(some extracts from 'The Relief Print')
- The Woodcut Versus the Wood Engraving
by Norman Kent
- Eva & Ernest W. Watson - A Discussion of Their Methods
by Norman Kent
- Color Printing from Relief Blocks
by Ernest W. Watson
[Baren] Editor's Introduction
Topics covered in these articles:
- Differences between woodcuts and wood engravings (first article)
- Building up an image from multiple blocks
- Oil pigments ... suitable types
- Using a roller for applying pigments
- Overprinting on previous colours, both wet and dry
- Using a wheel-type hand press
- Mr. Watson's 'Finder' system of registration
- Getting the image onto the blocks, either drawing directly, or offsetting
- Not generally aimed at the beginner, as they assume a general working familiarity with the printmaking process. Best for someone who has produced a few prints, and is looking for additional ideas on 'which way to go'.
Although the latter two articles describe linoleum printmaking methods, everything there is directly applicable to woodblock work as well. The Watsons' specific techniques of registration and press work are not suitable for anyone working in water-based pigments, or using hand burnishing methods (a baren, etc.), but the descriptions of how they build up the image block by block, and how these blocks combine to create artistic effects, is useful no matter what techniques are used to actually pull the image.
The story by Mr. Kent is a technical explanation of how the Watsons work, while the story by Mr. Watson himself is more concerned with artistic aspects of his printmaking. A read-through of both is necessary to get a good overview of their process.