For this first experiment I've used artist's tape for a kento rather than permanently cutting into the wood. Here's the block nestled into the registration jig.
I took a few proofs of the keyblock on some very thin Japanese paper, which I'll then paste onto fresh blocks to make color separations. Because the paper is so thin, I printed by rolling on waterbased Akua intaglio ink rather than using sumi ink the moku hanga style. That way I could print dry to avoid distortion of the delicate paper.
Before I paste the prints onto the new blocks I'll be refining some of the lines on the keyblock.
6 comments:
Brilliant! I've often been frustrated with that kento space on my blocks too. It does feel like such a waste. Hope your new method works out.
I love that foot sticking out from the quilt. And I'll look forward to hearing about how your registration boards work. I used your wheat paste recipe for pasting hanshita to block. Only took three tries! I should have paid more attention in class.
I LOVE this print so far! Both in the concept and execution, I think it might be my favorite of your work that I've seen so far.
I think these are rather lovely just as is. The delicate fine black line drawing and the translucency of the paper work together beautifully.
Thanks Amanda. I like them like this too. I'm thinking of doing an edition in just one color, black or a very dark brown.
Wonder full print Anni. I too love the foot free from the quilt. I guess we all paint or write or sing what we know. :o)
I am a sumi-e artist exploring the web and came upon your site which is another treasure for the artist's studio. Thank you for your work.
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