Here's the final carbon transfer. I'll go in with a micron and add some details then wash with white spirits and get ready for a first ink pass, something very light and likely with a good amount of extender within the sky.
Here I am midway through the transfer process. For me, I take my original sketch and trace it with tracing paper. I then take the tracing paper and flip it. I'll tape down carbon paper to the surface of my lino, then tape my tracing paper, reversed, on top of that. Using a ball point pen (mostly for color and hardness) I'll go in an trace over my tracing. The initial drawing is loose and somewhat imprecise, but serves as a good starting point for the inking and carving process.
Since this is a reduction cut, not a multi-block cut, there is some amount of organic development in the process that's not quite known yet and doesn't really require or want much planning in the drawing just yet.
In 2016 my wife and I visited Ireland and stayed in Doolin, County Clare for a week. We had the most incredible stay in a cottage overlooking The Cliffs of Moher, a world site in my opinion, but one that we didn't even know about until we arrived.
Since then I've been sitting on this quick sketch with the intent to do a larger reduction print from it. Well, I think now's the time.