Woodcut: Lily

Lily 6x8 woodcut with watercolor on Saunders Waterford paper (Edition of 25)
Available here.
A fleet of emails asking for relief print details sprouted in my inbox slow but steady over the summer, and I've been remiss in answering them. Pictorial replies start at the bottom.
Hanging prints to dry (printed on a variety of papers) as they're being printed.
Checking the print and the block to see if adjustments are needed in the carving or inking.
Pulling the block off the paper after a trip through the press.
Layers: A single felt blanket on the press bed for some cushion, one sheet of newsprint on top of the felt to protect from inky fingers, orange matboard & masking tape rails set to the height of the block, printmaking paper on the press bed in between the rails, inked block face down on the paper.
Black oil based relief ink (Daniel Smith) rolled out on a sheet of glass with a speedball brayer, and rolled onto the block.
Shallow contour carving, in the direction of the grain, ready to proof print.
Black marker and some watercolors to map the "dont cut here" sections. I usually seal the line work (Minwax Golden Pecan Wood Sealer, with a foam applicator). It smooths wood grain, and facilitates wiping ink after proof printing to get back to the drawing if more carving is needed. Flexcut knives are my favorite carving tools.
Small sketch doodled while making phone calls on the left, and the sketch expanded on a 6x8 shina block on the right.

Note: Molte Grazie to fellow printmaker Victor McCay for the use of his studio and press.