A List Of The Technical Factors Of Japanese Printing Techniques In The Past
Japanese prints are, till this present day, made from etched wood blocks.
The method employed to produce Japanese prints can also be called "wood engraving" or "woodcut printing".
The original 4-step method:
The realization of Japanese woodblock prints calls for the union of 4 different tradesmen / artists:
#1. That of the designer: during the period of classic engraving, the designer would draw a black outline on white paper in an attempt to give an indication of the ultimate picture to the colour printer.
From the twentieth century, the designer usually paints a watercolor picture. Then he gives this to the engraver and printer. It will always be the name of the designer that history of art takes note of (eg. Utamaro, Hokusai, Hiroshige and so on, these were all designers of Japanese Ukiyo-e prints).
#2. That of the carver: he carves, sculpts rather, blocks of timber, each and every block for a different color to be used in the final printing process.
#3. That of the printer: he applies the colours on the blocks and then presses each block successively on to the unique Japanese paper. He creates the various colour gradients, which were notably virtuosic in the "Shin-hanga" designs. These gradients are known as "Bokashi" in Japanese.
#4. The publisher: this is the "innovator". He uncovers the talents needed to produce these artworks; the designers, engravers, and printers. Then he places them under contract and coordinates them in an effort to produce the engraved work. The publisher's name is known to us only when the works are pieces of famous cartoonists (eg. Tsutaya, publisher of Utamaro).
Presently, the methods of creating a hand crafted print remains as detailed above. Yet the 20th century saw the birth of a brand new method, where the artist / designer creates his own prints. This approach is now known as the "Sosaku-Hanga" (Creative Engraving).
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