Basics about reduction
A reduction print is one which has several states. One block is used for all the states, each in succession "reducing" the block until the final state. The block is destroyed in the process, that is, when cutting the second state, the first state is "reduced" or destroyed. It is therefore not possible to go back a step and re-do a state.
The challenge, if you choose to accept it, is to think through the process of the reduction so that the final print, although somewhat of a surprise, will be worthy of looking at.

Here is a couple of finished reduction prints, a Self Portrait of yours truly and Desert Blooms, a double reduction (two different blocks, 3 states of reduction each). Different approaches have to be taken with a tone-print (basically three different tints of same color), than with a multiple color print. Click on the images to enlarge.
 

Self Portrait, 1999, 3 state reduction              Desert Blooms, 1999, 3 state reduction on 2 blocks

-First state leaves highlights in "paper" color and provides the lightest midtone. -Second state adds shadows in a dark midtone. -Third state adds the accent in the form of the dark lines.

Flowers:  -First state light yellow (highlights) -Second state bright yellow (midtones) -Third state yellow-ochre (shadows/darks) Cacti: -First state light aqua (main color) -Second state dark aqua (shadows/darks) -Third state purple (accent)

Design and "thinking"
Thinking about a reduction print in advanced is crucial for a succesful print. It is best, if new at reduction, to start with a simple design. The best way to go about the thinking process is to actually draw a sketch of your print in stages, remembering that the printing process will reverse everything.

1. Start by doing a line drawing of your image. The line will become the last state.
2. Shade in the darkest midtones. This will be the next to the last state.
3. Shade in the lightest midtones. This will become the previous state.
4. Outline the highlights or just notice what's left as a highlight. This is the first state.

Ready or not, here we go!

A good preparatory drawing is essential for a successful reduction print. There are two ways (at least) to go about this.

Multiple copies using xerox:

• After the finished sketch is completed, make as many xerox copies as there will be states, plus a few extra for good luck. Make sure that the drawing contains registration marks of some sort so that you transfer every copy to exactly the same place on the block.
• Transfer one copy for each state to the block by using a standard transfer method (tracing, lacquer transfer, etc.)

• After the finished sketch is completed, make as many tracings on tracing paper as there will be states. Make sure again that the drawing contains registration marks and trace these carefully on each tracing.
• Paste your tracings to the block, one for each state, by using rice paste, Yes Paste, or another harmless adhesive. It is imperative that you do not stretch the tracing paper during the gluing process. You can achieve this by pasting the block, then placing the paper on a flat surface reversed, then placing the block on the paper.

This is the type of drawing I used to get an idea of where to cut through the stages of Self Portrait 1999. Notice the registration device used to line up the paper exactly on the edge of the block (for a bleed print).
After all the carving stages are finished, the lines are still visible through 4 wipings with paint-thinner!
I drew right on the block with a pencil while looking in a mirror, then went over the lines with the Sharpie.

• I use this approach mostly because I don't have to worry about multiple copies and registration of the transfers. Simply trace your sketch onto the block using carbon paper or rubbing the back with graphite or charcoal or something dark, then tracing over the lines.
• Once the sketch is on the block (did you remember to reverse?), go over the main lines with a permanent marker like Sharpie. This will actually stain the wood layers deep so that printing, wiping, cleaning the block will not affect the lines.
• If you wish, also Sharpie (I just verbed a noun, sorry) over the midtone outlines and the highlight outlines, but now you are going to have a messy drawing. A better approach is to draw every stage on the block as you progress through the states, then cut out the non-printing areas.

• As in the block above, for bleed prints, I glued two strips of foamboard to the edges of the block where less of the image was present. This way I don't interfere with the inking and printing process. Obviously this will not work with press printing.
• OR Use the traditional kento registration marks on a bigger block with a margin.
• OR After inking, place the block against a corner stop and a long-side stop of foamboard. You can either mark the placement of the paper with a marker on the foamboard, or, as I do, place the paper against prepared "guides." See the Registration pages for much more on registration.

On the first state of the print (no, I don't know why the call them "states" rather than "steps" or "stages"), the cutting will take out just the highlights.
The color of the paper has to be taken into consideration. The paper chosen was Hanhemuller Tan, a very rich tan paper that lends a nice warmth to the image. In this case, I wanted to "keep" the paper color as one of the states, the lightest state.
I carved right off the line drawing, "imagining" where I wanted the highlights and the lightest tones to show. Usually, the tendency is to over-cut, ruining the rest of the print. So don't.
 

The second and any other mid states of the print are conceptually the hardest to "picture."
Whatever is cut in this state will "leave" the first color, whatever is printed will constitute a midtone. We don't think in midtones normally. We can take out highlights and add shadows and line, but the midtones are sort of "out there" in the middle, we just don't observe them in real life with any kind of attention.
A good trick to use, therefore, is to draw or brush the darks right on the block in colored ink. The dark areas will be left and everything else taken out.
Remember to think in reverse and DON'T OVERCUT. Especially be careful to not cut out anything that you will want to print in the final state.
 

After you are finished with all the midtone states, the final state usually defines the print even more by using the line block.
This is also the easiest to carve: everything that is not line, goes! If you were careful with the Sharpie drawing, all the lines should be there for you.
Notice that in the Desert Blooms print, there are no line blocks, the last state is an accent color in the case of the cacti, or a deep shadow in the case of the blooms to make them three dimensional. Since the print was printed on black paper, the first carved lines were the "line block." I explain this "black-line" technique in another studio note. When you print on black (or dark) paper, you have to think in reverse-reverse!