It's always exciting when I lift the block and see what I've got. ;-]
Here they are all on the rack. I love my rack. 8-]
Color two (burnt sienna) doesn't vary as much as color one (a yellowy-orange meant to be yellow ochre), but they all work. So far (knock on wood!) I've only messed up a couple of prints. Both happened when the block slipped as I was peeling it off the print. I'll try a cuttle bone on the spots when they dry.
Next step: carve for color three. There won't be much of the block left. I'll have to switch to a smaller brayer to spot ink or I'll be talcing 'til the cows come home.
7 comments:
Looking nice, I like the colors. Confused by pulling block off the print? I thought you were printing Moku Hanga where the paper would be on top to be pulled. Are you running these through a press? did I miss something?
Beautiful prints Ellen!
Yes, It is a wonderful feeling looking at a pile of prints on a drying rack.
What a great idea to use talc to keep those areas pristine that might have picked up a little ink from the brayer. So much simpler than wiping!! I shall have to try that next time :)
Yes I'm using a press. I learned to place the block on the paper. It's actually rather easy to align the block that way. After two passes of 50, I'm getting pretty confident about it. ;- j
Amie, I normally wipe or blot, but when it's sever like this one, I go the extra step to talc. It really does the trick.
ok, another suggestion; make an inking stencil. print onto a sheet of cardstock or a blank transparency. using an exacto cut out just the areas where your next color of ink will go. when you ink the plate use this inking stencil as a barrier to keep ink off of the other areas of the plate.
its looking awesome btw...
ps: i can't begin to imagine how tough it must be to keep on registration placing the block on the paper! wow!
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