General Description of the Operation of Printing from a Set of
Blocks
The early stages of any craft are more interesting when we are familiar
with the final result. For this reason it is often an advantage to begin
at the end.
To see a few impressions taken from a set of blocks in colour printing,
or to print them oneself, gives the best possible idea of the quality
and essential character of print-making. So also in describing the work
it will perhaps tend to make the various stages clearer if the final act
of printing is first explained.
The most striking characteristic of this craft is the primitive
simplicity of the act of printing. No press is required, and no
machinery.
A block is laid flat on the table with its cut surface uppermost, and is
kept steady by a small wad of damp paper placed under each corner. A
pile of paper slightly damped ready for printing lies within reach just
beyond the wood-block, so that the printer may easily lift the paper
sheet by sheet on to the block as it is required.
It is the practice in Japan to work squatting on the floor, with the
blocks and tools also on the floor in front of the craftsman. Our own
habit of working at a table is less simple, but has some advantages. One
practice or habit of the Japanese is, however, to be followed with
particular care. No description can give quite fully the sense of
extreme orderliness and careful deliberation of their work. Everything
is placed where it will be most convenient for use, and this orderliness
is preserved throughout the day's work. Their shapely tools and vessels
are handled with a deftness that shames our clumsy ways, and everything
that they use is kept quite clean. This skilful orderliness is essential
to fine craftmanship, and is a sign of mastery.
The arrangement of tools and vessels on a work-table may be as the
accompanying plan shows:
[Illustration: FIG. 1.--Plan of work-table.
A. Block.
B. Sheets of damped paper lying on a board.
C. Second board lifted from B.
D. Brushes lying on a strip of wood.
E. White plate or dish containing colour.
F. Saucer containing paste of rice-flour.
G. Baren, or printing pad, lying on a sheet of paper
slightly oiled with sweet oil and tacked to
the table.
H. Deep bowl of water and brush for moistening
the damping sheets.
I. Saucer of water for use in printing.
J. Sponge.]
When printing on a table arranged in this way the board lying on the
sheets of damped paper at B is first lifted off and placed at C to
receive the sheets as they are done. If the block A is quite dry, it is
thoroughly moistened with a damp sponge and wiped. The colour from a
saucer, E, is then brushed over the printing surface thinly, and a trace
of paste taken from F is also brushed into the colour. (This is best
done after the colour is roughly spread on the block.) The brush is laid
down in its place, D, and the top sheet of paper from the pile is
immediately lifted to its register marks (notches to keep the paper in
its place) on the block. The manner of holding the paper is shown on
page 70. This must be done deftly, and it is important to waste no time,
as the colour would soon dry on the exposed block and print badly.
Pressure is then applied to the back of the paper as it lies on the wet
block. This is done by a round pad called the _baren_ by the Japanese.
It is made of a coil of cord covered by bamboo sheath as shown later
on page 62. The pad is rubbed by hand with considerable pressure, moving
transversely forwards and backwards across the block, working from the
left to the right. Once all over the block should be enough. The paper
is then lifted off and laid face upwards on the board at C. The block is
then re-charged with colour for another impression, and the whole
operation repeated as many times as there are sheets to be printed.
[Illustration: Plate III. The Baren, or printing pad.
(The pad is actually 5 inches in diameter.)
(_To face page 12._)]
When this is done all the sheets will have received a single impression,
which may be either a patch of colour or an impression in line of part
of the design of the print. The block A is then removed, cleaned, and
put away; and the block for the second impression put in its place.
It is usual to print the line or key-block of a design first, as one is
then able to detect faulty registering or imperfect fitting of the
blocks and to correct them at once. But there are cases in which a
gradated tone, such as a sky, may need to be printed before the line
block.
The complete design of a print may require several blocks for colour as
well as the key block which prints the line. The impressions from all
these blocks may be printed one after another without waiting for the
colour on the paper to dry.
As soon as the batch of damped sheets has been passed over the first
block, the sheets are replaced at B between boards, and, if necessary,
damped again by means of damping sheets (as described later in Chapter
V) ready for the next impression, which may be proceeded with at once
without fear of the colour running. It is a remarkable fact that patches
of wet colour which touch one another do not run if properly printed.
For the second printing fresh colour is prepared and clean paste, and
the printing proceeds as already described, care being taken to watch
the proper registering or fitting of each impression to its place in the
design.
There are many niceties and details to be observed in the printing of
both line and colour blocks. These are given in special chapters
following. This description of the main action of printing will be of
use in giving a general idea of the final operation before the details
of the preliminary stages are described.