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] |
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| 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.
