Wood Block Printing, a venerable and enduring technique in the world of printmaking, stands as the earliest form of this art. It’s a relief printing process, meaning the image is created from a raised surface. Imagine artisans carefully carving their designs into the surface of a wooden block using specialized knives and tools. The areas left raised after this meticulous carving process are then inked. When pressed onto paper or fabric, these inked, raised portions transfer the design, while the carved-away recesses remain ink-free, creating the image in negative space. This ancient method, known for its bold lines and impactful imagery, has a rich history and continues to be appreciated and practiced today.
The journey of creating a wood block print begins with the selection and preparation of the woodblock itself. Traditionally, pear wood is favored for its fine grain and workability. The wood is sawn along the grain to ensure strength and stability, and then planed to a smooth surface, ready to receive the artist’s design. Seasoning the block is a crucial step, reducing the wood’s moisture content. This prevents warping and cracking, ensuring the block’s longevity and the integrity of the print over time. The size of the woodblock is dictated by the desired dimensions of the print, but practical limitations arise from the printing press size. Large-scale prints may necessitate the creation of multiple blocks, each printed separately and then assembled to form the complete image. Smaller blocks are inherently more stable, less prone to cracking under pressure or with age. An ideal thickness of approximately one inch provides a balance of ease of handling and resistance to wear and tear during the printing process.
Once the woodblock is properly prepared, the design can be transferred onto its surface. Artists might draw directly onto the block, using its surface as their canvas. Alternatively, a sketch can be created on paper and then carefully adhered to the block. Another transfer method involves applying chalk or graphite to the back of a paper sketch. This sketch is then positioned on the woodblock, and the artist traces the design lines with a stylus. The pressure from the stylus transfers the chalk or graphite, effectively imprinting the design onto the woodblock surface, ready for carving.
The carving of the woodblock is a specialized skill, often entrusted to professional block cutters. These artisans employ a range of tools, including chisels, gouges, and knives, to meticulously remove the areas of the block that are not intended to receive ink. This requires precision and expertise to accurately translate the design into a printable relief.
The essence of wood block printing as a relief technique becomes clear as the carving progresses. The lines and shapes that constitute the final image stand raised, in “relief,” above the carved-away areas of the block. This raised surface is what will hold the ink and create the print.
Inking the woodblock is a crucial step in preparing for printing. Ink is applied evenly across the raised surface using a dauber, traditionally an ink ball, or a modern roller. Care must be taken to ensure the ink coats the raised areas thoroughly without spilling into the carved recesses, which would compromise the clarity of the print.
Once inked, the woodblock is placed on the bed of a printing press. A sheet of dampened paper is then carefully laid over the inked surface. Printmakers utilize either a platen press, which applies pressure evenly from above, or a roller press, which uses a roller to press the paper against the block. While early examples of relief prints suggest that hand-pressing might have been used, the printing press offers superior consistency in ink distribution and pressure, resulting in a more even and high-quality print.
The magic of wood block printing is revealed when the paper is lifted from the block. The printed image appears as a mirror reflection of the design carved into the wood. This reversal is a characteristic feature of the woodcut technique and something artists consider during the design process.
Liz Zanis (American, born 1980). Big Rocks, 2018. Woodcut and woodblock. Courtesy of the artist
Wood block printing’s enduring appeal lies in its distinctive aesthetic and historical significance. From its early uses in textile printing and the reproduction of religious images to its role in artistic expression across cultures and centuries, woodcut remains a powerful and respected printmaking medium. Its bold lines, textural possibilities, and the directness of the carving process continue to inspire artists and captivate viewers today.
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Marquee image: Christoffel Jegher (Flemish, 1596–1652/53), after Peter Paul Rubens (Flemish, 1577–1640). The March of Silenus (detail), ca. 1652. Woodcut, sheet: 17 5/8 x 13 3/8 in. (44.7 x 33.9 cm). The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951 (51.501.7695)
