CHAPTER VII
Principles and Main Considerations in designing Wood-block Prints—Their Application to Modern Colour Printing
Until one has become quite familiar with the craft of wood-block printing it is not possible to make a satisfactory design for a print, or to understand either the full resources that are available or the limits that are fixed.
In beginning it is well to undertake only a small design, so that no great amount of material or time need be consumed in gaining the first experience, but this small piece of work should be carried through to the end, however defective it may become at any stage. A small key-block and two or three colour patches may all be cut on the two sides of one plank for this purpose.
There is great diversity of opinion as to the conventions that are appropriate to the designing of colour prints. In the work of the Japanese masters the convention does not vary. A descriptive black or grey line is used throughout the design, outlining all forms or used as flat spots or patches. The line is not always uniform, but is developed with great subtlety to suggest the character of the form expressed, so that the subsequent flat mass of colour printed within the line appears to be modelled. This treatment of the line is one of the great resources of the work, and is special to this kind of design, in which the line has to be cut with the knife on both sides, and is for this reason capable of unusual development in its power of expressing form. Indeed the knife is the final instrument in the drawing of the design.
Typical examples of key-block impressions are given on pages [26] and [33]: they show the variety of character and quality possible in the lines and black masses of key-blocks.
The designing of a print depends most of all upon this development of line and black mass in the key-block. The colour pattern of the print is held together by it, and the form suggested. In the Japanese prints the key-block is invariably printed black or grey. Masses intended to be dense black in the finished print are printed first a flat grey by the key-block, and are then printed a full black from a colour-block like any other patch of colour, the double printing being necessary to give the intensity of the black.
Although several modern prints have been designed on other principles, and sometimes a coloured key-block is successfully used, yet the convention adopted by the Japanese is the simplest and most fundamental of all. Outside its safe limitations the technical difficulties are increased, and one is led to make compromises that strain the proper resources of block printing and are of doubtful advantage.
The temptation to use colour with the key-block comes when one attempts to use the key-block for rendering light and shadow. Its use by the Japanese masters was generally for the descriptive expression of the contours of objects, ignoring entirely their shadows, or any effects of light and shade, unless a shadow happened occasionally to be an important part of the pattern of the design. Generally, as in nearly all the landscape prints by Hiroshigé, the line is descriptive or suggestive of essential form, not of effects in light and shade.