Researching Caran D’Ache aquarelles:

I’ve just been looking around online at Caran D’Ache watercolor pencils. Apparently, there are now two kinds:  the Museum variety, and the Supracolors.

Museums look as though they are transparent, while the Supracolors have higher opacity (hinted at by the terms “covering power” at the Caran D’Ache site). It seems I’m a bit late to the game, here, as the WetCanvas link I’ve given above marks these as new for 2013…but I’m not an early adopter, so there you go. 🙂 Accordingly, I’ve read that Supracolors can be used light-over-dark if the lower layer is dry or has dried. I’ve also seen photos to this effect.

This…kind of gives me something to think about. I’m used to colored pencils not being terribly opaque (unfortunately), but then, I’m also used to Faber-Castell Polychromos, Blick, and Prismacolor brands (the last of which is a collection which runs back prior to 2000, as I think I’ve mentioned before). What I forgot to add is that I’ve been adding to that collection over the years; the font differences on the sides of the pencils tell me which ones are ancient and which are not. 😉

I’m…actually, still really interested in the Supracolors. The Museum pencils are fairly expensive, at ~$4 per pencil, while the Supracolors are a bit less (at around ~$3 per pencil in open stock). I would be buying my pencils, as well, to complement my watercolors — not to replace them.

When I tried the Supracolor I did, the pigment dispersion was very, very fine, as I had only used a little of the lead to see what color I would actually be getting (which was a bright violet-red, very different in appearance from dry pigment). And I didn’t have any black lines drawn on my test paper to see if the pigment would block out an underdrawing.

My major concern is wiping out those lines, which is why I even gave the Museum pencils consideration (I could get 12 for around $30…they may be what I’m looking for; I just hate to shell out that much money for that little product…although all signs say they’re high-quality). But what are in practicality, gouache pencils, do seem very interesting. And I have Derwent Inktense and watercolor pencils already. I don’t want to duplicate them (which is why I again started to re-swatch them, in addition to not recalling what they would do).

Despite having been out sick — I do think I’ll use my sickleave. (I’m not often sick, even when others are.) I’m hoping to do some sort of celebration of having completed Summer Session — on my mind is the 30-pencil set of Supracolors (which would be ~$2/pencil), which…wait…that would be twice the cost of the Museum pencils alone. It could be nice to get the Museum pencils and then a few open-stock Supracolors (particularly, light tones and greens), for the same price or less. (I’m intending to spend ~$60 at most, for these.)

Although — now that I look at it — how I’m going to use the pencils really caps all of this. I see a review which states that the Museums are not suitable for tight work, because of their softness — and I wanted to get them to tighten up the watercolor. Maybe I should get just a few colors in each style, and see how they’re usable. I already know that the colors in either style will be good.

What I had envisioned doing was laying down an initial layer of watercolor paint or acrylic ink to eliminate the white background, then going over it with aquarelle — like the Supracolors or Derwents — to add sharper details and fades (gouache could also serve, here), and then going over that with regular colored pencil, for texture.

Of course, though, this is all in my head, right now. I’m sure things will come up that I can’t predict, which will send me down one or another path, as regards workflow. You know what that means? That means I shouldn’t go to the art store yet, because I don’t yet know what I need. To find out what I need, I need to work on some drawings! In the process, I can see what hues I’m missing in my current collection. It may be that I don’t even have to buy a set. It may be that I don’t have to buy any new aquarelles at all.

One certain thing, though: I need to get a back-up pack of Derwent Graphik Line Painters (in case my “Snow” decides it can’t stand holding its paint anymore — it’s seriously messed up, as it was the first Japan-nibbed pen I ever tried to use, and I was not gentle enough with it).

I think I’m finally getting the hang of this art store thing. I mean — I’m actually doing research, as versus going in there and buying way more than I need, or items whose properties, I’m unsure of. Now — now, I’m wondering about taking a course on Web Searching…it hadn’t been on my mind, before, but it could prove very useful…and possibly, necessary…

Recording this so I see it, later:

Well, my fever temporarily broke today…unfortunately, it then went back up to 99º F. Consistent with what I’ve been doing for the last several days, I’ve decided to stay in, today. I did break out the aquarelle pencils (I have one set of “Watercolor” pencils and one set of “Ink” pencils), and tried to get a start on swatching them (again — I didn’t feel like trying to find my old papers), until I realized I was again sweating, and should give it a break. I know that yesterday, I was so loopy that I was misreading clearly written text…

There’s something to be said, though, for the “wow” factor for me in even being able to draw two lines of different width on a big piece of Mixed Media paper. I think that, now, other than times when I am just trying out a paper (like the hot-press Fluid brand paper which I found, pills), it would actually be best to go for a larger pad, rather than a small one. I usually don’t use blocks — I prefer to tape the paper down to a piece of Masonite. That way, I can work on more than one project at once, and switch them out when I feel like it.

And rulers! I have been using a large aluminum ruler for a good amount of time, to cut and draw straight lines. What a timesaver! I kind of want to kick myself for even thinking about trying to hand-draw straight lines for my swatches (mostly because I didn’t want to go get the ruler)!

Right now I’m (again) in bed, and typing like this is probably not good for my spine — but I have realized a potential twist in the story I’ve been planning out. Parallel timelines: different universes. What one character believes to be a “past life” or spirit action may turn out to be the mental overlapping of two timelines.

This will enable me to have the “spirit” character not be perfect, to tell her story at the same time I’m divulging the co-main character’s, and to tell both the stories that have been bothering me for some time, within the same text. As a bonus, the female main character won’t have to die for the male main character’s story to begin, and they won’t have to take place on the same world or iteration of that world’s timeline. But the time flow issue — and the issue of psychic “alien” life — will be all screwy, which, gratefully, I’ve somewhat prepared for.

My major dilemma at this point is knowing that I want to work this out visually, and wondering how to work such an internal story out in image + text (as versus text only).

I know the “smart” thing would appear to be not to divulge these notes, but I’ve had too many projects die without seeing the light of day because of my secrecy. And it’s not even like the execution was all that great, if I’m thinking back to when I was 12 and doing this stuff. The thing is that ideas are plentiful; but it’s the execution of the idea that makes it yours. It will likely be quite some time before I’m ready to show a concrete (non-changing/logically coherent) image of this story to the world, but what I can do with it and what someone else would do with it are two different things…

Distractions, distractions…

I have one day left to do my final assignment in User Experience, and I think the timeline has me freezing up, a bit.  Both today and yesterday, I was unable to go in to work; yesterday, because I was physically sick (any time I moved, I wanted to throw up), and today, because I was running a fever (higher than yesterday’s).  Most of today and yesterday has been spent in the bed.

Right now, I feel more capable of doing things without constantly sweating, and my spine is telling me that some time spent vertically would be a good thing.  Staying home, though, didn’t help me find out what I need to for the basis of my assignment…which, inconveniently enough, is based on interviewing people.  (Working with people is likely the most difficult part of both my job, and this program.)

After this next week, though, Summer Session will be over.  That will be a relief.  I think I should just try and do the assignment as best I am able, even knowing that I do not have the time or information to do things the way I am being asked to do them.

Design Thinking is an entire field; it is unreasonable to expect us to execute the assignment perfectly in one week based on material found online, especially when no lecture is given and we have only been introduced to it within that same week.

I do think that I would be better off working in Graphic Design than I would be working in Design Thinking, that is.  That said, it is good to at least be introduced to the latter concept (and to where to learn more if I so desire).

That said, here are the succulent babies I was talking about last time. 😛 Please forgive the color-fill background; I took this photo at a weird angle, then had to rotate the image…did I crop this before rotating it?  Hmm.  Got to remember that for next time…


I’m still unsure as to whether to claim my off days as sickleave…though as it is Summer, and I spend more money during Summer and Winter breaks (excluding clothing) than at any other time…(during Semesters, I don’t have time to work on Art), I’m thinking about it.  Right now I’m wondering if I got sick because I briefly touched the neck/cap of my water bottle with an unclean hand, and then drank from it later.  (I thought my mouth did not touch what my hand touched.  Maybe I was wrong.)

Anyway, that’s past.

One of my coworkers brought in some graphic work the other day, as well:  I’ve got to ask them what kind of markers they used!  From the looks of the color blending, I would think they were Chartpaks, but I’m not deep enough into markers to tell.

I am thinking of getting some new Chartpaks and seeing how they perform now (the ink may not be the same, and mine may be so old as to be drying out — they’re streaking, now, but when they were new I could not make them streak):  I got the idea for a graphic art piece dealing with the story that is in my head and not yet solidified enough on paper (or in bytes) for me to have a formed idea of what it will become.

But I was motivated enough to work on it in charcoal, earlier.  And I hate charcoal.  I haven’t photographed it yet because it’s nowhere near being done, and I really dislike working in black and white, anyway.

It is a given that if I work with the Chartpaks, I will have to do it in a well-ventilated area; I’m thinking the garage, or outside.  I’m not sure if the fumes will be strong enough to ignite via the furnace…if this is an issue, I may be better off sticking with Tombows or other water-based markers, and just making heavy use of a blending marker, or brush and water — I don’t know what the difference is, in water-based markers.  (I wonder if charcoal/pastel blending stumps dipped in water would work, or just turn into mush?)

I also have Copics (alcohol-based), but my co-worker and I have been fairly underwhelmed by the markers, at least.  (I like the fineliners.)  I haven’t yet tried using the blending marker, though.  The Copics I have, streak; though I’m not sure if that’s because of the quality of nearly every paper I’ve used (I think translucent marker paper helps, particularly Borden & Riley), or if it’s because I didn’t saturate the paper with solvent (from the blending marker).

I should try blending the Copics first, before going to the Chartpaks, though…the solvent of the latter is definitely something you don’t want to be breathing in for any length of time, or in a confined area; and when open areas have open flame in them…I don’t want to set the house on fire.  I think I could use these, though, in an actual open space — if I taped down the paper I was working on to protect from wind.

At least when I first began to use the Chartpaks, they were formulated with xylene as a solvent, which is carcinogenic; then they reduced the amount of xylene to a level where the markers no longer carried a Caution Label.  Obviously, though…if you can avoid xylene…it’s just one of those things that’s best not to come into contact with on a frequent basis.  I was already used to the smell from using watchmaker’s cement (G-S Hypo Cement, which also uses xylene as a solvent, and which I’d gotten plenty of, on my fingertips:  not good!).

But the Chartpak AD markers (I’m not referring to the Chartpak Spectra AD markers, which I just found tonight) blend and bleed beautifully, or at least they used to.  Like I said:  when my (old formulation) markers were new, I could not make myself get streaks, so what I used them on looked more like animation cels, than anything.

And then, there’s the possibility of using colored pencils and liquefying them with a blending marker or Gamsol, or of using aquarelles.  The negative thing about the latter that I immediately land on, however, is that it’s like using grainy (and sometimes dull) paint.  The aquarelle layers just don’t dissolve all the way, unless you use a really light touch when applying the crayon (I’m thinking Neocolor II) or pencil…which I might try, at least if the only other options are Tombows and Copics.  The exception to this that I can think of are the Caran d’Ache Supracolor aquarelle pencils…which liquefy beautifully, with intense colors, but which are also top-of-the-line for watercolor pencils.  (They are priced accordingly.)

Yeah, maybe I’ll try that.  Maybe…I will.  I have some aquarelles I can experiment with, here already.  Maybe I just need to use a light touch.  This — and/or actually using paint or acrylic ink (how could I forget all those FW acrylic inks I have?), seem like better options.

I was probably just wowed by my co-worker’s marker art.  🙂  I forgot that I’ve been building up to this, for a while.  I got out of trying to use markers because it’s so expensive to just increase a dilution level of the same ink, whereas with paint or bottled ink, you just add a little more water.  (It’s been a very long time since I used ground sumi ink.)

I had begun to get into the technique of utilizing transparent watercolor as a ground color for other colored-pencil work, on top of a fineliner drawing; it shouldn’t be hard to lay down initial colors as watercolor (with the option of using acrylic ink, instead), then layer aquarelle and then regular colored pencil over that…though the opacity of those colors is something to pay attention to.  I could wipe out my initial linework, if I’m not careful.  But then I might also be able to wipe out opaque colors on top of linework as well, or redraw them with ink and a brush…(regular colored pencil, being wax- or oil-based, can clog the nibs of fineliners and markers, so I’ve heard).

I’ve also gotten wowed with Derwent Graphik Line Painters, some of which I may have initially ruined in my attempts at use:  I mention them here because they look awesome on top of watercolor, and as they have Japan (hollow) nibs, I have less of an expectation that they will clog.  The problem I’m having is having depressed the nibs too far into the barrels; this means some of them (the ones I tried to use before I knew better), will leak.

I recently found a Strathmore Mixed Media paper (it almost feels like illustration board:  the latter of which I don’t know how to use properly with water-based media, by the way), which I want to try out…and all of this might work well, here.

Yeah, I think it’s time to break out the aquarelle pencils!  After, that is, completing this last assignment…gah…

Experimenting with camera settings and Photoshop: suminagashi prints

I’ve been taking photos of the last suminagashi batch so that if and when I cut them apart, I won’t miss them.  😉  (Part of the nature of suminagashi is that it never turns out the same way more than once.)  This set turned out much more photogenic than the last — although that may also be partially due to my experimenting with the light settings on my camera.

Today was overcast, so I used the “Cloudy” setting on my camera, even though I was indoors with only window light.  This gave me a batch of photos which appeared dim (all values were shifted towards the black point in the Levels histogram), though I was able to adjust how the computer read the files by using a Levels adjustment layer in Photoshop and hand-tweaking each color layer, which worked out more aesthetically pleasing than letting the computer take care of it through Auto Levels.  I’m actually really amazed that it worked (for most of them, anyway):

Heh!  Nice!  Ah, right:  I’m hoping you can click on the images to see a larger version!

Like I said in the last relevant entry, I changed my working pattern for this set.  I can see where it would be useful to rinse off some of my papers after printing them — two or more got a weird haze of ink over the top (though I tossed one of them because it was so messed up); another got blotched by my not drying excess water, which caused a pooling effect.  Overall, though…it worked!

I’m trying to fight an urge to go back and try this again…mostly because I don’t want to have to clean off the craft table again, but….

All right! Getting better at suminagashi

Yeys. 😉 I had another go with the suminagashi tonight. Overall, this batch looks much better than the first — though again, I was doing it with little sunlight remaining.  Right now the prints are being pressed; I should be able to document them tomorrow (I mentioned the trouble in taking photographs in artificial light, here). I should be able to post photos of them, tomorrow.

The colors are much nicer in this batch. I think that before, maybe I wasn’t using enough ink — and I was too conservative in my color schemes, plus I was agitating the water too much (which probably thinned the floating ink out). I met with a necessity to dispense a few more drops of Sumifactant toward the end (it was getting too dilute), as well as a few more drops of yellow.

Something also seemed to be happening with the ink getting mixed with the Sumifactant from a coated brush:  I had an issue with my blue ink towards the end of the printing process which resulted in the layer of ink not spreading as far as it should have (it only spread a little, whereas at the beginning, it spread expansively). I’m thinking that the issue had to have been related to surface tension.

In any case, I now have a new bunch of prints being pressed to dry. I should change out the papers soon; I can cut some Kraft paper down to size. No use utilizing the nice paper (copy paper:  not that nice, but can be put to other uses) for interleaving:  I’m also afraid that the chemicals used in printing will cause an ink transfer of my throwaway papers.

I also have one big, really nice print in semi-B5 size (7″x 10″, in Wet Media paper) in pink and violet.

But, things learned (other ones, at least?):

Skimming the old ink remnants off the top of the vat of water is not a crime. I did this with some old copy paper already used for interleaving, last night, which I think helped me avoid ink fragmentation in the empty areas of the prints (a bane that I found in my first batch last night).

And copy paper isn’t good for suminagashi printing, I found with my last print.

Don’t be afraid to use too much ink! Although yes, it was a precious commodity at school, where we all had to share one kit, realistically the Boku-Undo set of inks is designed to be dispensed drop by drop (using the included floating papers instead of Sumifactant).

Don’t be afraid to mix colors! I think that color mixing is the reason behind giving us the colors they did in that set:  I made a rich latte brown by contaminating orange with blue, but didn’t see it until I was rinsing out the palette. So it’s possible to go way beyond just using the inks straight. I had been mixing secondary colors (e.g. violet) and some tertiaries (yellow-green, yellow-orange, red-violet), but not ones with three or more distinct hue components (orange [red plus yellow] plus blue). The possibility of mixing earth tones is open to me.

I’ve got to be more careful about letting air bubbles underneath the papers. It happened at least three times this last time, and it’s really annoying if you’re going for an overall print that isn’t messed up somewhere in the middle.

Speaking of which — I may end up cutting my prints down with a straightedge and gridded cutting mat, because the interesting areas are generally not around the corners (which is where I was going to put my linocut prints, before cutting them apart). I do have a T-square, though it isn’t of much use without using a drafting table; I also have a plastic L-square, though, which may come in handy (it’s a ruler shaped like an “L” which can be lined up on my gridded cutting mat). I’ve just got to be careful not to shave down the L-square with my knife:  mine is probably intended to be of more use in marking than in cutting. I’ve just looked this up, and metal L-squares do exist:  something to keep in mind if I’m going to be doing a lot of prints!

My semi-B5 pad (7″x 10″) is about the right size for taking one big print of the vat, and even though it feels like a risk, I’m not lacking paper if it gets messed up. Plus, I can always cut down:  it’s harder to tape up.

I avoided using black ink at all in this last round, after seeing how it muddied some of my prints yesterday. It’s possible to mix a black with the three primaries, though it reveals color overtones when laid in the vat. I did still get a couple of muddied prints, which I remember (now) some students trying to save by putting them under running water. I just tossed them, though the thought of saving them is interesting. I should also remember that I can make other prints using the backs of messed-up sheets.

The blue given in the Boku-Undo set looks like a cyan to me, in pure form. To get Ultramarine hue, it needs to be mixed with red and a touch of green (which seems to cancel out some of the red and darken the tone towards black). I didn’t realize that my violet pan had turned Ultramarine last night until a relatively late stage. The blue just keeps getting darker and darker when contaminated with red — until it looks black — but that’s actually a concentrated violet (which doesn’t look so concentrated at all, when laid on the surface of the water). The green must dull it down slightly, this being why I started seeing it as burgundy (a desaturated violet-red) after a good amount of red was added (past the violet point)…muddied, it mellows out into a really nice deep reddish color. But I can’t remember how this looked when printed.

Oh, and:  today I tried agitating the water less, using mostly breath to ripple the water instead of a paintbrush handle (though I did use a brush handle a couple of times). This enabled bolder patterns and larger areas of color. I’m actually fairly amazed at how much more pleasant to look at, this batch is than the last one.

I’ll go cut down some papers to press my new little things, now…

One last remark:  I am having a really good time doing art without having drawing be central to the work. This stuff requires a lot of cutting and alternative methods of making images, but it’s still really fun! I was mentioning to the folks that even when just given different drawing implements, it changes one’s technique. And I’m not used to this, and it’s awesome. 🙂

Return to suminagashi

I’ve just gotten through my first suminagashi (Japanese ink marbling) attempt since…the time I first learned the technique, years ago.  It’s pretty simple, and fairly fast:  my biggest problem was not having the space to let as many prints dry as possible.  Because of this — and because I entirely forgot about my Stonehenge cotton rag hand-printing paper when in the process of prepping my papers (during which I got to play around with a mat cutter, paper, and a cutting mat [hahaha sharp things]) — I somehow avoided printing any of the Stonehenge!  Gah!  It wasn’t even on my mind!

The good part of this is that I was able to mess up on papers not nearly as precious.  As it was my first time in years doing this form of marbling, there were the inevitable prints which didn’t turn out as I liked — about five of them.  It wasn’t so bad, though:  there are at least nine prints which came out of the set which are pleasant enough to behold.  I had been planning on trying to do the “crocus” prints on top of them, though I hadn’t planned on using Wet Media and Drawing papers for that!

Beh.  (“But, ehhh.”)  Anyway.  I’m dealing with Sumifactant, Boku-Undo inks, and really cheap brushes, along with a disposable tray of the type used to cook turkeys, copy paper for interleaving, and some of my most-hated textbooks as weights.  😛  I know the Boku-Undo are non-toxic; the Sumifactant, I’m not sure about, but what I heard from Colophon Book Arts (here is their “Oriental” page) was encouraging.  Of course, though, I got the stuff…years ago.  The page says it lasts indefinitely when tightly capped.

I don’t know why it hit me tonight that, “hey!  I can do this!”  What I do know is that the sun is down and as such I won’t be able to take any appreciable photos of the prints under artificial lighting.  (Not only is the lighting in the area such that I’ll cast shadows on anything on the table [the prints are still wet], but it will cause a yellow-orange cast over everything…which is annoying to try and work out through Photoshop for every image, while still keeping colors accurate.  I’ll try to get some photos in the morning.)

I didn’t mention that when everything got pulled off of the table (long, likely irrelevant story), D didn’t notice one of my small pattern tracings (2″x 2″) for the crocus block, and so it is now…gone.  Basically.  As in it fluttered away into the ether.  I’m not too thrilled about this, but it’s easy enough to do again — it’s just that I feel like I’ll never be able to do it again in exactly the same way (but is that a goal…?).  I kind of wish I had scanned it.

The other day, I was also able to get some reading done in Japanese Woodblock Print Workshop by April Vollmer, and now have a relatively clearer idea of how to register (align) multicolor prints.  I don’t think I’ve read all the way through the section of how to carve the block and pull prints, but what I have read makes more sense when read straight through than when looked at piecemeal and out of order.  (The illustrations tend to encourage the latter approach, with me.)

I do think that it would be okay, though, to do a second crocus block without worrying about print registration (but I will want to mark which direction is “up”).  I can worry about registration when working on the gingko leaf, which is the project after this.  For one thing, working with registration implies making a key block (a block with areas of color outlined), then carving the key block, then producing multiple prints (one for each color block) on translucent paper, then pasting those prints reversed on each subsequent block (I’m thinking UHU Stic would be good for this, as it washes off with water even after it’s dry), then possibly oiling the paper, then carving through the paper and removing what’s left with water.

I kind of wish that I knew how to register prints in linoleum block printing, though:  I’m not totally positive that the technique will transfer over from mokuhanga (Japanese woodblock printing) to linocuts, particularly because I’m working with opaque inks.  What I’ve seen recommended for mokuhanga are opaque watercolors (gouache) — Holbein at that (I have these already) — but they’re applied so diluted that I don’t think the opacity is a big thing.  At least, when compared to Speedball Printing Ink, the latter is a good deal more opaque (or so I would think after having used the black ink and having felt the texture it leaves on top of the paper).  It might be, though, that I’m supposed to be printing on soaked paper, not dry paper:  something I can test, since I didn’t use any of my Stonehenge!  (And, I just realized, I do have a vat to soak these in:  the same vat I used to marble the papers, tonight.)

Which reminds me that I wanted to get back on top of learning Japanese language (nihongo).  I had just been wondering if there were guides to, or commentary on, comparisons of the different media in Japanese (I’m not sure how much material exists on this in English).  Then I realized that I’d have to be able to read kanji for that, most likely.

Well.  Motivation!

Ah ha ha.  I should be getting to sleep…

(almost the) First linocut done since high school!

I am trying not to title this post “Bahaha,” though I’m sure you’ll be able to sense my excitement!

I was able to take a trip out to the little art store I wished to go to.  Amazingly — I got out of there with a bunch of linocut supplies for under $25.  It probably has to do with the fact that I got a bunch of little tiny linoleum blocks — the one I’ll show here is one of the smallest, at 2″x2″ — and the fact that they were having a sale on the hard pastels I bought — which were the most expensive thing, at under $5 for a set of 12.

Last night after getting home from that trip, I honestly felt like going to bed, but I interrupted myself.  I didn’t want to go and get the art supplies and then never use them, so I started looking through my cheap little notebook at my designs.  I realized fairly quickly that the way I had been sketching was suited to linework, but that printing would probably require a different approach, utilizing blocks of color or tone.  With that in mind, I started sketching — in pencil, albeit in 8B pencil.

My initial design is at the top of this photo.  Below are iterative versions of it, on tracing paper (center), translucent marker paper (left), and Saral (carbon) paper.

I actually surprised myself with my initial design, as I’d somehow managed to draw a diamond shape which had a little less than 60º as the angle of the inner corner, making 6 petals totaling 360º.

This is the actual first transfer of that image to (translucent) marker paper, on the right:


I used marker paper because I felt it would hold up better under fineliner (I used a 0.1 mm pen, here), and I intended to fill in areas with black to see what the design would look like in high contrast.  As I was doing this, I remembered some examples in a Dover book on the principle of Notan (balance between positive and negative space), and was curious about what would happen if I introduced shapes pushing from the negative space into the positive space — this is why the petals are notched.  I also realized in this iteration that I needed to pay attention to the center of the star, because if the petals didn’t have a coherent center, it could throw the design off.

I also realized that I didn’t have to echo the almond shape throughout each petal, and wondered what it would look like if I added a recurve to the outer edge of each white area.  So I traced over this shape with the tracing paper (first image, below center), using this idea — and trying to fix the center of the design.  I did this first in 2H pencil. Then on the tracing paper, I went over the lines with fineliner again (so I could see them) and traced over that on the marker paper (first image, below left).  At this point I could color things in without losing any precious underdrawing, so I did.  I had intended to divide the outer rim of each petal into two and let the white space part the outer edge, so that the petals were implied but not fully stated — but when I filled the space in, this detail was not visible.  I also joined the positive space on the outside of the petals to save myself a headache.

Once I was happy with the design, I traced over — I think the tracing paper copy — over carbon paper (Saral paper) with a 2H pencil, on top of my 2″x2″ linoleum block.  On the first image, lower right, you can see what this did to the Saral paper:  it’s translucent where I transferred the carbon onto the linoleum.


I did not take a photo of my block before carving, but I was very happy with the line transfer.  What I was less happy with were the performances of the carving tools I mentioned before, which are from my high school sculpture and relief-printing days.  Because they didn’t perform all that well, I ended up using an X-Acto craft knife with a #2 blade to do most of the image cutting.  The area around the image was cleared out with a large shallow gouge, however.

One thing I did find to my surprise was that the little subtlety of the curvature of the white area was not immediately apparent in cutting.  I also found that small circular cutouts are difficult to do in linoleum, and that I would have been better off doing something like I did in the outer petal ring and just cut out an almond, without trying for a circle.  When I did try for circles, I ended up cutting out more positive space than I intended to.  This will change in the next iteration of this project:  almonds all the way!  😉

After the cutting was done, I started looking around for my acrylic plate and the hard rubber brayer.  I couldn’t easily find that plate, though — I know where one used to be, but since we’ve cleaned up, I’m no longer sure where it is.  But apparently…we had extra picture frames, and I was able to take one apart and use the glass that would have protected the picture, to roll out my printing ink with the brayer!

This is water-based Speedball printing ink, which came in a small tube.  I’m really thankful that I didn’t have to buy a 1 lb jar to get any ink at all — at first, all I could find were the jars, but then I found the little packs of ink hanging up in the same area.  I picked up a black, then later realized at home that I probably should have gotten white or a color in addition to the black, so I could experiment with duochrome.  But — next time.


One of the nice things about this ink is that it cleans up very easily with water; on top of that, it seems to be nontoxic.  It also has good tack, meaning that when I put the paper on top of it (I used Stonehenge, which is designed for hand printing), the paper did not move, even as I burnished the back with the back of a spoon to transfer the image from the carving to the paper.

There were barens at the store to accomplish the same thing, but I felt they were overpriced for something that is basically just a flat surface.  Of course, if I’d used a baren, it would be less likely that I would get those surrounding marks on my print (see above) which resulted from both tipping the inked brayer as I rolled it (it’s a tiny print, okay) 😉 and pushing the paper down into the background with the spoon during the burnishing process.

In high school, I think we accomplished the pressing by rolling a clean brayer over the back of the paper.  And, of course, if I used something like a small press, I wouldn’t have to worry about the stray marks at all…although one of the reasons for starting out with block printing is that you don’t need a press.

And, well, now — I have a good bit more insight than I did before on how to do this, and want to retry the carving process.  I have one more little 2″x2″ block of the same type, and found an old opened (throwaway) linoleum block today (it feels like an eraser).  Seriously, though, these things aren’t expensive, something I had to remind myself of before I started carving!  I think the block I carved today cost $0.66 or something like that.

It is pretty cool to see your work result in something, though!  And that’s not a bad try for being (almost) the first time I’ve worked with this technique in 17 years…(and yes, the BAHAHA moment when it works is great…!)