My practice – part 6

Now I am have 3 blocks cut and etched, I want to do a test print to check if the blocks will register and sit on top of one another neatly. The test is on proper paper (Somerset white 300gsm) and will help me make decisions about use of colour, transparency or physically editing the blocks themselves. Firstly, I check the blocks are the same size as each other and trim when necessary. My system of registration is a shown here. I tape a template of card onto the bed of the press, and always put the blocks and paper in the same place. It is a bit longwinded to explain here, so if any one wants a more detailed explanation, please ask.

Referring to the original print Historia (see part 1), I already know that I want a 'blend' to start with which represents the sky/water divide, so I role one onto the base block, which is just a plain piece of lino cut to the right size. The blend consists of a dab of extender/moss green/yellow/extender which is then rolled until it blends together as above. Then I roll it onto the lino, roughly where I think it should be.

Using my template method to register the block and paper, I take a print. Here is the blend on the paper.

Second stage, with the first textured block on top of the blend. Notice the ink changes colour from light grey at the top to pink, then blue/grey in the water. This is just another blend rolled onto the textured plate.

 Third stage. Second textured plate on top.

I look around the edges of the print to see how close the registration is. I can see that on the left hand side, the base plate is slightly bigger than the two others on top of it, so I know I need to trim it.

Here is the key plate on top. Now I can make some decisions. One thing I will do is bite at least one more water texture plate.  I will trim the plates that need it, and think about the colour and transparency.  For instance, I want the darker grey clouds to 'fade' as they reach the skyline/building, so I need to make that ink more transparent with extender.