ready for printing (Figure 23). 

Figure 22: The method of hawasu 

Figure 23: Moistening paper by using spray bottle

After the inks have been applied on the blocks, the paper is then placed according to the registration of kentō. This is followed by the paper being rubbed with baren either in a circular motion or zigzag pattern depending on the size of the image. Each of the methods gives different effects when printing. Based on the video shown below, when pigment is applied using a brush, the impression shown on the paper has almost the same effect of watercolour combined with wood marks. It is advisable that the same brush is not used for different colours. In contrast, when the pigment is applied with a roller, a flat wood mark of the mirror image will appear on the surface of the paper. When removing the print from the block, it is advisable to remove it with clean hands and the best way to avoid from soiling is to avoid dragging and letting it fall on the hollow parts of the block. 

Additionally, baren also plays an important role in getting the effect that you desire. It is advisable to experiment with many different kinds of baren to understand how it works in terms of pressure and effect. It all lies in its disk form. As remarked by Rothenstein M., (1970), a spoon is also comfortable to hold and has a broad rounded under surface. The more pressure is apply,  the more effective the spoon prints. For the Japanese baren, it prints effectively enough as it has a broader surface. The author personally prefers to use the Japanese baren as strong pressure is not required. Referring to Yoshida T., and Yuki R., (1966), the picture shown below (Figure 24) explains the idea of how the baren works.

Figure 24: How baren works

As seen on many ukiyo-e woodblock prints, one of the most appealing element is the gradient background of the sky with a combination of more than one colour in one go. For the traditional Japanese style, the area of the sky needs to be cut little by little with a kentōnomi to form a gentle slope. Before printing, a combination of colours needs to be applied on the block with a brush. When printed, the colour appears to fade out at the edge according to the angle of the slope. Another gradient technique that can be applied is by using a roller without having to cut away the area of the block. A combination of colours needs to be placed next to each other and then rolled down with a roller. It is important for the artist to make sure that the gradient is in the middle between the colours and the thickness of the pigments is even. An example of this technique is given below.

According to Justin Sander, another modern technique to replace the element of gradient in woodcut printing is by using airbrush (Figure 25). Although the marks of wood grain will not appear on the paper, it is much easier to achieve the gradient effect of the sky by spraying the ink straight onto the paper. After experimenting with different types of paper and producing several trial proofs (as shown in Figure 26 and the video shown below), the same process of printing needs to be repeated until the artist is satisfied with the final trial proof. Similar materials and tools need to be used to get the same effect as the final trial proof. At least 10 copies need to be produced for editions. 

Figure 25: Gradient effect by using airbrush

Figure 26: Trial proofs

To understand the whole process of traditional multi-colour Japanese woodblock print, a brief explanation of what the writer has explained earlier is shown in the video below which demonstrates the process from the beginning stage of sketches to the very last stage of printing.

Once satisfied with the final trial proof, multiple editions using different types of Japanese papers have to be produced (Figure 27). One out of ten of each edition of the different papers will be picked as the artist’s proof for the artist to keep (Figure 28). Artist's proof is commonly known as a practice to reserve approximately ten percent of an edition as artist's proof. It can be distinguished by the abbreviation of AP on the lower left of the work. 

Figure 27: Multiple editions of different type of Japanese papers

Figure 28: Artist's proof (AP)

Through the experience of learning traditional multi-colour Japanese woodblock print, the writer has learned that the effect of printing is based on the way the artist’s control the pressure of baren and the thickness of the paper. Most of the handmade Japanese paper is made as thin as a tissue paper, so if strong pressure is applied, the paper will be easily torn (Figure 29). To achieve a brilliant multi-colour Japanese woodblock print, years of experience and practice is required as a lot of process is involved. This is conceded by Vollmer A., (1998) who mentioned that successful printing requires a whole new approach to understanding of traditional Japanese methods including the use of special tools, careful preparation and countless numbers of practice.  What the writer likes the most about the woodblock print is that no press is required and the printing can be set up even in the smallest studio. The writer's vision is to continue exploring the technique until great results is achieved. Through this study, the writer understands the qualities of great arts, which not only depending entirely on composition and artistic procedure, but as well as skill development. It has completely changed the writer's perspective towards the value of an art and appreciation of beauty.

Figure 29: Torned paper