Indian woodblock experiment

Last September, during a tour of Rajasthan, we had the opportunity to see how traditional woodblocks were carved and used for printing fabrics.  It involved building up the lines and colours through a series of wood blocks. First, the master block was used to give the outline, followed by three different wood cuts, for three different colours. Line up the woodblock with the lines left by the master block and give the block a hard smack. All lined up nicely, they create a very nice picture or pattern. Repeat as necessary. 

Never one to shy away from a new experience, especially one that involves slamming things down, I promptly demanded a go and set about making a colourful print of an Elephant.

Indeed there is more to this print making than I have suggested. Aside from the art of actually carving the wooden blocks (a pattern can contain up to 7 colours and therefore 7 different blocks), it takes years of practice to get it right, a multitude of chemical and vegetable dyes and a concoction of very nasty chemicals to set the dyes and rinse the fabric. Whist I was very pleased with my colourful Elephant print, I contributed very little to it's actual existence. 

Despite this, I would not be swayed, we were going to take home at least 10 of these fantastic antique blocks and nothing would stop me! Except, perhaps for a husband unwilling to pay more than £1 per block. We found a shop that stocked these blocks - after several heated phonecalls on our behalf by our guide. Beautiful patterns, large and small, new and old were shown to us. I selected 5 and was given a price, which even by western standards was too high and then it started. The inevitable 'haggle'. Locked into bartering hell whereby neither party would shift, we left the shop with nothing, although Husband was very proud of his ability to maintain his position and not back down. I was less impressed at this 'skill' as I had no wood blocks to play with.

Eventually another shop with some small blocks was found and a good price negotiated for two, along with a very fetching green horse that I am very fond of. They have been sitting atop a bookshelf for the last year whilst I pondered what, if anything, I was to do with them. It seemed right, now I was undertaking an India project, to use them. Let them fulfil their earthly purpose, even for a short time (and probably in the wrong way).

And so, today I thought, would be the day. As these blocks are normally used with dyes rather than oil paint, I knew the effect would be different, but hell, thats what I was trying to find out so it didn't matter. I had a few goes. Painting onto the block and stamping it onto the canvas. It became clear very quickly that the negative space behind the canvas was a problem and so I needed to press my hand to the back so it would stamp properly. Didn't look too bad. 

I wanted to  to print the blocks onto a coloured background, which I would first need to paint and then wait for that to dry (the joy of oil paints). So I set about doing that. Ta da! Not what I would call a 'full' day at work piece, but everything needs a start. So far a Blue background a la Klein 1959. There are 3 different blues in this and up close you can see them all swirling and blurring into each other. Still, I feel I may have built it all up a bit to much at the start. I think I am going to put another layer of translucent purple of some kind over the top (think Peacock colours) and then start printing with the blocks.

Disappointed not to be able to use the blocks and at having to finish up after painting only a blue square, I figured I'd have a go at a tiny canvas . Thick thick red and orange paint, straight from the tube onto the canvas. Two colours I love to see together (and saw a lot while in India), plastered together with a square tip knife and topped off with a woodblock pressed into the paint. A negative of what a usual print is about. As the paint is so highly textured, you could almost miss the tiny delicate flower print, but its there, tucked away in hot reds and oranges, amidst frantic knife strokes, highlighted in tiny gold flecks. I really like the symbolism of this tiny and spontaneous piece.

I really feel like I achieved something today and that the India project has a third dimension evolving, keeping it contemporary. I am loving my print blocks, thinking of heading to Etsy to get a few more as they are so much fun. How can someone get so much satisfaction from a crisp, woodblock print?