I've made some progress on my latest print over the past few weekends. My first couple of passes involved an area so small there seemed to be little sense in dragging the press to the kitchen. Instead, I resorted to my pseudo-baren, a glass flat-bottomed tealight holder from IKEA, and went to work. The tealight holder works well enough for the area I was printing but I sure wouldn't want to print an full-size print that way. Even with as little rubbing as I had to do, my arm was tired by the end of it and, once again, I felt more than a little respect to all the printmakers who print by hand. I'm betting they get very well defined forearm muscles.
It's also been a bit tricky figuring out which order to print the colours in and I ended up getting using a couple of masks to eliminate overprinting in some areas. At this point though I believe I've got a good idea of what comes next and I'm liking the way the print is evolving quite a bit. I've been using oil paints mixed together with Georgian printmaking medium because this mixture gives a more translucent result than my usual Daniel Smith ink. (Here's a link back to some tests I ran with different inks). The drawback to the oil paint/printmaking medium is the smell.
Nora says it smells like pumpkin but that's putting a positive spin on it. It is a sort of sweet smell and initially seems ok but, in a house the size of ours, eventually there isn't a room it doesn't end up pervading and it becomes cloying. So for today's printing I still used oil paints but added them to some Graphic Chemical ink extender and the smell issue is resolved. Whether the translucence I'm after will still be there is an unknown at this point and time will have to tell as I move forward.
For now, here's how it's been building so far: