Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Sōsaku-hanga: Use the rectangle of the block itself as the frame.
- Type
- Set in Sōsaku-hanga's manner (Cut hand carved letters into the block as part of the image.), and let Ukiyo-e's lettering (Brush letters or a disciplined mincho fitting the subject; no meaningless Japanese) appear only where you want the eye to catch.
- Material
- Ground in Sōsaku-hanga's material (Keep the grain of the wood and the cut marks, and do not erase uneven printing.); bring in exactly one thing from Ukiyo-e (Keylines and few color blocks; use the paper as one of the colors).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e6d7b5, #285b7e, #c9a260.
Where they fight
- Sōsaku-hanga and Ukiyo-e share no intent, so the contrast has to become the subject rather than something to smooth over.
- Both belong to Japanese Woodblock Prints, so the difference is small. Push the roles further apart than feels comfortable.
- Roughly 1887 years apart. Keep one of them recognisably period rather than letting both drift into the middle.
Caution
- Sōsaku-hanga Roughness itself is not the goal. The substance is the choice of what you take on with your own hands.
- Ukiyo-e Not a kit of 'Japanese-style' signs. Research the artist, carver, printer, period and subject.
Image prompt
An original image that takes its structure from Sōsaku-hanga (Style, 1904–1960s) and its accent from Ukiyo-e (Style, 17th–19th century). Structural cues: Coarse lines that keep the marks of the knife; Self drawn, self carved, self printed; Tolerance for distortion and uneven inking; Subjects personal to the artist. Accent cues, used sparingly: Clear outlines; Flat color; Bold cropping; Overlapping space. Composition: Use the rectangle of the block itself as the frame.. Type and lettering: Cut hand carved letters into the block as part of the image.. Let one material quality come from the second style: Keylines and few color blocks; use the paper as one of the colors. Mood: Rebellion, Intimacy, Technology, Exhilaration, Calm, Nostalgia. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #e6d7b5, #285b7e, #c9a260. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Sōsaku-hanga 1904–1960s / Style / Japanese Woodblock Prints
A movement that rejected the division of labor among designer, carver and printer and declared that one person draws, carves and prints. It chose to leave the trace of the maker's hand rather than technical perfection, taking the opposite road from the shin-hanga of the same years.
- Ukiyo-e 17th–19th century / Style / Japanese Woodblock Prints
Fixes a passing moment of daily life or landscape into strong composition with contour, flat color and daring crops.
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