Today's postings
- [Baren 23649] Interested in seeing Noboru sawai' work (Mary Krieger)
- [Baren 23650] Re: etching and woodblock (James G Mundie)
- [Baren 23651] Re: etching and woodblock (Charles Morgan)
- [Baren 23652] Re: Interested in seeing Noboru sawai' work (FurryPressII # aol.com)
- [Baren 23653] Re: Can I buy single sheets of Hanshita paper in the US? (Wanda)
- [Baren 23654] posting guidelines (Wanda)
- [Baren 23655] Re: posting guidelines (Jsf73 # aol.com)
- [Baren 23656] hanshita, pigments (eli griggs)
- [Baren 23657] Re: Yoshidas (Barbara Mason)
- [Baren 23658] Re: Yoshida zinc block ("Joseph Sheridan")
- [Baren 23659] etching (Barbara Mason)
- [Baren 23660] Re: etching and woodblock (jack reisland)
- [Baren 23661] Julio Rodriguez featured in online publication! ()
Message 1
From: Mary Krieger
Date: Tue, 16 Dec 2003 07:34:59 -0600
Subject: [Baren 23649] Interested in seeing Noboru sawai' work
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Greetings,
I have never met Noboru Sawai personally but he has trained or worked with
many of the people here in Manitoba that use or teach the Japanese method
of woodblock printing. All the prints of his that I have seen combine the
techniques of intaglio and woodblock. The woodblock generally provides the
colour and the intaglio the line.
I feel that the prints show a love of both techniques - that wonderful
smoky line of an intaglio laced with the crystally transparent sheets of
colour of the woodblock.
If you are interested in seeing an overview of his work over time, check
out his section of the CCCA database at the link below.
http://www.ccca.ca/artists/artist_info.html?languagePref=en&link_id=728&artist=Noboru%20Sawai
I certainly enjoyed rediscovering the old work and seeing the latest stuff.
There are a few woodblocks only in the mix but by far the majority are a
combination of the two methods.
Mary Krieger
Winnipeg MB Canada
I have never met Noboru Sawai personally but he has trained or worked with
many of the people here in Manitoba that use or teach the Japanese method
of woodblock printing. All the prints of his that I have seen combine the
techniques of intaglio and woodblock. The woodblock generally provides the
colour and the intaglio the line.
I feel that the prints show a love of both techniques - that wonderful
smoky line of an intaglio laced with the crystally transparent sheets of
colour of the woodblock.
If you are interested in seeing an overview of his work over time, check
out his section of the CCCA database at the link below.
http://www.ccca.ca/artists/artist_info.html?languagePref=en&link_id=728&artist=Noboru%20Sawai
I certainly enjoyed rediscovering the old work and seeing the latest stuff.
There are a few woodblocks only in the mix but by far the majority are a
combination of the two methods.
Mary Krieger
Winnipeg MB Canada
Message 2
From: James G Mundie
Date: Tue, 16 Dec 2003 10:31:08 -0500
Subject: [Baren 23650] Re: etching and woodblock
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Charles wrote:
> Does your book say anything about how the plates were inked? I would
> think that inking such a low relief plate by hand would be very
difficult
> if not impossible. Did they use a self-inking press or anything
similar?
I don't believe she studied with the Yoshidas, but we do (did?) have
someone on Baren who frequently combines etching and other techniques
with woodblock in the person of Roxanne Sexauer (though I'm not sure if
she's still subscribed to Baren).
However, in the case of the Yoshidas employing zinc, I image what we're
talking about is not an etched plate as understood by intaglio
printmaking, but a photo-etched relief plate such as were long standard
for use in letter presses, etc., mounted onto a wooden base.
I wonder if the Yoshidas ever employed the zinc plates beyond the
keyblock? I was thinking of the expansion/contraction issue one
experiences over the course of an edition on a standard wood block. I
presume that if the zinc key were all one piece nailed or screwed onto a
board that as one printed the edition, the keyblock itself would remain
the same, but subsequent color blocks in wood would expand with the
prolonged moisture, so that later impressions could wind up quite out of
register. This may not be an issue if the design employs it's keyblock
in a way that allows for this - but I can see that in the majority of
work that Dave produces, where the lines of the key block often 'contain'
the colors within, this would be disastrous. I suppose if the zinc
plates were spaced apart into 'color islands' on the same board, that
would at least allow those areas to expand and contract side to side as
the board to which they were attached swelled, but the over all shape of
the zinc plates themselves would not expand with the board in the other
direction, so that these areas might appear strangely 'out of synch'
with other color blocks.
I also wondered about the pigment the Yoshidas would have used on the
zinc blocks. Was it the traditional water-based pigments and rice paste;
or, in order to get proper adhesion to the metal, did they have to resort
to an oil-based ink? Certainly a shin-hanga artist wouldn't have minded
mixing eastern and western technologies in this way, but just how far
were the Yoshidas willing to push the issue?
James Mundie
http://www.missioncreep.com/mundie/images/
> Does your book say anything about how the plates were inked? I would
> think that inking such a low relief plate by hand would be very
difficult
> if not impossible. Did they use a self-inking press or anything
similar?
I don't believe she studied with the Yoshidas, but we do (did?) have
someone on Baren who frequently combines etching and other techniques
with woodblock in the person of Roxanne Sexauer (though I'm not sure if
she's still subscribed to Baren).
However, in the case of the Yoshidas employing zinc, I image what we're
talking about is not an etched plate as understood by intaglio
printmaking, but a photo-etched relief plate such as were long standard
for use in letter presses, etc., mounted onto a wooden base.
I wonder if the Yoshidas ever employed the zinc plates beyond the
keyblock? I was thinking of the expansion/contraction issue one
experiences over the course of an edition on a standard wood block. I
presume that if the zinc key were all one piece nailed or screwed onto a
board that as one printed the edition, the keyblock itself would remain
the same, but subsequent color blocks in wood would expand with the
prolonged moisture, so that later impressions could wind up quite out of
register. This may not be an issue if the design employs it's keyblock
in a way that allows for this - but I can see that in the majority of
work that Dave produces, where the lines of the key block often 'contain'
the colors within, this would be disastrous. I suppose if the zinc
plates were spaced apart into 'color islands' on the same board, that
would at least allow those areas to expand and contract side to side as
the board to which they were attached swelled, but the over all shape of
the zinc plates themselves would not expand with the board in the other
direction, so that these areas might appear strangely 'out of synch'
with other color blocks.
I also wondered about the pigment the Yoshidas would have used on the
zinc blocks. Was it the traditional water-based pigments and rice paste;
or, in order to get proper adhesion to the metal, did they have to resort
to an oil-based ink? Certainly a shin-hanga artist wouldn't have minded
mixing eastern and western technologies in this way, but just how far
were the Yoshidas willing to push the issue?
James Mundie
http://www.missioncreep.com/mundie/images/
Message 3
From: Charles Morgan
Date: Tue, 16 Dec 2003 08:15:07 -0800
Subject: [Baren 23651] Re: etching and woodblock
Send Message: To this poster
At 10:31 AM 12/16/03 -0500, you wrote:
>I don't believe she studied with the Yoshidas, but we do (did?) have
>someone on Baren who frequently combines etching and other techniques
>with woodblock in the person of Roxanne Sexauer (though I'm not sure if
>she's still subscribed to Baren).
>
>However, in the case of the Yoshidas employing zinc, I image what we're
>talking about is not an etched plate as understood by intaglio
>printmaking, but a photo-etched relief plate such as were long standard
>for use in letter presses, etc., mounted onto a wooden base.
No doubt there are many people who combine woodblock and standard intaglio
techniques. I met a very gifted artist in Saskatoon last summer who did a
number of such pieces. Etching fine lines and inking them in the intaglio
manner is easy to understand (other than the registration problem).
However, I was wondering about the low relief, fine line etching. I have
tried a little of that myself (though not combined with woodblock) and
found the inking to be almost impossible by hand; the relief was just too
shallow. And the fact that the zinc plates are mounted on a wood base made
me wonder if they were printed with a self-inking press.
>I wonder if the Yoshidas ever employed the zinc plates beyond the
>keyblock? I was thinking of the expansion/contraction issue one
>experiences over the course of an edition on a standard wood block. I
>presume that if the zinc key were all one piece nailed or screwed onto a
>board that as one printed the edition, the keyblock itself would remain
>the same, but subsequent color blocks in wood would expand with the
>prolonged moisture, so that later impressions could wind up quite out of
>register. This may not be an issue if the design employs it's keyblock
>in a way that allows for this - but I can see that in the majority of
>work that Dave produces, where the lines of the key block often 'contain'
>the colors within, this would be disastrous. I suppose if the zinc
>plates were spaced apart into 'color islands' on the same board, that
>would at least allow those areas to expand and contract side to side as
>the board to which they were attached swelled, but the over all shape of
>the zinc plates themselves would not expand with the board in the other
>direction, so that these areas might appear strangely 'out of synch'
>with other color blocks.
Yes, the whole registration process remains a bit of a mystery to me
precisely because of the changes in the wood block with the traditional oil
based inks. If all the plates were zinc, you could just put kento marks on
each plate in the traditional way, and away you go. But with some being
wood and some being zinc, you would think there would be problems. Perhaps
plywood plates would give fewer expansion/contraction problems than cherry
or other solid wood plates.
>I also wondered about the pigment the Yoshidas would have used on the
>zinc blocks. Was it the traditional water-based pigments and rice paste;
>or, in order to get proper adhesion to the metal, did they have to resort
>to an oil-based ink? Certainly a shin-hanga artist wouldn't have minded
>mixing eastern and western technologies in this way, but just how far
>were the Yoshidas willing to push the issue?
Yes, I too asked about the inks. Getting water based inks to adhere
smoothly to metal plates is a bit of a trick. I have been unable to do it
with the standard rice paste approach and aluminum or steel ... I have not
tried it with zinc. Nik Seminoff put me on to a mixture of molasses, brake
fluid, and something else that now slips my mind; the details are on his
web site. It works not bad on aluminum, but the tints are very thin. (I was
using it to transfer designs from natural material to an aluminum plate for
waterless lithography, so I was not actually printing with the mixture, and
did not mind the thin tint.) The new water based intaglio inks are just
that ... NEW. So I wonder what the Yoshidas were using. Anybody know?
Cheers ..... Charles
>I don't believe she studied with the Yoshidas, but we do (did?) have
>someone on Baren who frequently combines etching and other techniques
>with woodblock in the person of Roxanne Sexauer (though I'm not sure if
>she's still subscribed to Baren).
>
>However, in the case of the Yoshidas employing zinc, I image what we're
>talking about is not an etched plate as understood by intaglio
>printmaking, but a photo-etched relief plate such as were long standard
>for use in letter presses, etc., mounted onto a wooden base.
No doubt there are many people who combine woodblock and standard intaglio
techniques. I met a very gifted artist in Saskatoon last summer who did a
number of such pieces. Etching fine lines and inking them in the intaglio
manner is easy to understand (other than the registration problem).
However, I was wondering about the low relief, fine line etching. I have
tried a little of that myself (though not combined with woodblock) and
found the inking to be almost impossible by hand; the relief was just too
shallow. And the fact that the zinc plates are mounted on a wood base made
me wonder if they were printed with a self-inking press.
>I wonder if the Yoshidas ever employed the zinc plates beyond the
>keyblock? I was thinking of the expansion/contraction issue one
>experiences over the course of an edition on a standard wood block. I
>presume that if the zinc key were all one piece nailed or screwed onto a
>board that as one printed the edition, the keyblock itself would remain
>the same, but subsequent color blocks in wood would expand with the
>prolonged moisture, so that later impressions could wind up quite out of
>register. This may not be an issue if the design employs it's keyblock
>in a way that allows for this - but I can see that in the majority of
>work that Dave produces, where the lines of the key block often 'contain'
>the colors within, this would be disastrous. I suppose if the zinc
>plates were spaced apart into 'color islands' on the same board, that
>would at least allow those areas to expand and contract side to side as
>the board to which they were attached swelled, but the over all shape of
>the zinc plates themselves would not expand with the board in the other
>direction, so that these areas might appear strangely 'out of synch'
>with other color blocks.
Yes, the whole registration process remains a bit of a mystery to me
precisely because of the changes in the wood block with the traditional oil
based inks. If all the plates were zinc, you could just put kento marks on
each plate in the traditional way, and away you go. But with some being
wood and some being zinc, you would think there would be problems. Perhaps
plywood plates would give fewer expansion/contraction problems than cherry
or other solid wood plates.
>I also wondered about the pigment the Yoshidas would have used on the
>zinc blocks. Was it the traditional water-based pigments and rice paste;
>or, in order to get proper adhesion to the metal, did they have to resort
>to an oil-based ink? Certainly a shin-hanga artist wouldn't have minded
>mixing eastern and western technologies in this way, but just how far
>were the Yoshidas willing to push the issue?
Yes, I too asked about the inks. Getting water based inks to adhere
smoothly to metal plates is a bit of a trick. I have been unable to do it
with the standard rice paste approach and aluminum or steel ... I have not
tried it with zinc. Nik Seminoff put me on to a mixture of molasses, brake
fluid, and something else that now slips my mind; the details are on his
web site. It works not bad on aluminum, but the tints are very thin. (I was
using it to transfer designs from natural material to an aluminum plate for
waterless lithography, so I was not actually printing with the mixture, and
did not mind the thin tint.) The new water based intaglio inks are just
that ... NEW. So I wonder what the Yoshidas were using. Anybody know?
Cheers ..... Charles
Message 4
From: FurryPressII # aol.com
Date: Tue, 16 Dec 2003 12:10:06 EST
Subject: [Baren 23652] Re: Interested in seeing Noboru sawai' work
Send Message: To this poster
Zinc relief letterpress plates would not be made by the artist but be sent to
a photo etching lab. You need equipment that an artist etcher would not
have. If you just put a etching plate in a acid the lines would be bitten under
the line and it would just disapear.
john center
a photo etching lab. You need equipment that an artist etcher would not
have. If you just put a etching plate in a acid the lines would be bitten under
the line and it would just disapear.
john center
Message 5
From: Wanda
Date: Tue, 16 Dec 2003 09:33:18 -0800
Subject: [Baren 23653] Re: Can I buy single sheets of Hanshita paper in the US?
Send Message: To this poster
Just a suggestion - I use Sumi paper that comes in a tablet or roll. It
comes in different sizes at different (pretty inexpensive) prices & is
available just about anywhere - from asian import stores to art stores. I
glue it down with diluted Elmer's glue. Work great for me, so you might
want to give it a try.
Wanda
comes in different sizes at different (pretty inexpensive) prices & is
available just about anywhere - from asian import stores to art stores. I
glue it down with diluted Elmer's glue. Work great for me, so you might
want to give it a try.
Wanda
Message 6
From: Wanda
Date: Tue, 16 Dec 2003 09:42:00 -0800
Subject: [Baren 23654] posting guidelines
Send Message: To this poster
Interesting discussions going on - but I would like to remind everyone of
our guideline #8:
**********************************************************
Please try to avoid posting more than once a day; instead of sending several
short notes, reply to a number of things in one longer post, with clearly
marked sections. (Also consider that some messages such as congratulations
may be more effective as a personal email than a posting on the forum.)
These 'rules' are necessary because of the amount of traffic generated. The
list moderator has the right - and duty !!! - to eventually block postings
not in compliance with such requirements. All you need to do is to put your
mailing in a suitable form, and it will be processed without further
problems. Note, this is only about 'form' and not about 'content'.
******************************************************
I don't want to get heavy-handed here, but could we move on to some other
discussion? I don't want Baren Forum to become bogged down in this
discussion forever. This is not Philosophy 101 - it's woodblock.
Wanda
Baren forum moderator
our guideline #8:
**********************************************************
Please try to avoid posting more than once a day; instead of sending several
short notes, reply to a number of things in one longer post, with clearly
marked sections. (Also consider that some messages such as congratulations
may be more effective as a personal email than a posting on the forum.)
These 'rules' are necessary because of the amount of traffic generated. The
list moderator has the right - and duty !!! - to eventually block postings
not in compliance with such requirements. All you need to do is to put your
mailing in a suitable form, and it will be processed without further
problems. Note, this is only about 'form' and not about 'content'.
******************************************************
I don't want to get heavy-handed here, but could we move on to some other
discussion? I don't want Baren Forum to become bogged down in this
discussion forever. This is not Philosophy 101 - it's woodblock.
Wanda
Baren forum moderator
Message 7
From: Jsf73 # aol.com
Date: Tue, 16 Dec 2003 12:55:31 EST
Subject: [Baren 23655] Re: posting guidelines
Send Message: To this poster
Good point Wanda.
Not being a digest reader and subscribing to 6 listservers I have been
getting literally a hundred emails a day.... gets tiresome if many are repetitive
with nothing new to learn.
I just wanted to point out that someone (Dave?) actaully brought a zinc
relief plate to the summit. You can see it is nothing like a intaglio plate and it
needs proper preparation by a photolab to ensure the 25-30 degree bevel
necessary for hotstamping and letterpress for which that type of plate is made
originally. Otherwise the edge crumbles and it wont be good for many impressions.
I can see it makes total sense for someone mass producing work such as Toshi
to use any means necessary to meet the demand even if it wasnt strictly
kosher. I can see him hiding that fact from the general public too. Most artists
want to make money.
Anyway, back to dilligently working on my perverted print design..
John
Not being a digest reader and subscribing to 6 listservers I have been
getting literally a hundred emails a day.... gets tiresome if many are repetitive
with nothing new to learn.
I just wanted to point out that someone (Dave?) actaully brought a zinc
relief plate to the summit. You can see it is nothing like a intaglio plate and it
needs proper preparation by a photolab to ensure the 25-30 degree bevel
necessary for hotstamping and letterpress for which that type of plate is made
originally. Otherwise the edge crumbles and it wont be good for many impressions.
I can see it makes total sense for someone mass producing work such as Toshi
to use any means necessary to meet the demand even if it wasnt strictly
kosher. I can see him hiding that fact from the general public too. Most artists
want to make money.
Anyway, back to dilligently working on my perverted print design..
John
Message 8
From: eli griggs
Date: Tue, 16 Dec 2003 10:31:35 -0800 (PST)
Subject: [Baren 23656] hanshita, pigments
Send Message: To this poster
Hi there:
I like to use Kitakata papers to make my transfers,
using freshly made rice flour paste.
The Kitakata runs through through printers very
nicely, takes Pigma ink (pens) well, is easy to lay
down on the block and when it is dry and secure,
allows excess layers of material to roll of without
much fuss.
Properly done, your transfer looks like it was drawn
on the block.
Keep in mind that I have only used this method for
single block printmaking.
I would like to read opinions about what readily
available (W&N, Kramer, Old Holland, etc)
pigment/combinations Hanga printers would chose to
make up a minimal (3-6 colours) palette.
Cheers,
Eli
__________________________________
I like to use Kitakata papers to make my transfers,
using freshly made rice flour paste.
The Kitakata runs through through printers very
nicely, takes Pigma ink (pens) well, is easy to lay
down on the block and when it is dry and secure,
allows excess layers of material to roll of without
much fuss.
Properly done, your transfer looks like it was drawn
on the block.
Keep in mind that I have only used this method for
single block printmaking.
I would like to read opinions about what readily
available (W&N, Kramer, Old Holland, etc)
pigment/combinations Hanga printers would chose to
make up a minimal (3-6 colours) palette.
Cheers,
Eli
__________________________________
Message 9
From: Barbara Mason
Date: Tue, 16 Dec 2003 10:56:50 -0800 (PST)
Subject: [Baren 23657] Re: Yoshidas
Send Message: To this poster
Charles,
I bet they added something to the ink to make it more viscous and rolled it on...seems the only way. If they were clever enough to figure out the paper shrinkage wood expanxion thing they no doubt figured out it would be easier to roll the ink on for this one plate.
Best to all,
Barbara
I bet they added something to the ink to make it more viscous and rolled it on...seems the only way. If they were clever enough to figure out the paper shrinkage wood expanxion thing they no doubt figured out it would be easier to roll the ink on for this one plate.
Best to all,
Barbara
Message 10
From: "Joseph Sheridan"
Date: Tue, 16 Dec 2003 14:08:33 -0500
Subject: [Baren 23658] Re: Yoshida zinc block
Send Message: To this poster
On the Yoshida Hiroshi Zinc Block question....something to look at.
In The Complete Woodblock Prints of Yoshida Hiroshi (Abe Publishing Co.) there is a series of photographs showing printer Komatsu Heichachi working on the Hiroshi print Cryptomeria Avenue.
The photos show the zinc block being worked along with a brief description of the action. A little follows:
"The block is mountain cherry with an overlaid zinc relief plate. .. ..color mixed with water for the right viscosity ... place a small amount of rice paste on the block "
The color is applied with a hakobi then a maru-bake brush spreads the color on the zinc plate. The paper is placed on the block and hand rubbed with a baren. This zinc block is the Key Impression block. The printing continues.. "use the same process as for the key block to apply color." So the process in these pictures and descriptions seems to be in the "traditional" manner. I would be interested to know when he started using the zinc key block. I wonder if it was after his work was in great demand and large open editions were being printed and sold. By the way this is a beautiful book containing full color reproductions of Hiroshi's work.
2 cents as follows: For an artist as prolific as Hiroshi Yoshida, I can't imagine he had time to carve or print all his blocks. He was trained as a watercolorist and oil painter. At the age of 40 when he started in woodblock printing, he deferred to those trained in carving and printing to help meld his shin hanga "new print" vision. I believe to understand the technique fully and to successfully design for the medium, he would have NEEDED to carve and print some of his own work.
As for the bevel or flat debate. My first concern was to leave my lines with the pyramid base. So I came to find myself using the flat to the line I guide with my grip hand and push with my following hand. I also found myself turning the block less and less frequently. I guess that leaves me in some camp.
Love the discussion! Thanks all.
Joe Sheridan
In The Complete Woodblock Prints of Yoshida Hiroshi (Abe Publishing Co.) there is a series of photographs showing printer Komatsu Heichachi working on the Hiroshi print Cryptomeria Avenue.
The photos show the zinc block being worked along with a brief description of the action. A little follows:
"The block is mountain cherry with an overlaid zinc relief plate. .. ..color mixed with water for the right viscosity ... place a small amount of rice paste on the block "
The color is applied with a hakobi then a maru-bake brush spreads the color on the zinc plate. The paper is placed on the block and hand rubbed with a baren. This zinc block is the Key Impression block. The printing continues.. "use the same process as for the key block to apply color." So the process in these pictures and descriptions seems to be in the "traditional" manner. I would be interested to know when he started using the zinc key block. I wonder if it was after his work was in great demand and large open editions were being printed and sold. By the way this is a beautiful book containing full color reproductions of Hiroshi's work.
2 cents as follows: For an artist as prolific as Hiroshi Yoshida, I can't imagine he had time to carve or print all his blocks. He was trained as a watercolorist and oil painter. At the age of 40 when he started in woodblock printing, he deferred to those trained in carving and printing to help meld his shin hanga "new print" vision. I believe to understand the technique fully and to successfully design for the medium, he would have NEEDED to carve and print some of his own work.
As for the bevel or flat debate. My first concern was to leave my lines with the pyramid base. So I came to find myself using the flat to the line I guide with my grip hand and push with my following hand. I also found myself turning the block less and less frequently. I guess that leaves me in some camp.
Love the discussion! Thanks all.
Joe Sheridan
Message 11
From: Barbara Mason
Date: Tue, 16 Dec 2003 11:15:08 -0800 (PST)
Subject: [Baren 23659] etching
Send Message: To this poster
>Zinc relief letterpress plates would not be made by the artist but be sent to a photo etching lab. You need equipment that an artist etcher would not have. If you just put a etching plate in a acid
> the lines would be bitten under the line and it would just disapear.
>john center
John,
I beg to differ...every artist etcher I know has the ability to etch their own plates...all you need is zinc, nitric acid, water and a feather....also a tray of course and good ventilation.
Zinc bites making the line smaller at the top and wider at the bottom, thus you get a very nice relief line unless they are too close together, then you can lose them. But you do not have to etch very deep to roll a relief plate, only about .015 of an inch will do it. This is about 1/3 the thickness of an ordinary paper clip or 3 thicknesses of normal typing paper. If you leave the zinc in the acid too long, of course you will loose informaiton. The way to keep great lines is to use copper, not zinc, but zinc works pretty well and it is a lot cheaper than copper. Photo sensitive stuff is dangerous chemicals, but most artists have used them.......I know letter press plates are more deeply bitten but you could certainly do this yourself.
In my business we use stamping dies and they are made from magnesium, they etch with very nice relief lines, and can be etched very deeply. The plates we start with are about .250 and are etched about half of that...I think magnesium is harder than zinc and this is why we use it, it holds up better. We do send it out as it is a nasty business, this etching. This material comes from the manufacturer with the photo sensitive resist already on it
I know an artist here who relief rolls his zinc plates and the lines are very shallow, about .005 and the reslults are just beautiful..so I think it is a learned skill. Of course he is using oil based ink....the new Akua kolor ink, being honey based and having a gum in it would also work, but you would have to be very careful as it is a lot softer than oil based ink, although if you add a bit of water the gum swells and it becomes stiffer to use. Maybe Yoshida knew about honey and gum.
Best to you,
Barbara
---------------------------------
Message 12
From: jack reisland
Date: Tue, 16 Dec 2003 09:58:23 -1000
Subject: [Baren 23660] Re: etching and woodblock
Send Message: To this poster
The information that I have at hand is that the Yoshida zinc blocks were
only key blocks. They were one single sheet of zinc screwed to a cherry
block, not "islands, and they were inked with pigment and rice paste and
printed with a baren just like a wood keyblock. I can see in the photos that
there are holes cut in the plate where there are clear expanses with no
lines, but these are clearly there for the ease of printing, not any
"expansion" mechanism. There is a photo sequence of one of the key blocks
being inked and a print pulled in "The Complete Woodblock Prints of Yoshida
Hiroshi".
Also, in my experience with etching, with the proper acid concentrations,
zinc does not undercut. It would not be a difficult task for the Yoshida
studio to block out and etch their own plates.
Jack R.
Message 13
From:
Date: Tue, 16 Dec 2003 21:36:57 +0000
Subject: [Baren 23661] Julio Rodriguez featured in online publication!
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Dear Bareners
I am proud to announce that Julio Rodriguez is featured in an
online
publication called Simply Haiku. http://www.simplyhaiku.tk
This publication is published online monthly on the 15th of each
month. Due to the publisher's interest in woodblock art , with an
emphasis in oriental styles, Mr. Robert Mestre has kindly offered a
permanent section on woodblock/oriental arts (which is rare!) in his
online publication!!! Simply Haiku is also
planning on going to print next year.
This is the largest issue published since going online in July 2003.
Please enjoy a nice presentation of both poetry and art.
Thank you,
Bette Wappner
bettewappner@fuse.net
"let the beauty we love be what we do" Rumi.
http://www.geocities.com/b_oki_art
http://www.simplyhaiku.tk
I am proud to announce that Julio Rodriguez is featured in an
online
publication called Simply Haiku. http://www.simplyhaiku.tk
This publication is published online monthly on the 15th of each
month. Due to the publisher's interest in woodblock art , with an
emphasis in oriental styles, Mr. Robert Mestre has kindly offered a
permanent section on woodblock/oriental arts (which is rare!) in his
online publication!!! Simply Haiku is also
planning on going to print next year.
This is the largest issue published since going online in July 2003.
Please enjoy a nice presentation of both poetry and art.
Thank you,
Bette Wappner
bettewappner@fuse.net
"let the beauty we love be what we do" Rumi.
http://www.geocities.com/b_oki_art
http://www.simplyhaiku.tk