Alright. So from research tonight and last night, I have a good idea of what I’m going for in Japantown, tomorrow.
IF I get Yasutomo Sketch paper (big “if;” Yasutomo is the only readily available Japanese brand of…many things, including washi ([ideally] handmade paper) outside of Japantown or Japanese specialty stores), my first choice will be the Hosho kind — not Hanshi, which is sold unbound and, over the wind, I heard it is too light for suminagashi. If the Hanshi is there, though — I will have to think about passing it up. It would likely be useful, at the least, in transferring patterns from a key block to templates for other blocks — but I don’t know if it will work in linoleum block printing. I know it will work in woodblock.
The thing is, mokuhanga (Japanese woodblock printing) is a relative investment…not so bad after having gotten materials for linocuts (particularly the knives, and inks), but still. There are different tools, and it looks like things have to be managed from the ground up where it comes to things like applying sizing (nikawa: animal glue + myoban: alum) to paper. Or where it comes to mixing colors with rice starch paste (nori) in order for colors to print properly. Or where it comes to maintaining a baren with camellia seed oil (tsubaki). All these terms are given in that mokuhanga book I mentioned by April Vollmer.
There is an entire complete process to this which seems to be a different working method than I was prepared for, given the surface similarities of process between linocuts and mokuhanga. (I am thinking that I wasn’t prepared for mokuhanga having such a deeply different cultural heritage from linoleum block printing…apologies for having to say that.) In light of that…I’m going to try and focus on suminagashi paired with linoleum block printing, for now. Until I gain more experience. 🙂 I’ll have less time, starting next week (school is about to start up again), so I should prepare for that.
I’ve decided against getting a stub-nib fountain pen (2mm), as…I already have some (dip pen) nibs which will work. The issue is largely that I haven’t gained skill in using them, yet, and I was never really taught how to use them. I think the last time I tried, I was very young (and impatient), and had only newly gotten the hint to burn off the anti-rust coating before trying to use the nibs to carry ink. Otherwise, the nib will not be very useful. (To my credit, though, I did use a nib until it snapped…don’t know if I get experience points for that or klutz points for that…) 😉 At this point, we do have a “Third Hand” tool which can hold my nibs while I singe them…a lack of this is the reason I stopped (I bent the jaws of a pair of pliers unintentionally by indirectly heating them while holding the nib).
But I do have some steel nibs approaching 2mm wide. If I find any more broad ones like this tomorrow (I’m not counting “steel brush”…which is fairly intimidating to me), I may pick them up, but other than that, I’m not dropping $30 on a portable and more finicky version of a tool which is more versatile when worked manually. I can’t see myself carrying around a calligraphy pen just for kicks, and I can do more with a dip pen (read: opaque inks, quicker color changes, less expensive errors) than I can with a fountain pen.
But yes, I am thinking of calligraphy, again. The “printing” thing seems to be sweeping me around into a more book-arts sort of deal. Which is good with me, as long as it’s fun — it’s just that it wasn’t expected!
I still haven’t worked on my painting, either. But then, I’ve been doing other things. 🙂 Watercolor would be my nearest media which I would think to be compatible with book arts. It’s just so freakin’ hard…Negative space, yo. Negative space. But maybe the prints will help with that.
Okay: the other thing to get is bocha: roasted twig/stem tea (I like the name: bo is the name of a man’s staff in aikido). I can’t imagine us going home without manju, either (the kind I’m thinking of is daifuku mochi; M will only eat kuri manju, however). Daifuku is some sort of very soft rice thing (I’m not sure if it’s pounded rice, or rice starch dough) around sweet beans (an); kuri manju is a baked wheat bun around the outside of sweetened smooth lima beans. (I realize that may sound gross to people, which I wouldn’t understand, except for the fact that I once ate reconstituted dry lima beans, as contrasted with the frozen baby kind. I feel you.)
Otherwise…I can see myself being tempted by the dotted papers and the Kuretake Gansai Tambi paints. But realistically, not only do I not need these (the latter) at all…but the Koi ones look better, where it comes to smoothness. I think this means I need to break out the watercolors I do have! Probably the only reason these look even…tempting is that I haven’t recalled, or accessed, what I’ve got stored…which are very likely of higher quality, and almost certainly more expensive.
(Well, that, and travel pans of red are often junk, in my experience: both Koi and Kuretake Gansai Tambi look better in this department than Cotman or Prang, which are the cheap travel [pan] colors I have. It’s probably in relation to red being more culturally meaningful in Japan than here [it’s a color young girls and young unmarried women are expected to wear…or at least that’s what my grandmother related to me].)
As for the dotted papers…maybe. Inks? Maybe, but I’d more likely wait. I don’t know how much bottled ink they have there, anyway. Dotted papers are also available from the Japanese dollar store, now that I’m thinking about it. I’ve just seen how they can be used, and want to play. (is that so much to ask?) 😉
The other thing…that I’m kind of dreading, is seeing another worthwhile book on mokuhanga and/or relief printing, at the bookstore. But I’ll deal with that when I come to it…