For the Silver Mica II Series, I wanted to create a print of layered lines varying in texture, width, and saturation. In charcoal [upper left], I use trace paper to test out my thoughts.

When I have a solid idea, I cartoon the individual blocks, adding notations for what type of plywood and paper I want to use. A master image, called a keyblock [lower left], is then created on a transparent sheet, then images are traced onto the woodblocks in reverse with red carbon paper.

I test color palettes in several ways: using watercolor straight from the tube, mixing watercolors into custom colors, creating paints from dry pigments, or adding sumi ink which adds a depth of color that cannot be replicated with black or dark gray watercolor.

I carve the plywood [known as “blocks”] using a variety of gouges as well as my grandfather’s hand carving tools from the ‘70s, some of which he made himself. I typically use shina plywood [pictured here], but also use lauan for texture as well as baltic birch for larger prints. [I reuse the wood shavings to create fire starters with beeswax for when I go camping].

The night before printing, I cut, dampen and stack the paper in a pack so that the moisture is consistent throughout the paper the next day. On the day of printing, I spray the wood block slightly, soak my brushes and prepare my paint. The dampness of the paper and block help to adhere the paper to the block when I print.

I add my paint and nori [rice starch paste] to the damp block, brush to mix the two and smooth over the areas I want to print.

To print, I fit the paper in the registration marks [either a kento carved in the block or with a kentoban], add parchment paper or plastic film on top of the paper to protect the back from rubbing, and press the back of the paper into the block with a baren. The choice of parchment paper or plastic film depends on how each material reacts, the strength and detail I need, and which baren I'm using.