SURFACE PRINTING METHODS

Block making

The typical hand block print had no large, uniform areas of colour but was skilfully built up from many small coloured areas, because wooden surfaces larger than about 10 mm in width would not give an even print. This had the advantage that a motif such as a flower would have an effect of light and shade obtained from three or four blocks, each printing a different depth of the same colour, or a different hue. This obviously meant that a lot of blocks were required, and considerable care was needed in fitting the adjacent parts of the design. If the design had a large repeat there would be a multiplication of the number of blocks because the size of a single block was limited to about 45 cm square and its weight to about 5 kg. Most blocks were much smaller than this, perhaps because many printers were women. Block making required patience and skill. A fairly hard wood was required, such as pearwood, and four or five layers were usually glued together with the grain running in different directions. The design was traced on to the surface and a fine chisel used to 01.p65 8 2/12/02, 12:37 pm 9 cut away the nonprinting areas to a depth of perhaps 1 cm. To obtain more detail from some blocks, strips and pins of copper or (more usually) brass were hammered into the wood. In the 19th century some blocks were made with the printing surface entirely in brass (Figure 1.2), which gave very delicate prints. Another technique used for complex designs was to prepare a mould, use this to cast the image from molten type metal, fasten the casting to the block, and then grind the surface perfectly flat. When large areas of solid colour were required, the areas within metal or wooden outlines were filled with felt, which would absorb and print the paste uniformly. Finally, each block required corner ‘pitch pins’ which printed small dots; these allowed the succeeding blocks to be correctly positioned by accurately locating the pitch pins above the already printed dots. A less precise form of block printing is practised in the production of, for example, Africa prints (see section 6.5.1), using large plywood blocks with polyurethane foam printing surfaces.cut away the nonprinting areas to a depth of perhaps 1 cm. To obtain more detail from some blocks, strips and pins of copper or (more usually) brass were hammered into the wood. In the 19th century some blocks were made with the printing surface entirely in brass (Figure 1.2), which gave very delicate prints. Another technique used for complex designs was to prepare a mould, use this to cast the image from molten type metal, fasten the casting to the block, and then grind the surface perfectly flat. When large areas of solid colour were required, the areas within metal or wooden outlines were filled with felt, which would absorb and print the paste uniformly. Finally, each block required corner ‘pitch pins’ which printed small dots; these allowed the succeeding blocks to be correctly positioned by accurately locating the pitch pins above the already printed dots.

The printing process: Colour paste must be applied to the block surface in a controlled manner, and this was achieved by using a ‘sieve’. A small tub was nearly filled with a starch paste and a waterproof fabric, stretched on a frame, rested on the paste. A piece of woollen fabric was stretched on a slightly smaller frame and fastened to make the sieve. The sieve was saturated with colour paste and placed on the waterproof fabric. For each impression, the ‘tierer’ (a boy) spread the colour paste on the top surface of the woollen sieve with a large brush and the printer charged the block by pressing it on the wool. The block was then carefully positioned on the fabric, using the pitch pins as guides, and struck with a mallet. After printing a table length with the first block, the second was printed and then any others required to complete the design. The fabric was then transferred to a few elevated rollers or rods and allowed to dry, while the next table length was printed.