Embarking on the journey of Japanese woodblock printing, or Mokuhanga, begins with the meticulous art of carving the woodblock itself. Initially, my approach to carving was quite experimental, and frankly, inefficient. Working with smaller chisels on an unstable table, relying solely on hand strength, proved to be a significant struggle. Progress was slow and cumbersome, highlighting the need for a more refined method.
Recognizing the limitations of my initial setup, I transitioned to a more robust workspace outdoors. By securing the woodblock with clamps, sharpening larger chisels, and incorporating a small hammer for added force, the carving process became considerably more effective and quicker. This revised approach not only expedited the work but also provided greater control and precision in removing wood from the block.
However, even with an improved setup, wood carving for printmaking quickly reveals itself as a demanding and time-intensive craft, especially for beginners. The learning curve is steep, and mistakes are part of the process. Early on, accidental chipping of the design and even minor injuries like slicing a fingertip were common occurrences. Fortunately, these setbacks were easily managed with simple solutions like applying Superglue, demonstrating that resilience and adaptability are key in mastering this craft.
The fundamental principle of woodblock carving for printing lies in relief. Only the raised areas of the block will hold ink and transfer the design onto paper. Therefore, the carving process essentially involves removing everything except the intended design. The standard technique involves making angled cuts to define the outline of the pattern. Following this, gouges or larger chisels are used to clear away the broader waste areas, and finally, flat chisels are employed to refine the edges and reach the precise outline of the design. These techniques, when demonstrated, provide a clearer understanding of the nuanced hand movements and tool applications required in this art form.
The total carving time for a block like this can easily extend to 8 or 9 hours, yet the immersive nature of the work makes time pass swiftly. One of the most intricate aspects was carving the curved lines of a butterfly design. A direct vertical cut along the outlines risked damaging the delicate, small pieces of the design, which needed maximum support. To overcome this, a small, sharp chisel was used to create angled cuts from both sides, meeting in a shallow V-cut. This technique proved highly successful, creating just enough depth to prevent ink from transferring in unwanted areas while preserving the integrity of the design.
Throughout the carving process, a wire brush was invaluable for cleaning away wood debris and ensuring a clear view of the progress. In the final stages, a gouge was used to create uniform cuts across all the waste areas. This not only enhanced the professional appearance of the block but also ensured consistent ink distribution during printing. It’s worth noting that some waste areas, if sufficiently distant from the design, can be left raised without affecting the print quality.
When selecting wood for Japanese woodblock printing, cherry is often cited as the ideal choice. Its hardness and tight grain are particularly well-suited for intricate designs like the butterfly motif described. These qualities allow for fine detail and clean cuts. If cherry wood is unavailable, seeking out woods with similar density and grain characteristics is advisable to achieve comparable results.
Lastly, the thickness of the woodblock itself is a practical consideration. While the block used was a full inch thick, this proved to be unnecessarily robust. For most projects, a thickness of half an inch or even less is perfectly adequate, making the blocks lighter and easier to handle without compromising their structural integrity for printing.
With the woodblock meticulously carved, the next crucial step in Japanese woodblock printing is selecting the appropriate paper, which will be explored further.
