72 x 96 (rubbing from woodblock relief)

72 x 96 (rubbing from woodblock relief)

72″ x 264″ (print from boat carved planks)

72″ x 264″ detail (print from boat carved planks)

36 x 24 (rubbing from woodblock relief)

71 x 55 (rubbing from woodblock relief)

41 x 55 (rubbing from woodblock relief)

96 x 72 (rubbing from woodblock relief)

I set the planks of one side of the boat out on the press bed,

and marked each position.

After we inked the plates we taped them all in place.

I backed the steam roller across the bed a few times to practice,

and then we put down the paper and blankets,

and I drove across in two passes.

Here is the print coming off the bed for the first time.

We set the paper down,

and examined the first print.

It was late when we moved on to the second side.

Lan Tuazon helped ink and position the plates.

This is a hexahexaflexagon. It contains six drawings that are revealed when the figure is pinched. Below is a small model for a large woodcut print. The flat print is sixteen feet long.

Steamroller in action

Pulling the print of the hexahexaflexagon.

I am making a sailboat out of plywood.

I planned out the shape of the planks with paper,

and put the patterns out on the floor.

I cut out the planks.

This is the steam roller that we used as a printing press.

I carved each plank with images that I see in the New York Harbor.

The sailboat is not quite done.

A few more months of work and she should be ready for the New York Harbor.

I carved each of the planks of the sailboat with images of the New York Harbor.

Most of the images are things I have taken pictures of when I am out in my boat.

I use the relief carvings to make rubbings of the images on paper.

I can move the paper around to collage different sections of each image.

The print is made from two separate paintings that are combined under the pressure of the steamroller. First, rag paper is prepared with a painting using silk dye. Pictured above are the paper and woodcut plate for the fortune telling device. Additional stencils will be added to the print once the ink is dry.

Inking the plate.

Palate and paper.

The drawing on wood is visible once ink is added.

The orientation of the paper must be carefully considered in terms of the plate.

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Lining up the paper.

It is easiest to align the pressure when backing over the plate.

A mirror image occurs when the print is pulled.

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The paper must be wrangled.

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Eunice Kim helps with the process.

Before printing the paper is first prepared with a painting using silk dye.