Ueba sensei wa sutajio ni kimashita.

Today, Ueba sensei from Kyoto arrived to teach us the basics of printing.  First, nori [rice paste which carries the ink] and the ink are spread onto the image with a brush as you can see from the image.  These blocks which are being used to demonstrate the process are the images I have been cutting over the last couple of days.

The ink is then tested on the paper to see if it is the right colour.

The paper is then placed onto the paper.  On the left hand side of the wood a 'kento' line has been cut.  This is an L shaped cut which enables the printer to align the paper with the image.  A similar line is cut on all the blocks of wood, so each colour will match up with the previous one.  This takes careful planning and is not as simple as it sounds.  There is also a second kento line on the bottom of the piece of wood, which aligns the bottom edge of the paper. Here, sensei is aligning the left hand kento, showing the correct position of the hands when holding the paper.

Now sensei aligns the bottom kento line.  This is shown quite clearly in the following image.

A baren is then used to rub over the back of the paper, making the image cling to the paper.

This is the finished keyline [outline] print.

Now the second colour is prepared.  The block is wetted with a mizubake [waterbrush] and then dabbed with a cloth.

Nori paste is being applied here.  Sensei gave us some brushes today which are made out of crushed bamboo. The yellow colour can also be seen on the block. The nori paste which carries the pigment, and the pigment are then brushed over the block to provide an even layer.

Here is the second colour.

Now the third colour is applied in exactly the same way as the previous blocks.


The paper is placed on the kento lines and the baren rubbed over the surface.

Here is the third colour finished. Then I got to have a go with the final colour.

Here is my attempt at printing in the same way that sensei did.  Not ideal, but better than I have been.  My attitude now is that every time I cut a new line, or print a new colour, it is a little better than the one before.  

Then sensei showed us some woodblock prints, to give us some inspiration as to what our work could look like.  These are some Japanese dolls.

Here the class are enjoying green tea, whilst looking over the wonderful array of images that sensei brought for us to see.

Here is a close up of one of the images, with a process called 'itabo-kashi' exemplified. Itabo-kashi is a technique where colours can fade into one another, or fade out completely.  This is done by varying the amount of ink on the wood, so it is not evenly spread out.  For example, it could just be put along the top of the wood, so when it is printed, it creates a gradient effect.  Itabo-kashi basically means gradient. This effect makes prints look more like paintings and I am having to start to think in this way.  My old ideas about printmaking [and many other things] are slowly being thrown out of the metaphorical window.

Here is a woodblock print of the Buddha.

Here, Asa tries to understand the complexities of itabo-kashi and how she could use it in her work.