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Hilo Bay (14) - Embossments
Numabe-san returned the prints to me in pretty good condition; I have seen packages of prints prepared by printers that were carelessly dried, all warped, and thus requiring a complete re-moistening and flattening, but these are fine.
Once they are embossed and sealed, they'll be ready to fly!
If I had really been on top of things, I would have had the embossing slugs prepared in advance, and given to Numabe-san to include with the printing job, but I didn't get them ready in time, so I'll be doing that job myself now.
That's no problem, and actually, it gives me one more control step - I'll check each print carefully as I seal it.
The first embossment is at the bottom of the right margin, and says "Hori: Buru / Suri: Numabe" (in Japanese).
I didn't carve this lettering, but prepared a digital master, and sent it out for etching on zinc:
I just stuck it down a piece of wood with double-sided tape, cut a quick registration mark on the plank, and rubbed the paper over the lettering with my baren.
Because the title of the print is only visible in Japanese, I feel it needs an English title too, so I prepared a long thin strip of lettering for the bottom, reading "Morning Light at Hilo Bay, Gary Luedtke". That's actually not what this particular slug reads, which it why I was a bit late getting them ready ...
I can't get my camera to fit it all in without blurring, so here's just the right-hand end of the embossment:
Gary had earlier expressed the feeling that this stuff would detract from the image, but actually, it's almost invisible.
Finally, the Mokuhankan seal goes down in the very right corner - this also is pretty much invisible unless you put a really raking light onto it, like this:
Then with that work done, time to get some of the packaging parts out of the closet, and get a few of these ready to ship!
Hilo Bay (13) - Done!
Getting on for midnight here in Tokyo ... just back a short time ago from a long day downtown, working with Numabe-san. Where to start ... ??
At the beginning, I guess! When I arrived at the workroom, he had the finished batch of prints laid out on a table waiting for me. How are they? In a word ...
There is no good light here just now, so there is no point trying to post a photo here in this entry. Tomorrow morning I'll set up the lights and stuff downstairs, take a proper photo, and update the Mokuhankan catalogue page with the real print image [... done ...].
He has got the sky beautifully smooth and clean, and the sea a rich deep but without being over-saturated. The islands have a nice maroon tinge, like the original master copy ... The three distant peaks are now an important part of the image, instead of being 'hidden' away, as in my proof (I had been wishing they would just go away!). And the 'morning glow' across the print has come out so well ...
The registration is now perfect. My copies had been well registered, but his first proofs weren't, as he missed the thin light-coloured strip of water in the distance, opting instead for a blurred shoreline. It's now done properly ...
Honestly speaking, I don't think there are any flaws at all. Maybe Gary will manage to find something (as he should, I guess ...), but for the rest of us mortals, this is as good as it gets!
Tomorrow, I'll put the embossments on a couple of sample copies (carver/printer; print title; Mokuhankan seal), and will then just sit and look at it for a while ... Mokuhankan's first 'real' print!
So ... so much for the print itself; what about the business stuff? This one took a long time to print, and based on our previous agreement of a payment of his standard fee of 20,000 per day, where do we stand, and how much has it all cost me?
He had the prints prepared for me in three stacks, and a proposal on the table. One small stack - pushed aside - had the proof copies and print waste; a half-dozen sheets that will be tossed in the bottom drawer. The rest he split into two stacks: the 60 copies that I had asked for in one pile, and 23 more that he had made in another (identical prints).
He said it took him basically 13 days to produce the 83 copies once printing proper started, so doing the math gives us a printer's cost of 3,200 yen per sheet. I owe him 13 printing days + 3 proofing days, all @ 20,000 yen, for a total of 320,000 yen.
Now I had only asked for 60 copies to be printed, but both he and I know that adding another 20 or so sheets to the pile doesn't add 1/3 more time, because when playing around with such a small quantity as this, so much time is spent in block prep/brush washing/etc. etc. So although it might have taken, say, 10~11 days to do the 60 copies, he could do 80 in 13 days (impossible to calculate this number exactly of course, but anyway, somewhere around there ...)
So he suggested that in lieu of three of the printing days (around 1/4 of the edition printing time), he would keep those 23 copies. I would thus pay for only ten days @ 20,000 yen, plus 50,000 for a similarly discounted share of the proofing for a total of 250,000 yen. The benefit for me is that my cost per sheet is reduced somewhat. The benefit for him is that he now has a nice little pile of prints that represent a potential revenue for him. (Part of the 'back story' here is that this is also an attempt to try and help him recoup the loss of working time he suffered due to my rejection of his first print job for me a few months back ...)
But letting him 'take' prints like this ignores a couple of things: I'm going to pay Gary a royalty, and have to pay it on the entire batch of course, not just the 60 copies that I am going to sell, and secondly, I supplied the paper and blocks for those 23 copies, and should be compensated for those.
He was ready for this of course, but without knowing how much the royalty is, hadn't been able to come up with a number. As far as royalty, I had previously talked about this with the designers using 1/2 the raw printer's fee as a starting point for discussion. That would mean 1,600 yen in this case. So ... at the least he has to compensate me 1,600 + 175 for paper ... just over 40,000 yen for the batch. Knocking this off the 250,000 I owe him brings that down to 210,000 yen.
Now ... turning around to look the other way, I have to figure out how much to pay Gary ... or, if he will take it 'in prints' - as we earlier discussed - how many copies. Royalty for 83 prints @ 1,600 comes to 132,800 yen, but just how many prints this represents is difficult to figure out. Before I can do that, I must now try and decide what these things are actually going to sell for, and to do that I have to add up my costs, but before I can come up with a cost per sheet, I have to know how many sheets I will have on hand after all the expenses are covered ...
Confused? So am I ... Let's get out my original spreadsheet and look at what I have been trying to 'target' for a print like this.
Given a retail price (on the website) of 100%, I have been thinking of that as breaking into three parts: 40% - discount to dealers (people buying in quantity for resale), 40% - cost of production (from raw paper right through packaging), 20% - left for Mokuhankan.
20% doesn't seem like much of a margin, and if all sales were wholesale, it wouldn't work, but I'm thinking that it will be a retail/wholesale mix, so should work out at something better than 20%.
So, let's start adding things up:
- printer: 3,200 yen
- carver: 1,600
- designer: 1,600
- paper: 175
- packaging: 125
.. for a cost of production of 6,700 yen. Now if that represents 40%, then the retail price should be 16,750 yen. If this print were o-ban size, I think that would be a great deal, but it's not - it's much smaller than that. 16,000 yen is too much, and I think 15,000 - where I 'guesstimated' it to fall, is as much as I can honestly ask for it.
The dealer price for this would thus be 9,000 yen, so is that the way to calculate how many sheets Gary would get? A royalty of 132,800 yen paid in 'wholesale' prints would be 15 copies. If Gary sells these to dealers at that wholesale price, he would end up (eventually) with his normal royalty (having had to work extra for it!); if he sells them retail, he will end up with a bit more in his pocket, but for that he would have to work even harder to get it ...
So I think everybody might be basically happy at this point: Gary has a beautiful print now out in circulation, as well as a (small) pile for himself; Numabe-san has had work for two weeks, as well as (I assume) the satisfaction and pleasure from doing good work. He also has a 'bonus' in that stack of prints, which actually is (potentially) a very nice bonus indeed, if he can manage to sell some of them. (And if you are perhaps thinking that he's coming out of this in pretty good condition, please remember that I think he has 'bent' that total of '13' days downward somewhat ... it was June 19th he started, it's now July 8th, and this isn't the kind of work you can just lay aside for a couple of days while you do something else ...)
And publisher Dave? Well, next week when I pay Numabe, I'll be 'out' 210,000 yen (not quite sure just yet where that's coming from ...), but in return I'll have 45 prints left in stock, which should - if the market will cooperate - gradually help support my activities as they fly away one-by-one.
And as for 'carver' Dave, who supposedly got 1,600 per sheet as a carver's royalty ... Well, that money doesn't seem to actually exist - at least I can't find it anywhere - but anyway ... the blocks are here, and still in very nice condition, so maybe one day ...
Now ... what about the rest of today's activity ... Proofing work on Aspen Grove ... Mike, are you reading this? "Kansas City ... we . have . a . problem . "
But it's too late tonight to start that story ... it'll have to wait until the morning ...
The thread continues in Hilo Bay  ...
Printer's update ...
Posted in Hilo Bay by Dave Bull at 10:42 PM, July 4, 2006
Well, he's been at it for more than 14 working days now, so I finally gave up and gave Numabe-san a call to see how the printing work on Hilo Bay is coming along. If this intervening time has all been on my 'meter', then we're getting into trouble here ...
He said 'give me a couple more days, and I'll have it done ...' He also mentioned that he'd been doing a bit of other work along the way, so just how much I'm going to get booked for, remains to be seen.
He thought it was coming out pretty well, and I'm to drop by Saturday to pick them up, and to work with him for a while on proofing on the next one - Mike's Aspen Grove.
Hilo Bay (12) - Numabe's Proof (Updated)
Quickie update ... Had a call from Numabe-san this evening. I have been waiting for him to let me know he was ready to start proofing, but the call was different ... he says he's 'pretty much finished' proofing, and now needs my input. Grrrr!!
I can understand actually; if I were in his position I would much rather work it out by myself without some guy standing there constantly 'interfering'. But I want to get into a relationship with him where he trusts me to be part of the process, without overly dictating minute-by-minute.
Anyway, he's calling for a block adjustment (separating two areas that are currently overlapped), so he needs some carving. We've arranged that I'll head down there Monday morning, to discuss the work so far, cut the block as needed, and then work out the final details together. If we can nail it down, we'll do so, and I'll give him the go-ahead to pull the edition. If I think we need more work, we'll do that. (I don't know at this point how many days he has spent on this, so don't know yet what my investment is ...)
Watch out for the next update Monday evening!
OK ... back from a long day downtown ...
When I arrived at the studio around ten, Numabe-san was hard at it, working on a batch of six proof sheets.
Six is more than I usually try myself at any one time (I'm speaking of proofing here, not editioning), as I find that trying too many variations at once is just too confusing, so I was a bit surprised to see so many sheets. But actually, these weren't all that different; because the print was already fairly 'close' - what with Gary's master printout, and my own proofs - it wasn't necessary for him to be trying wide variations. The goal for him in this proofing is to find out for himself how the blocks 'work', and then to try and 'bring it home' to where we want it.
Turns out that this is his third day of work on this one; he has assembled quite a library of test strips and notes on colour mixing, etc.:
While he worked, I cut down the mountain block to the shape that he recommended. I don't totally agree with the way that he wants to print that area, but have no desire to force him to use my methods. He's the guy who is going to have to make all the copies, so it's only fair to let him work in a way that is comfortable for him. (The result will be visually identical - it is just that I like having areas underlay each other (letting 'B' build on top of 'A'), where he likes having them on separate blocks, printing more times if necessary, but allowing more independence of colour zones.)
We then had a good inspection of what he has done so far, going over the thing inch by inch together with the master copy:
No single one of these proofs is 'OK' as it stands - we select the sky from this one, the cloud from this one, etc. etc., and he marks them up to keep track of our decisions:
Some of the work he has done so far is very good - as I expected, his gradation across the mountain is smoother than mine, and his sky is cleaner too. He has done a better job than I did with the 'redness' of the soil on the mountainside. But he is still 'short' on a number of things: he hasn't got anywhere near the correct colour on the islands, his seashore isn't well defined (he was loose with the registration there, thinking that a bit of blurryness/overlap in that area was OK for this type of print), his tree trunks were too light, and he had printed the island shadow after doing the sea colours, which left it indented, something that looks fine in the proper context, but which just looks strange here (shadows on water should be 'under' the surface, not on top ...).
So ... we then got to the big question; cycle around again, or move on with editioning? This really comes down to a balance of a couple of things: how much I trust his ability to understand today's discussions, and how much more money I can afford to toss at this one. We banged it around for a while, and I then gave him the go-ahead to make 60 copies. After I left, he must have started moistening the paper, and he'll be printing in the morning ...
A few more thoughts on today's meeting ...
When I first came in, I went into the back room to drop off my bag and box of blocks (Aspen Grove ... more about that later), and just got a quick glance at the sheets on his worktable as I went by. "Wow, looks great!" was what I was thinking ... When I came back into the workroom a minute later, and got closer, I saw that what I had seen were my own proof copies sitting on the table where he could see them as he worked!
He then opened his damp stack and showed me his own proofs, and you know, there really isn't a whole lot of overall difference between his and mine, which at first was a bit disappointing for me. But as we talked, I realized that this actually shouldn't be such a surprise; after all, we gave him - both with Gary's master, and my proofs - a pretty close guideline to follow. So it's perhaps natural that he hasn't taken it much farther than I did. Where Numabe's talents will come out is once something is decided and editioning starts. He will produce a stack of pretty much identical prints, and he will do so no matter what problems he comes up against along the way. We've already found that the paper we are using is really not up to this job (anybody know where I can borrow a time machine, to go and buy some 'good stuff'?), but he can 'handle' its flaws much better than I can. He also has much better fundamental 'technique' than I ... getting consistent gradations, smoother sky colour, etc. etc.
As for the money questions, we decided to do the job based on the system I mentioned in an earlier post - not worrying about a 'per sheet' price, but with me agreeing to pay him his standard daily rate, once the job is done. That leaves me a bit 'exposed', but I guess it's the fairest way to handle this one; because I can't afford to order very many copies (even with the extras that will go to Gary), he just isn't going to be able to work in a particularly cost-effective way.
Anyway, it's well after midnight here, and that's enough for now ... Sure wish that some of these guys lived a bit closer!
The thread continues in Hilo Bay  ...
Hilo Bay (11) - Third Proof
Not sure if I should wait until daylight before taking a photo of this one ...
Not sure if I should wait until daylight before taking a photo of this one ... but what the hey, let's do both; I'll take a quick snapshot at my desk now, and then shoot it properly in the morning, as I did with the second proof yesterday.
- better sky colour; letting more paper white show through gets it closer to the master copy
- clouds now much closer - I had been too 'delicate' before ...
- higher mountains now visible catching more light than the lower regions
- sea colour much better; I took out the undercoat of green in the area this side of the islands. This is much more difficult to print - to match the green and blue gradations - but no question it's a better result ...
- building roofs at the left are now catching sunlight (except one that is still causing trouble somehow ..)
Still not so good:
- that open earth area still resists 'finding' the right reddish colour ...
- islands are still missing the red/purple tone along the top edge
I'm having trouble with my red pigment. I've had this happen before; the impression looks fine down there at the bench, but once the sheet is dried and pressed ... "Where did it go?" I'm not blaming the pigment itself ... I'm the one holding the baren ... but either I've got to replace it, or figure out how to use it properly ...
Anyway, that's where it's going to sit for a while. As I mentioned, it's back to work on the scroll from tomorrow morning (after getting the (late) spring newsletter printed). There is a Craftsmens' Association dinner on Wednesday night down in Tokyo; that should provide a good opportunity to scout out some possibilities for getting this thing printed ...
Hilo Bay  - Second Proof
... we've got it this far now ...
OK, here we go ... another very long day's proofing work, and we've got it this far now ... (this pops up to a much larger version ...)
Much closer than yesterday's version ... not quite sure what to think about it just yet. And it's nearly 12:30 ... just about had enough for the day. Signing off now, and I'll think about this a bit more in the morning ...
The thread continues in Hilo Bay  ...
Hilo Bay  - First Proof
This is actually a lot closer than I expected to get on the first try.
After a peaceful day of work on the proofing of Hilo Bay, the first (very rough) proofs are done.
Interesting that it was grey and rainy in the morning, and the work being done matched that - but after lunch the sun came out and it became a peaceful fresh day, and I got my head around the work too ...
Before I show the image, a little story for Gary:
I remember reading this little episode many years back, in a magazine article about scoring music for films. The composer used a synthesizer to prepare 'mock-ups' of various bits of music, sitting together with the producer/director as they all worked through parts of the film together. He described how it was sometimes very difficult for him, because the producer would 'help' with his work ... each time the producer would ask for a certain kind of sound, as the composer started to put it together on the synthesizer, the guy would constantly interject, "No, not like that, a big more edge to the sound" etc. etc. etc. as the composer worked on the settings of the synthesizer.
The composer eventually came up with a solution for this problem; each time the producer requested a sound, the composer plugged in a pair of headphones, then adjusted the settings and built up the sound as he wished. Once it was close, and ready for consultation, he then unplugged the phones so everybody in the room could hear the result ...
Anyway, here we are - no headphones - a quick photo of the first pair off the blocks (click for a larger popup):
This is actually a lot closer than I expected to get on the first try. This print is way more complex than nearly anything I've done so far. (The only one even close to it is the Tago Bay image in my 5th Surimono Album).
There are a bunch of places where I'll need a trim/re-cut on some of the blocks: the base edge of those damnable distant peaks, an error in the island shadow on the right, the overlap of the exposed earth section in the center, etc. etc.
Other than that, it's mainly going to be a matter of adjusting the depth of each colour area, to get the right effects. The centermost distant shore area doesn't have enough body, the foreground islands are nowhere near dark enough, the green 'point' coming in from the right is not dark enough, the exposed soil on the mountainside isn't 'reddish' enough, the far right end of the mountain isn't bright enough, the mid-distant water isn't green enough, etc. etc.
You can also see my lack of skill in the point that I knew from the start would be difficult - the smooth horizontal gradation across the entire width of the print. This attempt is nowhere near 'broad' enough. This is particularly difficult because the same gradation has to appear over multiple blocks. And, by using a nezumi-ban (grey block) across the area, I've ended up 'dulling' the image too much - the brightness of the morning light has been lost. Still not quite sure how to solve that one ..
Also - I know Gary will want to ask about this - there is no 'pink' gradation on the larger cartouche. (Gary knows I don't like that pink, but that's not the reason it's missing - I just don't have any pigment of that type in the house! :-)
To help me sort out this next step - getting the tonal values closer - here's a shot of the original (reversed, on the left), and one of these two:
This shows clearly how I brought my gradation too far across the mountainside, 'killing' the morning light!
Anyway, I'll have another go at it tonight and tomorrow. I rather doubt that I myself will be able to get it all the way to the required level; the idea at this point is to confirm that the blocks are indeed capable of what we need, and to get something close. Then, it'll be time to bundle everything up, head downtown, and decide who is the best man to do the job!
The thread continues in Hilo Bay  ...
Hilo Bay  - block set
The block set for the Hilo Bay print is now done
The block set for the Hilo Bay print is now done: five pieces of wood, ten sides, 18 'register' areas, and it'll be somewhere near 40 impressions ...
I've done a quick set of scans before washing them, as I think it might be easier for people to see what each carved area is intended to print if I leave the coloured master sheet in place on each piece of wood ...
Here they are:
This all matches the colour separation plan that I produced last week, so if you have the time to try and figure out 'what is where', then go for it!
The thread continues in Hilo Bay  ...
Hilo Bay  - carving ...
So anyway, the puzzle is basically solved, and here they are, laid out on my carving bench, ready to go ...
I have a couple of dozen blank blocks of this size up in the storeroom; they are in basically two types:
The one on the right is pretty dense and hard, probably cut from the region near the base of the tree; the one on the left is a softer type, with straighter grain. For traditional work, the hard one would be used for the keyblock, and the softer, for the colour blocks.
This print has no 'key' in the traditional sense, but I'll use a harder block for the part of the image that includes the border line and the calligraphy. The rest will get blocks similar to the one on the left. (As you can see, they are not perfectly 'clear', and it's part of the layout puzzle to make sure that printed areas avoid any block defects ...)
So anyway, the puzzle is basically solved, and here they are, laid out on my carving bench, ready to go:
The thread continues in Hilo Bay  ...
Hilo Bay  - colour separations
I got it worked out to where I think I can get it all on six pieces of wood
OK, getting closer to the moment when I can actually start cutting!
After spending most of yesterday evening looking over those sample layouts, I got it worked out to where I think I can get it all on six pieces of wood (using both sides of course).
Six of the faces will carry a single design sheet, although some of those will be used for printing more than one colour (areas that are far enough apart so the colour won't smear in the wrong place). The other six will each carry two sheets, some of them placed upside-down to each other, and some 'slipped' in a kind of staggered arrangement, again, making sure that there are no chances for smearing.
What happens next is a bit different from the classical technique. This print has no outlines, so it's not possible to use the 'cut the outlines first, then fill in the colours' method of working. There can be no single 'hanshita' (the term for the outline drawing on thin paper that is usually pasted onto the wood for carving the 'key block'). There will be no 'key block' for this print.
But I do have a full-scale completely worked-out image of the print - Gary's master copy, and that's what I will use to guide the carving on all the blocks. I took his image and tacked it onto a sheet of paper on which I had drawn lines showing where the registration marks would fall:
I then jumped on my bike and headed over to the next town, where there is a stationery store with a very high-quality colour copy machine. Unlike the places near my home offering colour copies, which all have machines that have been 'consumer fool-proofed', this shop has a 'raw' machine, and I can use the control panel to fool around and set it up exactly the way I want it.
This isn't just a matter of getting the contrast, etc. adjusted so that I get a print-out with good clear lines; I want to set the machine to give me a mirror-image copy.
This is not the way that hanshita tracings for carving are usually made. The normal procedure is to create a hanshita of identical orientation to the finished print. As it is pasted to the block face down, any prints pulled from such a carved block end up being in correct orientation.
But I have learned that when pasting a hanshita made on a modern colour copy machine, the oily film on the surface of such copies interferes with the bonding, and I inevitably have trouble with the thing peeling off part way through the job. I've tried cleaning the surface first with various solvents, but anything that cleans off the film also pulls off the colours ...
So, what I do is make the copy in mirror image, and paste it on the block face up. (Many years back I put up a web page showing this process.)
Anyway, the copy machine was in good condition today, so I put Gary's master image in place, and pulled 20 colour copies of it, using my 'special' 2-layer hanshita paper (also described on that page I just mentioned).
Here's a close-up of one - the corner registration mark will be on the block at the right front corner. The lettering here is reversed, not the usual method at all. (You can also see the results of our discussion on cartouche lettering last week. Before I placed his master on the copy machine, I glued a print-out of the new lettering design in place on it ...)
Now, if these colour separation sheets were of the traditional type, each one would now be 'coloured in' to show the exact area that is to be carved. But I'm not going to do that, for a couple of reasons. One is that, with no outlines in this print, these colour zones are going to have to be carved exactly along the divisions visible in the master, and I don't want anything interfering with the visibility. The other reason though, is that I am not going to be passing these things on to another carver for work - I'm going to do this carving myself. So what I will do is simply identify each one with some kind of number, and then as I work on each one, will refer back to the colour separation plans that we have already seen on these pages.
But before I can get started on that, these things have to go down onto the wood; time to head upstairs to my storeroom, and see if I can find six suitable pieces!
The thread continues in Hilo Bay  ...
Hilo Bay  - more block planning
With the basic colour separations done, the next step is to determine the actual layout of the blocks.
Had some time this evening to work on the Hilo Bay colour planning ...
With the basic colour separations done, the next step is to determine the actual layout of the blocks. I printed up a pile of greyscale miniatures of the design, to use as 'scratch' worksheets, and on these I roughed-in the colour zones that I worked out earlier.
This is a very awkward design for block layout, as all the detailed areas are concentrated in one place: the horizontal center strip of the design. This means that it is difficult to combine multiple colour areas on one piece of wood, and the block count thus goes up and up ...
After the blocks are carved I'll be scanning them, so at that time you'll be able to see the exact way that I have laid these out, but if you click to bring up the larger version of the image, you can perhaps see a few of the combinations. One of the sea areas combines with the sky block, the cartouche backgrounds combine with vegetation blocks, etc. etc. But there aren't many combinations available.
There is another way to help avoid wood wastage, and that is to place more than one of these sheets on a single block, either by turning one of them upside down, or moving the registration marks to a different orientation. I've been able to identify a few pairs that can be handled this way (again, the block scans to come later will show more clearly what I mean ...).
The thread continues in Hilo Bay  ...
Hilo Bay  - block planning
For such a simple image, there are going to be a lot of blocks ...
Been starting the work on the Hilo Bay block planning. For such a simple image, there are going to be a lot of blocks ... I was thinking that my price estimate on this one was high, and that once we were ready, I would be able to put the price down, but there's no way I'll be doing that!
First step is to define the areas in terms of what brushing will be done on them. (What I mean is that at this stage, no thought is given to how the areas will actually lay out on the pieces of wood; some of them will be combined when it's time to actually figure out how to best carve them ...)
Here is a set of images showing the first stab at area definition.
So .... it looks like around 33 ~ 37 impressions, depending on how many gradation overlays some of them take. It may turn out that some of these blocks can be functionally combined; I'm thinking that vegetation block 'A' will probably end up being the same block as mountainside 'D' ...
(Gary, I tell ya, just for fun one day, have a stab at designing a print without using the gradation tool in your computer program. I'm half-serious ... see how well the images stand up when only the 'bare' design is visible ...)
The thread continues in Hilo Bay  ...