This is a familiar process. I have often taken an image through seventeen "states" before I am satisfied - and I am only working with a single block. I am sure that, after state ten, no-one else would have noticed the difference. But then I did. Dave, it is now looking very good indeed but it will only be finished when you you know that you will be able to pick it up again in a few months time and not fret about things you see. But then if the bailiffs are a-knocking...

it will only be finished when you you know that you will be able to pick it up again in a few months time and not fret about things you see

But Andy ... as you well know, that point never comes! (Thankfully!)

Dave, My first reaction is that the light cast from the rock seems too bright to originate from the fire. It looks like flash photography, we can see the fire but it is not the focus of the scene. It may not be due to the contrast, but perhaps it is the tone of the light, if the reflected light were warmer it might seem more fire-like.

the light cast from the rock seems too bright to originate from the fire ...

You've touched on something here that has been a question for me all the way along with this one. Just where exactly is the focus of this print? Reading the description of the design I quoted back in the first post, the answer would presumably have been 'the fire'. One's eye would go directly to that point, as the central, and brightest, point.

But as I worked away at this thing, I found all my attention being pulled by the textures of the light on the rock face. That's where I spent nearly all my time when planning the separations, that's where I spent most of the carving, and - now that we have arrived at printing - that is the part that has come to dominate the whole thing.

I didn't spend much time at all planning the fire ... "Well, I'll put some kind of yellowy and orangy stuff in there ... it should look like a fire, I guess ..."

In retrospect, what I should perhaps have done is worked out a design where the fire itself was hidden behind some rocks, and thus didn't get 'in the way' of the wonderful patterns on that wall!

But it's too late for that now - all I can do is try and find some way to get them to work together ...

... if the reflected light were warmer it might seem more fire-like.

I'm nearly finished up another proof; this one does indeed have a warmer light on the left tree and the overhead branches. I've also experimented with varying the area of wall that is illuminated, along with trying some other ideas on the fire itself. But it's nearly midnight here now, and the last couple of impressions, and the scanning, will have to wait until morning ...

This one is fun!

Not convinced yet Dave. If you can turn it round, I'll be happy. Good luck!

So encouraging to see the process of getting a print better. Thank you for sharing. Could I suggest that the reflection of the fire in the water, instead of being white, could be picking up some of the fire colours.

(a couple of comments have been moved to the next thread)