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).