The artist draws the image onto the woodblock. The image is saved using (yellow ink) and the artist cuts away the areas which are to remain white on the print. The artist them applies the ink to the woodblock (with a roller) beginning with the lightest colour. A sheet of rice paper is applied to the woodblock, and rubbed (burnished) with a spoon, in order to transfer the image to the paper. The artist repeats the process for each print in the edition. Each piece of paper has registration holes through it, which corresponds to holes on the woodblock, which ensures that the print in placed in exactly the same position on the woodblock for each colour impression. Where the artist wants the colour to remain on the print, the woodblock is cut away before each subsequent colour impression, moving progressively from the lighter to the darker colour. The process is repeated until the completed image has been fully transferred onto the paper. As a result of the process the woodblock has been whittled away until none of the original image remains, but has revealed itself on the print. The number of different colours varies on each print and can be as few as 2 or as many as several hundred, depending on the complexity of the image. The most colours I have used on a single woodblock is 385.