Finishing touches, and onward to the next print!

Despite being careful, wiping the edges while printing and shielding the registration marks with a little piece of brass sheet or a spoon (yeah that works pretty well too!), sometimes the white border around a print gets a stray mark of pigment like the image on the left.

What happened on the right? Not an eraser and not white out! I used my knife to fix this little mistake. The knife has to be really sharp, especially on this Echizen Kozo paper, which is really fluffy. I’ve heard that on some paper, a little sandpaper might remove spots like this but not on this paper (I tried) – it just raises the fibers and makes it look fuzzy. Instead, a very shallow slice on either side –

— and the spot is banished! I learned this (and got the bravery to try it) from watching Dave Bull on his Twitch live stream. Thanks Dave!

Alright, Light Show reprint #2 is completely done, time to move on. I’ve been working on a design based on some scenery from a recent socially-distanced hike I went on with some friends in the Balcones Canyonlands Preserve northwest of Austin. We drove separately, did not hug or get anywhere near close enough to, but it was good to be able to talk in person – 10 feet away! – to human beings I know and love.

It was a lovely day, early Spring and still cool, and up the hill from this sweet little stream and pool was a hill strewn with rocks and crowned by trees. Once home, I commenced to sketching. My ultimate design is only loosely based on these images, is fairly stylized, and really focuses on rocks. (I love rocks!)

But before I can make another print, I need woodblocks. I have enough cherry thin lumber to make three printing surfaces that are about 6″ x 8″, and some holly that I got as an experiment to see if it might be sort of like boxwood, plus some plywood to laminate it too, and some odds and ends to paste on for registration marks, so they can be outside the 6″ x 8″ image region. That about exhausts the supplies I have lying around! After glueing and clamping —

— I now have two double-sided blocks, with three cherry faces and one holly. I have no idea how the holly will work. It seems very homogenous and free of grain, but it might be lying to me!

I also have some Shina ply, which I suppose I could use for color blocks if I can’t get anything better in time.

Here I’ve started on the line work.

Next: planning for which paper to use, and how to cut it to avoid waste. Then I can properly size the line work, and make a transfer sheet, paste it down, and start carving! Woohoo!

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