Step by Step Instructions for Making End Grain Woodblocks

Eucalyptus on thai kozo

First of all I want to say that I am still learning about my graving tools and how to use them. I am fairly new to wood engraving and so far have only carved about ten blocks to make small editions. The problem is finding end grain wood blocks. According to my instructor, Jim Horton of Ann Arbor and former president of the Wood Engravers Network, maple is the best available wood. Those maples grown in the upper Midwest are superior for this purpose.

I am not sure where our maple boards came from other than to say a good hardwoods supply store. The ones I have used are scrap pieces glued together to get an end grain block of any size. I am limited to three 1″ boards glued together because the press I use to put great pressure on them is my small book press. The print above was made with a block I had made this way about five years ago and after having another class with Jim, I decided to try it again. Those blocks are even harder to find now if a wood engraver wanted to purchase some.

So here is my process:

Step #1

Cut a 24″ long 4″ x 1″ maple board into thirds. This Sanding boards leaves each board a bit under 8″ with the saw cut. Each of these was sanded using a bench hook with a right angle to help keep them in place. I used my electric Black and Decker Mouse sander starting with an 80 grit paper and then onto a 220 grit. Two of these boards only needed to be sanded on one side. The middle one needs to have both sides very smooth. I then brushed all saw dust away from the surfaces to be glued.

 

 

Step #2

Using a cyanoacrylic glue that is super thin and quick drying, Zap Gap by Pacer, I loaded the first board on the smooth side and added the middle board to it. Next came the final board glued down to the middle board, smooth sides together.

stacking boards

Step #3

The glued boards were placed between masonite sheets and put into the book press. My book press is small, only 12″ inside for length and will only open to allow this thickness of three boards and two masonite sheets. They are left under as much pressure as possible for 24 hours.

Glued boards in press

Step #4

The next day the “loaf” of glued boards are squared up on the table saw and sliced into pieces just a bit over 1″ in thickness. Remember that the end grain will be on the largest surface of the “slice”.

block on table saw

Step #5

The saw cut blocks are now sanded down on a belt sander with a 220 grit sandpaper. This takes time to get all the saw marks off and work on both sides. Sand the ends to make square and clean up and rough saw marks.block on belt sander

Step #6

Now it is back to the bench hook and the Black and Decker sander to get the blocks polished down to where there are no seams showing or catching on your finger nail. Try to do both sides as it will become apparent that one side is just better due to better glue contact. Even if there are still seams open, the block is not hopeless. It can be used for an image like say, a stand of bamboo, anything that will disguise the maybe visible lines between boards. Those dark marks that are visible are in the wood itself. These six blocks came from one length of glued boards about 8″ long.blocks face up

Step #7

The final sanding is done on sheets of sandpaper that have been fixed onto a flat piece of plywood. The grits are 220, 400, 600 and 1200. Each block is hand rubbed onto successively finer grit paper until they shine and no indication of seam is visible.

blocks sliced and ready for final sanding

block sanded through 600

Step #8

The blocks are then carefully wrapped in paper and notations of their thickness is written on the side. Also I will note that one may be a “bad block”. That only means that I will have to pick the subject matter carefully to fit flaws in the block.  The print above was made from a block that had worm holes in it so I chose the Eucalyptus leaves and pods because the leaves have insect holes more often than not.

Note

I do not have access to a proofing press and type so am not too concerned that these blocks are at type high (.918″). But they are close and those under that measurement can be packed on the bottom with papers to get the right level and height.

I use these blocks with my etching press and with that I have quite a bit of leeway to get the right contact with the inked block and paper.

Hopefully this will help others who love working on the end grain woods with gravers. Nothing quite matches the detail possible with these blocks and the scritching sound when light is carved into the surface.

 

 

Australia – A Memoir – Part III

bourke and wills

On the subject of Burke and Wills, one of my most memorable trips to Australia was in a small plane put together and piloted by a friend who shares a similar interest in those explorers and offered to take me out to where they perished and other places he thought would be of interest to me. At first I thought it was just a hopeful conversation egged on by shared bourbons, but within a few months he sent me the itinerary for my next time over. We would fly into where Burke and Wills died.

mike and his plane

First stop, The Dig Tree, then further inland where a driver would meet us and take us out to the exact sites where they died and we could read their last letters home aloud.

burkes stone

wills stoneAt each stop we tied down the plane and walked to where there would be a ride to what we came to see. Innaminka, Birdsville, White Cliffs, and more, finishing up in Broken Hill at a somewhat seedy hotel with one bathroom on each floor for our final night out. When we returned from dinner, they were waiting for the “American” one of us to read a favorite American poem aloud to the gathering of Poets in Pubs Night which just happened to be meeting there that month. A Toohey’s Old among Australian poets in a dingy hotel/pub….excellent!

black lion

There is a kindness that Australians readily offer to a lone traveler in their country. In Townsville on my wedding anniversary a young bartender bought me a nice dark porter on tap at his brewery and showed me to a very private location in which to write, sketch and have the most delicious barramundi. Another similar experience happened in a small pub after teaching and touring wineries.  I waited for all on the bus to unload and follow each other to the left. Then I went right, around the corner and into a hotel bar patricks pub where I met a young man anxious to relive his experiences in the states over a couple of beers he shouted for the only woman in the bar at that hour. Lovely.

A coffee shop owner opened early and treated me to a latte after watching me skype my husband from a computer perched on the lid of a garbage can out front in Katoomba. A lovely older woman of means advised me in the lounge car of a train that perhaps I should not drink my dark beer from the bottle but have it put in a glass first. A cab driver who told me all anyone would ever want to know about dingoes. A student in Gympie who told me at the close of the workshop that I had done a good enough job to learn her secret of keeping a spikey hairdo…….leave the soap lather in all day.

Judes car

Kind, informative and patient people in Australia, all anxious to be of help and tell you something you didn’t know. None more so than those who volunteer to look after us during our rushed schedules of teaching, traveling, teaching again and taking a break. They offer beds, refreshments and travel….and all with such obvious enjoyment.

townsville pub

Thank you to them and to their country. I have my journals, my notes, my sketches and memories of some of the very best times of my life…..all ready for me when I want to visit again and again. I am looking forward to next March. It will be my twelfth time there. Some places in Australia I will never see but what I have will stay with me forever.

northern territory

Australia – A Memoir

outback lo res

I have pretty much made all my plans for the twelfth trip to Australia. Some teaching, some quiet time and a few days of special time working with some of the students who have shown up so often in my classes that we just want to continue working together. I can get it all done in just a bit over a month and be back home. A few years ago I started writing down the impressions and experiences of Australia. So for the next few posts, it will be like a serial of sorts. An installment of the memorable events that have happened down under.

Australia – The Indelible Marks Left Behind

Sandy Webster

It is impossible to express, this feeling of being deeply branded by Australia. How does one put into words the depth of the marks that the country and its people have left on me. I think it started when I was a child with early National Geographic images of something so foreign looking and yet familiar. Raised in a rural environment I was drawn to those dramatic country scenes. The men and women of the Outback struggling with keeping themselves and their livestock alive in what looked like insurmountable dangers of fire, flood, and distance. Brave, strong people I thought as a child. Friendly, open and honest and busy with lives full of action. Men forever wrestling sheep and cattle and one another. Women surviving on what little they had while they waited and waited for the next demand to take its toll. What I couldn’t imagine from the pictures I saw, the writers of Australia filled in nicely. From convict colonies to contemporary urban scenarios, Australia’s writers, photographers and artists brought their country to life.

In 1997 I got the chance to go there and see for myself how real it all was. I would teach workshops for the Fibre Forum and be housed and shown the sights. It was magic. The air was clearer, the horizon further away, the sky bigger and bluer, the smells new and different, the sounds exotic and louder, the voices happy-sounding and full of strange expressions. I took it all in and took notes…. constant notes. I photographed everything…..the picture being the physical evidence of my presence in this country. I did not know then that the notes and quick scribbles and drawings would be of more importance to me than the photos…..photos that gave too much information and missed the essence of me being there, at that moment in time. On that first visit I vividly recall my hosts taking me from Canberra to Mittigong and making sure to be in Golburn for a pre-arranged luncheon where the owner would first serenade me with the didgeridoo and then a Civil War melody on his violin because it was the closest he could get to music of where I traveled from. The thoughtfulness that went into giving me that experience as a welcome to their country was the most wonderful and memorable welcome to a country I would never get enough of.

hills

I asked questions, so many questions that seem silly and ignorant in retrospect. But sometimes not. Like asking my first driver on a walk into the countryside of Canberra if she ever just wanted to keep walking, walking further into the outback. And if she could hear the sound of what I interpreted as the “sound of waiting”…..women waiting for their children to return, the postman to come, the rain to come, their husband to return from long distances in dangerous places. She politely replied, “No, not really.” And she warned me not to keep walking myself. “People are lost that way you know, searching for something out there.”

behind the trees

On that first visit to Australia I went to Alice Springs and Uluru…the very soul of Australia. A private pilot flew me out there and banked around Uluru and the Olgas so I could get good photos from the air at dawn.  A guide who had last minute cancellations ended up with just me to drive around and accompany on hikes through the Olgas. At the base of Uluru he dropped me off near routes that had few if any tourists and waited to take me to the next back way in. He suggested what I should order for lunch while he went off to catch a thorny lizard for me to see close up before letting it go in the desert. He brought me dark beer to drink while I sat with him and watched the sunset on Uluru, then drove me back to the airport where the pilot waited to take me back to Alice Springs.

Uluru and fence

The following day I went to a Coroboree and let the Aboriginal spokesman, George, cut my hair to add to his string while thanking me and saying that the Japanese tourists did not offer theirs. He said he and I had hair with more tooth to grab on. I breathed him deep into my lungs so as to have him and his country stay inside me for as long as possible. Later that morning I ate a witchetty grub and other bush tucker. It was at this Coroboree that I bought my first Australian Aboriginal Art.

aboriginal art

I never thought I was going to come back. I was intent on filling myself and my suitcases with Australia.

Turning Seventy-Two Years Old

river threads

Yesterday I turned 72 years of age. I had no special plans other than washing and ironing after a week of feeling my way through five days of wood engraving in an exceptionally inspiring class. My fellow students were very good at seeing where and how to add the light and our instructor is simply the best and most generous at teaching.

My own work (three wood blocks engraved) was acceptable but leaned more toward the harsher lines of wood cuts than engravings. I need more practice. But engravings require end grain blocks of wood that are not so easy to come by. I could make my own like I did more than a few years back and hope that the seams where they must be pieced together do not show in the finished print or I could just go back to wood cuts where extra marks matter less.

Here are some of the engravings I did with the same instructor about six years ago.

samurai wood engraving

102_4024

And another I did on my own later, a small one used for hand printed Christmas cards.

pine cone wood engraving

And here is one of the many wood cuts I have done on the plank side of a wooden board. This is part of a series of owls with backgrounds carved on the opposite side of the block and colored with a different ink.

barn owl

And now for this past five days of engraving.  Here is the first one. A small block about 2.5″ square carved with a crow’s head taken from a large graphite and acrylic painting I did and hangs in the studio.

crow block and prints

Then onto one of my favorite subjects: Eucalyptus leaves and pods. Here I used one of my own hand made glued up blocks that had worm holes in it. They could be somewhat disquised within the bug holes so prevalent in gum leaves.

gum nut block and print

And another finished print of this image.

gum nut print on green

Finally a 2.5″ x 4″ block of an interpretation of Storied House, a mixed media structure of a house with an organza book in the attic. I decided to see how it would be printed as a book plate.

Storied house block with sketchbook

storied house ex libris

I really like the sound of wood being shaved away from the matrix. I even like slipping and having to adapt the new mark into the image. But my hands get sore. My older hands get sore from the gouging, sharpening, gouging some more. My back hunched over the block aches because I just do not want to get up and take a break when I think that any moment now I will have the perfect block carved and ready to print.

This week I will give myself and my body a break and go back to assembling the Lost Time books that I printed and cut up before the engraving class. More Epson ink has arrived and I may just do the last five of the Diner Time Circus book. Or…..design another wood block image to start on when my hands recover.