Woodcut Printmaking is a relief process where carving into a block leaves raised areas to be inked and recessed areas to be blank (like a stamp}. Multiple color additive woodcuts require multiple blocks all registered exactly to compliment each other in one image. Reduction woodcuts are one block, carved and printed then repeated until it is reduced to the the final key plate.

I print on traditional Japanese papers as well as western papers for large scale woodcuts. The relief printing requires understanding proper ink viscosity and its relationship with the certain papers. When rolling onto the block, too much or too little can produce a weak or sloppy print. Technique is key bub!

The Press took half a year of planning and another half a year to execute. Made from over 700lbs of cold rolled steel, old car parts, plumbing pipes and flanges, heavy bag springs pressure treated wood, a bucket of machine screws and a 20 ton scissor jack. The RATSQUASHER, my proudest creation is the key to even and efficient printing. Most printmakers use a rolling etching press, but I prefer the raw crushing power akin to the first press I ever used and fell in love with over 20 years ago.

Woodcut printmaking influenced the way I tattoo, and coming back to woodcuts almost 20 years later has shown that tattooing has influenced my approach to woodcuts. Probably the clearest full circle in my life.