I initially made a sketch of this elephant at the Royal Festival Hall from "Netsuke - 100 Miniature Masterpieces" by Noriko Tsuchiya. The drawing is much more graphic and flat than the sketches I made from life in the Bristol museum study room. The plus side being that the lines are clearer and easier to follow with the Hangito.
Carving and Stretching
I'm more focused today and managing to keep all the lines I want intact without cutting off a toe or or trunk. Giving myself more space and time and I am more in tune with the wood and my body - I am still getting pains in my elbows from carving and have tried techniques learnt from Paul Furneaux's woodblock printing workshop but I find it very hard to hold the Hangito in the traditional way. It feels more natural to hold it like pencil. As I haven't resolved this yet, for now, as soon as my arms ache - I stop and stretch out my entire body, letting the blood flow back into all the places that have been holding tension. As I think about the tension I wonder about this man trying to tame and chain this beautiful elephant. These animals are such free spirits and it is so good to hear about the wonderful work Katy is doing. I am so inspired by her passion. She is making people aware of the sensitivity and tenderness, the joy, the sadness, the playfulness, the love, the connection, reminding us all of the importance of these wonderful creatures and the delight and beauty that they exude.
I make six prints. While the wood is only lightly damp, I mix nori paste with Japanese carbon ink giving the lines more definition. (Elephant Print no.2) After a few prints the wood builds up more moisture and I use less nori paste which produces a more mottled watery texture. (Elephant Print no.6)
Elephant Print no.6