SIX COLOR REDUCTION WOODBLOCK PRINT - FINISHED

FROM THE STUDIO - One more color to go!

BLUE OF THE SKY

GREEN ARE THE PINES

ROCKY MOUNTAIN GRAY

PINK COVERED HILL

GRAY GREEN BUSHES

RED-ISH BRANCHES OF THE OAKBRUSH

next block/next blog post

NO BLACK ASPENS!

Aspens take on the appearance of different colors, not just white, and under certain lighting conditions can appear quite dark, but no black aspens! After proofing this print a few weeks ago I decided to carve the trunk out to make it white. 

Here is the latest print, a departure for sure, from a more representational scene. 

Inspired by a woodblock print titled, Yarrow, by Alex Katz.

I decided to try a simple line "drawing" of Lone Cone with a forest foreground.

On the left, white ink on toned paper, right, dark gray ink on white paper.

Three proofs in the studio.

White line on toned paper.

Proofing with Liliana Lima de Lázaro and Ayax Paris at Delarrarte

Last Thursday, March 7th, was the my first day at Delarrarte to work on the press. We worked on proofing a couple of the images I had been hand-printing in the studio, Moonlight at Glade Park and Aspen/Lone Cone.  Here are some photos from that two hour session.

Lili inking the block

On the press

Going through the press

Various stages of proofs

Ayax and Lili with Aspen/Lone Cone using chine de colle for the blue color

An Update on Twelve Views of Lone Cone

Proofing different stages of a print.
Actually experimenting with the process, inking different parts of the block,
combining two different blocks, trying out colors.

Some studies in watercolor and gouache.

Other studies in colored pencil and ink.  

Proofs of four different blocks.

Some other proofs.

Bringing this project with me to Spain has presented various challenges mostly technical having to do with materials and supplies. First, I can't just order supplies from McClain's in Oregon and have them shipped to Europe (the best source for materials and tools for making Moku Hanga (Japanese woodblock prints).  Second, how to keep those tools sharp? I am not that experienced and did not bring the right things to sharpen tools. Have been looking and looking and trying many different ways, but no success yet. Doing the best with what I have. And paper, no Japanese printmaking paper available here.
This week I will be working in a print shop on a press.
Look for a new more comprehensive post about that experience later next week!

Two small prints I brought with me that I am using as a basis for a larger block print.

NEW PRINT OF LONE CONE FROM SKETCHBOOK DRAWING

WOODBLOCK PRINT CARVED AFTER FIRST PROOF

SECOND PROOF FROM RE-CARVED WOODBLOCK

THREE FIRST PROOFS FROM DARK TO LIGHT 

CARVING WOODBLOCK AFTER FIRST PROOFING

INKED BLOCK WITH FIRST PROOF ABOVE
YOU CAN SEE THE ADDITION OF LIINES FOLLOWING THE CONTOURS IN THE LANDSCAPE
IN THE FOREGROUND ON THE SECOND PROOF AT THE TOP.
ALSO CLEARED UP THE SKY.

JAPANESE-STYLE WOODCUT PRINTMAKING & THE WESTERN LANDSCAPE

These six photographs show some of the steps in carving the woodblock print at the top of the Lone Cone.
From bottom to top:    My drawing transferred onto the key block ready to carve.
                                    The inked key block ready to print the first black and white proof.
                                    The inked key block transferred onto blue and yellow blocks to carve.
                                    Carving the blue block.
                                    A wall of proofs.
                                    First proof of key block with two color blocks.