Sumi ink is then spread over the block (usually using a horse hair brush called a marubake -round brush) and impressions are taken by placing paper on top and rubbing the back of it with a rubbing tool called a baren. this is called the Omohan or Daiban in (English key block.) After washing the glue and paper off the block, it is then ready for printing. The lines are then cut on both sis ides and the waste wood cleared in between leaving behind a raised design on the surface of the block. （a touch of camelia may be used to produce even more transparency, but this should be done just before carving as the oil may cause the paper to pull up from the block after some time.) Once the design is pasted to the block and back of the paper removed by rubbing with a bit of water to remove layers of paper to reveal the design. This gives us much more fidelity to the original brushstrokes of the artist and is standard practice today. Today the job of creating a hanshita can be done by digitally tracing and then printing in the case of reproductions or simply by printing a design on to paper of the carvers (almost always gampi). This will then be turned into a hanshita (a lined design ready for pasting down on to a woodblock for carving usually produced on gampi.) Whether produced by the artist himself or more often by the workshop that will produce the print, a piece of very thin paper is placed over the design and carefully traced, filling in any recurring details to the artists' instructions or cleaning up messy lines. The process traditionally beggins with an artist drawing. Today there are very few masters of this craft. However, in the Edo era, the art of multicoloured printing was mastered and became widely available to the general public. Originally, prints were produced by carving the key outlines and painting on top to create full-colour images. There is a certain amount of subjectivity when choosing carving tools because everyone's hand is a little different so what's comfortable for one person might not be for another person.In Japanese "moku" means wood and "hanga" means print, therefore mokuhanga is the Japanese term for woodblock print.Ĭoming originally from China, woodblock printing was mastered in Japan. Josei Moku Hanga To: I think these are the best tools available for the price. My favorites are the versatile 6.0 mm "V" gouge and the big 10.5 mm "U" gouge for clearing large areas of wood or lino. My favorites are the 6.0 mm and 9.0 mm "U" tools. I prefer the "U" gouges over the "V" gouges. Power Grip : you can get a nice set of Power Grip tools for between $20-$50. One downside of this tool is that it's best used on linoleum and soft "rubber" carving blocks (like Speedy Carve and MOO Carve), not wood. I find the small "V" gouge indispensable. Speedball Linoleum Cutter: While some printmakers might consider this mearly a beginner's tool, I love it and use it all the time when carving linoleum. It includes a Speedball Linoleum Cutter, a couple Power Grip "U" gouges and numerous Josei Moku Hanga To tools of different sizes. My preferred set of tools is an assortment of different brands that balance cost and quality.
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