Hey, how come you guys never told me about Nishinouchi paper?? It's great stuff. It has a translucency like parchment but plenty strong. A little hard to work with when it gets too wet, but I've been letting it dry between impressions and once it dries it's just the way it was before I printed on it. It has a lot of character, some long different-colored fibers that add charm, and these qualities plus the rich natural color make it a perfect paper for my 400-year-old topic.
As I've done a number of times in the past, I started this print with a piece of wood carved to the image size with a kento (registration marks). I took two impressions from this plain piece of wood, a pale blue and then a pale yellow. I treated both applications as a bokashi. It's hard to see in this photo because it's so light:
Then I cut out a proof of my Mayflower block so I could move it around on the print and see where I might want to put it. I think Lynita Shimizu first taught me that trick.
A piece of tracing paper placed on top allows me to then draw on top of the print and the cutout to experiment with ideas for the next step.