Techniques
Dimensions of Japanese prints
| Name | Dimensions in cm | Dimensions in inches | Comments |
| Oban | 24.1 x 36.8 cm | 9.5" x 14.5" | Half of a paper sheet Hoshon. Oban tate-e will be printed vertically, Oban yoko-e will be printed horizontally |
| Dai oban | 30.5 x 42.0 cm | 12" x 16.5" | Also called "Large Oban" |
| Double oban | 38.0x 51.0 cm | 15" x 20" | Full Hosho paper sheet |
| Aiban | 34.2 x 22.5 cm | 9" x 13" | Half a Hosho paper sheet. Between Oban and Chuban |
| Chuban | 19.0 x 26.0 cm | 7.5" x 10" | Half oban, 1/4 of Hosho paper sheet |
| Koban | 12.7 x 19.0 cm | 5" x 7.5" | Half chuban, 1/8 Hosho paper sheet |
| Yatsugiri | 9.5 x 12.7 cm | 3.75" x 5" | Half koban. Postcard size. 1/16 Hosho paper sheet |
| Tanzaku | 43.0 x 12.7 cm | 17" x 5" | Narrow vertical format, used for calligraphy and pillar print |
| Chu-tanzaku | 38.0 x 13.0 cm | 15" x 5.1" | Very narrow, similar to Hosoban |
| Nagaoban | 50.0 x 22.0 cm | 19.7" x 8.7" | Format used for large animal and plant prints |
| Hosoban | 33.0 x 14.5 cm | 13" x 5.7" | Format used for small animal and plant prints |
| Shikishiban | 18.2 x 21.2 cm | 7.1" x 8.3" | Also called kukuban. Square, often used for fan prints |
| Hashira-e | 73.0 x 12.0 cm | 28.7" x 4.7" | Narrow vertical format, used for calligraphy and pillar print |
| Kakemono-e | 76.5 x 23.0 cm | 30.1" x 9.1" | Narrow vertical format, used for scrolls. |
Creation of a Japanese print
The creation of Japanese prints is a complex process. The artist first draws a black and white ink sketch, sometimes inspired by a sketch or watercolor. This drawing is copied onto thin, sturdy paper, which is then glued to a wooden block using rice paste, with the drawing against the wood. The wood is often mountain cherry, prized for its fine grain. The block with the paper is left to dry so that the paper is taut on the wood.
The carver then carves away the areas where the paper is white using carving knives, thus creating the design in relief on the block, but destroying the original artwork in the process. The engraved block (the "key block") is then inked in black and printed to produce near-perfect copies of the original drawing. The key block is also used for color indications.
These proofs are then glued onto new wooden blocks, which are also engraved, leaving the areas of the design to be colored in a particular color raised. Each block will print one color in the final image. These are the "color blocks." For more complex prints, such as a mosquito net, two blocks are created: one with horizontal lines and the other with vertical lines, and the two prints are made successively. This is possible thanks to registration marks (kento) and an L-shaped key (kagi) in one corner of each block. These marks allow for precise positioning of the paper on all the blocks, ensuring perfect color application....
Once all the plates have been carved, including those with seals, signatures, and dates), they are sent to the printer. The paper, which has first been primed, is prepared with the appropriate level of moisture to allow the inks to penetrate. The quality of the paper plays a significant role in the final appearance of the print. The best Hosho paper comes in three different grades, from the softest to the stiffest, with the fewest possible impurities.
The printer applies a pigment on the printing block, and the ink is transferred by rubbing the paper against the inked block using a bamboo cord pad called a baren. The printer begins with light colors, then dark colors, creating gradations and surface effects by varying the way the baren is applied. Gradations can also be achieved by putting a little water on the block, thus diluting a pigment, applying the paper, and then using the baren. This process can be repeated several times until the desired result is obtained.
The embossed "karazuri" prints are created without color by pressing the baren (paper) where the three-dimensional effects are desired. For glossy effects, the paper can be turned upside down, pigments facing up, then rubbed. For example, for the characteristic satin finish of geisha hair at least three steps of rubbing are needed.
The final print is the accumulation of all these different layers of printing on the paper. A major characteristic of the Japanese printmaking technique is therefore that each copy printed from the blocks supervised by the artist is an original.