F. Morley Fletcher

“ From another and quite different point of view, the art of block-cutting and colour-printing has, however, a special and important value. To any student of pictorial art, especially to any who may wish to design for modern printed decoration, no work gives such instruction in economy of design, in the resources of line and its expressive development, and in the use and behaviour of colour. ”

“ In the blending of hand-work and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art. It is desirable [Pg viii] in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship. ”

“ This little book gives an account of one of the primitive crafts, in the practice of which only the simplest tools and materials are used. Their method of use may serve as a means of expression for artist-craftsmen, or may be studied in preparation for, or as a guide towards, more elaborate work in printing, of which the main principles may be seen most clearly in their application in the primitive craft.
In these days the need for reference to primitive handicrafts has not ceased with the advent of the machine. The best achievements of hand-work will always be the standards for reference ”

“ The cutting of a line block needs patience and care and skill, but it is not the most difficult part of print making, nor is it so hopeless an enterprise as it seems at first to one who has not tried to use the block-cutter's knife.
In Japan this work is a highly specialised craft, never undertaken by the artist himself, but carried out by skilled craftsmen who only do this part of the work of making colour prints. Even the clearing of the spaces between the cut lines is done by assistant craftsmen or craftswomen. ”

“ The designing of a print depends most of all upon this development of line and black mass in the key-block. The colour pattern of the print is held together by it, and the form suggested. In the Japanese prints the key-block is invariably printed black or grey. Masses intended to be dense black in the finished print are printed first a flat grey by the key-block, and are then printed a full black from a colour-block like any other patch of colour, the double printing being necessary to give the intensity of the black. ”

“ Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success. ”

“ Although no paper has hitherto been found that will take so perfect an impression from colour-blocks as the long-fibred Japanese paper, yet it should be the aim of all craftsmen to become independent of foreign materials as far as possible. There is no doubt that [Pg 55] our paper-makers should be able to produce a paper of good quality sufficiently absorbent to take colour from the wet block and yet tough enough to bear handling when slightly damp.
If a short-fibred paper is made without size, it comes to pieces when it is damped for printing. ”

“ Copies of two immense woodcuts at the Victoria and Albert Museum, of Biblical subjects, seem to have been [Pg xii] seems to cramp the hand and injure the eyes of all but the most gifted draughtsmen. It is desirable to cultivate the ability to seize and record the "map-form" of any object rapidly and correctly. Some practice in elementary colour-printing would certainly be of general usefulness, and simpler exercises may be contrived by cutting out with scissors and laying down shapes in black or coloured papers unaided by any pattern. ”

“ Colour schemes may be studied and worked out with entire freedom by printing and reprinting until a problem is thoroughly solved. A colour design may be studied and worked out as fully by means of a small set of blocks, and with more freedom for experiment and alteration than is possible by the usual methods of study, such as painting and repainting on paper or canvas or wall ”

“ The best of all the wonderful and excellent work that is produced to-day by machinery is that which bears evidence in itself of its derivation from arts under the pure conditions of classic craftsmanship, and shows the influence of their study. ”

“ The amount of size in the paper is another important factor in the printing of colour. If the paper is too lightly sized the fibres will detach themselves and stick to the damp block. Or if too heavily sized the paper will not take up the colour cleanly from the block, and will look hard when dry. One very soon feels instinctively the right quality and condition of the block, colour, and paper which are essential to good printing; and to print well one must become sensitive to them. ”

“ Some artists have succeeded in using ordinary water colours sold in tubes, by mixing the colour with the rice paste before printing; but the best results are obtained by the use of pure, finely ground dry colour mixed only with water, the rice paste being added actually on the block.
Most of the artists' colour merchants supply colour by weight in the form of dry powder: any colour that is commonly used in oil or water-colour painting may be obtained in this state. A stock of useful colours should be kept in wide-necked bottles. ”

“ Success in printing depends very much on care and orderliness. It is necessary to keep to a fixed arrangement of the position of everything on the work-table and to have all kept as clean as possible. To see the deft and unhurried work of a Japanese craftsman at printing is a great lesson, and a reproach to Western clumsiness.
The positions indicated by the diagram on page 11 will be found to be practical and convenient.
The special tools used in printing are the "baren" or printing pad, which is the only instrument of pressure used, and the printing brushes. ”

“ My own experience also convinces me that whatever may be the ultimate value of the Eastern craft to our artists as a mode of personal expression, there is no doubt of its effect and usefulness in training students to design with economy and simplicity for modern printing processes. ”

“ The machine can only increase the power and scale of the crafts that have already been perfected by hand-work. Their principles, and the art of their design, do not alter under the machine. If the machine disregards these its work becomes base. ”

“ The flat surface of the bamboo-sheath is on the under side of the pad when the handle is uppermost. The ribbed bamboo-sheath is impervious to the dampness of the paper in printing, and the pad may be used to rub and press directly on the back of the damp paper as it lies on the block without any protective backing sheet. The collotype reproduction facing page 12 shows the shape and character of the baren.
Japanese printing pads may be obtained from some of the artists' colour-men, or from Japan through various agencies. They are by far the best instrument for the purpose. ”

“ The modern vogue still favours more expensive although less decorative forms of art, or works of reproduction without colour, yet here is an art available to all who care for expressive design and colour, and within the means of the large public to whom the cost of pictures is prohibitive. ”

“ Outside its safe limitations the technical difficulties are increased, and one is led to make compromises that strain the [Pg 85] proper resources of block printing and are of doubtful advantage.
The temptation to use colour with the key-block comes when one attempts to use the key-block for rendering light and shadow. Its use by the Japanese masters was generally for the descriptive expression of the contours of objects, ignoring entirely their shadows, or any effects of light and shade, unless a shadow happened occasionally to be an important part of the pattern of the design. ”

“ 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. ”

“ Bear in mind that both sides of a line are drawn by the knife. The special power of developing the expressive form of line on both sides is a resource tending to great development of drawing in designs for wood-block prints. The line may be of varying form, changing from silhouette to pure line as may best serve to express the design. It should never be a mere diagram.
Plate VI. Reproduction of an impression (reduced) of the key-block of a Japanese print showing admirable variety in the means used to suggest form. ”

“ Some colours will be found to print more smoothly and easily than others. Yellow ochre, for instance, prints with perfect smoothness and ease, while heavier or more gritty colours tend to separate and are more difficult. In the case of a very heavy colour such as vermilion, a drop of glue solution will keep the colour smooth for printing, and less paste is necessary. But most colours will give good impressions by means of rice paste alone. It is essential, however, that only very finely ground colours of good quality should be used. ”

“ In beginning it is well to undertake only a small design, so that no great amount of material or time need be consumed in gaining the first experience, but this small piece of work should be carried through to the end, however defective it may become at any stage. A small key-block and two or three colour patches may all be cut on [Pg 83] the two sides of one plank for this purpose.
There is great diversity of opinion as to the conventions that are appropriate to the designing of colour prints. In the work of the Japanese masters the convention does not vary. ”

“ If new wood is used, or wood that has not been seasoned long indoors, it will dry and contract considerably across the grain before the work [Pg 47] is finished. Then, if newer planks are prepared and cut up for the colour blocks, and impressions from the key-block are pasted down on them for cutting, it will be found that, as the newer wood of the colour-blocks goes on drying, it will shrink out of register, and the colour impressions will not fit the line perfectly. ”

“ If left too long the whole mass goes bad and is spoiled. When the black mass is soft and clean drain off the water and rub the ink smooth in a dish with a bone palette knife. It is then ready for use, but would rapidly go bad if not used up at once, so that a preservative is necessary to keep a stock [Pg 57] of ink in good condition. An effective method is to put the ink at once into a well-corked, wide-mouthed bottle. To the under side of the cork is nailed a little wad of unsized paper soaked with creosote. ”

“ The line is not always uniform, but is developed with great subtlety to suggest the character of the form expressed, so that the subsequent flat mass of colour printed within the line appears to be modelled. This treatment of the line is one of the great resources of the work, and is special to this kind of design, in which the line has to be cut with the knife on both sides, and is for this reason capable of unusual development in its power of expressing form. Indeed the knife is the final instrument in the drawing of the design. ”

“ A batch of sheets of printing paper, prepared and damped as described in Chapter V, lies between boards just beyond the block. The pad lies close to the block at the right on oily paper pinned to the table. To the right also are a dish or plate on which a little ink is spread, the printing brush (broad for the key-block) , a saucer containing fresh paste, a bowl of water, a small sponge, and a cloth. Nothing else is needed, and it is best to keep the table clear of unnecessary pots or colour bottles. ”

“ When cutting a new set of blocks there is another possible source of error which needs to be carefully guarded against. Most of the work in designing a new print is necessarily spent in planning and cutting the key-block, which may occupy a considerable time, especially if other work has to be carried on as well. ”

“ In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. ”

“ Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, [Pg vii] divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye ”

“ In order to keep the block from moving on the work-table, there should be fixed one or two strips of wood screwed down, to act as stops in case the block tends to slip, but the block should lie freely on the table, so that it may be easily turned round during the cutting when necessary. One should, however, learn to use the cutting knife in all directions, and to move the block as little as possible. ”

“ The large spaces should be cleared first. The safest and quickest way is to make a small gouge cut with No. 1 round all the large spaces close up to the first cut, then, with one of the shallower chisels, Nos. 5, 6, or 7 (fig. 5) , and the mallet, clear out the wood between the gouge cuts.
For all shallow cuts where the mallet is not needed, the Japanese hold the chisels as shown in fig. 11. With practice this will be found a very convenient and steady grip for the right hand. It has also the advantage that the chisel can be held against the centre of the body and exactly under one's eyes. ”

“ In printing colour the paper may be slightly damper than it should be for key-block impressions, and a heavier pressure is necessary on the baren if the colour masses are large. If the baren is pressed lightly the colour will not completely cover the paper, but will leave a dry, granular texture. ”