THE DRAWING

Designs for Japanese colour-prints were made by artists, who, as a rule, were adherents of the Popular (Ukiyoye) School and, socially, of the rank of artisans. The drawing was done with a brush on very thin Mino or Gampi paper, the colours used being washes of water-colour worked with rice-paste medium. To correct the design, the portions to be altered were covered with pieces of paper, on which the revised drawing was made. The completed design (generally, to begin with, in black lines only, or with only a little tint as a guide to the engraver) was then fastened face downwards on the block with rice starch weakened with water. As much as possible of its upper surface was rubbed away, some oil being used to make the remainder more translucent, and thus to enable the engraver more easily to follow the lines of the drawing.

It is evident that this process resulted in the destruction of the designs. The Museum, however, has acquired a number of unused drawings, which fully illustrate this stage; and the series of blocks exhibited (E. 4136-4322, 1909) have, in several instances, remains of the paper still adhering to the uncut portions of their surfaces.

1. ILLUSTRATION of a colour-print artist making a design; showing his position when drawing and method of holding the brush. A colour-print in the Japanese manner, by Emil Orlik, of Prague. E. 796-1903[1]
2. ORIGINAL DRAWING (not engraved) for a colour-print, showing the Artist's corrections. By Utagawa Kuniyoshi (A.D. 1797-1861). J.D. 1008. Subject—The celebrated swordsmith Sanjo Kokagi Munechika forging a blade in the grounds of the Inari Temple, assisted by a Fox-Spirit in the form of a woman.
3. ORIGINAL DRAWING (not engraved) for a 3-sheet colour-print, showing the Artist's corrections. By Hiroshige I. (A.D. 1796-1858). J.D. 2440 Subject—Street scene in Akabane, Tokyo.
4. BRUSHES used by (Japanese) painters of the Chinese School. E. 4203-4206-1911. Founded by Josetsu (2nd half of the 14th century). The style is still practised.
5. BRUSHES used by painters of the Tosa School. E. 4200-4202-1911. The School (the National School of Japanese Painting) was first composed of a number of groups, more or less related, which coalesced under the name of Tosa in the time of Kasuga Tsunetaka (early 13th century), who seems to have been the first to use this appellation. The style is still practised.
6. BRUSHES used by painters of the Sesshiu School. E. 4190, 4191-1911. Founded by Sesshiu (1420-1506), and based on the methods of the Chinese painters of the Sung Dynasty (960-1280). The style is still practised.
7. BRUSHES used by painters of the Kano School. E. 27-29-1913. Founded by Kano Masanobu (1453-1550). The style is still practised.
8. BRUSHES used by painters of the Maruyama and Shijo Schools (Naturalistic). E. 4192-4199-1911. Founded by Okyo Maruyama (1733-1795); and Matsumura Goshun (1752-1811). The style is still practised.
9. BRUSHES common to painters of various Schools. E. 4207-4212-1911.
10. BRUSHES used by painters in lacquer. E. 4213-4232-1911.
11. BRUSHES used for writing. E. 170-187-1911.

CUTTING THE BLOCK

The engraving was invariably done by a second person and not by the designer.

The wood used was that of the wild cherry (Yamazakura), the timber of which was not allowed to be exposed to sunshine, but was carefully seasoned in the shade. Fig. 1 illustrates the most economical way of cutting up logs into blocks; the harder portions of the wood—those nearer the centre—being used for the key-blocks (see p. 10), and the softer for the colour-blocks. When possible, wood from the same tree was [pg 10] used for all the blocks in each series. The outlines of the drawing were incised with a knife-edged graver, and the superfluous wood then hollowed out with chisels or gouges of various form, for all practical purposes, identical with those used by European wood-carvers. The result is an intaglio block, the printing-surfaces alone remaining in relief.

DIAGRAM:—Method of cutting a log into blocks.

The block first made from the drawing is called the key-block (Daiban) and gives, in relief, the lines only, of the design. From it a number of proofs are taken, one for each colour-printing to be made. On each of these proofs the separate portion of the design covered by one colour is painted; and is then pasted on a block and cut in the manner described above. Every part of the surface of the block, however, which is not required for the one colour in use, is cut away.

To produce a colour print, therefore, a key-block is required and also a separate block for each colour in the design. For the sake of economy, colour-blocks are sometimes cut on both sides; and, for small details, two portions of the design may be cut on one side, but only one colour is printed at each operation.

In the actual cutting of the block, the old Japanese engraver adhered to an important principle—that of following the direction of the brush strokes of the original drawing, in such a manner as to reproduce the actual quality of the brush-mark. This is less apparent in the ordinary colour-prints; but in reproductions, by the same process, of paintings and drawings, the results obtained are extraordinarily faithful to the originals.

Blocks were often framed, to prevent warping, in the manner illustrated in fig. 2. This device was more generally employed in the case of those especially made [pg 11] for book-illustration. A block that had warped could often be straightened out again, by being well soaked in water and then placed under a weight.

DIAGRAM:——Method of framing a block to prevent warping.

12.ILLUSTRATION of an engraver cutting a wood-block, showing his position and method of holding the knife or graver (Kogatana) with which the outlines are first incised. A colour-print, in the Japanese manner, by Emil Orlik, of Prague. E. 797-1912
13.ILLUSTRATION of the process of making colour-prints, showing various stages of cutting the blocks, sharpening the tools, damping the paper; and the tools and materials of the printer. A 3-sheet colour-print, by Utagawa Kunisada, signed “Toyokuni” (A.D. 1785-1864). The process is fancifully represented as being carried out by women. J. 3203. This print is imitated from one by Utamaro, a portion of which is illustrated herein (Frontispiece).
14.CHISELS (Nomi) used in cutting the block. The outlines are first cut with a graver (Kogatana) somewhat similar to that used by European wood-engravers. E. 4333-4343-1909.
15.STONE (Koshito) for sharpening tools. E. 4345-1909.
16.STONE (Awasedo) for polishing the surface of the Koshito. E. 4346-1909.
17.MALLET (Saizuchi) used with tools for cutting away the superfluous wood. E. 4344-1909.
18.DIAGRAM, showing the most economical way of cutting a log into blocks for printing (fig. 1).
19.DIAGRAM, showing method of framing a block to prevent warping (fig. 2).