Paul Furneaux | Artist | Printmaker | Japanese Woodblock (Mokuhanga) | Edinburgh

3: Brushes

The brushes used to apply colour to woodblocks are a mixture of horse and pig or deer hair. They look like shoe brushes, as you’ll see from the photo below.

If the brushes are out of shape, I leave plenty of time for re-shaping as it can take all day.

Before use, the brushes are singed with fire, or a hot plate, and rubbed on a sharkskin, or modern metal equivalent. This splits the hair ends, and softens them, so that they hold more watercolour.

Tags: brush, hair, shark skin

4: Paints and Pigments

Posted in Technique Notes

I normally use gouache or watercolour paints, prepared in small dishes or used directly from the tube.

If I want a richer colour, I use pure pigments. These are ground in a pestle and mortar and mixed with a binder, such as gum arabic or animal glue. I’ll usually also mix them with some rice paste glue on the block itself.

Tags: animal glue, colour, gouache, gum arabic, rice paste glue, watercolour paint

5: Baren

Posted in Technique Notes

A baren is used to rub paper onto a coloured woodblock. This is a disk about the size of a saucer, usually wrapped in a bamboo leaf, that fits in the palm of the hand.

A printer will have several barens to achieve different effects. These may range from inexpensive machine wrapped card, to a skilfully crafted object made over several weeks. The latter cost anything from £300 to £1000. Ball-bearing barens are also popular.

Before use, the bamboo leaf has some light oil rubbed into it. The force of printing, and possibly dampness from the paper, will eventually split the leaf unless this is done.

A press can be used instead of a baren, but you lose flexibility. Extra emphasis in areas and intended baren marks can be integral to the final work.

Tags: bamboo leaf, baren

6: Woodblocks

Posted in Technique Notes

Building up a printed image in layers may take several woodblocks.

Blocks are selected for the different properties of their wood type. I tend to use shina veneer, which is relatively easy to cut and has a smooth grain. When I need a rougher surface, the shina can be burnt slightly and rubbed to raise the grain; alternatively I use other woods.

The wood is usually cut away to create a relief image for printing.

Before printing the block is soaked with water. This keeps the colour on the surface of the block, rather than being sucked into the wood.

Tags: relief, woodblocks

7: Printing

Posted in Technique Notes

Colour is evenly brushed in a thin layer onto the woodblock, then left until it appears to start to dry. At this point, a sheet of the dampened paper is put in position with the aid of a registration guide.

A thin piece of paper, or plastic, is placed over the paper to be printed; then carefully but quickly rubbed over with a baren.

This process is repeated for each colour, building up the image in layers. For a rich saturation, apply the same colour again.

Tags: baren, colour, paper, printing