Michael Gage

Third layer: Gradient from blue green at the top, down to yellow green at the bottom. The earlier layers start to make more sense.

Another layer of loose inking across the print.



Fingers crossed that these colours aren't already too dark.

To make yourself popular, make cake...


...for all your friends!



(Just make sure that you keep a slice for yourself.)

Longest in time, that is. This print has been "work in progress" for months.

First version: I transferred the image onto the linoblock, and drew over it. I looked at the block for a long time, and decided that something was wrong: the composition. The picture has a strong diagonal element across the entire width. But reading from left to right it goes downward: a negative movement.


It would look better going upward.


"But that's not what it was like in real life."

Dilemma: Record the world as it is, or "improve" it for the sake of making a better picture?

Solution: Do what's best for the picture. (And hope that nobody notices.)

Note to self: Thumbnails.

Second version: I cut another linoblock, and transferred the image again, this time, the other way round. I started cutting and printing. Printed the first layer; the second layer; the third layer. On about the fourth layer, when I was using darker colours, I saw something was wrong: they weren't printing evenly.

I changed the pressure on the press, increasing it, decreasing it. No difference. With the blanket; without the blanket; rubber sheet instead of the blanket. No difference. Put the print in the other direction; change the ink; change the roller. No difference.

Sometimes the block went through the press too easily; sometimes it wouldn't move. There was only one factor left: the press itself. I had to face up to it: the press had died.

Solution: Buy a new press.

Which took some time: Sorting out the finance; arranging the delivery; fighting with delivery men who think it's OK to leave a 100 lb press in next door's front garden.

But it was worth it.


No excuse now to get on and print.

Third version: I printed my usual near-white backgrounds on about twenty sheets. I cut another linoblock and transferred the image (that's the third time, if you've lost count). I started printing.

Of course, getting used to a new press can take some time...

Oops. Wasted the entire pile of background sheets while trying to get the pressure right. At first I thought it was wrong, because the block went through so easily. Took time to realise that it was because the press is so well-engineered.

Note to self: Never experiment on important bits of paper.

Fourth version: On the positive side, I still had cut only the first layer from the block. I reprinted the backgrounds by using another block the same size, and then, at last, oh it's only been about four months, I was able to start printing again.

Now the press is set up correctly, it's printing beautifully, and effortlessly. Here's the first layer:



To get some variation in what will be beds of flowers, I inked the block in selected places, using different colours. (Which works well -- apart from when you've finished, you realise that you have five rollers to clean...)

I'll get on with the next layer.

---

New readers might like to start with the previous chapters in this story:

Part 1: Drifting
Part 2: What happened next
Part 3: Under the sea

---

"So what happened next?" I asked Great Aunt Dahlia. "Grandma Lily swam through the cave, and found the golden carrots. What did she do?"

"Well, young Bob Tail, she did what any rabbit would do. She took off her hat, and filled it with carrots."



"But as she was struggling to put her hat back on her head, she heard a noise behind her. Just a single pebble falling; but then another and another. She turned around: rocks were falling everywhere!"

"In a trice, the entrance was blocked. She looked all round the cave for another way out, but there was none."

"There was no going back the way she came. So she did the only thing she could do: go forward."

"But you said there wasn't another way out!"

"She did what any rabbit would do: she burrowed."



"She dug and dug and dug. Kept going until her paws were worn down to the bone. Just as she thought she couldn't dig another pawful, the earth in front of her fell away, and she tumbled through the hole."

"Was she out of the cave?" I asked.

"For a moment, she didn't know where she was. Then she heard a voice, more of a growl, and then a wicked laugh. Terrified, she opened one eye, and then the other. And then she screamed!"

"What was it?"

"A pirate! The biggest, baddest, bunny pirate ever to sail the seas."

"Captain Jack Rabbit!"

I ran down to the field where all the other rabbits were. We were going to collect carrots to make carrot cake -- everybunny's favourite!

I found everyone sitting on the grass, looking at Nigel Floppyears. He stood at the front, pointing at a map of the carrot field.



"What's going on?" I asked Clarissa.

"Don't ask!" she said. "Nigel's decided that we need a more efficient carrot-collecting strategy."

"No talking at the back!" shouted Nigel. "Concentrate; this is important."

I looked round. Several rabbits were trying to suppress a yawn, and even Winston, Nigel's little dog, was curled up asleep.

"Now," Nigel continued. "Every rabbit needs to learn that the carrot is our enemy! It is our mission to catch that carrot, but the carrot does not want to be caught. So what must we do? What must we do to defeat the carrot?"

I put up my hand. "We pull it out of the ground?"

"Good heavens, if only it were that simple! This is a serious, complicated manoeuvre. First, we have to prepare! We have to find our carrot. We have to disarm our carrot. We have to catch our carrot. Then, and only then, can we make carrot cake. Fortunately, technology is on our side." He held up a small screen.



"CarrotNav: Uses GPS to locate and identify the nearest carrot."

And just gone three o'clock, I noted. Nearly tea-time.

"Next, we have to prepare for every situation that might arise. Heavy boots to cross the muddy field; goggles to protect your eyes against that carotene glare; a net to catch the carrot, and a box to make sure he doesn't escape. And a hard hat in case the little devil tries to fight back."



"Is that it?" asked Clarissa. "Can we go and get the carrots now?"

"One more thing," said Nigel. "We have to make sure that carrot does not see us coming, or he'll run. What do we to make sure the carrot doesn't see us coming, eh?" Nigel asked.

"We go at night?" I suggested.

"Don't be silly, everyone knows that carrots can see well in the dark. No -- we go in disguise! Wait, I'll show you." Nigel went behind the tree. A moment later --



"Ta-da! Now, everyone follow me!"

He ran towards the carrot field.

"Come on," said Clarissa. "Everyone just pull a carrot as usual, and we'll go back to the burrow and make cake. Bob Tail, you put the kettle on."

And jolly nice cake it was too.

"But I want to go and chase the carrots in the field!", I cried.

"No, Bob Tail Rabbit," said Big Boss Bunny. "You've not being doing your work. Look at that blog of yours: not a single drawing on there for months and months and months. You're not going out until you've done something. Consider yourself grounded."

I sulked off to my studio. Through the window, I could see some of the other rabbits chasing the carrots.


I cleared away a patch of dust, and sat next to my easel.


I stared at my paintbrushes, and they stared at me. "We haven't seen you in a long time," they seem to say.

Then I looked at a blank piece of paper for quite a long time.


It stayed blank.

Suddenly, I had an idea! I wound up the computer, and logged onto Rabbitbook.


Four hours later, I still couldn't think of anything to draw.

I went back to Big Boss Bunny. "It's no good, I can't think of anything to draw. The muse is not with me. I have no inspiration."

"Bah," said Big Boss Bunny. "Inspiration is for amateurs; the rest of us just show up and get to work."*

I went back to the studio, picked up a pencil, and started to draw. Anything. I drew a carrot and a cat and a tree and a bird and a rabbit.


But I still couldn't think of anything I wanted to draw. I squeezed some paint onto my palette and stood in front of the easel.


I did a quick sketch of Clarissa with her enigmatic smile.


But I still couldn't think of anything I wanted to draw.

"I'm telling you, I can't think of anything to draw!" I almost shouted at Big Boss Bunny.

"Oh, you silly rabbit," said Big Boss Bunny. "Look: you've drawn everything you've done! The inspiration was around you all the time. Now you can go out, and chase the carrots. Good rabbit."

---

* Big Boss Bunny has been reading Mr Chuck Close.

My first attempt at letterpress. Freeform Victorian woodblock type, printed in green and red, A5 image size printed on A4 paper.

Printed at Ink Spot Press in Brighton.