Preserving Tradition

Early Chinese woodblock prints, which emerged during the Tang Dynasty (618-907 AD), revolutionized the dissemination of knowledge and literature. The process began with skilled artisans carving the desired image or text in reverse onto a wooden block, typically made from durable pearwood. This meticulous engraving ensured that the raised surfaces would form the print.

Once the carving was complete, the surface of the block was coated with a special ink, commonly a plant-based ink mixed with soot and adhesive to achieve the right consistency. The ink-covered block was then pressed onto paper using manual pressure, a method that allowed for detailed and precise impressions. The paper used was usually rice paper, known for its strength and thinness, which facilitated the creation of intricate designs.

This technique enabled the mass production of important texts, such as Buddhist sutras and official documents, making them accessible to a broader audience and significantly contributing to the spread of literacy and knowledge throughout Chinese society.

For more detailed information and historical context,
you can visit the World History Encyclopedia​​.

The emergence of woodblock printing in Europe during the late 14th and early 15th centuries marked a significant development in the dissemination of art and literature. While woodblock printing had its origins in China during the Tang Dynasty (618-907 AD), the technique independently evolved in Europe, tailored to the continent’s unique cultural and material context.

Before the advent of woodblock printing, the earliest books in Europe were called codices, which did not involve any form of printing. Both the text and illustrations in these codices were meticulously hand-drawn. The introduction of woodblock printing in Europe brought about the first printed materials, primarily in the form of religious images, playing cards, and various artistic works. This technique, which involved carving images and text onto wooden blocks, inking them, and pressing them onto paper, allowed for the mass production of identical copies. This significantly increased the accessibility of printed materials compared to the labor-intensive process of hand-copying manuscripts.

The earliest known European woodblock prints appeared around the early 15th century. However, very few woodblock prints from this period have survived that included hand-written text. Most woodblock prints depicted only images, as carving text was cumbersome and labor-intensive. Despite this, the use of woodblock prints laid the foundation for the next major technological advancement in printing.

The Chinese were the first to invent movable type printing. Bi Sheng, during the Song Dynasty (1040-1048 AD), created characters from clay, which were used to form text. This innovation allowed for the efficient production of printed materials. Due to the geographical and cultural distance, Johannes Gutenberg independently developed his version of the movable type press in the mid-15th century. Unlike the Chinese clay types, Gutenberg used durable metal letters. His first major work, the Gutenberg Bible, printed around 1455, marked a significant advancement in the accessibility of printed materials.

Gutenberg’s technique involved creating individual metal letters, which were arranged to form text and then inked and pressed onto paper. This process was faster and more durable than previous methods, revolutionizing the production of books and contributing to the spread of knowledge and literacy across Europe.

While the main text of the Gutenberg Bible was printed using movable type, the colorful initials and illustrations were added by hand. After the text was printed, the books were handed over to artists who painted the decorative initials and illustrations. This combination of printed text and hand-drawn embellishments ensured that each copy of the Gutenberg Bible was unique, blending the efficiency of the printing press with the artistry of medieval manuscript illumination.

Early printed books often combined printed text with hand-drawn illustrations, or woodcut illustrations with hand-written text. The first books printed with movable type, such as the Gutenberg Bible, featured printed text but hand-drawn illustrations. Conversely, early woodcut illustrations were often paired with hand-written text, as carving text into wood was complex and time-consuming.

The simultaneous printing of both text and illustrations using movable type and woodcuts appeared in the mid-15th century. One of the earliest examples of this technological development was the Biblia Pauperum, produced in the 1450s. This work included text printed with movable type and woodcut illustrations, facilitating the broader dissemination of biblical stories.

Another significant example is the Nuremberg Chronicle (1493), which featured more than 1800 woodcut illustrations and printed text. Produced in Anton Koberger’s printing house, this book provided a detailed depiction of world history and geography. The combined printing of text and illustrations enabled faster and more cost-effective book production and more efficient dissemination of information.

Copper engraving technique

Copper engravings involve incising a design directly onto a metal plate using a burin, a sharp engraving tool. This method offers several advantages over woodcuts. The hardness and smoothness of the copper plate enable finer lines and more intricate details, leading to more delicate and precise images. Additionally, copper plates are more durable than woodblocks, allowing for longer print runs without significant loss of quality.

Albrecht Dürer – Melencolia I (1514)
The complexity of the composition and the use of fine lines make ‘Melencolia I’ an exceptional example of the copper engraving technique.

Etching technique

Etching, on the other hand, involves coating a copper plate with a waxy ground resistant to acid. The artist then draws into the ground with a pointed tool, exposing the metal. The plate is then submerged in acid, which bites into the exposed lines. This process allows for a freer and more spontaneous drawing style compared to engraving. The primary difference between engraving and etching lies in the technique: engraving is purely mechanical, while etching involves a chemical process.

This etching by Rembrandt, “Self-Portrait in a Cap, Wide-eyed and Open-mouthed” (1630), showcases fine lines and intricate details created by using a needle to draw into a wax-covered copper plate, typical of the etching technique.

William Blake, an English poet, painter, and printmaker, revolutionized the art of printing by combining illustration and text on the same plate. Blake drew his illustrations and wrote his text in mirror writing on copper plates using an acid-resistant ink. After etching the plates with acid, he printed from these plates using relief printing techniques. This innovative method eliminated the need for separate printing equipment for text and images, as both could be printed simultaneously using the same press. By etching the copper plate and then printing it using relief techniques, Blake coined the term “relief etching,” which might seem paradoxical as it combines terms from two opposing printing methods.

Blake’s process was revolutionary, yet it did not become widespread due to its inherent difficulties. The need to write text in mirror image by hand required exceptional skill. This method was suitable only for short literary works, as creating a book-length text in this manner was incredibly labor-intensive. Additionally, any mistake would ruin the entire printing plate, as errors could not be corrected. Unlike movable type printing, where each letter is cast from a template and mistakes can be corrected by replacing individual letters, Blake’s method involved hand-drawn characters, making corrections impossible. Despite these challenges, Blake’s technique produced stunning, unique, and stylish prints that showcased his artistic talent, remaining admired to this day.

As an artist, I take great pride in preserving and continuing the legacy of William Blake’s relief-etching technique. Drawing was my earlier passion before printing, and I have developed a unique vision and style that I apply to all my creations. My creative philosophy, which I often refer to as ‘homemade bread with a store-bought quality’ to my wife, emphasizes achieving digital-like precision with traditional, hand-crafted tools. With a background in carpentry, I have a solid foundation in manual craftsmanship, complemented by my experience in desktop publishing (DTP) and digital media editing. My fascination with the crisp, clean lines of vector graphics and the differences between solid color fills and the CMYK color separation observed under magnification in offset and digital prints have heavily influenced my approach to hand-drawn artworks. The goal is to replicate this visual experience in my manual drawings.The goal is to replicate this visual experience in my manual drawings.

I began to desire making prints of my drawings to share them with others. This led me to seek a method that would align with my classicist lifestyle. Modern reproduction techniques seemed incongruent with my artistic ethos, prompting me to explore traditional methods for creating hand-made copies of my work. Through extensive experimentation with various techniques, I developed my own printing method that faithfully captures intricate lines, sharp edges, and rich black fills reminiscent of vector digital graphics. My journey led me to the technique of acid etching on copper plates, culminating in the creation of my first relief-etching plate. It was only later, upon researching the method online, that I discovered I had independently arrived at the same technique pioneered by William Blake in the 18th century.

This discovery deeply inspired me and further committed me to continuing this tradition. By preserving and advancing Blake’s work and technique, I aim to bridge the gap between modern and traditional art worlds. Each print I create not only reflects my own artistic vision but also serves as a tribute to William Blake’s genius.