Toyed with FW inks, last night:

I have a little time to write, here, but am not entirely sure of how much use I’ll be.

Yesterday, my godmother came over for a visit, so most of my waking hours were spent with her and M.  I did manage to get in some time to play with colors, but I ended up toying with the acrylic inks instead of dealing with jumping directly back into the watercolors.  (It’s probably because of the packaging, I’m not even kidding:  the FW inks kind of beg to be used in those little glass bottles.)

Taken in filtered daylight
Taken under fluorescent lighting









I have done a bit of an experiment, here, though, with the photography.  I took a bunch of pictures of my work (most of which isn’t up here, because all it is, is my practicing Japanese writing [mostly, the same sentence] in multiple colors and nib sizes), and realized today on upload that I used the wrong lighting setting.  I should have used the “Tungsten” setting instead of the “Fluorescent” setting, as the latter leaves a lot of cleanup work.  The former blues everything out, but it doesn’t leave a heavy orange cast over everything like the “Fluorescent” setting does.

Anyhow…I did the above play last night and was curious about what it would look like under daylight today, so I took a second set of photos.  Both of the photos above have had Levels adjustments applied to them in Photoshop, though surprisingly, the night photo appears a bit clearer in relation to color.  Maybe it’s because I didn’t take the daylight photo under full daylight?

In any case, these are FW acrylic inks, as mentioned above.  I started out playing with “Rowney Blue” (PB15) + “Yellow Ochre” (PBk7/PY1:1), then — if my memory is correct — expanded to “Dark Green” (PG36) plus “Brilliant Yellow” (PY3/PY83).  There is probably a definite reason to use Brilliant Yellow over Yellow Ochre, given that the former is a slightly more brilliant hue than the latter, and that I’ve read that PY1:1 is to be avoided, as it’s apparently fugitive.

But anyway, I was curious as to what would turn out if I started blending colors which were not adjacent on the color wheel.  Rowney Blue is the nearest FW ink I have to Cyan (though they do make a Process Cyan color) — that is, all the other ones are either more green, or less saturated.  What I did find interesting is how quickly the blue ink tinted to deep green on contact with the Yellow Ochre ink.  I’m not used to a yellow reacting so quickly, visibly and strongly with a blue.  My gradation in this respect is found in the marks which appear to look like a tail, in the above photos.

I also did find with these, though, that if you want a stronger green, you may have to pull in a different pigment.  This is why I started using Dark Green, as I could make some nice greens with the former colors, but they were slightly grayed out.  Dark Green added some vividness, and along with Brilliant Yellow, made some really high-key greens that are visible above the “tail” section, above.

I did find, though, that like acrylic paints, these things dry extremely quickly; and so if you want to get color bleeds like you can in watercolors, you have a very limited time frame (seconds) to do so, before the first layer sets (at top left in the photos, I was moving too slowly).

It’s surprising to me that I was able to get such nice greens out of these colors.  Usually when I think about colors like Hansa Yellow Deep, I don’t think of making excellent greens with them.  To my eye, the yellow leans towards orange; however, maybe my eye is a bit off? and orange-leaning yellows can make saturated greens.

Anyhow, got to go…


Two hours to kill = art production ;)

I’m dealing with a little bit of hesitance toward putting my art online — but when would that not be the case, right?  I had a bit of a time earlier today with two hours to kill, so I — actually — did some drawing.

August 18, 2017; 1 hour study.  Supracolor II and Pentel mechanical pencil on Canson Montval paper.

I’m not sure the colors are altogether this bright in the actual paper version…??? but you get the idea.

This was done with the Supracolor II pencils on top of Canson Montval paper.  I wouldn’t call it exactly, “finished,” but this is what happened after about an hour of quiet observation and drawing.

I should actually do this more often.  I forgot how drawing from observation can get meditative.

I also forgot about the pleasure of seeing your work take form.  It wasn’t until I got to the shadows that this started to come together.

After having progressed this far (I should note that this study was done between 12:10 and 1:10 PM — if I want to duplicate the lighting), I wanted to try something else.  I wasn’t sure what, though…so I attempted to work on some illustrations, as versus doodling.


Right now, they’re all linework.

I can actually see where my drawings in comic style have improved, because of my two semesters in Figure Drawing.  I still have some work to do where I would be gauging the size of the skull against the size of the ribcage (I have a tendency to make the heads either too big or too small), but that doesn’t seem to be an issue in the drawing to the right.

I left all of my character drawings uncolored, with the intent of inking and coloring them later with the FW inks.


I do have some experience with drawing these two characters, though the third one on the same paper — that is, the one which was unfamiliar to me (and also the first I tackled), has been through so many revisions that I am not certain it is a great thing to post them online!

I can already see part of that image where I can obviously fix something…this is where the neck inserts into the skull…a problem I am used to.

At least, though, this gives me something to work off of, if I want to play with the acrylic inks.  I had wanted to go over these with Micron…but especially with the first character I posted above, I’m not entirely sure how to do that without obliterating the delicate and semi-spontaneous work that went into the original drawing.

I also know that it isn’t necessarily the best thing to be drawing with mechanical pencil, but I was kind of in a hurry to get out, today, and that was what I already had with me.  I’ve found Pentel leads to be pretty good where it comes to erasing, as well…next time, though, it would be good to take an actual dedicated eraser.  The Staedtler white plastic erasers are actually pretty sweet, but my stash is, again, old.  I bought a 4-pack of them I-don’t-know-how-many-years-ago, and have not run out.  I don’t know if they decay…maybe I should either sell them, give them away, or carve stamps out of them… 🙂

…or simply see if they crumble or ooze at all, at this point…

Alright, I think that’s about all I’ve got, for now.  I can look at inking these images…maybe I should do so using translucent marker paper, although that kind of defeats the purpose of having drawn them on watercolor paper…I will be able to make multiple versions, though, and see which ones I like best, before inking the final version.

And it is just an art journal, in practicality…

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…

Produce market fun

My brain isn’t working too well with words right now (a good reason to resort to art), but I’ll try and get out anything that comes to mind.  We went to the produce market today…I picked up some things to draw and paint…these are all miniature versions of produce, though.


The bananas are Manzano (Apple) bananas…which oddly enough, do taste like apples!  (These are maybe 4″ long?)  Then there is a little squash and a Bok Choy Mue.  I’m not sure what “Mue” translates into, but basically this was a tiny baby bok choy.

I think I was more successful with the bananas than with the other things… ^_^;;

And…yeah, I don’t want to write right now.  Hopefully I’ll still be able to do my classwork…

Yes, something happened.

One good thing:  I restarted reading What’s the Alternative?:  Career Options for Library and Info Pros by Rachel S. Gordon.  This…helps.  Having options outside of working in a library is a good thing, even though I get the sense that this is a political issue with some.  That is, I get the sense that some would feel “betrayed” if I decided to take a different path.  But the Library world is weird like that.

For me, though, the “outsourcing” of library work to other specialized groups, means that I can work for some other specialized group, as versus working directly for, say, a Public Library:  the work in which, I’m not sure is a recipe for happiness, for me.

Also, the track I’m on (Digital Services), includes most of the path of Web Design/Info Architecture plus more.  All of the core courses are covered, and some of the “Recommended” courses in the Web Design path that aren’t in the Digital Services path, aren’t even given.  So it’s a good bet, if I do want to go into Web Design, to hold steady.  (I doubt that Design will be as Computer-Science-centric as Web Development…)

I will, though, have to educate myself on the aesthetic dimensions:  a lot of my work so far has dealt with usability, coding, and organization.  Which are all fine…but as someone who is into Art, too, I might want to look into visual elements of Design.

And — ha!  I have some books on Design that I haven’t read, on my bookshelf right now.

Wow…a lot of them, actually.

I also came up with the idea of interactive textbooks, but did a little research, and Pearson already has started working on this.  (Maybe I can work for Pearson?)  In addition, there seems to be a lot of work on this as regards Apple (another possibility), on mobile and tablet devices.  The interlacing here of technology, creating teaching programs, writing the textbook, and gamifying is interesting.  For the first time we have the option of making our “textbooks” into interactive multimedia computer programs…that might be able to be either downloaded or carried on a MicroSD card, or similar.

I doubt I would have come up with the idea, if it were not for my Nintendo DS…yes, probably a bit outdated by this time, but The Legend of Zelda:  Phantom Hourglass was the first time a game ever asked me to write an answer to a puzzle (I’m wondering if it used anything related to “Least Squares” in sensing what my answer was)…would it be that different, say, if you were watching a language-learning video or reading a passage of text and could practice writing in the textbook?  With scores or something to show you how well you did, and without using up physical space with blank paper on which to write?  And what about voice recording and recognition?

What else has been happening…I’ve been slowly getting my reading for User Experience done, though I’m not certain if I’ll have to work on anything due this weekend (I’ve kind of been having a tough time for the last several days, and haven’t even checked the message boards).  I know I have one thing due in one more week, but it shouldn’t be hard.  Though I will have to drag myself back over there and see what’s due.

Anyway.  I just think that I’m not a very social person.  But I’m being graded on my engagement, so there’s that.  Whatever.

Oh, right:  the art and craft storage area has again been rearranged.  There’s…a lot more room, now…

And I think that it’s best to ignore my sibling’s insistence that I write a story before attempting the artwork for it.  The time I came closest to actually having a story and a graphic novel, that story developed out of my drawings.  And I’m going to have **** drawings if I wait until after I’ve written a story before I try to draw anything.

That makes sense, right?

I should get some rest…

Yeah…a bit scattered…

I was looking around for information on techniques for filling palettes, and found a number of interesting statements.

  1. Apparently, Viridian (true Viridian, that is) doesn’t re-hydrate well, and I should avoid putting it into a well so that I don’t waste it.
  2. I will want to roughen up the inner surfaces of my palette with either baking soda or a scrubby sponge, before filling the wells.
  3. I’ve heard that M. Graham watercolors (like my Hansa Yellow) never completely dry and may move when held vertically because of it — but that information is disputed online.  Just in case, I will want to fill that well in stages in order to see how well it is setting.

I’ve also been looking around at information on fountain pens and Bullet Journals — the latter of which may enable me to keep track of school assignments and my presently-nonexistent Japanese study (which I keep forgetting about, due to the fact that my books are all neatly and unobtrusively stowed on my bookshelf).  I do have a dotted grid notebook suitable as a Bullet Journal, but it is stowed along with the Japanese-learning materials.

I also read not to use linocutting tools (I assume they meant Speedball knives with interchangeable blades) for woodblock prints, as the blades would dull.  I do have some tools to sharpen my old knives (aluminum oxide waterstone in coarse and fine grit, ultra-fine grit wet/dry sandpaper), but I don’t have the stones right now to hone the insides of my gouges (which would save me from having to buy new gouges).  I’ll stick with linocutting for now, though.  I’m pretty sure the Japanese carving store near me should have the stones available, or I can find them online.

I did look through one book on printmaking techniques, which reminded me of what I had been doing before I derailed myself into watercolors.  (Today I went through everything that I had checked out from the library, and made a pile of things that can go back.  Financial liability is not a good thing.)

Also, I realized that the entire set of my newer watercolor paint samples had been made out of the same sheet of paper; meaning that what didn’t settle roughly on the rough paper (as in the last entry) either must be inherently very smooth, or have contained less water/paint in laydown.  As a further note on that entry, I can now see texture in certain paints and not in others.

I’m also amazed at how many people are using Mijello palettes (or palettes that look like them), though that may be neither here nor there.

And I found out that D didn’t really lose my master tracing/final design for the flower linocut; I just never actually cut it off of the tracing paper (the only reason I know this is that I expected to see a missing square on the sheet, and did not).

In addition, I completed the major reading for this week on Monday, having started on it Sunday night.  My reading speed in English really is getting faster, or the book I was reading was very good at being clear (probably a bit of both).

So tomorrow, what can I do?

  • Go to dentist for cleaning and ask about the craze lines on front teeth
  • Return library books
  • Clean office
  • Clean bedroom
  • Prep loose trays in Mijello 33-well palette with baking soda scrub
  • Take a look at Beginning Japanese by Kluemper et. al and/or Elementary Japanese by Hasegawa.
  • Review kana.
    • Hiragana first
    • Katakana second
  • Shower, please

In the future,

  • Learn more about Bullet journaling system
  • Practice mixing greens, with awareness (and record!) of what color was used where (I think I experimented with Cerulean and Prussian Blue last time, but can’t be sure of the yellows) * — I may want to do this BEFORE filling the palette, — * as I’m not sure how many greens I can actually get out of this, without Viridian.  But I suppose I do have Aureolin, Hansa Yellow, Hansa Yellow Deep, and two different Yellow Ochres (I believe this is natural vs. synthetic), so it’s worth a good shot.
    • Practice mixing with watercolors in either scales or grids
      • Fill palette with watercolors
  • Transfer flower pattern onto new linoleum block
    • Practice with new X-Acto blades on linoleum sheets
    • Carve new linoleum block
    • Draw prints (in different colors!)
  • Draw gingko leaf design and puzzle out how to best work with that in a print (mixed warm [yellow, orange, brown] inks, white space for veins of leaf?)
  • Draw more than one ginkgo rendition, so as to create a falling-leaf image on bookmarks?
  • Straighten hair, trim off obvious damage

And I’ve got to remember I have both an eye appointment and an ultrasound coming up.

I should probably get going.  Sorry for the word count on these things…it’s even hard for me to go back and read this stuff, honestly.  Maybe I never grew to question the, “longer is better,” stuff I learned in high school…on the Web, at least, “briefer is better (so long as it delivers the required information),” may be more true!

(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…!)