Woodcut Reduction Prints

MULTI-COLOR REDUCTION WOODBLOCK METHOD
AS DEVELOPED BY PRINTMAKER
Featuring Master Print Maker Don Gorvett

Through the cutting and printing method, described below, the woodblock slowly loses its surface and one gradually working in smaller areas for each color. The result is a buildup of velvety-thick textures and tones. Generally, dark colors are applied at the end. By this time, much of the woodblock has been removed, with only peaks, plateaus and drawing lines of the original surface remaining.
The beauty of this technique is that as colors bare built up one over the other, the entire surface is worked over each time, and an overall integration can be realized. The spirit and mood of the subject is of paramount importance. This is achieved through color and relentless rhythms of line.
This medium requires a very strict sense of procedural discipline. It also requires direct improvisation. Strength of concept is essential. The risk is great, for at any stage of the process success can be wiped out. Up to three or four months of steady work is needed for a large wood cut of 25 prints.
STEP 1
The wood chosen must have a surface of suitable texture and character for the subject. Most often, plywood of varying thickness is used, 3/16 inches to 3/4 inches depending on the grain and hardness of the surface. Some commercial plywood is excellent. When carefully chosen, the grain will yield fine detail. A sheet of 3/16 inches lauan, glued to a sheet of 1/2 inch plywood with countertop cement, is excellent.
STEP 2
A very thorough drawing is sketched on the wood with India ink and indelible (felt) pen. The block is sprayed with fixative, and then soaked in linseed oil to tighten the wood grain and so harden the surface.
STEP 3
Next, the number of colors is determined, usually 25. The paper is cut to the size of the woodblock, then two pins are inserted at one end of the block and used to mount and locate each piece of paper with pierce marks. This allows each piece of paper to fall onto the block in the precise position. This is extremely important since then colors will be used, and they must line up with accuracy.
STEP 4
The number of colors is determined, and the order in which they will be presented usually from light to dark, bright to neutral. If the paper chosen is not the color of the white needed for the print, the first color will be mixed to the desired white. The inked block is placed in the etching press, the paper keyed, ad then the steel bed travels under a heavy steel roller where the ink is transferred to the paper. This process will be continued throughout the edition.
STEP 5
Finally, the areas which will remain white in the print are cut from the block. when the next color has been mixed and printed, the entire paper will be that second color, except in those places where the block has been cut away. They remain white.
This process is continued for each color used.