Baren-suji: Impression marks made with a baren- intentional or not.Baren: The traditional printmaking "pad" that is used by manually pressing the inked block.Hanga bake have long handles, maru (round) bake resemble shoe brushes. Bake(hanga or maru): traditional Japanese printing brushes made of horse or hog hair.I’ve noticed that this reconstituting doesn’t work as well with commercial tube watercolors since there is gum added and it results in a grainy texture. I’m also not quite sure that the step of pushing the pigment through the sieve is necessary since the ground particles are much finer than the screen.Īfter printing, mixing bowls are left to dry around the printing desks and are reconstituted (unless starch paste had been added) by simply adding a little water and stirring with the tokibo without apparent problems. I was a little suprised at the Ultramarine since it is a mineral pigment. ![]() I suspect that this will result in less hard-won pigment being lost and may go a bit faster.Īs of several days later, both the Ultramarine and the Indigo did not separate to clear water. Mokuhankan is planning to compare this traditional method of grinding pigments with using a western-style glass muller/ glass slab combination. The idea of keeping a selection of pigments stored in ‘paste’ form in an alcohol/water mix is discussed in ‘One-Point Lesson’ #6 in another section of the Encyclopedia. Additional references: Preparing powdered pigments can be found in a “Tools and Materials” section David Bull’s Encyclopedia article.The result is that by using this chisel you can flatten and smooth out all the areas you cleared using the u-gouge. Instead of having a straight edge, the front edge of this chisel is rounded. The fourth phase uses a special chisel called a “bull nose” chisel.I try to do as much of this work with a mallet as opposed to my hand to save wear on both my elbow and wrist. Continue using the u-gouge to clear the remaining spaces taking care to cut with the grain and away from your raised areas as much as possible.For most of this work I use a u-gouge and a mallet on a work bench. First, the u-gouge is used to carve along the same lines originally carved by the knife, widening those areas in the areas to be cut away. The third phase is to remove the remaiing wood from the areas not to be printed by use of a u-gouge.Phase one and two are generally done in tandem. Traditionally, no v-gouge was used in cutting the wood block so that all lines and edges remain crisp. This can be done with a v-gouge tool, but a v-gouge tool will generally not leave a smooth cut across the grain of the wood and also not allow for as much flexibility in movement or detail. The second phase is to remove the wood from the first cut by cutting along the same course as the previous cut but at the opposite angle as to remove the wood leaving a v-shaped groove.Do not grip the knife with the handle in the palm.Cuts are made by drawing the knife towards you with the knife slightly inclined towards your body and the point of the knife angled so that the cut is away from the image being carved. A pencil grip may be used in certain instances which require very little strength. ![]() This way as you flex your fingers and hand the knife can turn in a smooth rolling motion while maintaining a strong grip. The proper way of holding the knife in our hand is in the first set of knuckles closest to your palm with your fingers curled around the handle of the knife and your thumb on top. ![]() If the angled side of the knife were to face the drawing it would push into your drawing causing the edge to dent and soften. The angled side of the knife pushes away the wood to the outside of your drawing. Also, the blade should be used at an angle (about 5 to 10 degrees off verticle) so that the angle is away from what you are carving. It is preferable to have theflat edge against the line or shape to be carved. The blade of the carving knife has two sides flat and angled.
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