The engraving was invariably done by a second person and not by the
designer.
The wood used was that of the wild cherry _(Yamazakura),_ the timber of
which was not allowed to be exposed to sunshine, but was carefully
seasoned in the shade. Fig. 1 illustrates the most economical way of
cutting up logs into blocks; the harder portions of the wood—those nearer
the centre—being used for the key-blocks (see p. 10), and the softer for
the colour-blocks. When possible, wood from the same tree was used for all
the blocks in each series. The outlines of the drawing were incised with a
knife-edged graver, and the superfluous wood then hollowed out with
chisels or gouges of various form, for all practical purposes, identical
with those used by European wood-carvers. The result is an intaglio block,
the printing-surfaces alone remaining in relief.
[DIAGRAM:—Method of cutting a log into blocks. ]
DIAGRAM:—Method of cutting a log into blocks.
The block first made from the drawing is called the key-block _(Daiban)_
and gives, in relief, the lines only, of the design. From it a number of
proofs are taken, one for each colour-printing to be made. On each of
these proofs the separate portion of the design covered by one colour is
painted; and is then pasted on a block and cut in the manner described
above. Every part of the surface of the block, however, which is not
required for the one colour in use, is cut away.
To produce a colour print, therefore, a key-block is required and also a
separate block for each colour in the design. For the sake of economy,
colour-blocks are sometimes cut on both sides; and, for small details, two
portions of the design may be cut on one side, but only one colour is
printed at each operation.
In the actual cutting of the block, the old Japanese engraver adhered to
an important principle—that of following the direction of the brush
strokes of the original drawing, in such a manner as to reproduce the
actual quality of the brush-mark. This is less apparent in the ordinary
colour-prints; but in reproductions, by the same process, of paintings and
drawings, the results obtained are extraordinarily faithful to the
originals.
Blocks were often framed, to prevent warping, in the manner illustrated in
fig. 2. This device was more generally employed in the case of those
especially made for book-illustration. A block that had warped could often
be straightened out again, by being well soaked in water and then placed
under a weight.
[DIAGRAM:——Method of framing a block to prevent warping. ]
DIAGRAM:——Method of framing a block to prevent warping.
12. ILLUSTRATION of an engraver cutting a wood-block, showing his
position and method of holding the knife or graver _(Kogatana)_ with
which the outlines are first incised. A colour-print, in the
Japanese manner, by Emil Orlik, of Prague. E. 797-1912
13. ILLUSTRATION of the process of making colour-prints, showing various
stages of cutting the blocks, sharpening the tools, damping the
paper; and the tools and materials of the printer. A 3-sheet
colour-print, by Utagawa Kunisada, _signed_ “Toyokuni” (A.D.
1785-1864). The process is fancifully represented as being carried
out by women. J. 3203. This print is imitated from one by
Utamaro, a portion of which is illustrated herein _(Frontispiece)._
14. CHISELS _(Nomi)_ used in cutting the block. The outlines are first
cut with a graver _(Kogatana)_ somewhat similar to that used by
European wood-engravers. E. 4333-4343-1909.
15. STONE _(Koshito)_ for sharpening tools. E. 4345-1909.
16. STONE _(Awasedo)_ for polishing the surface of the Koshito. E.
4346-1909.
17. MALLET _(Saizuchi)_ used with tools for cutting away the superfluous
wood. E. 4344-1909.
18. DIAGRAM, showing the most economical way of cutting a log into
blocks for printing (fig. 1).
19. DIAGRAM, showing method of framing a block to prevent warping (fig.
2).
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐