It's a bit like cooking, first I needed to assemble the ingredients and do the prep'.
Dark Bronze Blue, Yellow Ochre and White inks plus a dash of Extender makes pale turquoise.
Rolled out so it makes that nice chush-chush sound, and we're ready to go.
Block number one positioned on the drawing board and inked up
I don't have a vast array of tins of printing ink. Maybe it's a throw-back to A-Level art lessons where we were only allowed four tubes of watercolour paint: Prussian Blue, Yellow Ochre, Light Red and Crimson. My printing ink collection consists of Dark Bronze Blue, Crimson, Yellow Ochre, Primrose Yellow, White and Black (which I've gone off using).
Yellow Ochre, a smidge of Crimson, and teeny weeny dab of Primrose Yellow, white and teaspoon of Extender and we have Suffolk Pink ready for inking up block number two.
I usually print onto BFK Rives paper, but results can be variable – temperature, ink colour, the size of the blocks all seem to influence the success rate. For these prints I decided to use a different paper, I chose Kitakata 36gsm paper which is handmade in Japan using 90% Philippine Gampi (Wikstroemia diplomorpha) and 10% pulp. It's got a lovely silky texture, a vintage book page colour and is very strong, but it's also slightly translucent which makes printing much easier because you can see what's happening as you rub the reverse of the paper onto the inked block.
The second colour was really quick to print.
So now I need to get that third block carved . . .