When cutting a new set of blocks there is another possible source of error which needs to be carefully guarded against. Most of the work in designing a new print is necessarily spent in planning and cutting the key-block, which may occupy a considerable time, especially if other work has to be carried on as well. If new wood is used, or wood that has not been seasoned long indoors, it will dry and contract considerably across the grain before the work is finished. Then, if newer planks are prepared and cut up for the colour blocks, and impressions from the key-block are pasted down on them for cutting, it will be found that, as the newer wood of the colour-blocks goes on drying, it will shrink out of register, and the colour impressions will not fit the line perfectly. It is easy to fall into this difficulty, but there is no danger of it if the planks from which the key-block and the colour-blocks are cut are all equally seasoned and are in the same condition.
CHAPTER V
Preparation of Paper, Ink, Colour, and Paste for Printing
PAPER
The paper made by the Japanese from the inner bark of young shoots of the mulberry and certain other plants of similar fibre is beyond all others the best for wood-block printing. It is in itself a very remarkable material, and is used in Japan for a great variety of purposes, on account of the strength and toughness due to its long silky fibre.
Paper of good quality for printing may be obtained directly from Japan, or through trading agents dealing with Japan. A case of five reams would be the smallest quantity obtainable directly, but it is by far the cheapest and most satisfactory way of buying it. In smaller quantities the paper is obtainable through many of the dealers in artists' materials. Several kinds of this paper are made, but unsized sheets of a quality similar to the print on page 95, and a thin Japanese tissue paper are the two kinds required for printing in colour.
In its unsized state the paper is too absorbent for use, and it should be sized freshly as needed for work. This is done by brushing a thin solution of gelatine over the smooth surface of the sheets of paper.
A drawing-board rather larger than the sheets of paper, placed as shown in fig. 17, with its lower edge resting on a basin of warm size, will be found a convenient arrangement.
