It's been almost two weeks since I've worked on my "Horizons" print. I had several client jobs, which is always a good thing, but it's hard to get back in gear on my own projects when they get interrupted. After I've been away for a while I have to get reacquainted with the project, and I often experience an odd feeling of fear. I guess it's a fear that I won't remember why I was doing what I was doing, or I won't be able to connect back up with the energy flow that I was in when I stopped.
But today I got it going again. As you can see, the print has progressed quite a lot since the last post. The color blue that's there now is a slow build of around 20 applications of color. I didn't count (it might be dispiriting), but because the paper is so thick I'm finding that I have much more control over a slow build of color than I would if I attempted to do it all in one shot.
Here's a closeup of the waves on the right side of the print. These patterns were cut as a reduction on the block and the darker marks were added with a hand-cut stencil. I did it that way because I'm committed to making this print with only one block.
Next up: some more carving.
2 comments:
Wow--20 applications of blue? Are these all handprinted? I don't think I'd have the patience, but it's absolutely gorgeous blue! I especially also love the sea monster, and how that turned out, so blue against the darker blue of the water.
I am unfamiliar with this technique, and it's fascinating to see.....
Hi Coreopsis. While Japanese style printers often do two or three applications of color to get a really rich tone, it's unusual to do as many as I've done here. I'm working large, I've chosen a very heavyweight paper, and I'm working dry rather than wetting the paper, so multiple printings of the waterborne pigment have been necessary. I don't want to scare you away from moku hanga!
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