Playing with colors on the drunken bee print

After the key block is pasted and the design cut (which it isn't!), I transfer the cut design with registration marks included to the color blocks. Again, I don't always work this way and often times prefer to work with a registration jig.
Search for registration jig on this blog or my website to see how to make one.
http://1000woodcuts.blogspot.com/2010/04/registration-simplified.html
or check my website's Studio Notes section for two notes on registration at the bottom of the page:
http://1000woodcuts.com/studio/method.html

But the traditional Japanese method "calls" for carving the registration kento right on the block. My preference is to carve the marks first and then transfer key block, kento and all, to the color blocks. I will post later on how to carve a perfect kento every time!

Back to the color decisions, I tend to print too "primary" most of the time and envy off-color combinations of other artists. To a point, moku-hanga takes care of the too-primary issue due to the delicacy of the resulting color applications.
But it doesn't hurt to "play" first, again in Photoshop, and see the mood change as I darken, lighten, raise or lower color channels, desaturate...

One filter that I have found invaluable in converting a retouched photograph into something "woodcut-able" is the Artistic>Poster Edges filter. Play with it!

In that composite of four versions, from RIGHT to left:

-After cutting out one flower from the original photo, enhancing the main flower with brushes and eliminating most of the background noise. I enhanced the contrast and ran through a magenta photo filter.

-A desaturated, sharpened and lightened version, probably the one that will be closer to the final version.

-Blue and cyan enhanced, brilliance and contrast enhanced. Selected flowers and gave them a magenta filter without including the background.

-Yellow variation, green enhanced, lighter.

How about that, something for every taste? I suppose if I was making an oil based print or a painting I would choose the bluer version, maybe! Now, back to the studio to put my hands to "real" work carving the cherrywood.

One more trick on the eternal quest for perfect registration!

For my last print (previous blog post) I wanted to print through the press and maybe do a reduction or two on some of the blocks. With so many decisions to make along the way, the most flexible approach to registration is to resort to the traditional Japanese kento-cut-on-block method.

My usual M.O. is to cut the key block, kento and all, and print several copies on prepared hanshita paper to simply paste on the color blocks. I have a left handed toh to avoid flipping the block while cutting the kento; I have pretty good transfer and glue skills and getting better all the time at actually cutting the darned things straight and square.

And yet I always have to strive for another tweak that will make my art life less stressful and more efficient. The solution is so simple I don't know why I didn't think of it before.

Roughly, the tools needed, left to right:
-Close-up glasses if you are over 50 (yeah, even barely over 50)
-The block, of course, with freshly pasted hanshita or drawn kento
-A smallish steel square
-Cutting tool of choice, shown a toh and a standard utility knife
-Clamps behind the block, the quick release type
-Cat licking itself (optional to make things interesting)

1. Here we go, step numero uno is to carefully place the square EXACTLY on the kento marks.

You can place the square inside the line or outside the line or right on the line as long as you do it the same way on every block.

The easiest thing is to place it exactly ON the line, then you don't have to remember anything.

2. Once the square is on the line, clamp it down to the block with the quick release clamps firmly on two or (better) three spots.

For this step, the block has to be placed slightly off the edge of the table or work bench.

There is an illustration of clamping down the square. Notice I made some "tick marks" on the hanshita to help me find the beginning and end of the kento.

3. After clamping, just cut along the square keeping the blade perfectly vertical to the square.

I like to make a very "soft" cut at first and dig in gently with subsequent passes. Digging too hard on the first few cuts can result in the knife slipping away from the square.


And yes, I can cut with my left hand, not just faking it for the picture. Teaching the left hand to cut if you are right handed does wonders to avoid fatigue of the joints.

As I mentioned before, I have both a left and right handed toh for cutting kentos. But a simple and much cheaper solution for the initial cuts is to use a standard utility knife. The blade is certainly strong enough for Shina ply and other soft woods and will also work on cherry with some repeated cuts.

I must say there is a world of difference between using the toh and the utility blade! Even my cheapest toh digs into the wood much easier than the soft utility blade. But the utility knife does an amazing good job in a pinch.

Check it out, perfectly squared and straight kentos! Every block, every time, perfect registration to the mil!

More tid bits about registration boards

I can't post any additional pictures until I get back to the ranch, but I thought for those of you who have asked and are currently running out to the home-improvement store to purchase materials and make your own forever-registration-board, I would point out some details:

• The brass corners sometimes have a rounded inside corner. I found that this interferes with placement of the paper. To be safe, I filed the inside corner with a standard fine metal file to allow the corner of the paper to fit unhindered. This is sort of visible on the picture in a previous post but I will be sure to post a detail pic when I get back.
• For those who are used to the "open corner" arrangement so that the thumb can hold the paper down "through" the corner piece, an easy remedy is to use straight brass pieces rather than the pre-made corners and arrange them perfectly squared but leaving the corner open.
• And finally, for blocks that are a bit taller, a paper "shelf" made of a layer (or two or three) of matboard can be lightly glued next to the kentos so that the paper is supported. This works well when the kentos are raised due to a thicker block.
• Pictures next week, promise.