Here is a cropped scan of the area that bothered me. I had hoped to create a sense of the white area of the paper around the image flowing into the arm and flowing into the composition. But by showing an abrupt change between the arm above the water and below the water, that wasn't working.
I hadn't realized how important that issue was to me. So I decided to make the changes in the block and run the edition again.
Here's a cropped scan of the area after I made the changes in the block and opened up the area so the white had a better chance of flowing into the composition.
This brings up the issue of what happens to the 34 prints in the edition that I now don't like. Thankfully this hasn't happened to me before. There is always a need for paper to run proofs upon and the back side of proofs or, in this case on the back side of an edition is the answer for proofing paper. The paper I use is expensive and I try not to waste it.
Now the issue of "limited edition" comes up. What happens to the edition that I printed first? Well, I have made an X across each print in that edition with a permanent marker and I will use the edition as proofing paper by printing future proofs on the back side of these, then tear them up and send them to recycling.
On my previous post I mentioned that the block had a subtle cancellation, in preparation to sending the block on to the Hamilton Wood Type Museum. Can you see the "cancellation" change up there in the crop of the revised area by comparing the "before" with the "after"? I will now find another area to create a subtle cancellation in the block.
In conclusion, I find that (for me) one of the most difficult moments in the process of creating a print or drawing is making the decision of when to leave it alone and quit.