Looking back at my test prints, I see there are some registration problems with the green block. In the left image, there is green that sticks up too far, onto the top of a rock that should be mostly white. And on the right, there are some areas of green that extend past the border.
To address this, I used some micro-lumber (HO scale 2×4, I believe) I had laying around from a previous life as an architecture student. I tacked it in lightly with water-soluble glue, in case it didn’t work out.
Wellll, this did not work out so well. I don’t have a picture, but in the test after that, it was clear that not only was this change in the kento not enough to fix the problems, it introduced problems elsewhere — a margin of unprinted area just beneath many of the lines that delineate green areas like the trees.
So, the registration needed to be fixed with a knife. This was more successful!
Here’s the array of pigments I’ll be using. All but the perylene violet on the right were used on the test prints. I decided to add some to burnt sienna, which made it more red (dish at the bottom in the second shot), for a bokashi on the red block that can be seen in the most recent impression, which is shown below.
I’ve finished 8 impressions so far. Two for the key block, one for the lightest shading, two for blue, two for the reddish and orangish hues in the dishes above, and one for shading under the trees on the far shore.
The paper I am using is “Shin Hosho” from Woodlike Matsumura. 100% mulberry. It has a darker, off-white tone than the “Shin Torinoko” I am using for testing. I found I needed to use a darker hue for the first, cream-color shading block. I hope I didn’t’ go too dark too soon! The washi is on the bottom here:
Below are example prints after the 7th and after the 8th impression. I am finding it very difficult to get a nice smooth color on this paper. The color blocks are laying down a sort of granular texture despite plenty of paste and a firm baren.
I started the real run of prints on mulberry paper! I printed the entire key block first in light Payne’s gray, but wanted to darken the border and the lines on the rocks.
I think I’ve mentioned that the rock pile print might call for ‘mudabori’, or wasted carving. This is a technique where key lines are originally carved, then transferred to another block where they are carved to be printed in another color, and the original lines are carved away. It turns out I only removed a few of the lines from the lightest parts of the rocks in the foreground that will be taken care of by a block I will print in a light blue. But I did try one weird trick 🙂
Here’s what I did: I cut a piece of card stock, and used it as a mask.
Then, I did a second print run using a light sepia. To succeed, I needed to match the registration of the first impression exactly. I am pretty happy with the result! I only messed up the registration on one sheet of test paper.
Here’s one of the resulting washi sheets. Sorry about the low light, but you can probably see that the border and the rocks have lines darkened by the sepia, while the trees and distant shore still have fairly light lines.