Part 5 (1/2)

Wipe dry both sides. Lay it on a flat surface and stretch wider with the fingers on the inside, keeping the leaf flat with the palm of the hand.

Rub the inside of the leaf with something hard and smooth across the width on both sides.

1. Cut AG, BG with leaf folded.

2. Place the round pad in position on the flat leaf.

3. Stretch the leaf to lap at sides EF.

4. Turn in EA and BF fold by fold, first one side and then the other.

5. Pull hard before beginning the other end.

[Ill.u.s.tration: FIG. 19.--Method of re-covering baren.]

6. Cut away CH, DH, holding down firmly the end done.

7. Twist up the ends tightly, pull over to the centre, and tie tightly together; cut off ends.

8. Polish on board and oil slightly.

Twist the inside part of the baren occasionally to save wear by changing its position within the sheath.

Several subst.i.tutes have been tried in place of the j.a.panese baren, with coverings of leather, shark's skin, celluloid, and various other materials, but these necessitate the use of a backing sheet to protect the paper from their harsh surfaces.

An ingenious rubber of ribbed gla.s.s which works directly on the paper has been devised by Mr. William Giles, who has produced beautiful results by its means.

If one is using the j.a.panese baren, its surface needs to be kept very slightly oiled to enable it to run freely over the damp paper. A pad of paper with a drop of sweet oil suffices for this, and may lie on the right of the printing block where the baren is put after each impression is taken.

An even simpler method is that of the j.a.panese craftsman who rubs the baren from time to time on the back of his head.

BRUSHES

j.a.panese printing brushes are sold by some artists' colour dealers, but these are not essential, nor have they any practical superiority over well-made Western brushes.

[Ill.u.s.tration: FIG. 20.--Drawing of brushes.]

An excellent type of brush is that made of black Siberian bear hair for fine varnis.h.i.+ng. These can be had from good brush-makers with the hair fixed so that it will stand soaking in water. Drawings of the type of brush are given above.

Three or four are sufficient; one broad brush, about three inches, for large s.p.a.ces, one two-inch, and two one-inch, will do nearly all that is needed. Occasionally a smaller brush may be of use.

PRINTING

To begin printing, one takes first the key-block, laying it upon a wet sheet of unsized paper, or upon wads of wet paper under each corner of the block, which will keep it quite steady on the work-table. A batch of sheets of printing paper, prepared and damped as described in Chapter V, lies between boards just beyond the block. The pad lies close to the block at the right on oily paper pinned to the table. To the right also are a dish or plate on which a little ink is spread, the printing brush (broad for the key-block), a saucer containing fresh paste, a bowl of water, a small sponge, and a cloth. Nothing else is needed, and it is best to keep the table clear of unnecessary pots or colour bottles.

When these things are ready one should see that the paper is in a good state. It should be rather drier for a key-block than for other blocks, as a fine line will print thickly if the paper is too damp and soft. In fact, it can scarcely be too dry for the key-block, provided that it has become perfectly smooth, and is still flexible enough for complete contact with the block. But it must not be either dry or damp in patches.

If the paper is all right, one lifts off the upper board and top damping sheet, placing them on the left, ready to receive the sheets when printed.