November Cypresses

Moku Hanga-color woodblock print. 5.5" x 15.5"

I woke up at 5am and went outside...I wanted to see the morning light and look at the trees again. My print was mostly finished but I still wanted some references before I went back in the studio to print the last block and layers.  The morning sky was misty and light, glowing blue with only a hint of the violet I've portrayed here....

I printed 4 copies.
Two on Tosa Hanga Natural Washi (a 50% Thai Kozo/50% Sulfite) paper that I got from Hiromi Paper in LA. on my last trip to the US.
The other two are on a lightweight mixed kozo, hemp and pulp paper I found in an art store in Santa Cruz. I sized it and it prints reasonably well--certainly good for a proofing paper and if I mount the finished print it will look really nice.

These were quick proofs with almost no priming of the blocks so they're each a bit different with more or less bokashi and more or less layering to the tree shapes.

A little more bokashi (gradation printing to the sky) and a crooked chop.

 It will be a bit before I can get back and print a real edition.
That's ok as I want to think about the colors a bit and try to get it a little less fussy and a little less pretty.
These are supposed to be Winter Cypresses and I want the mood a little more somber.

Field work-Cypress trees

Small 2"x6' doodle

                                    

The printed keyblock. This will be used to carve the color blocks.

  I started working on this little print last week, hoping to start and finish it during my 3-day demo at the Japanese festival, but I ended up printing a lot, but carving only a little so I've taken the blocks to my studio to work on them and I'm just about ready to start printing.
 It's based on a little quick doodle of some imaginary trees--but it's not really all invented.
We're surrounded by cypress trees and they are a part of the landscape, both real and symbolic and although they are not native to Italy, they are almost emblematic of the Tuscan countryside.

Today we drove to Panzano in Chianti and I took my sketchbook and camera.
I have three blocks carved and wanted to look at some real trees before I proof the blocks I've cut or carve any more.
This was meant to be a quick study--carved and printed loosely--and I'll have to try to navigate between the competing urges to keep the simplicity of the gesture or to add more detail and complexity through additional blocks.