PRINTING

The Printing of the old colour-prints was done by a third person, neither the engraver nor the designer.

The finished block must first be thoroughly washed and dried. The colour is then applied with a brush, to the upper surface of the block, which rests on a low stand (Suridai) to which are affixed four small cushions of wet cotton (Yawara) to prevent slipping (fig. 6). This stand should have a downward slope of about 2 inches in 1 foot. The paper is wetted, about 6 hours before being used for printing, and hung up to drain. For the actual printing, it is laid on the upper surface of the block, register (Kento) being secured by means of an angular cut at one corner (Plate III.) called the “key” (kaji); and a line cut at another, called the “draw-close line” (hikitsuki). No other means of adjustment is used, but the skill of the old printers was so great that faults of register can very seldom be observed. The impression is then rubbed off with the Baren, used with a circular or zig-zag movement (fig. 5); and this operation is repeated in succession with each block, beginning with the key-block, until the prints are complete.

It is the modern, and was probably the old practice, to take the required number of proofs from each block in succession; and not to complete each print separately. The writer has observed that a modern Japanese printer takes an impression in from 15 to 25 seconds, without special effort.

The colours used were as follows:—

CARMINE (Beni). Made from the Safflower, Carthamus tinctorius, from which rouge is also prepared. The kind called Saiku-Beni is generally mixed with an acid derived from the Plum-fruit (Mukiume).
BLUE (Ao). Both Airō(indigo) and Hero (European blue) are now used. The old indigo was sometimes extracted from dyed rags.
YELLOW (Ki). Generally Zumi, a yellow dye, and Kiwo, orpiment, are used, and Shiwō, gamboge, for the best prints.
PURPLE (Murasaki). Formerly this colour was made by mixing Aigami (blue) and Beni (red), but now an imported purple is used.
GREEN (Midori). A mixture of either Hero and Kiwo, or Zumi and Airō.
ORANGE YELLOW (Tō-ō). Produced by mixing Zumi and Bengara (iron red) or Zumi and Yenji (rouge).
BLACK (Sumi). Yeizen Zumi(lamp-black) is used with the key-block. It should be steeped in water for five or six months, then thoroughly well mixed in a wooden dish with a wooden mixer. Tsuya-Zumi is the brilliant black used for such details as human hair, black lacquer objects, &c. It is obtained by the use of a Dosa medium (mixture of glue and alum); and printed from a separate block.
SILVER COLOR (Gin-ro). Lead powder mixed with glue.
GOLD COLOR (Kin-iro). Brass powder mixed with glue.
COPPER COLOR (Akegane-iro). Pure copper powder mixed with glue.
WHITE (Shiro). Powered white clay (Jōfun) mixed with glue. Clamshell powder (Namaguriko) is sometimes employed.
Bengara (IRON RED), Tan (RED LEAD) and MICA are also used.

NOTE.—The above colours are those given in the Bungei Riusan (see p. 22).

Great importance was attached to the grinding and mixing of the colours. The glue-water medium used for mixing with black was made in the proportion of about one-third of an ounce of glue to three-fourths of a pint of water; but these proportions varied with various qualities of the pigment or paper. In the case of other colours, glue was not always used, but rice-paste (made [pg 14] with rice-flour and boiling water); the actual being sometimes done in the process of applying the colour to the block. A little alum was dissolved in the cold water with which the rice-paste was mixed. A specially brilliant effect was produced by laying a light wash of rice-paste over the block before spreading the colours.

RELIEF PRINTING.—For this purpose, a special block is made for that part in the print where the relief is required. The print is laid back downwards on the block, in the opposite manner to that used when printing colour, and the impression is rubbed in with a tool of ivory—the canine teeth of the wild boar being the material most favoured.

DIAGRAM:—The Baren.—Its internal construction

DIAGRAM:—The Baren.—Position of pad in sheath.

DIAGRAM:—The Baren.—Method of use.

DIAGRAM:—Printer's Desk.

20.WORKING PROOF from the key-block, with colour added by the artist; and the following note in his writing, “Please gradate the colour like this.” The register marks are seen at the sides. By Utagawa Toyokuni I. A.D. 1769-1825. [pg 15] Subject—Theatrical scene. The actors Nakayama Tomisaburo and Ichikawa Komazo in the parts of the Geisha Sankatsu and Hanshichi. Plate III. J. 8494.
21.PRINTING COLOURS. Specimens of colours as mixed by printers for use, in glazed earthenware bowls, with small brushes. E. 3892-3895-1910.
22.BRUSHES made of horse-hair. The smaller brushes are used for applying the colour to the blocks. E. 4324-4332-1909.
23.RUBBERS (Baren) with which the print is taken. E. 4347-4348-1909. These are made with bamboo sheath fibre, twisted into cord and coiled edgeways round a card centre; then fixed into position with paper string of two or three strands and paste. This is then enclosed within a large soft bamboo sheath, the ends of which are twisted and turned upwards to make the handle. The sheath must be very fine and be softened with a little oil before use.
24.DIAGRAM, showing internal construction of the pad of the Baren (fig. 3).
25.DIAGRAM, showing position of the pad within the sheath of the Baren, before the ends of the latter are turned over, and twisted to make the handle (fig. 4).
26.DIAGRAM, showing how the Baren is held in the hand, and the line it follows when used (fig. 5).
27.DIAGRAM, showing printer's desk, with block in position, resting on pads of damp cotton (fig. 6).
28. WOOD BLOCKS (7) used in the production of a colour-print by Utamaro II. (worked c. 1800-1840 A.D.), with a set of progressive proofs made by a modern Japanese printer. E. 4316-4322-1909. The KEY-BLOCK, for printing the black outlines only. First printing from KEY-BLOCK. Second printing, with GREY added to proof from key-block. The block is also cut for the twelfth printing, GREEN. Fifth printing, PALE BLUE. The block is also cut for the fourth printing, BROWN. Sixth printing, BLUE PATTERN. The block is also cut for a printing not used. Seventh printing, BLUE. Eighth printing, YELLOW Ninth printing, GREY. Tenth printing, BROWN (second time used). Eleventh printing, BROWN PATTERN. The block is also cut for the third printing, PALE PINK. Thirteenth printing, CRIMSON. Fourteenth printing, CRIMSON PATTERN. Fifteenth printing, PURPLE. Sixteenth printing, BURNISHED BLACK, giving the completed print.
The KEY-BLOCK, for printing the black outlines only.
First printing from KEY-BLOCK.
Second printing, with GREY added to proof from key-block. The block is also cut for the twelfth printing, GREEN.
Fifth printing, PALE BLUE. The block is also cut for the fourth printing, BROWN.
Sixth printing, BLUE PATTERN. The block is also cut for a printing not used.
Seventh printing, BLUE. Eighth printing, YELLOW
Ninth printing, GREY. Tenth printing, BROWN (second time used).
Eleventh printing, BROWN PATTERN. The block is also cut for the third printing, PALE PINK.
Thirteenth printing, CRIMSON. Fourteenth printing, CRIMSON PATTERN. Fifteenth printing, PURPLE.
Sixteenth printing, BURNISHED BLACK, giving the completed print.

NOTE.—The above are exhibited, in a separate case, in the Museum. In the Students' Room is a set of proofs showing separate printings from each block. The key-block of the above series is original; the colour-blocks were made in the and half of the 19th century.

The Museum also possesses the following original Woodblocks.

BAIREI, Kono (d. 1895). Wood-blocks (4) used for a leaf of “The Hundred Birds.” 1881. Cut both sides. (9¼×14¼). 583-1886. Exhibited with an original drawing and a proof from one of the blocks. The Museum contains the whole of the original drawings, which were specially preserved, and a copy of the publication.
BUNKEN (19th century). Key-block for a colour-print. Eagle flying over the sea. (9½×10 3/8) E. 4934-1903 The back is engraved to print one of the colours, c. 1880.
GAKUTEI, Harunobu (worked C. 1800-1830). Key-block for a Surimono. A carp swimming upwards. (8½× 8 3/8) 262-1903. Key-block for a Surimono. Geisha and peacock. (8¼×10). 4946-1903.
Key-block for a Surimono. A carp swimming upwards. (8½× 8 3/8) 262-1903.
Key-block for a Surimono. Geisha and peacock. (8¼×10). 4946-1903.
HARUNOBU(1724-1770). Key-blocks for a set of five book-illustrations by Harunobu, c. 1770. Av. size (8¼×10¾). E, 2168-2172-1909. Presented by J. S. Happer, Esq.
HIROSHIGE (1796-1858). Key-block for an early set of lateral prints by Hiroshige, entitled “Toto Meisho Saka Tsukushi-no Uchi-Yedo.” Series of steep roads in Yedo. Sub-title on face of print: “Aoizaka-no Dzu.” The reverse was used many years later for a set of views by Hiroshige and Toyokuni (Kunisada). (10¾×15 ½). E. 2166-1909. Presented by J. S. Happer, Esq.
Key-block for a half-plate set of “Toto Meisho” (views of Yedo) by Hiroshige. On the reverse is one of the colour-blocks for each half. (15×10¼). E. 2167-1909. Presented by J. S. Happer, Esq.
HOKKEI, Todoya Shunyōsai (c. 1780-1850). Key-block for a Surimono. A woman with writing materials. (8 3/8 ×8½). 261-1903.
KAGESHIGE(19th century). Key-block for a Surimono. Fan and incense-burner, each on a stand. (9×10¼). E. 4945-1903. The back is engraved to print two of the colours.
KIKUSAI(19th century). Block for book-illustration. The three long-lived men—Tōbōsaku (9,000 years), Urashima Tarō (8,000 years), and Miura-no-Osuke (106 years). (7×10½). E. 4941-1903. On the back are several incomplete engravings.
ODAKE (19th century). Wood-blocks (8) for illustrations to “Mitford's Tales of Old Japan” (1871) with a set of proofs. Various sizes. E. 1401-1888.
SADANOBU (worked c. 1820-1840). Key-block for a colour-print. Daikoku and Okame wrestling before the rest of the Seven Gods of Good Fortune. (6½×9 3/8). E. 4942-1903. The back is engraved to print gold.
SEIKA (19th century). Key-block for a colour-print. Landscape with Mount Fuji and Storks. (6 3/8 ×8½). E. 4936-1903.
SUNKICHIRŌ, Shunka (19th century). Key-blocks (8) for book-illustration. “Zōshō Mono-gatari.” History of Soldiers. By Hakō Shōbei. Published by Fusi Kiken at Kyoto, Osaka and Yedo, A.D. 1846, 3rd month. Cut both sides. (8×13). 381, 382, 387, 388, 393-396-1895.
SUGISAKI, S. (Living Artist.) Engraved wood-block, showing a decorative design of bamboo plants: designed, engraved and printed by S. Sugisaki. (51×18 5/8). E. 3790-1910. A print from the above. E. 3790a-1910. Presented by the Artist.
SUIKO (19th century). Key-block (part missing) for a colour-print of a fan-design. “Shiki Bijin Sugatazoroye.” Beauties representative of the Four Seasons. Spring. A woman of the Yoshiwara with her attendant (Kamuro). One of a set of four. (9×8¼). E. 4940-1903. The back is engraved to print gold and a colour. Key-block (part missing) for a colour-print of a fan-design. Shiki Bijin Sugatazoroye. Summer. A geisha enjoying the evening breeze. (8¾×8). E. 4938-1903 The back is engraved to print one of the colours.
Key-block (part missing) for a colour-print of a fan-design. “Shiki Bijin Sugatazoroye.” Beauties representative of the Four Seasons. Spring. A woman of the Yoshiwara with her attendant (Kamuro). One of a set of four. (9×8¼). E. 4940-1903. The back is engraved to print gold and a colour.
Key-block (part missing) for a colour-print of a fan-design. Shiki Bijin Sugatazoroye. Summer. A geisha enjoying the evening breeze. (8¾×8). E. 4938-1903 The back is engraved to print one of the colours.
UTAMARO II. (worked c. 1800-1840). Wood-blocks (7) used in the production of a colour-print. (15×10½). E. 4316-4322-1909.
UNSIGNED (19th century). Key-block for a colour-print. Farmer turning an irrigation water-wheel, in rice fields. (8¾×9¾). E. 4935-1903 The back is engraved to print one of the colours. Key-block (on each side) for two colour-prints. Chrysanthemums and butterfly; on the back, peonies in a flower-vase (9¾×10¾). E. 4933-1903.
Key-block for a colour-print. Farmer turning an irrigation water-wheel, in rice fields. (8¾×9¾). E. 4935-1903 The back is engraved to print one of the colours.
Key-block (on each side) for two colour-prints. Chrysanthemums and butterfly; on the back, peonies in a flower-vase (9¾×10¾). E. 4933-1903.

NOTE.—Proofs were taken (in 1910), by a Japanese printer, from each of the above, except in cases where such were already in the Collection. They can be seen on application in the Students' Room of the Department.