Back to Basics

I've been switching back and forth between linoleum and Safety-Kut. When I use linoleum, I have to reverse my original image, then trace it onto the block using graphite paper, so that the image comes out the correct orientation. With Safety-Kut, I can trace my image onto tracing paper in the original orientation, and then flip the tracing paper over and burnish the traced image directly onto the block, which results in a mirror image on the block (what you need for printing). Unfortunately, I've got two images mixed up now because I did the wrong thing on each! Fortunately, with the linoleum piece (which is a complex reduction cut), it's not the end of the world; the image still works, it's just not as recognizable as a landmark, and becomes more generic. With the Safety-Kut piece, though, I have script on it, and that is very definitely wrong backwards, so I have to do it again!

Using the acrylic and transparent base mix for inks is also quite a learning curve. I tried probably more acrylic than 50% in the mix today, and it tacked up really fast. It was usable, but it didn't stay "open" for as long as it did the other day. So definitely, less acrylic works better. That's fine for translucent or transparent layers, but I wanted a nice solid block of opaque colour. Hmmm.

For translucent layers or "glazes", it's imperative to use a minuscule amount of colour to base, otherwise it's waaaaaay too strong. When I was working with Pat doing litho, he introduced me to the concept of much subtler ink colours, and would use just the tiniest smidgen of colour to a swath of trans base. I coined the term "baby bunny booger" as a precise measure of coloured ink. That still applies now; I just have to get used to the concept again. Soooo, I'll keep experimenting!

In the meantime, for your viewing entertainment (thanks for the link, Pat!):