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process - printing

In reductive relief, carving and printing go hand in hand: print, carve, print, carve - printing the lightest colors first and working toward the darkest, carving away the  already-printed colors the artist wants to remain.

When the print is complete, the darker colors sit on top, with lighter ones showing through the carved areas.

The groups of in-process photos on this page show how a print evolves color by color as it is printed.

These prints have about

an average number of colors/layers of ink for me, but I've printed as many as 33 in "Taos Tonight and Tomorrow Morning."


"Boca do Inferno" has 9 layers of ink, with all the blues printed first and the browns printed after.  

An unusual feature is a layer printed from weathered wood, with the grain indicating strata of sedimentary rock and a knot representing a cave.


"Long Ago and Here Today" has 11 shades of sepia to create a timeless image of an American Southwest landscape. As variations of the same color, the sepia  layers here are printed directly on top of each other.

The mostly white image near the end is a proof of the final stage, the single darkest sepia color.

Boca Grid.PNG

Boca do Inferno (Portugal)                      

Long Ago and Here Today (Big Bend National Park)

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