"Elephant Rock, Pt. Reyes” (2019)

"Elephant Rock, Pt. Reyes": 11 color-layer multi-block reduction cut completed spring 2019. The scene is a winter storm beating on the coast just south of McClure’s Beach, with the Pt. Reyes peninsula visible through rain on the horizon. The key block was cut in cherry wood, and color blocks were shina.  On the right you can see some of the steps in making this 11-color layer print, beginning with a photo of the scene and progressing thru carving some of the blocks in cherry and shina woods, printing various color layers and deciding to add more layers to golden-yellow and green-blue sea colors after experimenting with key block proofs of the black layer over earlier color combinations. Along the way you can see that the ‘rain block’ was used to transfer a second pattern for registering carving of sky between the rain spouts. You can also see an example (yellow block) of the paper ‘make-ready’ Killion places under the blocks to build-up areas to print darker (so that other areas can be lighter). At bottom are the final color layers juxtaposed with a proof of the black key block layer that was printed last to make the finished print (although in this case two more reduction-cut layers of the blue-green sea block were printed  after  the key block to satisfy the artist!).

"Elephant Rock, Pt. Reyes": 11 color-layer multi-block reduction cut completed spring 2019. The scene is a winter storm beating on the coast just south of McClure’s Beach, with the Pt. Reyes peninsula visible through rain on the horizon. The key block was cut in cherry wood, and color blocks were shina.

On the right you can see some of the steps in making this 11-color layer print, beginning with a photo of the scene and progressing thru carving some of the blocks in cherry and shina woods, printing various color layers and deciding to add more layers to golden-yellow and green-blue sea colors after experimenting with key block proofs of the black layer over earlier color combinations. Along the way you can see that the ‘rain block’ was used to transfer a second pattern for registering carving of sky between the rain spouts. You can also see an example (yellow block) of the paper ‘make-ready’ Killion places under the blocks to build-up areas to print darker (so that other areas can be lighter). At bottom are the final color layers juxtaposed with a proof of the black key block layer that was printed last to make the finished print (although in this case two more reduction-cut layers of the blue-green sea block were printed after the key block to satisfy the artist!).