I experimented with a lithography print process called Mokulito. I have not pursued it yet, as I need several wood substrates to continue, and this method seems to have a limit to the number of good prints in the edition. Lots of info on the net. Ewa Budka has resurrected this litho method from its inventor, Seishi Ozaku. Ewa holds seminars worldwide.
The image is drawn on a densely grained, smooth plywood(maple)with a multitude of drawing utensils….Grease pencils, tusche, sharpies, crayons, litho ink, and litho crayons. (oil based). Do not touch the wood as your hands can leave oily marks.
The image is dried slightly with a dusting of talc, soaked with Gum arabica , and rested (at least a day) before it is rolled with ink. Wash the arabica off with cold water. I used the water and oil based inks and etching inks and a soft sponge brayer for the samples above. Ewa suggests litho inks, slightly runny.
The litho ink does not adhere to the wet wood, because the surface is continually soaked in water while printing and inking, so the oily sketched drawing absorbs the oily inks and the wet wood repels the inks. What results is that the arabica pushes the grease into the wood, and leaves an etched surface where the drawing sort of sticks to the rolled ink.
The inked board is rolled in a litho press. The paper lifts the ink to become a print.
The etched surface holds the ink, although over time the wood starts to show the grain up in the print. It’s up to the printer to decide when the plate is exhausted or too fuzzy to lift a good print.