CHAPTER THREE

CREATING WOODCUTS AND ENGRAVINGS

 

 

 

RADITIONAL Japanese woodcut printers sat on the floor at a low, angled table to create their work. Everything was done in a very small but efficient space. You may not want to sit on the floor, but a comfortable space can make the difference between a rewarding creative experience and a discouraging, frustrating one.

PLANNING A WORKSPACE

Furniture, lighting, health and safety issues, and storage are the four factors to keep in mind when planning a studio space.

Ideally you need at least two tables – one for cutting your blocks and one for printing. A third table for sorting paper is helpful if you have the space. The size of the table tops depends on how big you like to work. For most people a 30 x 60-inch table is fine. Some printmakers prefer to stand at a workbench when cutting their blocks. If this appeals to you, the bench should be just below chest height to protect your back while working. My own tables are 30 inches high and have sturdy legs. Nothing is more frustrating than cutting blocks on a table that wobbles.

 

If you are going to sit to do your work, use a comfortable chair with good back support. Drawing, sharpening tools and cutting blocks takes time and you’ll appreciate the extra support a good chair provides. To prevent injuries that can result from doing repetitive tasks in the same body position, Canadian wood engraver Jim Westergard alternates between a kneeling chair used with a specially built plywood stand and a conventional chair and table.

Make sure you have enough light flooding your studio. Although natural light is best, I use four warm 50-watt spotlights above my worktable when I’m cutting blocks at night or on dull days. Color-corrected light bulbs, which show more of the color spectrum than ordinary bulbs, are great for mixing colors or doing any color work. Whatever artificial lighting you use, be sure to position it so that it doesn’t cast shadows over your work area.

Every studio needs good ventilation, particularly when oil-based inks and solvents are being used. A window or a built-in fan is mandatory. It is also a good idea to take a look at the Material Safety Data Sheets (MSDS) for the products you plan to use in your printmaking. Manufacturers or suppliers of potentially hazardous materials must have these product information forms available for their customers to look at. The forms state the risks involved in using the product and what to do in case of accidental poisoning. They are available from your supplier or on the manufacturer’s web site.

When using oil-based inks, I clean up my rollers, ink slab and ink knives with vegetable oil or a vegetable/coconut oil-based solvent known as estisol because it is not as smelly or toxic as mineral spirits and other solvents. An ammonia-based cleaner removes the oil film left by the vegetable oil. I still use mineral spirits once in a while to clean rollers and slabs that have a buildup of vegetable oil film on them.

You can clean ink-splattered hands with a rag and an industrial hand cleaner containing pumice. The constant use of hand cleaners can remove the natural oils in your hands, so use a hand lotion after you’ve finished printing for the day.

And finally, you will want to give some thought to setting up separate storage areas for inks, oils and solvents; paper and board; and blocks and tools. Paper should be stored flat in a file cabinet or on shelves. Inks, oils and solvents should be kept in a steel cabinet or a fire-safe cabinet specifically made for storing solvents. For easy access, store blocks, tools, and rulers and pencils in labeled boxes on shelves.