Japan Stage 5: A Guide To Japanese Woodcut Printing (PDF)

Summary

This guide details the techniques of Japanese woodcut printing, including equipment like woodblocks and tools, and the method involving carving, inking, and printing. It covers the history and evolution of the art form, emphasizing the specific tools and steps required.

Full Transcript

STAGE 5 Unit focus: Japan Text focus: Instructions Text A Guide To Japanese Woodcut Printing Printmaking is an art form which allows multiple copies (or prints) of an image to be created from a single...

STAGE 5 Unit focus: Japan Text focus: Instructions Text A Guide To Japanese Woodcut Printing Printmaking is an art form which allows multiple copies (or prints) of an image to be created from a single plate or block. Woodcut printing became popular in Japan during the Edo period from 1603 to1868 and one of Japan’s most famous artworks – the Great Wave by Katsushika Hokusai - was produced using this technique. Equipment Woodblock: Traditionally, woodcuts were made using a piece of cherry wood but today, a variety of woods can be used. Softer woods are easier to carve but are not as good for printing images with lots of fine detail. Harder woods can be used multiple times without losing the sharp edges. Tools: Metal carving tools come in various shapes and thicknesses depending on the image that is being created and the type of wood. The tools can have a v shaped end or can be u shaped. U-shaped tools are able to gouge out thicker sections of wood and so are better for larger designs whereas v-shaped tools can capture more intricate detail. Ink: Japanese woodcuts typically used water-based inks but it is also possible to use oil- based ones which, although effective, can be messy. The number of colours you need will depend on your image. If you use one ink, your design will be made up of white (the colour of the un-inked paper) plus that colour. More inks add vibrancy and interest but are far more complicated to print since each colour needs to be printed separately. Brushes or Brayers (rollers) for applying the ink to the block. Method 1. The artist first draws an image. This could be drawn directly on to the woodblock, however, it is important to be aware that anything you draw or write will be reversed on the final print. So, if the image includes words, these will need to be written in mirror image. Alternatively, the design could be drawn on tracing paper and then transferred face down on to the block. A ding ro Rea und all resources ©2023 Literacy Shed e um C u r r ic ul Th http://www.literacyshedplus.com 2. A ‘negative’ of the design is carved. This means that the areas which are to remain white are carved away using the specialist tools. This should be done carefully (after all the tools are sharp and mistakes can’t be rubbed out!). Carving in the direction of the grain of the wood and using smooth strokes with the tool at a shallow angle to the wood will be easiest and give the best results. 3. If using more than one colour, separate woodblocks can be carved for each colour. Every part of the image that you do not want to appear as that colour in the final image will need to be carved away. 4. The block is inked up using a brayer or brushes. The ink will sit on the uncarved surface and not on the sections which have been carved away. 5. The inked blocks are pressed on to the paper firmly. Specialist studios will have printing presses which apply a consistent pressure across the whole print and give an even finish. Each colour is printed separately once the previous ink has dried. The final image is therefore built up in layers with each successive woodcut adding to the one before. To ensure all of the different colours line up, a registration sheet is used. The artists needs to make sure that the blocks are carefully aligned with the markings on this sheet, otherwise the image will not be successful. INFERENCE FOCUS 1. How can we tell that Japanese Woodcut printing has changed over time? 2. How many inks would be needed for a print that is white, blue and green? 3. Find evidence to support the idea that making woodcuts requires patience. 4. What other qualities would a woodcut artist need to have? Give evidence from the text to support our answer. 5. What do you think might be the most difficult part of the process and why? VIPERS QUESTIONS R What wood was originally chosen for woodcuts? S What wood and tools would be best for small, detailed designs? R What is a brayer? V What does ‘gouged’ mean? V In section 5 of the method, find another word which has a similar meaning to ‘even’? all resources ©2023 Literacy Shed http://www.literacyshedplus.com

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