THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY
WOOD-BLOCK PRINTING
BY THE JAPANESE METHOD
LONDON, SIR ISAAC PITMAN & SONS, LTD., PARKER STREET, KINGSWAY, W.C.2, BATH, MELBOURNE, TORONTO, NEW YORK. Printed by Sir Isaac Pitman & Sons, Ltd. Bath, England EDITOR: W. R. LETHABY. September 1916. See R. M. Burch, Colour Printing, 1900. AUTHOR: F. M. F. Edinburgh College of Art, September 1916.
APPENDIX
Note: The note stating (actual size) is no longer correct.
An original print in colour, designed and cut by the author and printed by hand on Japanese paper, followed by collotype reproductions showing the separate impressions of the colour blocks used for this print, and other collotype reproductions of various examples of printing and design.
| The particulars given in Chapter VIII on co-operative printing refer specially to the original print included in the first edition. In this edition an entirely new print is shown, and only 1,000 copies of it are being published. |
Plate VIII.—An original Print designed and cut by the Author, printed by hand on Japanese paper.
| Plates originally printed in collotype are now produced in half-tone |
Plate IX.—First printing. Key block. Black.
Plate X.—Second printing. Dull Red. Printed lightly at the top.
Plate XI.—Third printing. Deep Blue. Strong at the bottom, paler at the top.
Plate XII.—Fifth printing. Bright Orange.
(The fourth printing, not shown, is a similar small block, printing a faint tone over the road in the foreground.)
Plate XIII.—Sixth printing. Indian Red. Gradation.
Plate XIV.—Seventh printing. Green. Printed flat.
Plate XV.—Eighth printing. Bluish green. Gradation.
Plate XVI.—Reproduction of a colour print by Hiroshigé.
Plate XVII.—Reproduction of a portion of the print shown on the preceding page, actual size, showing the treatment of the foliage and the expressive drawing of the tree trunk and stems.
Plate XVIII.—Reproduction of another portion of the print shown on page 111 (actual size), showing the expressive use of line in the drawing of the distant forms.
Plate XIX.—Reproduction of a colour print by Hiroshigé.
Plate XX.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree forms and distance.
Plate XXI.—Reproduction of a colour print by Hiroshigé.
Plate XXII.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree and blossom.
Plate XXIII.—The Tiger. Reproduction of a colour print by J. D. Batten.
Plate XXIV.—Lapwings. Reproduction of a colour print by A. W. Seaby.
BOOKS OF REFERENCE
"Tools and Materials illustrating the Japanese Method of Colour Printing." A descriptive catalogue of a collection exhibited in the Victoria and Albert Museum, London. Price Twopence. Victoria and Albert Museum Catalogues. 1913.
"The Colour Prints of Japan." By Edward F. Strange. The Langham Series of Art Monographs. London.
"Japanese Colour Prints." By Edward F. Strange. (3rd Edition.) Victoria and Albert Museum Handbooks. London.
"Japanese Wood Engravings." By William Anderson, F. R. C. S. London, Seeley & Co., Ltd. New York, Macmillan & Co. 1895.
"Japanese Wood-cutting and Wood-cut Printing." By T. Tokuno. Edited and annotated by S. R. Kochler. Report of the Smithsonian Institution, Washington, for the year ending June 30, 1892. Issued in pamphlet form by the U.S.A. National Museum, Washington. 1893.
Other works containing descriptions and references to the craft of wood-block printing in the Art Library at the Victoria and Albert Museum, London, are the following:—
"The Industries of Japan." By J. J. Rein. (Paper, pp. 389.) London. 1889.
"Bungei Ruisan," By Yoshino Sakakibara. Essays on Japanese literature, with additional chapters describing the manufacture of paper and the processes of printing and engraving. (The Museum copy has MS. translations of the portion relating to engraving.) Tokyo. 1878.
The preparation of the ink for printing is described on p. 54. See also p. 75. See CHAPTER VIII for further experience on this point. Further experience on this point is given in CHAPTER VIII on Co-operative Printing.
now use the CAMBRIDGE COLOURS only, because
(1) Only Pigments of the HIGHEST ORDER OF PERMANENCE are included in the Cambridge Palette
(2) All the Pigments may be SAFELY MIXED TOGETHER without danger of their acting injuriously on each other
(3) All the Pigments are PURE and free from injurious impurities
SOLE MAKERS MADDERTON & CO., LTD., Loughton, Essex ENGLAND (ESTABLISHED 1891)
TELEGRAM TELEPHONE "MADDERTON, LOUGHTON," ESSEX 63 LOUGHTON
All Tools and Materials for JAPANESE WOODBLOCK CUTTING AND PRINTING as described in this book are stocked by PENROSE'S including several new forms of Tools and Brushes approved by F. Morley Fletcher, Esq.
LIST FREE ON APPLICATION A. W. PENROSE & CO., LTD. 109 Farringdon Road, London, E.C.1. Printed by Sir Isaac Pitman & Sons, Ltd., Bath, England
ERRATA
| Page 62.—For "bamboo-sheath" read "bamboo leaf". |
| Page 63.—In last paragraph, delete "the inside of". |
| Page 64.—Third line from bottom, after "occasionally" insert "when printing". |
WOOD-BLOCK PRINTING
Meadowsweet.
Collotype reproduction of a woodblock print by the Author.
(Frontispiece.)