I enjoyed your comments at the end—you're not just "the old guy in the videos"!

While it may not be in the Japanese tradition, I would agree with your feelings. I do feel that what you and Jed have created is exceptional. Each print I receive becomes my new favorite, and each shows a bit more precision and just a slightly higher level of overall quality. Even the more "simple" Portraits are simply amazing. And while in the world of Redit, you are simply the "Old guy in the videos," I think what your eye, color choice, and technique bring to Jed's designs is part of what make these works of art so incredible. I watched this whole video in awe of what you are able to do with this medium, and like any other true master, you are an artist (or craftsman if you would rather) who is pushing into a realm all of your own. I am unsure how you will top this print, but I sit here with bated breath awaiting what comes next from the two of you.

I watched your latest video about the printing of the Flight of Fantasy print with great interest. Keeping track of the way you handled your pigments and paste, I couldn't help noticing this:

First impression (keyblock #1): pigment applied to the block, no paste;

Second impression (keyblock #2): both pigment and paste applied to the block;

Third impression (gradation on mountains): pigment applied to the block, and paste applied to the brush;

Fourth impression (gradation on ground): pigment applied to the brush, no paste;

Fifth impression (basetone on sky): pigment applied to the brush, no paste;

Sixth impression (basetone on mecha): both pigment and paste applied to the block;

Seventh impression (overtone on sky): paste applied to the block, pigment applied to the brush;

et cetera.

My question is: considering all these possible combinations, when do you decide to do what, and why? Or is this all actually irrelevant for the quality of the print that you get?

Jacques, please don't take what you see there in the video as being everything done for each of those impressions. It was absolutely chaotic for me trying to do the actual proofing work and capture the video footage, and I made no attempt to make this into a perfect 'record' of what happened.

Looking back over it now, in light of your comments, I can see many places where I simply didn't 'catch' some parts. Paste for example, is present in pretty much every impression on that print, but you don't see it being applied sometimes, usually because there is still plenty left in the brush from the previous impression, etc.

As for your question - how to decide - it's simply a matter of experience of course. During a normal printing run, the block has become properly moistened (and thus stable, unlike the case when proofing), and as each sheet comes off the block it is inspected, and the results determine what goes on for the next impression. If the colour is a bit on the light side, then more pigment will have to be used ... or the reverse, as the case may be.

Doing a long printing batch is a constant process of lightly touching the steering wheel, trying to keep the 'car' exactly in the centre of the road, not letting it drift too far to the right or left ...

Another thing to mention are the scenes of mixing colour on the tile. Remember that this was the very first proof. At this point I'm trying to create the colours, and it's no point mixing a large bowl full of each one, because those would almost certainly be not the right tint. I dab onto the tile, try one, then dab a bit differently for the next, etc. and etc. Only after the 'best' proof is selected, would the printer go ahead and mix up the batches he will need to pull the entire run.