F. Morley Fletcher

The sheet gelatine sold by grocers for cooking makes an excellent size. Six of the thin sheets to a pint of water is a good strength.[3] The gelatine is dissolved in hot water, but should not be boiled, as that partially destroys the size. When dissolved, a little powdered alum is also stirred in, about as much as will lie on a shilling to a pint of water. The addition of the alum is important, as it acts as a mordant and helps to make a better colour impression.

No care need be taken to prevent "offsetting" of the colour while printing. The prints may be piled on the top of each other immediately as they are lifted from the block, without fear of offsetting or marking each other. Only an excessive use of colour, or the leaving of heavy ridges of colour at the edges of the block by careless brushing, will sometimes mark the next print on the pile.

In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.

In applying the size to the paper a four-inch broad flat paste brush is used. The paper is laid on the slanting board and the size brushed backward and forward across the paper from the upper end downward. Care must be taken not to make creases in the paper, as these become permanent. To avoid this the lower end of the sheet may be held with the left hand and raised when necessary as the brush passes downwards. The waste size will run down to the basin, but the paper need not be flooded, nor should its surface be brushed unnecessarily, but it must be fully and evenly charged with size.

When the prints are finished they should be put to dry as soon as possible. If they are spread out and left exposed to the air they will soon dry, but in drying will cockle, and cannot then be easily pressed flat. It is better to have a number of mill-boards or absorbent "pulp" boards rather larger than the prints, and to pile the prints and boards alternately one by one, placing a weight on the top of the pile. The absorbent boards will rapidly dry the prints and keep them quite flat.

This little book gives an account of one of the primitive crafts, in the practice of which only the simplest tools and materials are used. Their method of use may serve as a means of expression for artist-craftsmen, or may be studied in preparation for, or as a guide towards, more elaborate work in printing, of which the main principles may be seen most clearly in their application in the primitive craft.

The cutting of a line block needs patience and care and skill, but it is not the most difficult part of print making, nor is it so hopeless an enterprise as it seems at first to one who has not tried to use the block-cutter's knife.

In Japan this work is a highly specialised craft, never undertaken by the artist himself, but carried out by skilled craftsmen who only do this part of the work of making colour prints. Even the clearing of the spaces between the cut lines is done by assistant craftsmen or craftswomen.