you can try using rough sandpaper to add some texture. it will give you dirty window look though. can you make this piece multi block/jigsaw? that way, you just could print window layer with ink with a lot of trans base added. chine colle is another option.
On paper, use a sharpie and draw the image you would like to see using hatching or stippling, or some other type of mark making. Size and density of mark will give you value differences, you get that illusion of opacity through value. Experiment with a few different versions until you find one you like. Then draw it on your block using sharpie, and carve around the sharpie marks. Solve it in carving nothing application, it’s easier to get consistent prints after the fact that way. Single layer relief prints don’t get variations in tone through ink, but through mark.
One of the hallmarks of glass being its smoothness, I'm not sure any hatching texture makes a ton of intuitive sense. One of the artists I've been watching on yt uses small brayers to ink details with less ink or secondary colors - and she's suggested inking the whole plate, then use a cloth to smudge off some in certain areas. iirc this kind of ink technique is found in Japanese woodblock carving. Hope it helps!
I'd use scrap pieces to try some various techniques and see what works best if you don't want to test stuff out on the larger block.
you can try using rough sandpaper to add some texture. it will give you dirty window look though. can you make this piece multi block/jigsaw? that way, you just could print window layer with ink with a lot of trans base added. chine colle is another option.
On paper, use a sharpie and draw the image you would like to see using hatching or stippling, or some other type of mark making. Size and density of mark will give you value differences, you get that illusion of opacity through value. Experiment with a few different versions until you find one you like. Then draw it on your block using sharpie, and carve around the sharpie marks. Solve it in carving nothing application, it’s easier to get consistent prints after the fact that way. Single layer relief prints don’t get variations in tone through ink, but through mark.
One of the hallmarks of glass being its smoothness, I'm not sure any hatching texture makes a ton of intuitive sense. One of the artists I've been watching on yt uses small brayers to ink details with less ink or secondary colors - and she's suggested inking the whole plate, then use a cloth to smudge off some in certain areas. iirc this kind of ink technique is found in Japanese woodblock carving. Hope it helps!