Albion Wonder

With a 11” x 16” platen (the metal part that moves down to “impress” the paper onto the inked block) I thought my Albion was too small to print my 5” x 8” “Storied Stone” wood engraving. I was happy to discover that I could print the block, and my edition is finally printed, using knowledge gained during my studying with Graham Williams at his Florin Press in England. And, my first use of makeready with the press (the additional layers of newsprint attached to a printed mirror image that is on the hinges tympan) was a delight. I now can apply more pressure on select areas of the block, adjusting by adding more layers of torn of pieces cut from newsprint proofs of the print. Once the block is inked, the hinged mat is lowered (protecting the print from ink miss-rolled). Then paper laid on the inked block, a flexible 1/16” layer of drafting table cover material is placed over the paper, the platen with makeready is lowered, and the pressure applied with the pull of the Albion’s handle. Missing are photos of the dampened paper set-up. The Albion is a joy to use, the perfect old-school tool for printing wood engravings.

Printing “Storied Stone” on my Albion press in my ArtStart studio, downtown Rhinelander.

Paper dampened overnight ready to print with. A new process that I am still learning. It is worth the extra effort.

Ready to ink.

Mat lowered before placing paper on inked block, so only the ink on the end-grain block will be printed.

The paper is carefully placed onto the block.

Flexible rubbery material is placed on-top of the paper before the tympan and its makeready is lowered down.

The makeready and its additional layers of newsprint glued onto it. One more layer over an area will add a slight extra pressure through the flexible material. Multiple layers, more pressure. These subtle additions make a huge difference.

The tympan is lowered and ready to be moved under the platen with the crank of the handle.

Pressure is applied (always a two handed pull, here one hand takes the photo).

The printed image, next damp paper will be pressed between blotters overnight, so the paper will dry and be flat.

Newcastle With Chris Daunt

I am posting details of my journey around England out of calendar order. I had the good fortune of spending a few days with Chris Daunt, who I met years ago at a Wood Engravers’ Network (WEN) workshop I helped organize. Chris was our guest wood engraver. We have become good friends since then. Here, a few photos, the captions further sharing details . . .

Chris is the end-grain blockmaker of choice for many wood engravers worldwide. I had the opportunity to work with him in his workshop. I learned how to make blocks. (No further details about that process, as I took the blockmaker’s oath, quite similar to the magician’s oath of secrecy, both deal with magical results.) Here is Chris cutting rough rounds of boxwood.

Here, two blocks that I made, boxwood round on the left and a lemonwood rectangle on the right. It’s exacting work for sure, and I can now honestly say Chris Daunt made blocks are a bargain.

Next to Chris’ dining area table was the sweet tabletop size Albion press (which could also serve as a deluxe tortilla press). I spent part of an afternoon helping Chris set-up the press. Self-learning the process (not many Albion owners in the US) with my press, had me knowing exactly what needed to be adjusted. The framed Monica Poole print about the press, “Edge of the Wood”, I too have framed and hanging up on our wall. Chris obtained this print with a little help from a Wisconsin based wood engraver, who found this print, bargain priced. That is what good friends are for.

Here, Woody, Chris’ fitness coach, insisting we get some exercise taking a brisk walk.

A wave from Chris’ good friend Tony (I remembered his name), as they both treated me to a local football match.

This gorgeous print (on the right) of Carl Sandburg was on display on Chris’ hallway wall, and I told Chris it was a gem - multi-color printing at its best. Chris found the ink wash study that he painted and worked with to achieve a “brush-y” look.

Chris’ shelves. The block-maker, block-engraver, print-maker extraordinaire.

Dürer in Bath

When in Bath, I viewed a wonderful Dürer exhibit at the Holburne Museum. Here are a few (of many) photos I took.

I had the rare opportunity to view the complete set of woodcuts known as The Great Passion.

Here a detail, this a woodcut with the detail of a wood engraving.

Each woodcut was filled with remarkable imagery.

Pine Needle-ing

I am back to engraving, not being satisfied with sections of my current wood engraving. I am working through what paper to print my edition on (making multiple paper orders) and figuring out how to print with makeready on my No. 1 Vandercook Proof press (the block is too big to use the Albion press). The engraving needs more work, as I found many sections “blah”, mostly areas of the pine needles.

Proof on right, and makeready on left, working on getting a better print of my Barometer Earthstar Mushroom wood engraving.

I refer to photos I took of the mushrooms taken the day before the year’s first significant snowfall, the mushrooms were quite decayed. I decided to illuminate the needles more.

I am not rubbing chalk powder into the lines that were blackened in the printing process, which can help one see how the final engraving looks. Having a recent printed proof nearby gives me enough information to work with.

To be continued . . .