The Wood-Block Printing Method
Woodblock printing is a type of relief printmaking, which means the areas to show ‘white’ are cut away, leaving the image to show ‘black’ at the original surface level. The ‘white’ parts of the image are carved out along the wood grain using knife, chisel, or gouge woodcarving tools. Next, ink is applied on the carved block either by brush or by rolling it on with a brayer. The ink is then stamped onto paper. This can be done by placing the block face down on paper, placing the paper onto the block and pressing it, or rolling both the block and the paper through a printing press. The result is that printed image is reversed or a mirror image of the block.
The technique was originally developed in Asia and was the earliest method for creating copies of images. It was widely used in Europe during the 15th century to print illustrations in books. Along with its practical use, woodblock printing has always been a fine art. In Japan and China, where woodblock printing originated, it became a major artistic form. Also, many great European artists were printmakers and their works are referred to as “Old master prints.” Over time different techniques of woodblock printing and other types of printmaking have been developed. Today we have plenty of advanced ways to make copies of images, but the fine art of woodblock printing lives on.
Fred Turner learned the woodblock method from his brother, an architect, who learned from a Japanese architect. To create the cards, the he used the same process each time. Turner outlined his methodology for making the annual woodblock prints in eleven steps during a talk in 1972.
- Find a subject
- Take photographs and make sketches
- Put the finished picture and the type describing the subject on (tracing) paper
- Prepare the woodblock and always have a backup in case something goes wrong
- Reverse the picture and type and paste on the block
- Cut the design out using wood carver’s tools
- Run a proof and make any corrections if needed
- Print in earnest using a relatively slow-drying ink
- Allot a substantial block of time for printing
- Clean the blocks
- Dry and number the prints
Cards were done on 9x12 card stock and typically sent to approximately 270 people. For their first nine prints, the woodblocks he used came from shelving that was in the Board of Trustees room at University Hall, which was near the current Illini Union. University Hall was torn down in 1938 and Dean Turner bought the wood from the contractor who handled the demolition. The shelving he bought was walnut and yellow poplar or tulip wood, the latter of which he used for the prints. The boards were 12-15” in width and were estimated by Fred’s father to be from midwestern trees that were 100-150 years old.
It is rather fitting that the wood Turner used for his prints came from the university that he loved. This detail adds an additional aspect of historical significance to his artwork. After this supply was exhausted, the Turners’ bought the wood they used for the cards from local Illinois dealers. The historical insert with their 1957 card of the Fourth District Appellate Courthouse at Mt. Vernon said they used newer tulip wood they acquired from a Gib Butler in Edgar County. In addition to the yellow poplar/tulip wood, the Turners also used sugar pine, and cherry for the blocks.