The majority of prints I have made in this series thus far are woodcuts. For these, I tend to use the onsite pen sketches described above as the simple line work translates well to the woodcut medium.

I will usually make a photocopy of the original drawing, adjusted to whatever size I want the woodcut to be. I then glue the photocopy image-side-down onto the wood block with spray adhesive in a modified version of the hanshita method used in traditional Japanese printmaking for transferring the keyblock design. Once the glue is dry, I peel away the excess layers of paper by rubbing gently with a moistened finger until only the lines of the drawing remain (now appearing backward). I then cut away all the non-printing areas using a razor blade around the edges of the lines and a series of gouges to clear away the waste material in between.

After the cutting is complete, I will roll up the image with oil-based ink, lay a sheet of Japanese washi on the block, and transfer the image onto the paper by rubbing firmly but carefully with a flat bamboo spoon. I then peel the paper away from the block and inspect the print. At this point, I can perform any additional cutting I might deem necessary or note adjustments in my inking and printing technique. When ready, I then re-ink the block, apply another sheet of paper, rub as long as needed, and repeat until I produce the desired number of prints for the edition.

I have plans to revisit some of these museum objects in monotype. This is a printmaking technique more similar to painting. One can work additively or subtractively into an inked metal or plexiglass plate, then transfer the image onto paper by rubbing by hand as described above, or using an etching press. As hinted at in the name, the technique produces a singular image rather than a repeatable edition — but it is possible to work back into the original “ghost” for related but equally unique prints.

A further intended option is to produce etchings and mezzotints. These are intaglio processes — as opposed to the relief methods described above — in which lines and textures are made in a metal plate (usually zinc or copper) to hold ink. In etching, lines and textures drawn through a wax ground are chemically etched into a metal plate using an acid solutition. In mezzotint, a special tool called a rocker is used to impress tiny uniform divots into the surface, then one draws in the highlights by smoothing down that textured surface with a burnisher. In both techniques, ink is then rubbed onto the plate and wiped away until only the desired amount of ink is retained. The image is then printed onto specially prepared dampened paper under the pressure of a press and can be repeated as often as necessary to create an edition of identical prints.