RELIEF PRINTING.--For this purpose, a special block is made for that part in the print where the relief is required. The print is laid _back downwards_ on the block, in the opposite manner to that used when printing colour, and the impression is rubbed in with a tool of ivory--the canine teeth of the wild boar being the material most favoured.
[DIAGRAM:--The _Baren._--Its internal construction ]
DIAGRAM:--The _Baren._--Its internal construction
[DIAGRAM:--The _Baren._--Position of pad in sheath. ]
DIAGRAM:--The _Baren._--Position of pad in sheath.
[DIAGRAM:--The _Baren._--Method of use. ]
20. WORKING PROOF from the key-block, with colour added by the artist; and the following note in his writing, "Please gradate the colour like this." The register marks are seen at the sides. By Utagawa Toyokuni I. A.D. 1769-1825. _Subject_--Theatrical scene. The actors Nakayama Tomisaburo and Ichikawa Komazo in the parts of the Geisha Sankatsu and Hanshichi. _Plate_ III. J. 8494. 21. PRINTING COLOURS. Specimens of colours as mixed by printers for use, in glazed earthenware bowls, with small brushes. E. 3892-3895-1910. 22. BRUSHES made of horse-hair. The smaller brushes are used for applying the colour to the blocks. E. 4324-4332-1909. 23. RUBBERS _(Baren)_ with which the print is taken. E. 4347-4348-1909. These are made with bamboo sheath fibre, twisted into cord and coiled edgeways round a card centre; then fixed into position with paper string of two or three strands and paste. This is then enclosed within a large soft bamboo sheath, the ends of which are twisted and turned upwards to make the handle. The sheath must be very fine and be softened with a little oil before use. 24. DIAGRAM, showing internal construction of the pad of the _Baren_ (fig. 3). 25. DIAGRAM, showing position of the pad within the sheath of the _Baren,_ before the ends of the latter are turned over, and twisted to make the handle (fig. 4). 26. DIAGRAM, showing how the _Baren_ is held in the hand, and the line it follows when used (fig. 5). 27. DIAGRAM, showing printer's desk, with block in position, resting on pads of damp cotton (fig. 6). 28. WOOD BLOCKS (7) used in the production of a colour-print by Utamaro II. (worked c. 1800-1840 A.D.), with a set of progressive proofs made by a modern Japanese printer. E. 4316-4322-1909.