[Forest in Spring - 2] : Sample Images
Posted by Dave Bull at 10:38 AM, April 16, 2008
Incredible that this one is taking so much time ... there is a lot of detail in those ground cover blocks, and with all the other jobs competing for attention, it's going very slowly ...
Anyway, the blocks were finally 'finished' a couple of weeks back, and since then, I've been playing around with them, trying this and that, generally getting familiar with how they work together.
This is a block set that would be very suitable for one of those experiments where the same blocks could be used to make a series of completely different prints - early morning, deep midnight, etc. etc. I don't have the freedom to do that (right now), as the scene is basically set; this is supposed to be the view I see when emerging from my tent in the pre-dawn mist. Here's the quote from the story at the point where the image comes in:
"But I'm pretty much wide awake now, and although I do lie back on the mat in my comfortable bag, the sky is starting to show a faint light, and soon the birds are chirping their welcome to the new day. There's not much else for it but to obey their call, and get going on the day's activities. I slip my clothes on and step outside. It's quite misty; the trees immediately around me are clearly visible, but those just a short distance away are blurred, and behind those the forest fades into shadows. The pre-dawn air is of course still quite chilly, and damp with dew. A bit of a heavier sweater would have been a better choice to bring along on this trip, but as I know the day will warm up once the sun gets a chance to work its magic, it's not a problem ..."
So anyway, I've got some stuff to show. None of these are 'the print', as I am still not satisfied with what has come off the blocks so far, and have more tests planned, but they should still be interesting for people to peruse.
It's also worth noting that none of these were intended as 'prints', in the sense of 'finished' works. I really play around with these sample sheets as I am making them. I run a few sheets at a time, and even if I may think "Hmm, that sky looks pretty good," I will still put a sky that is 'too dark' on the next sheet, simply to see what it looks like, or that sheet may get an experimental version of a tree trunk, or whatever.
So here's a selection from the different proof runs made over the past couple of weeks. The earliest ones are kind of gloomy, and since then I've been trying to work out how the light should spill out into the image ... I'd be interested to hear what people think of these ...
New Web Shop opens today!
Posted by Dave Bull at 9:40 AM, March 31, 2008
At last ... after years of procrastination, I have opened a new webshop, where people can browse (and purchase) my varied prints and collections. Everything I have made over the past nineteen years since issuing my first prints is here, from both 'brands', my own 'Seseragi Studio' prints, and the 'Mokuhankan' publications.
That's the good news. The 'bad news' is that this is a Japanese-language site. English readers already have pretty good access to my work through the woodblock.com site, but development of the Japanese site has fallen far behind in recent years, and now catches up.
But anybody is free to visit - even if you can't read anything ... lots of 'pretty pictures'!
Discussion [0]
[Forest in Spring - 1] : carving progress
Posted by Dave Bull at 1:30 PM, March 23, 2008
I've been getting mail again, asking why no updates ... Nothing new to answer about that - just the usual that it's difficult to find time to talk about the work, while at the same time getting it done!
Anyway, apologies for the procrastination on putting something here. Let's try to make up for it today!
First, let's deal with the 'bad' news - I don't have anything I can show you to give you a good clear idea of what the print will look like. This one will have no key block at all, and the print will be made up of multi-layering of colour blocks. So there is no actual 'drawing' as such, to reproduce here.
I myself can refer to a Photoshop mock-up I have made, with those layers stacked up and tinted in an attempt to get a handle on what the result will be like, but I really don't want to put that image here. Simply it would give everybody the wrong idea about what to expect. The Photoshop construction is just a tool to help me move along the progress - it isn't what the print will 'look like'.
But I have no problem with showing you the blocks themselves ... you can then do exactly the same thing that I am currently doing - study them and try to get a handle on what colours/gradations/etc. to use when I finally sit down with the printing tools.
So here is a series of small snapshots of the block set as it currently stands, partway through the carving. Let's look at them in order of their 'position' in the image, starting with the most distant, and coming forward step by step ...
Nothing much to see on the first block - it will be used for a background flat printing (nothing carved yet):
The next block - carving finished - will put a distant layer of misty tree trunks in place:
Moving forward, in the middle distance, will be a group of trees ...
Those trees will have texture - not strong, because they are also misty, but more than the distant trees, which are just outlines:
And the texture has a second level ... (this is the block I am carving just now ...)
Moving still closer towards the viewer, there is a quite large tree in that plane:
... and it has a companion:
These trees have been 'moved'. The taller thinner one has 'walked' a short distance down the mountainside to take up a stance overlooking my campsite, and the fatter one has really made tracks - he actually lives on a mountain in Hakone!
These trees have texture - more detailed than the ones behind them:
And the texture has texture ...
Coming to the foreground, these trees are standing on a mossy bank (no carving started here yet):
And that will be multi-layered and textured ... but until I get the base layer worked out, I can't see yet what will happen on top of it.
If I had nothing else to do, I think carving could be done in another week or so, but that's not the case. I have a huge website job in the works (opening in the first week of April), and am burning the candles at both ends this month.
Keep watching the webcam, and I'll post another update here when there is something substantial to show.
Thanks for watching!
'Shrink' back down ...
| Discussion [1]
Woodblock Widget ready for download ...
Posted by Dave Bull at 11:25 AM, February 26, 2008
Mac user? Got 10.4 or newer OSX? Interested in keeping track of the prints on Woodblock.com?
Here you go! The Woodblock Widget is now available for download:
The Widget - easily loaded into the system Dashboard - shows a small image and description of the most recent print, and is of course 'clickable' to take you directly to the appropriate page of the website. It updates each time a new print appears on the site.
And of course ... it's a free download! Get it from here, or directly from the Apple Widget Website.
Discussion [2]
[River in Winter - 10] : Impressions 19 ~ 23
Posted by Dave Bull at 8:31 PM, February 12, 2008
Continued from [River in Winter - 9] | Starting point of the thread is [River in Winter - 1]
Step #19 - Again re-using one of the earlier blocks, a thin layer of blue helps push the stones under the water ...
That impression by itself (on scrap paper ...) :
Step #20 - This one is just for fun ... a small 'touch' on the stones ...
That impression by itself (on scrap paper ...) :
Step #21 - A bit of rough carving, to give more texture to the underwater stones:
That impression by itself (on scrap paper ...) :
Step #22 - And a bit more water over the top of them ...
That impression by itself (on scrap paper ...) :
Step #23 - And here we are - a re-do of the base tone block for the stones, to darken them a bit ...
That impression by itself (on scrap paper ...) :
Now that we've come all the way, I've put up the slideshow version of this process ...
Is this the only print that could be made from this set of blocks? Not at all ... this one has pretty much infinite variations possible. It would be fun to play with them and see what else could be done, but such experiments will have to wait for 'another day' ...
'Shrink' back down ...
| Discussion [2]
[River in Winter - 9] : Impressions 14 ~ 18
Posted by Dave Bull at 8:30 PM, February 12, 2008
Continued from [River in Winter - 8] | Starting point of the thread is [River in Winter - 1]
Step #14 - A simple gradation at the bottom of the stones makes them 'disappear' off the edge of the print ...
That impression by itself (on scrap paper ...) :
Step #15 - This is the sixth and final tone level on the main rushing water. We'll have a few more overprintings later, but the basic breakdown is now visible.
That impression by itself (on scrap paper ...) :
Step #16 - The two stones need to be pushed apart, and a couple of small gradations will do the job ...
That impression by itself (on scrap paper ...) :
Step #17 - This is the last impression on the foam area ...
That impression by itself (on scrap paper ...) :
Step #18 - Back to the underwater stone, using the same block as Step #15 above ...
That impression by itself (on scrap paper ...) :
The thread continues in [River in Winter - 10] ...
'Shrink' back down ...
| Discussion [0]
[River in Winter - 8] : Impressions 9 ~ 13
Posted by Dave Bull at 8:28 PM, February 12, 2008
Continued from [River in Winter - 7] | Starting point of the thread is [River in Winter - 1]
Step #9 - Here's the fourth level of water, and something a bit different starts to happen - I'm leaving a 'bald' patch in the impression. This of course is where the underwater stone will go. This same block will come into play twice more, once for the stone, and then with blue to cover it, but I want to be able to control the levels separately ...
That impression by itself (on scrap paper ...) :
Step #10 - Another tone level on the foreground stones ...
That impression by itself (on scrap paper ...) :
Step #11 - Then back to the water, for the next level of tone. Again, the underwater stone area will be done separately later:
That impression by itself (on scrap paper ...) :
Step #12 - Over to the foam, for the next level ... Keep moving around the print, never allowing any given area to get too saturated ...
That impression by itself (on scrap paper ...) :
Step #13 - And here we go, the same block used in Step #9, with a brown gradation ...
That impression by itself (on scrap paper ...) :
The thread continues in [River in Winter - 9] ...
'Shrink' back down ...
| Discussion [0]
[River in Winter - 7] : Impressions 4 ~ 8
Posted by Dave Bull at 8:25 PM, February 12, 2008
Continued from [River in Winter - 6] | Starting point of the thread is [River in Winter - 1]
Step #4 - Back to the water for the next level of tone. Same colour exactly - just there are a few cut-outs here and there, which you can see better if you click for the enlargement.
That impression by itself (on scrap paper ...) :
Step #5 - Next is one of the tone layers on the foreground stones; so long to carve - just a few seconds to print!
That impression by itself (on scrap paper ...) :
Step #6 - Back to the water, for the next level. The colour now is changing slightly, with a tad more yellow mixed into the blue, to give a more greeny feel ...
That impression by itself (on scrap paper ...) :
Step #7 - Over to the stones again, for a splash of mossy dapple ...
That impression by itself (on scrap paper ...) :
Step #8 - Time to move over to the untouched top area of the print, with a base tone for the tumbling foam ...
That impression by itself (on scrap paper ...) :
The thread continues in [River in Winter - 8] ...
'Shrink' back down ...
| Discussion [0]
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