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.
6 comments:
A cunning plan Annie!
Celia ;-)
I love the "gucci" paper, too. I would not attempt to spell it without looking it up! Clever idea to cut the image out to play with - hmmm. More ideas! Thank you!
Hi Annie - I used the Nishinouchi paper a while back and found it very stable, a resilient paper to work with.
Regarding the cutting out of the proof, I am wondering if cutting out a photocopy of your printed boat would have spared the proof so that you could continue to use it to proof other elements of your print? Maybe I'm just not understanding it thoroughly. I love watching your progress and very much appreciate you sharing it on your blog.
Beth
Always a treat to watch the work unfold.
You are such an innovator, Annie! I love that you explain all your steps to us. I'm really looking forward to seeing the evolution of this print.
Beth - I made quite a few proofs of the boats, so I didn't mind cutting a couple of them.
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