'The Invisible Collection' is a short story included in the collection 'Kaleidoscope', published by Stefan Zweig in 1934. It should be of special interest to anybody who loves woodblock prints ...
This barely fits in the category of Exhibitions, but I can't figure where else to list it.
As many of you know, we just returned about a week ago fron=m the IMPACT conference in Bertlin and Poznan, Poland. The show was great in so many ways. We had a chance to talk with numerous artists, including April Vollmer, from places like Poland, Estonia, Lithuania, Germany, Great Brtitain, South Africa, and of course, the U.S.
The turnout was good, the comraderie was great, there were a few ideas for new products, and we got a ton of pictures. I just can't figure out how to post them here. Check out my blog for updates. I'll try to get back to a regular piece now that things have settled back to normal again.
Dean
Hi all,
This past summer I was able to attend two Japanese woodblock workshops.
One at a local community college taught by April Vollmer (and where I served as her unofficial TA) and I one at the Penland School of Crafts, a two-week workshop with Keiji Shinohara. In April's class
I complete one print (San Francisco de Asis)and in Keiji's class I completed 3 prints--as well as practiced bokashi. If I've done this correctly (this is my first blog posting), I'll have 4 images along with this entry.
Take care,
frank
Hi everyone. Here are a couple of brand new woodcuts. These images are from an abandoned nuclear plant construction site in South Carolina. The reactor was about 3/4 built, then they just abandoned the project. That was more than 20 years ago and the site has remained untouched (except for lots of fresh shotgun shells and beer cans). It's a very eerie, surreal place.
I climbed to the top of this tall observation tower that overlooks the whole site. I was unable to get onto the little deck at the very top because a hawk had built a huge nest over the entry hole. 2 hawks were circling the tower the whole time I was on it. I guess they were making sure I wasn't there to evict them.
Technical: 4 colors each, 1/4 inch birch plywood, Graphic Chemical litho inks on Arches Cover through the ol' Dick Blick Econo-etch.
Also, I just totally redesigned my prinmaking web site: www.danielallegrucci.com so check it out. Thanks, Dan Allegrucci
To keep track of the colors I used, I listed them on the back of the block.
I've also posted my "kento" method, it worked for me.
Also, in case anyone is interested, I started with 25 prints and finished with 20 good ones, so only 5 wasted.
Here's my newest print! 29 colors, lino block, on hosho student paper using graphic chemical water based inks. Kento registration.
I carved this over the summer as an anniversary present for my husband. It's a creative redrawing of the Norman Keep at Castle Cardiff. Bill tweaked it from a friend's photo to make it look more like his business logo. Perfect for my purposes! The castle is Bill's, the bucalic scene is mine.
The trick has been to keep him from seeing it before the 9th. I'm fairly confident he won't look in here. ;->
Woodcut on Baltic birch, 9"x12". I utilized the direction of the grain for the cloud action, but it fought me all the rest of the block. I'm wondering if Belinda DelPesco's technique of staining the block then using polyurithane wouldn't have helped with all the chipping. I may try that for the next one.
This is a watercolored etching. I used cool primaries to color it. I'm always mixing up my warm and cool blues, so I'm hoping this will help me keep them separate. Next is a dragon all in warm colors.
