I would say, though, that those two papers are probably my favorites when printing on a press. You’ll want to avoid really thick paper like Stonehenge (250 gsm) or Rives BFK (250 gsm) when printing by hand, in my opinion. Say, between 30-120 gsm, though this is not a hard and fast rule. Importantly, if you’re printing by hand instead of a press, you’ll probably want a light to light-medium weight paper. The higher the GSM the heavier the paper. When you shop you’re going to notice a term on the package or product listing called, “GSM.” This stands for grams per square meter and is a measure of a paper’s weight. A Paper’s GSMĬhoosing a paper of the right weight is really helpful for printing linocuts, woodcuts or rubber blocks by hand. I’ll also provide some specific recommendations. But I’m going to give you suggestions on what to look for in paper to help guide you. So, I don’t think there is necessarily a perfect paper for hand printing. There are so many different types of paper to choose from and what you have available will partially depend on where you live. If you were to ask me what block printing ink I think is the best, I would give you a couple suggestions and feel pretty confident that it will work for you. For more information about the techniques of moku hanga, see and barenforum.What to Consider When Choosing a Paper for Hand Printing For a more extensive list from M.I.T., go here Zokin: A small wooden block covered with cloth primarily used to print bokashis.Washi: traditional Japanese paper made from the bast fibers of the mulberry plant.Ukiyo-e: Literally, "floating pictures" referring to 17th>mid/late 19th century prints depicting secular subjects.Tokibo: or hakobi a small brush used to apply pigment to the block.A movement that became popular during post WWII Japan. Sosaku-hanga: "self-prints"- prints that are designed, carved, and printed by the artist.Shina: Japanese basswood or lindenwood often used as easily-carved woodblocks.Shin-hanga:"new prints"- refers 20th century woodblock printmaking revival often featuring layered color landscapes.Sakura: Japanese cherry often used for woodblocks.Ōban: a print size about 15½ by 10½ inches (39 by 26.5 cm).Nori: Paste to keep pigment in suspension made of rice, potato or tapioca.Nishiki-e: Multi-coloured woodblock printing.Moku hanga:Japanese for woodblock prints.Ita-bokashi: "block shading" a technique for producing gradation achieved by sanding or abrading the edges of the carving.Hanshita: The drawings used as a guide to later carving.Keyblock: Roughly, line blocks often containing color.Chūban: a print size about 7 by 10 inches (18 by 25 cm).Bokashi: A graduated color impression often seen in traditional ukiyo-e print backgrounds.Beta ban: A flat, consistent color block.Baren-suji: Impression marks made with a baren- intentional or not.Baren: The traditional printmaking "pad" that is used by manually pressing the inked block.Hanga bake have long handles, maru (round) bake resemble shoe brushes. Bake(hanga or maru): traditional Japanese printing brushes made of horse or hog hair.I’ve noticed that this reconstituting doesn’t work as well with commercial tube watercolors since there is gum added and it results in a grainy texture. I’m also not quite sure that the step of pushing the pigment through the sieve is necessary since the ground particles are much finer than the screen.Īfter printing, mixing bowls are left to dry around the printing desks and are reconstituted (unless starch paste had been added) by simply adding a little water and stirring with the tokibo without apparent problems. I was a little suprised at the Ultramarine since it is a mineral pigment. I suspect that this will result in less hard-won pigment being lost and may go a bit faster.Īs of several days later, both the Ultramarine and the Indigo did not separate to clear water. Mokuhankan is planning to compare this traditional method of grinding pigments with using a western-style glass muller/ glass slab combination. The idea of keeping a selection of pigments stored in ‘paste’ form in an alcohol/water mix is discussed in ‘One-Point Lesson’ #6 in another section of the Encyclopedia. Additional references: Preparing powdered pigments can be found in a “Tools and Materials” section David Bull’s Encyclopedia article.
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