and then this:
I still couldn’t understand how it was going to get from a black and white drawing into a three colour woodcut. The wonderful Annie Smits Sandano introduced us to a tracing paper technique to develop each colour block.
I sort of got it! I decided to start cutting away anyhow, and see what happened.
Here are the three plates I produced:
I wasn’t so happy with this. Obviously, the registration is completely off, which I had done deliberately. What I didn’t like is that the image felt ‘bitsy’ to me. It doesn’t have a flow for your eye to follow.
I decided to forge on with the blue plate and see what happened. The blue plate turned out quite different. The first time I printed the blue plate on its own:
I felt this image was much stronger, and flowed better. I think the top aenemone flowers and their stems worked well. Over the past few years, I’ve thought a lot about how to best simplify aenemone shapes, and bark. Palm leaves, I’ve thought about less, and I think it shows here. I don’t have a clear way to symbolise them.
I decided that the three colours on top of each other would just result in a horrible mishmash, so I tried the blue straight on top of the bottom, yellow layer:
This one was my favourite. I really like the yellow shining through the white, and the strength of the blue image, even in the ghost.