I use birch plywood 3/4" thick cut to the size of the image. The plywood is available in sheets 4' x 8' so that I can cut a piece as large as I am likely to ever want to print. Birch is not too hard to cut but stands up well to the sizes of editions I usually print. The plywood is considerably cheaper than birch planks, does not require joining to make large blocks and warping is almost nonexistent. I sand the plywood by hand to remove surface roughness but retain the grain.
I darken the surface of the block by roughly rolling it up with ink and then rubbing it in with a rag. I often use leftover ink and mix it with a little vegetable oil to make it go further. Once the surface is evenly dark, I use a clean rag to remove any excess. When my fingers no longer get inky when I touch the block, it's ready.
I plan the composition on tracing paper then use yellow transfer paper and a small round tipped metal tool to transfer sections of the composition to the block. The lines tend to rub off as I am working and the hand tracing transfer process is less exciting to me than actually cutting so I generally just transfer small sections at a time.
I cut the block with hand tools. I use a variety of gouges; some very tiny intended for miniature work and others wider. The smallest are palm tools; the larger, simply handheld. I also have a knife that I am fond of. The cutting does not have to be particularly deep, just into the first level of veneer for the most part. It is only larger open areas that require any greater depth. Cutting the block generally takes about a week for the large blocks.
When I feel satisfied with the block, I will proof it on newsprint. I am an old fashioned girl and still use oil based ink. For these prints, I used Daniel Smith Traditional Relief Black. I examine the proof for the unexpected. Usually the changes I want to make are fairly small. If I do make changes, I pull another proof on newsprint to check things are the way I want them.
I prepare the paper for the edition. I used 'mulberry' paper for most of the prints. It is an oriental paper with great strength for its thickness. For four of the smaller woodcuts (Triad, Dappled, Reversal and Winter White), I printed the edition on Sekishu. In all cases, the paper was trimmed to the same size as the block.
I editioned these prints at the Manitoba Printmakers Association (MPA) shop using a large gear driven press. I printed the blocks face up on the bed of the press with a tympan sheet borrowed from the lithography press between the paper and the top press roller. This prevents the paper breaking over the edge of the block and reduces any embossment of the image.
A day or so later, I then chine collé the light printed paper to a heavier larger sheet. For the prints on 'mulberry' I used Somerset warm white (CP) from Rising Paper Mill. For the prints on Sekishu, I used Annigoni from Magnani Paper. I apply the rice paste with a brayer to the back of the print and run the assembled print through an etching press to ensure even adhesion. The prints are left to dry for several days in between layers of ceiling tiles. Once the prints are dry enough to handle, I title, number and sign them with pencil on the lower margin.
Mary Krieger
November 2006