AGE, SHOWING TREATMENT
OF TREE AND BLOSSOM 123

23. THE TIGER. COLLOTYPE REPRODUCTION
OF A COLOUR PRINT BY J. D. BATTEN 125

24. LAPWINGS. COLLOTYPE REPRODUCTION OF
A COLOUR PRINT BY A. W. SEABY 127

ERRATA

Page 62.--For "bamboo-sheath" read "bamboo leaf".

" 63.--In last paragraph, delete "the inside of".

" 64.--Third line from bottom, after "occasionally"
insert "when printing".

WOOD-BLOCK PRINTING

BY THE

JAPANESE METHOD

CHAPTER I

_INTRODUCTORY_

Introduction and Description of the Origins of Wood-block Printing;
its uses for personal artistic expression, for reproduction of
decorative designs, and as a fundamental training for students of
printed decoration.

The few wood-block prints shown from time to time by the Society of
Graver Printers in Colour, and the occasional appearance of a wood-block
print in the Graver Section of the International Society's Exhibitions,
or in those of the Society of Arts and Crafts, are the outcome of the
experiments of a small group of English artists in making prints by the
Japanese method, or by methods based on the Japanese practice.

My interest was first drawn in 1897 to experiments that were being made
by Mr. J. D. Batten, who for two years previously had attempted, and
partially succeeded in making, a print from wood and metal blocks with
colour mixed with glycerine and dextrine, the glycerine being afterwards
removed by washing the prints in alcohol. As the Japanese method seemed
to promise greater advantages and simplicity, we began experiments
together, using as our text-book the pamphlet by T. Tokuno, published by
the Smithsonian Institution, Washington, and the dextrine and glycerine
method was soon abandoned. The edition of prints, however, of Eve and
the Serpent designed by J. D. Batten, printed by myself and published at
that time, was produced partly by the earlier method and partly in the
simpler Japanese way.

Familiar as everyone is with Japanese prints, it is not generally known
that they are produced by means of an extremely simple craft. No
machinery is required, but only a few tools for cutting the designs on
the surface of the planks of cherry wood from which the impressions are
taken. No press is used, but a round flat pad, which is rubbed on the
back of the print