Self: do not forget about these supplies like you forgot about the watercolors…!

Hmm.  Well, I’m back from the Japanese stationery store, with somewhat less money 😉 but plentiful supplies…a new appreciation for the library (you mean I don’t have to buy the books to read them?) and I have realized that I need to get a Pinterest account.

After thinking a bit on what Google has hinted are called “dotted grid” notebooks or journals, I did a little online visual research on them (with help from Pinterest)…and it just increased the urge.  So I did go ahead and get one of these today.  I also got a pad of washi, though I’m certain it is machine-made:  the brand is Aitoh, which also makes the Boku-Undo marbling (suminagashi) inks.

The paper is for calligraphy and ink painting…also of use in mokuhanga (woodcut) transfers.  I’m pretty sure that it’s sized (has sizing/is chemically treated to alter ink behavior) on one side.  It can take original ink paintings, it can be printed onto with a mixture of nori and gouache, and it can be glued down to other blocks to transfer a design from a key-block print to other color blocks, meaning I can then accurately carve and register (align) the other blocks.  (Kozo [mulberry] washi, as this is, is known for not deforming much [let alone falling apart] when wet, which is the reason I wouldn’t just use tracing paper.)

Speaking of which, I also found a small tube of rice starch glue (nori), which means that there is now essentially nothing (other than having to acquire basswood sheets or shina plywood) keeping me from trying out woodcuts:  the colors I have, need the nori to spread evenly.  I don’t have the same brushes as I’ve seen being used elsewhere for mokuhanga, but I can try and wing it with natural-bristle stencil brushes.  (I’m deliberately not going into flagging the bristles, here; though I remember reading something about a substitute for “dragon skin” [sharkskin] to fray them, online.)

I’m still concerned about insect infestation in regard to the nori (particularly since we do have bugs that eat starch here [luckily they’re just silverfish:  ugly and annoying but not disease-ridden]), but I haven’t tried it yet; and for less than $4, it was good to get it.

The other stuff…well, I did find steel stub nibs for calligraphy at this place, though they’re a little large to store with all my other nibs.  They’re also coated in machine oil, which I may be able to get rid of through a soak in soapy water, as versus heating them.  I probably could have waited and hoped to find them at either of the two art stores on this side of the Bay, but…I just didn’t.  It’s kind of like I could have waited to buy a baren from the Japanese knife store that I wanted to visit, but thought it would have been more expensive there (it wasn’t; they had a workable model for about $13 less than I paid for my Speedball baren).  If I really get into mokuhanga, I may have to go there, though — I’m not sure the Speedball one will be as forgiving on non-cotton paper.  (It is kozo, though, which I would think to be tougher than it seems.)

Aside from that, I did get a set of Speedball printing papers (which I didn’t know existed until today), two shitajiki with grid lines on them (I HAVE WANTED THESE FOR YEARS!), two Zig pens to just try hand lettering with (a brush and a calligraphy nib), and some cheap papers in which to practice my Japanese writing.

Right:  shitajiki are called “pencil boards” in English; they are sheets of firm plastic to put under the page you’re currently writing (or drawing) on, in order to protect the rest of the pad or notebook from indentations.  The shitajiki I got are essentially like a ruled template to put behind a piece of white paper in order to write in straight lines; only, Japanese writing is based more on a grid than a line, and can run either horizontally (left to right) or vertically (right to left).  This means that I can use cheap translucent white paper now (like, the stuff from the dollar store), to practice writing.  Both of these were under $5 — one is clear and one is transparent blue (I’m not sure why).

I was not able to find the bocha today.  It’s not a big loss, considering.

I also did find the printmaking section of the bookstore (finally!), but they were mostly focused on admiring prints, not making prints.  (I have found a place that does have books on the art of mokuhanga; they’re just online.)  However — when I grow out of my current Japanese-language-learning texts, I will also be able to go back there for plentiful beginner and intermediate reading material.

Today did reinforce the desire to be able to read written Japanese: the store assistant I questioned as to whether the washi was sized or unsized had no idea what I meant by “sized.”  If I had been able to read the packages, I probably wouldn’t have had to ask.  In addition, there were books on woodcut prints at the bookstore, and while I could appreciate the art, I couldn’t read the commentary — as it was in Japanese.

I can restart my language learning, though.  Soon.  I just need to work out my priorities where it comes to work, Summer school, art, and Japanese-language learning.  Ideally I would be able to do all of this…but I’m not sure that is possible.

Could it be that I will actually have to schedule my summertime?

Eh.  I guess it’s better to trial it now than when things are going full speed…

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….

Pale imagery

O hi.  So…even though I did not succeed in using the Stonehenge paper last night, I did pull around 10 suminagashi prints which were decent.  Unfortunately, they are so subtle that I question whether it’s worth it to show them.  The one print which breaks this pattern is shown below:  first having adjusted the Levels (color balance) on Photoshop, and then with no color adjustments.

suminagashi print utilizing Boku-Undo inks and Sumifactant.  This was the brightest of the set, though I have enhanced the color using Photoshop’s Levels option.

I’m including this one first because — at least you can see the patterning, here.  The rest of my prints are fairly pale.  And even this one is not quite as deep as the Levels adjustment makes it seem.  Here is the same image without the Levels adjustment, everything else the same:

Without the Levels adjustment.

I think it’s more subtle and tends to hold together better.  The actual color balance is somewhere in between these two images.  Seriously, though…?  This is the deepest colored swatch I got out of the batch.  The rest of them are very subtle, for example:

Beautiful in its pattern, but very very pale.

This one actually looks like I was making stationery for a really nice hand-inked letter or drawing!  Something where what was on top was supposed to take center stage.

I feel like trying this again — I don’t see how I can do much worse than last time — it’s just that I have something of a hesitance to work with the materials (as regards exposure to chemicals).  I did look up my initial query and the main ingredient in the Sumifactant which I was unfamiliar with:  I don’t think I have much of anything to worry about.  On the other hand, this is messy!

Or not messy, so much, but wet.

I’m thinking of trying the yellow and orange also this time, too.  It might contrast well with a violet print.

Of course, though, then I also have to cut papers down…again…*sigh*…but then I get to use a sharp thing!  😉  (I dunno why I like this, except that it demands high concentration of the type I’m used to from martial arts.  The same applies to using torches for hot metalwork.  But it does not apply to using toxic paints.  I don’t know why…)

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…

art and nervousness/nerves/nerve

Today (or at this specific moment, yesterday) the trips to the art stores happened, within the span of about an hour.  This was fun, though now the hard work comes:  actually using the supplies.  Which is what everyone wants me to do, and which is likely why I met with no resistance when getting to the places, today:  I actually did use some of my supplies.

Although I had planned to spend around $60-$70, I ended up spending a bit more.  I knew it might come to that.  Although the big-box art supply store had more types of X-Acto blades, they had only two of the three types I wanted.  They also did not have 2″x 2″ linoleum blocks, and their prices on block printing ink were higher than at the smaller art store for identical inks.

I’ve found a hesitance to work on the actual execution of these projects:  they are beautiful in my concept, and having the supplies and the time, I have no excuse not to work.  I think that I have a fear that my execution will not fulfill my concept, however; that I’ll end up ruining a project or messing up.  Though this is kind of ridiculous, as I consistently surprise myself where it comes to ease with my media and the skill I have which is hidden until demonstrated.  It’s also ridiculous when the materials are inexpensive.  Maybe I would have been better off just getting one or two more inks.  Maybe.

On the other hand, the randomness of color printing, when using mixed inks, is an obvious upshot of working with prints.

Then there is the fear that I’ll really really like it.

And end up collecting plates of glass to roll out my inks…

…but why is that scary?  Because then I’ll be doing something fulfilling?

I need to go over my receipts and see what I did get which I didn’t plan on getting.

I should also work on my “crocus” before the urge becomes too stale.  I can already see myself forgetting how to work the image in drawing.  But then there are new elements to this, now:  one of which is that I have new knives and gouges that I should practice with before cutting a final image; the other of which is that I want to experiment with image registration, though multi-color prints may realistically be very advanced from my current position.

What I did do today, as well, though:  I made a toolbox with all of my knives, gouges, blade holders, adhesives, brayers, and black pens (fineliners, brush pens, Sharpies).  Do you think that maybe I should just concentrate on two-tone prints, for now (positive and negative space, as versus color)?  I can see where maybe I should…

And maybe I should put my weird-nib Pitt pens in that kit, too.  I don’t have to be concerned about water resistance, here, as I won’t be painting over them (Pitt black pens have a tendency to leave a grey haze when water is washed over them — a reason they aren’t more central to my work — but they have some special felt nibs that behave in interesting ways.  As I’m just after the design, shapes, and lines…there isn’t any drawback to using them).

But yeah, I pretty much had to pick up the violet ink today because my little flower print does remind me of a crocus.  Maybe what I can do is work suminagashi or wet-into-wet watercolor on the paper first, then make multiple little prints on them with the newer crocus linocut?

Wow, I just realized that if my Boku-Undo inks and Sumifactant are still worth anything, I should be able to make pale pink/blue/violet marbling (the inks are very weak) and then print multiple crocuses on top of that in violet, via block printing.  And I can even add translucency to it, because I got an extender for the ink.  And…I also have a blue and magenta, so I could print multiple colors mixed together on one stamp, instead of a straight violet.  Then I can cut the prints apart and give them to people.  🙂  No kento registration required, though if I really wanted to, I could put in a border…

And yes, I did just think of Artists’ Trading Cards…am I getting a “thing,” now?  Are flowers in water-soluble media now my “thing”?

I should find my palette knife so I can mix the ink…I think it used to be in a pot with the brushes and pens at my old craft area, but that was before we rearranged.  I know where it might be, though:  I can look for it after we’re facing the Sun again.  😉

I forgot to mention that I moved the majority of my “dusty” media (hard pastels, pastel pencils, charcoal, charcoal pencils, White Charcoal, white Rembrandt soft pastel), graphite crayons and pencils, and their accoutrements (erasers, blending stumps, chamois, X-Acto knife [#11 blade] for pencil sharpening), plus some earth-tone watercolor and colored pencils, into an old ArtBin which is stacked under my Printing kit (which is in the toolbox I used for my art supplies when I was taking art classes).

I should take photos of this.  I can see myself not recalling where I put the stuff…if I maintain visual records, though…at least that will be something I can reference without having to catalog everything…

Okay, self:  tomorrow is a new day.  Do not fear it.

Okay. Can’t sleep.

I’ve been busy thinking up things to make linocuts out of, and don’t know how coherent I’ll be — sorry!  🙂

I did find my old stash of X-Acto blades and blade holders!  So I know I don’t need any #11 or #2 blades, and I won’t need an extra handle.  There are three types of blades I’ve decided on — the #10 (general, curved) and #12 (detail, curved) for the #1 handle, and the #28 (concave) for the #2 handle.  What I will need help with are biomorphic forms (flowers, leaves, feathers), so I’m hoping that the curved blades will assist, here.  I think that if I sharpened my initial tools, they should work; but as it is, the only knife or gouge I have that is still reliably sharp is my big U-gouge.  And that’s because I didn’t use it in high school.  (I don’t know how to sharpen gouges.)

I still haven’t (“still”? it’s been what, a day?) gone back to my original design — though I did get the idea of printing multiple layers of color, today.  If I can find a strip of wood that is exactly the height of my linoleum blocks, it would help with registering the prints — that is, lining them up exactly so that I don’t miss and get a weirdly printed copy.  I’m not betting on this, though.   I do have strips of cardboard that I’ve saved from old drawing pads, which I can cut to size and then tape the print to (while lining up the bottom edge with the block) — I think this should help, but I haven’t tried it yet.

The thing that I still can’t justify buying is a baren.  This is largely because they’re expensive, and largely, it’s just a flat surface.  The one Japanese brand I’ve found is Yasutomo, and…let’s just say it didn’t feel like anything…special?  On the other hand, it was $10 less than the Speedball one.  The latter, though, will stand up to Western printmaking papers and doesn’t require oiling, to the best of my knowledge.  The Stonehenge paper I’m using is very…tough.  I think it’s a cotton rag paper, but it’s really thick and kind of hard.

I’ll probably end up getting the Speedball one; it just kind of hurts a little.  😉  But you buy it like, what, once, and then you don’t have to do it again?

Earlier tonight I was thinking of stocking up on those little tiny 2″x 2″ linoleum blocks; now I’m wondering if it’s overkill.  I have the receipt next to me and can see that they cost $0.69 each.  So I guess that would be, what…about $3.50 if I got 5 of them?  I had been thinking of doing a color rendition, but at the present moment I can’t remember what that version would look like.

It may not be overkill, though, if it will save me a trip.  Speaking of which, I did just check — and I’m not sure the little store carries the blades I want.  This will then require locating other sources.  I should call ahead.  I think I have the phone numbers of all my regular art supply stores in a case…aha; found them.

The other irritant I’m facing is how many inks to get.  I know I should not go all out and invest in too many at once; on the other hand, this art store is not a convenient place to get to.

Ah, hell.  I’ll get a magenta, a blue, yellow, and brown, plus extender (which may be more interesting than diluting colors with white).  I have three prints that have come to mind…and this should give me the widest possible color range (even though I have wanted to buy violet and orange).  The first print to try or retry is the flower thing that looks like a crocus.  Then — I want to try a gingko leaf (3 blocks required), and the idea of a hummingbird has also come to mind…though I should be able to print that with these colors, I now realize!

I’ll just get the three tiny blocks instead of more…the gingko thing and the crocus thing should keep me busy for a while.  After that I can practice some more and work on my key block for the hummingbird thing…some time will have elapsed, by then.

It looks like the printing inks are cheaper at the big store, but not by much.  The baren is not, and I don’t see how the linoleum blocks could be.  Maybe I’ll hit the big box store, get the X-Acto blades and ink, and then hit the small store for the baren and linoleum blocks…and look at their selection of gouges.  There are two Speedball kits which contain gouges…I’m thinking of using a very small gouge for the leaf, but am not sure if it will even help, as the veining has to be in reverse in order to print (unless I make the veins lighter than the leaf).  The benefit of a gouge here is that it removes material in one swipe, but that’s really suited to later projects (feathers) than either of these two.

And then…do I want to get an X-Acto gouge set instead?  I’m pretty sure they exist.

Anyway…I’m now getting tired, and I have a plan now.  See you in the morning!  I mean after the sun is up!

(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…!)