Chinese Zodiac: 2007-2018-Mokuhanga

With my portrait of Bosco as my "Year of the Dog" print for 2018, I have finished one 12-year cycle  for the Baren Forum's Chinese New Year exchange. Each year I printed enough copies to share with the other printmakers in the exchange, with extras for relatives and colleagues and  a few to give away to collectors or important contacts and usually a few more to sell at occasional print fairs or inquiring visitors to my website. Some years I finished them so late I was too embarrassed to send them out (Tiger) so I have lots. Others are now gone except for a few bad or odd copies.
I should note that the "Year of the Boar" pretty much marks my introduction to woodblock printing as that print and making wine labels were my impetus for starting down this odd path. Here, in chronological order are the prints from this series.
For Baren members thinking, "Hey! I never got one of those!", both Boar and Rat were made with the intention of joining the official exchange, but each time, I procrastinated too much and I missed out on the entry date deadline, and I was a new member and didn't think to ask to still be included so they were not part of the Baren exchange, even though I cut and printed about 60 copies of each....
Note that with the exception of "RAT" which I produced exactly as drawn by my then 8-year-old son Sami, and "Tiger" which is based on a Tibetan Tiger carpet, are of the prints are original designs drawn, carved and printed by me. All are mokuhanga prints except for "Goat/Sheep", which is a wood engraving.
I'd also like to mention, I am not much into astrology, and was happy to illustrate the Chinese zodiac because 1) it gave me artist's license to draw and print some charming creatures in a small, postcard format and as I've mentioned before, 2) a chance to procrastinate until February (and beyond) as the Chinese New Year is a month later than ours and gave me extra time without seeming too late.

 

Want to see my dewlap?

Green Anole
2012 Moku Hanga woodcut print
5" x 7"
printed from 6 blocks

We used to wrongly call these lizards, "Florida Chameleons" because the green ones can also turn completely brown--a feature they use for camouflage among the green leaves and brown branches. They are not true chameleons but anoles and are distinguished by their colored dewlap, the extendable flap of skin under the chin. This is the only anole native to Florida although they have been pushed aside by the invasive and more aggressive brown and cuban anoles too. In the suburbs of Miami where I grew up this was NATURE and the closest we could get in our backyards to the wild we'd read about in the nature magazines that would come in the mail.
Many hours were spent trying to catch them and if you handled them too roughly they could bite--a small and harmless but painful pinch. They could also shed their tails and the shortened lizard would scurry away leaving the long green tail, red meaty stub and all, writhing away on the ground like a small snake. The dewlap can be bright red or orange or white, depending on the subspecies.
The male will post himself in some visible location and bob up and down with the brightly colored flap of skin under his neck fanning out to catch the attention to warn away other males or hopefully catch the eye of some svelte green female.
I always liked the habits of this shy small lizard caught between the conflicting urges to be discreet and invisible yet driven to set himself up on some sunlit prominent twig and puff up declaring to all, "HEY, look at ME, Look at ME!"

This was my contribution to the Baren 2012 YEAR of the Dragon print exchange.
It was fun to cut and print and was one of the few prints I've done that printed well on both Japanese and European papers. This one is on Magniani incisioni, an Italian medium-weight etching paper.

Not really idle

Florida Green Anole--proof state on Japanese paper

I knew after I had proofed the Maple seed/leaf prints that I was going to try and print a small edition; but since I expect a higher than usual throw-away rate...I didn't really want to use my $20-30./sheet papers.
My home-sized paper at Euro 7.50/sheet isn't too bad (I'm excluding my extra labor/size costs) but at my last attempt I sized just 4 full sheets and I've used 2 of those on my experiments so I need more paper if I'm going to go that route.

So, I went and sized an additional 4 sheets of hosokawa elfenbein and 5 sheets of plain white hosho and as they're now dry but need to rest/"age" a bit I have a bit of a forced pause.

So, I took out my lizard blocks; As I had registration issues that I wss fixing "by eye", I meticulously reproofed those slowly block by block and now with my newly acquired kento-plug/shifting skills slowly added small shims to the red block, the yellow block (twice as the first time I moved it the wrong way) and one of the green blocks.
A little bit of practice helps as I noticed that when I started to see a slight off-register bit I was quick to just fix it and not just ignore it as I had in the past (afraid I'd make it worse by messing with the existing kento.).
So I added spacers/proofed one/ trimmed it back a hair/printed another and in the end finished 11 good prints (5 on Magnani Incisioni, two on Fabriano Artistico and 4 on my end pieces of the above-mentioned Japanese paper.).
So, I'm ready to go and paper is cut.
I hope to print 100? copies or so--but not tomorrow.
I'm off for a few days of holiday-- but when I come back--next week,
It's lizard-printing time.

Lizard color proofs

I managed to print a few more color proofs of my lizard print.
The red and yellow blocks are indeed a bit out of register; but as there is a bit of play to the color blocks--I have several overlaps--by just moving them over a smidgeon (about 2mm) to the side and 1mm up on one corner they fill in pretty decently and I think I'll have a go at a proper print run this week if I can carve out some time instead of recarving the blocks.

The lizard is too blue-green (it is a really vibrant yellow-green in real life) and I need to distinguish the lizard from the background a bit more (there are separate blocks for this so it should be easy).

Still a small amount of clean up to do though. Some stray edges,unwanted embossing, spotting, low spots and filled-in gaps to tidy up with the chisels before printing the first batch.
The pebbly skin was lost a bit from overprinting; I'll try to open up the holes a bit more and print it last to give the skin visible and raised texture. As it is now a bit too subtle.

Lizard Skin

Two quick shots of the proofs of yesterday's block.

The block prints pretty well; I used just a bit of Payne's Gray and Pthalo blue and paste to test the holes.
Registration was on for this block and the keyblock.

No more shots of this print for a while:
Two of my color blocks are off-register by about 1/8th of an inch.
Too much to be just cutting error on a small print and I was VERY meticulous to cut all the Kentos exactly the same. I think wood expansion is the culprit as I pasted two of the hanshitas down two weeks later than the first two.
I'll try to adjust the kentos and trim first but I may have to recarve two blocks.

This looks pretty good like this but it's pretty far from the intended print.
This texture would be more appropriate for a Gila monster or Beaded lizard and less so for the small, green anole I have in mind.
I'll have to see if the other blocks can be salvaged and suspect/hope the final work will be quite different.

Scales (using a rotary drill for woodblock)

Well, I had been looking for an excuse to use this tool.

My neighbor is a dentist, and when I asked to borrow a drill to put up some picture frames, he apologized saying all he has at home is an old foot-controlled, rotary dental drill; "like a Dremel", he added.

Oh, really? I asked.
I never did get around to hanging the mirror but I've had his drill with a small box of assorted bits for two weeks now (I promised to bring it back soon).

I like carving by hand but there are some jobs that I am still too inexpert to do well or quickly.

When I decided to do a lizard the idea of the scales presented itself. Either to carve individual scales or what I've done here,
Remove the scales with a rotary tool.

There is a base color for the lizard carved on another block (it will be yellow-green) and this block will be printed over it with a darker shade creating the shadows and spaces between the scales. Or, that's the idea.

Washing off the hanshita/drawing will cause the wood to swell and some of this detail will vanish and a trial proof will tell me if I need to reopen or remove some areas.
Proofing and printing will tell.

This may be another case where the block is just way more interesting than the resulting print.

It's a noisy tool and spits little bits of wood/dust pretty much everywhere. I was using a very small, conical dental burr and it made pretty small holes but it is not a tool I would enjoy to use very often.

(P.S. sorry about the yellow photos--the flash made all the detail vanish so I did it with just the late afternoon light and the desk lamp--causing the yellow cast.)

Lizards

I drew these sketches from memory before going to the internet to find photos to reference and before I had decided to sprint over to Florida for a brief family visit.
I did find and take this photo of the lizard in question, the green anole,
anolis carolinensis and was happy to see it again in it's natural habitat.

The multicolored dewlap, the flap of skin that the male can extend to attract females and dissuade other males from entering his territory is a prominent feature among most anoles and can range from pale, creamy white to bright orange/red.

Here is a close-up of the printed keyblock (won't be this color but I had a tube at hand while I was proofing) before color blocks have been cut.

I'm using Italian Cherry for my blocks this time around and it is good to be cutting a nice hardwood again. Cherry polishes to an almost glasslike shine and while this is not very densely grained and is a bit coarse, it is taking pretty good detail and resists chipping or splintering.