16 June 2009
Color Plates Carved
I've carved four plates for the colors, so I'm ready to start printing "American Bible Story" tomorrow. I've been alternating between Nishinouchi paper and Echizen Kozo for this series depending on what effect I'm looking for. I like the rich off-white tone of the Nishinouchi and it makes these Pilgrim prints look "old," but I don't think it holds up as well under many many impressions. I did the Dorothy May Bradford print on Echizen Kozo because I thought it would take the overprinting inks better, but I think I'll use Nishinouchi for this print.
I'm also thinking about printing the keyblock differently. When I printed the proofs I liked the effect made by printing with etching ink and I may try doing this keyblock with Akua etching ink on top of the moku hanga style color blocks. The advantage I see to this is that the keyblock would stay dry, so the thin lines wouldn't swell as they do with the hanga method.
My trip to Plymouth last weekend was pretty interesting. Lynn and I weren't too enamored of the town itself and our hotel was...hmmm, how shall I say this...not too pleasant, but we spent a lot of time at Plimoth Plantation and learned a lot. I've been imagining the "curtain" in my new print as a kind of cranberry red color so I was amused to see this interpretation of John Alden's bed at Plimoth Plantation:
And another view of the one-room dwelling:
Just to be clear, Plimoth Plantation is not on the site of the original plantation, and all of the structures are recreations based on the latest scholarship. This is NOT John Alden's actual house. Still, I felt a little chill as I imagined the two of them walking through the door and talking with us. Which they did not.