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Multi-Block Printing the Tradition: Chiaroscuro Woodcuts

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Multi-Block Printing the Tradition: Chiaroscuro Woodcuts Multi-Block Printing The tradition: Chiaroscuro Woodcuts “The earliest colored woodcuts were intended to imitate the appearance of a type of drawing on colored paper known as chiaroscuro, much sought after by collectors. In these drawings, the colored paper served as the middle tone, and the artist worked toward the light (chiaro) by adding highlights with white gouache, and toward the dark (scuro) by adding crosshatching in pen or a dark wash with a brush. The chiaroscuro woodcut, invented in Germany by Hans Burgkmair around 1509, was created by printing a line block—which carried the contours and crosshatching, and could sometimes stand alone as a black and white woodcut—together with one or more tone blocks. If there were only one tone block, it would print a mid-tone that would function in the same way as the colored paper did in the drawings. Where more than one tone block was used, it was possible to suggest levels of shading, as in a wash drawing. Where the blocks had been cut away, the paper would remain unprinted, and these white areas would serve as the highlights.” Citation: Thompson, Wendy. "The Printed Image in the West: Woodcut". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/wdct/hd_wdct.htm (October 2003) Block Preparation In order to make this type of print, you will work from a KEY block (the “line block”, “the black” or the “Outline” of the overall composition). All blocks should be the same size. Render your line image onto the key block. Once you cut your key block, print it onto proofing paper. While the proofing print is still wet and you are happy with the cuts you’ve made, place the wet print onto your 2nd block and transfer the line image. You will need to use your registration jig to do this accurately. Your 2nd block is your “Mid-tone” block. Carve away the “black and white”, i.e, the outline and paper area leaving the mid-tone area so it will print your color. If you have more than 2 ink colors you will need to repeat the process of proof printing either the key block or mid-tone block (whichever works best for you to carve for your 3rd color) onto the 3rd block and carve away all but the 3rd colored area that needs to print. Paper Preparation All paper (editioning and proofing) should be the same size. When you have determined the size of the block/image, you’ll need to determine the dimensions of the paper (and the kind of paper) on which you’ll print the finished image. You may print on Japanese style papers on the press, but heavier etching-style papers will respond better to the pressure offered by the press. It’s preferable to hand print using Japanese style papers (laid papers). For an edition of 5 impressions, you should prepare more paper than you think you’ll need (it’s easy to make mistakes in reduction prints as there are so many steps to keep track of). Consider preparing 10 – 14 sheets of archival printmaking paper and an equal number of newsprints sheets if you chose to proof on newsprint. TEAR ALL THE SHEETS (EDITIONING PAPER AND PROOFING PAPER) TO THE EXACT SAME DIMENSIONS. Neatly stack all the sheets together in a pile that is editioning and another pile that is newsprint. Pin Registration System for Hand Printing and the Etching Press The registration system, or jig, allows you place the matrix/block precisely in the same place on the page each time. When you make a registration jig using matting board and flat push pins (this works best for un-mounted linoleum and ¼ inch plywood-thinner matrices), be sure to use the same one for a single edition. You may want to make a jig for various printing paper sizes and blocks. If you do, you should mark the sizes on the matting board jig and save for a later date when you print a new block. How to make a Pin Registration jig out of matting board: With a piece of scrap matting board cut an “L” shape out of the board where the width of the board is the same as your printing paper. The length should be either the same as the paper or a bit shorter. The thickness of the “L” should be at least 6 inches. Using a ruler and pencil, draw a line at the 2” mark along the “L”-measuring from the outer edge to the inner edge of the “L”. Push pins through the 2” line at intervals (2 pins per “L” side are enough) all the way through the board. Affix a piece of masking tape to the flat side of the pin- this is the back. Affix a piece of masking tape over the sharp end of the pin and burnish down the tape so the pin is fixed to the board. Make sure the block fits up against the inner part of the “L” and that your paper edge goes to the edge of the “L” with enough room for the image to have a 2”-3” border from the image. Press each sheet of paper (including the proofing paper) through the pins and place a piece of tape over the pin and paper so it is a tight fit. Remove the paper and proceed to “pin” or “register” all of your paper. There are 2 other ways you can register this printing method-the Kento and Board. You may use any of the 3 methods. Stick with one throughout the editioning process. Mixing Ink There are some fundamental rules to mixing ink colors so that you achieve the color you want quickly and without wasting a lot of ink. Always add dark colors to light, not light colors to dark. Example: to achieve a light blue, using process blue and opaque block white, place a tablespoon or so of white ink on the palette. In an area several inches away from the white ink, lay out some blue ink. Lay the inks out with separate palette knives dedicated to each color. Gradually add the blue to the white ink pile until you achieve the color you want. The cobalt being of strong pigmentation will quickly color the white, so use the blue sparingly and keep adding blue in small amounts until you get the desired effect. Taking notes of your color mixing adventures will help you mix colors more quickly and effectively in the future. You can lighten colors by adding white or a small amount of transparent white ink or transparent base. Example: Mixing opaque white and red will lighten the red, but also make it turn pink quickly. An alternative is to add red ink to the transparent white bit by bit until you achieve the brightness of red you want, however it will be “pinkish.” Adding red to the transparent base will reduce opacity/increase transparency of the red and maintain the hue more faithfully. Try to mix the amount of ink you’ll need for the entire ‘run or drop’ in advance. This may require you to mix a little more than you think you might need. Recall too that the first application of ink requires more as the wood is dry and absorbent. Do your best to mix as much as you need, but not a vast quantity more than you’ll need. Save mixed colors in a zip lock bag, foil envelope or wax paper packet (seal these with paper tape and store in a safe place-away from printing paper). You may hold it in your drawer if you think you’ll use it again, or document the contents of your mixed recipe and donate it to the studio. Inking the Block When you’re ready to print the first ‘run or drop’ (‘run or drop’ refers to color or layer), clean the block of debris and dust. Ideally you want to use a brayer that is as wide as the block (or wider) to eliminate lap or roller marks. Ink the block outside of the registration jig – don’t get ink on the registration jig. Because you are utilizing the pressure of the press, and you are printing several layers of ink on a single sheet, you don’t need to apply as much ink to these prints as you did to the hand- burnished prints to achieve a uniform, dark color. In fact it is better to allow the first run or drop to be just a tad bit ‘dry’ looking or transparent if a lot of this color will ultimately be buried by other colors. Applying too much ink will slow the process: you’ll have to allow more time for the print to dry before applying a second color. Printing Have clean hands by wearing gloves (or wash your hands between inking and printing) to assemble the block and paper to the registration jig always starting with newsprint to proof. Plan to print more impressions than you need for the edition. Print all the editioning paper you tear for the project. You may experience mistakes in the subsequent phases of the print and need extras around just in case. Hand printing (Pin, Kento and Board) Once you are ready to print each color, you will jut the inked block against the jig, place down the pre-holed/marked/ paper and carefully press the paper onto the block and rub with the back of the spoon or baren.
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