So the eyeballs swivel around and then bounce out of the head, and I made some dark lashes and a kind of fluttery blink…Īll in all I made 51 prints, but there are many more photos as they also record the build up of colour on each piece of paper. It was entertaining, and laborious, and then just a little bit overwhelming.Īfter a while I wanted to record the actual process rather than the final imagesĪnd then I started to worry about why I was trying to make perfectly registered images each time, when really the process of making the prints would naturally generate interesting frames. Lacquer was rarely, if ever, used on prints. Urushi-e can also refer to paintings using lacquer instead of paint. Printers often used gold, mica, and other substances to enhance the image further. Then get paper dampened, then patient printing by hand, involving a gradual building up of colour over a few hours to days… Urushi-e () a method that thickened the ink with glue, emboldening the image. Translated to a long time to carve some wood This article, meant for newbies in the subject of Japanese prints, tries to explain in plain words what it is all about. Collectors and friends of Japanese art prints are often confronted with the terms sosaku hanga, shin hanga and moku hanga. ![]() I thought it would be funny to make very purely digital images in Japanese woodblock technique. Artelino - What is the meaning of Japanese hanga Hanga is the Japanese word for print. Every now and then, the registration would be out by a fraction of a millimetre, and the print would fail. I learned to hold my elbows out a certain way to fix the edges of the paper on the registration marks accurately, and how to trust that registration mark when each poster needed two or three printings to achieve the required depth of colour. ![]() I made my own homemade recipe for ink, combining gum arabic with nikawa and pure pigment, a blend of graphtol red and ruby red, and added a tiny drop of sumi ink to help the colour depth. I had to learn how to ink up generously on the block with an almost foamy layer of ink, without leaving a drop of ink anywhere near my table, in order to keep the edges of the paper clean when they were placed face down. It is essential to have an absolutely even layer of glue in preparation for pasting the original drawing which is faced down and pasted onto the wood block. ![]() Having made linocuts for the past few years, it was a shock to be a beginner at a technique again. It took a lot of determination to keep going, as each print took an hour, so it was days and weeks before I’d made a passable layer of colour. I have to admit, my first 50 prints were a disaster.
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