Muskie on the 180 - continued #3

It's fun to compare and contrast early and later prints.  In early print on the left, I can see places where the block material has remained and picked up ink to deposit.  Most of these places run parallel to an exterior line, and usually involve a pretty tight curve.  I can see where I made the curve in the fish just fine, but left a telltale shadow line in the parallel.

Muskie on the 180 - Two editions to show the transition of modifications.  Both prints use Ranger black ink on 300 series Strathmore printmaking paper.

In the print on the right, the shadow images have been removed and the print is cleaner.  I always plan to pull at least one early print, sometimes prior to even completing the carving process, just to catch these tiny shadow spots that are difficult to see until the block has been inked.

Once the block is pretty clean, it is time to start experiment with color.  I usually start with adding colors that fit the image in my mind's eye, as in the version below.

Muskie on the 180 - Color set #1.  Black Ranger ink, Derwent Inktense pencils activated with water on Strathmore 400 series printmaking paper.

Right away I felt these colors were too pale, even though the subject in the fish tank was almost albino in coloration.  Next, I jumped to the FW acrylic inks for a more intense look.

Muskie on the 180 - Black Daniel Smith relief ink with FW acrylic inks on Strathmore 400 series printmaking paper.

Much more intense and a better image to use on the cards I am putting together - both in giclee and original form.  This version is more reminiscent of the lighting in the tank in Duluth, but next it is time to experiment with other color options.