Today's postings
- [Baren 29071] Print Issues ("Tom Kristensen")
- [Baren 29072] Re: Print Issues (Barbara Mason)
- [Baren 29073] Re: Print Issues (FurryPressII # aol.com)
- [Baren 29074] Re: Print Issues ("Ellen Shipley")
- [Baren 29075] Re: IMPORTANT EXCHANGE 26 (Dan Dew)
Message 1
From: "Tom Kristensen"
Date: Mon, 24 Oct 2005 00:03:33 +1000
Subject: [Baren 29071] Print Issues
Send Message: To this poster
Colleen asks:
"how it is possible to understand whether a woodblock has been used once for the first batch of impressions or if this woodblock was reused many years later to produce a second edition of that same print."
The same set of blocks may have been used to make thousands of print copies and the quality of the impressions will reflect the wear of the blocks and the diligence of the printer. In effect there may have been dozens of editions made. Early prints were often made with the approval of the artist. Special effects, like multiple bokashi, could be dropped from later impressions. The blocks are subject to chipping and wear, so early prints will appear crisp whereas later prints may have nicks missing from the linework. The edges of coloured blocks can become fuzzy and were often trimmed a little. Such trimming will produce white margins to the colour. When blocks were passed from one publisher to another the title details were often altered. New text could be added and old text removed.
Apart from the continuous use of old blocks, the popular prints were often recarved. Generally there was no attempt to recreate the exact feel of the print. Recarved editions usually have a different quality to the linework and the ink.
If you have an interest in a particular artist the best thing to do is to try to look at many examples of their work. You will come to see the range of quality that exists and be able to place a particular print in that spectrum. Every print is unique, with a different history and condition. Try not to think of editions but judge each print on it's own merits. A good recarved print may have more appeal than a shabby print made from the original blocks.
Tom
"how it is possible to understand whether a woodblock has been used once for the first batch of impressions or if this woodblock was reused many years later to produce a second edition of that same print."
The same set of blocks may have been used to make thousands of print copies and the quality of the impressions will reflect the wear of the blocks and the diligence of the printer. In effect there may have been dozens of editions made. Early prints were often made with the approval of the artist. Special effects, like multiple bokashi, could be dropped from later impressions. The blocks are subject to chipping and wear, so early prints will appear crisp whereas later prints may have nicks missing from the linework. The edges of coloured blocks can become fuzzy and were often trimmed a little. Such trimming will produce white margins to the colour. When blocks were passed from one publisher to another the title details were often altered. New text could be added and old text removed.
Apart from the continuous use of old blocks, the popular prints were often recarved. Generally there was no attempt to recreate the exact feel of the print. Recarved editions usually have a different quality to the linework and the ink.
If you have an interest in a particular artist the best thing to do is to try to look at many examples of their work. You will come to see the range of quality that exists and be able to place a particular print in that spectrum. Every print is unique, with a different history and condition. Try not to think of editions but judge each print on it's own merits. A good recarved print may have more appeal than a shabby print made from the original blocks.
Tom
Message 2
From: Barbara Mason
Date: Sun, 23 Oct 2005 09:35:37 -0700 (PDT)
Subject: [Baren 29072] Re: Print Issues
Send Message: To this poster
Colleen,
I can hear the frustration in your "voice" about this...but the thinking in Japan on reprinting old blocks and adding one when one wears out is so different from the way we think that it is no wonder we are stressed over this. In Japan no one thinks they are pulling the wool over anyone's eyes to carve a new block or all new blocks, they just keep making copies if the demand keeps up. This is like book publishing, it people want it they print more books. Hard for us to think of art like this, but then prints were not very revered in Japan, they were thought of as pleasant but nothing to hang on the wall....so we have here two cultures with two different views. One thinks the work is spectacular and should be revered, one thinks the "foreigners" are a bit crazy but will sell them as many as they will buy. Of course this has changed over the years and many Japanese collect woodblock today also....but I bet you don't see very many on walls in Japanese houses, maybe in portfolio
books to
look at occasionally. Tradition is a funny thing and hard to change.
Best to you,
Barbara
I can hear the frustration in your "voice" about this...but the thinking in Japan on reprinting old blocks and adding one when one wears out is so different from the way we think that it is no wonder we are stressed over this. In Japan no one thinks they are pulling the wool over anyone's eyes to carve a new block or all new blocks, they just keep making copies if the demand keeps up. This is like book publishing, it people want it they print more books. Hard for us to think of art like this, but then prints were not very revered in Japan, they were thought of as pleasant but nothing to hang on the wall....so we have here two cultures with two different views. One thinks the work is spectacular and should be revered, one thinks the "foreigners" are a bit crazy but will sell them as many as they will buy. Of course this has changed over the years and many Japanese collect woodblock today also....but I bet you don't see very many on walls in Japanese houses, maybe in portfolio
books to
look at occasionally. Tradition is a funny thing and hard to change.
Best to you,
Barbara
Message 3
From: FurryPressII # aol.com
Date: Sun, 23 Oct 2005 13:43:42 EDT
Subject: [Baren 29073] Re: Print Issues
Send Message: To this poster
Japanese wood cuts were commercial printing some of them very nice others
not so. Books, posters, hand bills labels etc were all printed in this manner.
The same way wood engraving was just a part of commercial printing.
john c.
not so. Books, posters, hand bills labels etc were all printed in this manner.
The same way wood engraving was just a part of commercial printing.
john c.
Message 4
From: "Ellen Shipley"
Date: Sun, 23 Oct 2005 10:46:16 -0700
Subject: [Baren 29074] Re: Print Issues
Send Message: To this poster
>. Every print is unique, with a different history and condition. Try not to think of editions but judge each print on it's own merits. A good recarved print may have more appeal than a shabby print made from the original blocks.
Tom<
Yes, that's what it looked like when we went to see the Adachi folks print their recarved blocks. There were original prints on display and some of them were decidedly faded or weak. I suppose that helped show their prints in a better light, but you could see that editions vary.
Ellen
Tom<
Yes, that's what it looked like when we went to see the Adachi folks print their recarved blocks. There were original prints on display and some of them were decidedly faded or weak. I suppose that helped show their prints in a better light, but you could see that editions vary.
Ellen
Message 5
From: Dan Dew
Date: Mon, 24 Oct 2005 09:04:30 -0400
Subject: [Baren 29075] Re: IMPORTANT EXCHANGE 26
Send Message: To this poster
As difficult as it is (I find that I can not carve very well or very
fast in this neck brace), I am plugging along. Should be done on time.
fast in this neck brace), I am plugging along. Should be done on time.