Life on Venus?

         There has been much recent excitement over the report that scientists have discovered levels of the chemical phosphine in the atmosphere of the planet Venus.  This is exciting because phosphine is produced by microbes and thus could be an indicator of life on Venus or, to be more specific, in its atmosphere.  If you haven’t seen the news, you can read about it here.  Of course the idea of life on other planets is also of great interest in the field of speculative fiction, so today I’m leaping straight from the cautious scientific possibilities of hypothetical microbes to imagining complex and potentially intelligent alien life.
        First, a quick review of how sci fi writers have imagined Venusian life in the past: Venus is often called Earth’s twin, and in the early days of science fiction Venusians seemed as plausible as any other space aliens.  First Venus was generally understood to be tropical jungle and/or largely oceanic, then it was presumed to be harsh desert, in both cases with the appropriate fauna.  I haven’t read or seen any of these myself, but according to various sources the Venusians may include creatures that are a blend of elephants and horse-flies (Fred. T. Jane, 1897), spider-like shelks (Charles R. Tanner, 1930’s), serpent or lizard people (Lumley and Lovecraft, 1930’s), green humanoids (C.S. Lewis, 1940’s), giant frog-like amphibians (Captain Marvel, 1940’s), Aphrodite-worshipping fairies (Wonder Woman, 1942), grinning cones (“It Conquered the World” 1956), three-eyed chefs (“The Twilight 

Zone” 1961), animated plants (Arthur C. Clark, 1960’s), three-headed green Fearians (“Challenge of the Super Friends” 1978), horse-sized bees (Jacqueline Susann, 1979), snakes with sulfur blood (Ben Bova, 2000), or many other variations, especially of humanoids and dinosaurians.  It seems that a very high proportion of Venusians are either driven to extinction by humans, or do their darnedest to drive humans to extinction.
        Sci fi is concerned with exploring big questions such as war and peace, relationships with the “other,” evolution and extinction, what it is possible to do and whether it is right to do something just because it’s possible… and of course, sometimes it’s also simply about telling a rip-roaring adventure yarn.  In any case, when writers imagine aliens, it’s about the story they’re trying to tell, influencing whether the aliens are more or less intelligent than humans, more or less aggressive or warlike, more or less enlightened, and so on.  But I’m not telling a story here, so I’m just thinking about what sounds cool to me!  If life were to exist on Venus, it would probably have to exist in the particular level of the atmosphere where the temperature and pressure levels are not quite as extreme, but even there the atmosphere is full of sulfuric acid.  Any life in this “cloud deck” would clearly have to be quite different from life on earth.  Again, however, I’m just imagining what sounds cool, so I look at these various factors and imagine… jellyfish.  If life had actually evolved in the oceans of Venus before runaway greenhouse effect turned the planet’s surface into a searing hot hellscape, why not have aquatic life adapt to move up into the atmosphere?  And what aquatic life would be more suited to floating up into the clouds than jellyfish?  Here are a few fun facts about jellyfish that make them seem particularly plausible as candidates to evolve in the oceans of Venus and then continue adapting as conditions there changed.

   * Jellyfish are the oldest multi-organ animals on earth, making them basic enough to evolve in the first place, with plenty of time to evolve further.
   * Jellyfish are the most energy-efficient swimmers of all animals, so they need relatively less energy to get around.
   * Jellyfish have a variety of ways to reproduce, including asexual budding and sexual combining of egg and sperm; and different species have all manner of variations in their life stages.  All this variety makes it more possible that some version might be adaptable to any of the changing conditions Venus might throw at them.  Whether they need to anchor or swim free, protect developing polyps or broadcast them through the ocean, there’s a jellyfish that does it.
   * Some jellyfish have mutualistic algae growing inside them, and others have symbiotic relationships with single-celled planktons, giving them yet more ways to collect and process energy and nutrition, and yet more possibilities for different ways to interact with their environment.
   * Jellyfish often benefit from disturbed ecosystems, such as lower oxygen, higher salt, or turbid water, which implies that they would be more likely than many other species to survive and adapt to catastrophic changes to their environment on Venus.

        So, imagine a world that is a narrow band of cloud encircling a planet.  Imagine not just your most stereotypical image of an Earth-ocean jellyfish, but every sort of ecological niche filled by the descendants of jellyfish-like creatures.  Huge balloons the size of whales could drift through the clouds dangling kilometers of winnowing tentacles as they feed on vast swarms of single-celled creatures or tiny jellies only a few millimeters in size.  Other jellyfish could live in the lowest band of the cloud deck, scavenging the creatures that lose their buoyancy and sink.  There could be swift-moving jellyfish, having bells that can expel spurts of gas like a deflating balloon, sending them shooting through the clouds either as predators or as prey.  Various senses could have evolved, including sight, sound, and smell, but also different ways of perceiving their world, such as sensing heat or electrical currents or vibrations.  There 

could be jellyfish that evolved ways to move and control their tentacles more precisely, so that they might be capable of all the physical manipulation made possible for humans by upright stance and opposable thumbs.  There could be jellyfish large enough that other sorts of jellyfish build cities inside them, forming symbiotic relationships as island city-states floating through the atmosphere.
So that’s what I’m imagining.  What about you?  If there were to be life on Venus, what do you imagine it could be like?

[Pictures: Plate 78: Cubomedusae;

Plate 36: Leptomedusae;

Plate 26: Trachomedusae;

Plate 46: Anthomedusae;

Plate 88: Discomedusae;

Plate 16: Narcomedusae, all from Kunstformen der Natur (Art-forms of Nature) by Ernst Haeckel, lithographs by Adolf Giltsch from drawings by Haeckel, 1904 (Images from Wikimedia Commons).]

Dancing with Color

        Back in early May I had a craving for something bright, colorful, energetic, and cheerful.  Quite probably this grew out of sheltering-at-home and the oppressive grey feeling of so much of life these days.  At any rate, most of my block prints are black and white or maybe another dark color or two, and I wanted something brighter.  My mind turned to Matisse collages.
        When I used to teach middle school art full time, one of my favorite projects was Matisse collages.  We looked at the collages Henri Matisse (France, 1869-1954) made in his collection Jazz, and analyzed the color schemes and emotional impact, and the way Matisse used the colored paper.  He didn’t just cut out various shapes and glue them down, positive space on a background.  Rather, he cut out shapes and then used both those shapes and the leftover pieces of paper from around those shapes: negative space.  After we talked about all this, I let the kids loose on the Fadeless Art Paper, which is sheer artistic heaven.  Unlike the 5 or 6 coarse, dull colors of cheap construction paper, Fadeless Art Paper comes in 20 or more rich, intense, smooth, luscious colors, in large 18x12 inch sheets.  (Do I sound like an advertisement?  I promise, I’m getting nothing from Fadeless for saying this!)  It is absolutely impossible for any child and most adults to see an array of this paper and not want to get right to work.

        Now, every time I assign a project to my students, I do it first, and the samples I had made for this Matisse collage project particularly pleased me.  Further, I would always make mini-collages out of leftover bits and scraps of paper while the kids worked on their assignments, and these collages are almost certainly my favorite abstract art I’ve ever done.  So when I craved bright color, I thought about the collage designs I’d done and decided to turn one of them into a print.

        My first thought was to do a separate block for each color, but then I decided I would try something new, and I devised a scheme to make stencils for each color.  So essentially the concept of this print is like silkscreen (which is how Matisse’s collages were reproduced), except without a screen to hold the stencils in place.  Definitely a rough-and-ready poor-artist’s version of the concept.
        Step 1 was to adapt the design to an aspect ratio that would fit better in a standard frame size AND could fit on 8.5x11 paper.  
        Step 2 was to make the outlines of all the shapes on the computer and then print 5 copies on lightweight card stock.  (Hence the need to fit on standard sized paper that could go through my printer.)

      Step 3 was to cut out the shapes with an x-acto knife.  On each of the five sheets I cut out all the shapes of one color.  (I had also had to do some slight modification to the design to ensure that there would be no untethered bits of card: no islands of color anywhere.)
         Step 4, to print, I laid down the first stencil and pounced the first color of ink through the cut-out areas.  I did only one color each day, and it was quite laborious — not nearly as much fun as printing blocks with a brayer!
        This method made for the occasional messy place when ink got under the edge of the stencil, and it was enough of a pain that I do not have any plans to do any more, despite having another design prepared.  Still, as an experiment I think it was 

pretty successful, and I am quite pleased with the bright, colorful, energetic, and cheerful final piece, which is just what I had been needing.  I hope it brings a little cheer to others, as well!

[Pictures: Dancing, collage by AEGN, c 1993;

Dancing, stencil print by AEGN, 2020;

Untitled mini-collage by AEGN, c 2015.]

Art Changes People

        It’s been a while since I quoted someone at you to prove again how important art, fantasy, and imagination are, but as we watch the swirling storm clouds over a world that cries out for change, it seems a good time.  First, here is writer Rebecca Solnit acknowledging the sometimes deep and invisible roots of change:

        After a rain mushrooms appear on the surface of the earth as if from nowhere. Many do so from a sometimes vast underground fungus that remains invisible and largely unknown. What we call mushrooms mycologists call the fruiting body of the larger, less visible fungus. Uprisings and revolutions are often considered to be spontaneous, but less visible long-term organizing and groundwork — or underground work — often laid the foundation. Changes in ideas and values also result from work done by writers, scholars, public intellectuals, social activists, and participants in social media. It seems insignificant or peripheral until very different outcomes emerge from transformed assumptions about who and what matters, who should be heard and believed, who has rights.

        Ideas at first considered outrageous or ridiculous or extreme gradually become what people think they’ve always believed. How the transformation happened is rarely remembered, in part because it’s compromising: it recalls the mainstream when the mainstream was, say, rabidly homophobic or racist in a way it no longer is; and it recalls that power comes from the shadows and the margins, that our hope is in the dark around the edges, not the limelight of center stage. Our hope and often our power.

        Of course I want to call attention to Solnit’s mention of the work done by writers, and add to that the work of artists.  One part of our job is to bring forth the mushrooms of imagination, taking tiny mycelial threads of ideas and popping them up into the white stalks and frilled and spotted caps that others may notice, and consider, and perhaps remember.  Our mushrooms loose their spores into the air, millions of miniscule specks, like particles of smoke, of which we never know when, whether, or where one may land in a hospitable environment and lead in time to the mushrooming forth of further imagination somewhere else.

        I try to avoid politics in this blog largely because, while I do not wish to be an ostrich with my head in the sand, nevertheless we all need places we can go to have respite from the stress.  Still, I have always maintained that art and writing do not exist merely as the negative space of not-stress.  They have an important job to do as the positive space of helping us imagine a better world, so that we can move toward it.  At times like the present I find it easy to feel like my small-time art and writing are not much, certainly not enough, and perhaps really a waste of time altogether.  And that’s when it’s important to remember the simple but powerful words of artist Joey Hartmann-Dow:

        Art changes people, and people change the world.

[Pictures: Wood block prints from The herbal, or, Generall historie of plantes by John Gerarde, enlarged and amended by Thomas Johnson, 1636 (Images from Internet Archive).]

Quotations from Hope in the Dark by Rebecca Solnit, 2016 (as quoted by Maria Popova in “Brain Pickings”), and Joey Hartmann-Dow as quoted in Friends Journal, June/July 2018.

Abstract Prints by Drewes

        In the last post I shared a number of figurative wood block prints by Werner Drewes  (1899-1985, Germany/USA).  They were of a range of levels of realism, but all had recognizable subjects.  Today I’ll share a number of wholly abstract pieces by Drewes, because he is somewhat unusual in working extensively with both modes of expression, holding his own in the face of art-world fads.  What’s also somewhat unusual is that I really like a lot of his abstract stuff!

        To continue with the transition from representation to abstraction, the first piece today is called Islands, and it is definitely identifiable as such when you know what you’re supposed to be looking at.  I just love the colors, and I think the faceted shapes wonderfully capture the scintillation of sun on waves.

        The next two pieces also have titles that reveal Drewes’s real-world inspirations and give the viewer a hint about what’s being expressed.  However, they both are just one little step more abstract because I don’t think you’d guess the subjects just from looking at the pieces.  Want to try?  When you’ve made your guesses, you can check on the titles in the information at the end of the post.  So, did you know?  But even if you didn’t guess correctly, now that you know, look at the pieces again: the violent colors and sharp, stinging shapes of the purple one, and the warm, bright sparkles of the yellow one.  Now that you know what to look for, you can really see what Drewes was getting at, can’t you?

        I think all three of these color woodcuts have five colors each, and were carved and printed with five separate blocks each.

        Drewes also made abstract pieces with titles based on abstract concepts rather than tangible objects.  I didn’t pick any that were exactly that, but this next piece is entitled Intrusion, and clearly is more about capturing a feeling than just a purely physical description.  It’s an interesting balance of precise geometry and rough carving.

        The next piece is one of 10 prints from the portfolio It Can’t Happen Here, which Drewes made in 1934, after he had emigrated to the USA, fleeing from the rise of Nazism in Germany.  Although the individual pieces in the portfolio have purely abstract titles (Composition X), the overarching title leads me to see the predominant dark areas as oppressive and the sharp darts and angles as threatening.  It’s a title that I find particularly haunting in our present political climate.

        As the final piece today I share Dynamic Yellow, a title which gives the viewer no context, emotional cues, or message about how to interpret what they see.  This is pure abstraction, in which the only subject of the piece is itself, its own shapes and colors and composition.  I find it surprisingly pleasing, as I would have predicted that I wouldn’t care for the color combination or the primarily rectangular shapes.  It appears to use 8 inks, probably with 8 blocks.  I would love to see how Drewes came up with this composition, since wood block prints can’t be done as spontaneously as paintings, with modifications and going-with-the-flow changes.  (Though it is possible, of course, that he designed it first in painting, and then translated to printmaking.  That’s somewhat how I made my piece Dancing, which I think I’ll post about soon.)  How does this one make you feel?  How do you respond to it?

[Pictures: Islands, color woodcut by Werner Drewes, before 1971;

Scorpion, color woodcut by Drewes, 1946;

Summer Garden, color woodcut by Drewes, before 1969;

Intrusion, woodcut by Drewes, 1974;

Composition X - Dynamic Rhythm, woodcut by Drewes, 1934;

Dynamic Yellow, color woodcut by Drewes, 1982, (All pieces from Smithsonian American Art Museum).]

Figurative Prints by Drewes

        Werner Drewes (1899-1985, Germany/USA) was a prolific artist who worked in many media, including several different types of printmaking.  According to Wikipedia, he produced 418 woodcuts during his life.  He did both figurative and abstract works, and I found so many I wanted to share that I’ve decided to do two posts sharing his work.  The first will feature his representational wood block prints.

        Drewes studied at the Bauhaus in its early, experimental years, where his teachers included Lyonel Feininger, Wassily Kandinsky, and Paul Klee, all of whose influence is clearly visible in some of his work.  He was also one of the first pivotal artists to bring Bauhaus style
to the American art world.  In some ways I wonder whether he wouldn’t be more famous in his own right if he had been less versatile.  The range of his work is downright chameleonic, which I find absolutely marvelous, but it does mean that he doesn’t have such an identifiably distinctive style of his own to point to.  Not that he lacked success in his own lifetime; he seems to have done very satisfactorily both financially and critically.  He also had a long career as a teacher (during which he modelled his teaching style on that of Kandinsky.)

        Of course, by picking my favorites to share with you, I have necessarily culled out some breadth of variety.  Nevertheless, you can see that he does both black and white and color, both fairly realistic to fairly abstract (and you’ll see the even more abstract stuff in the next post).  The locust is possibly the least typical of his works I’m sharing, but I just loved it too much to leave it out.  The storm cloud over the Southwest is also a little more
starkly angular than is typical, but shows off well Drewes’s wonderful sense of color.  It looks like he used three blocks: orange for the mesas, plum that somehow works for both rocks and clouds, and the background, which has an ombre that shades from yellow to grey, changing the character of the colors on top.

        Next up are two early works.  The waves are more controlled and stark, while the forest brook is more expressionistic in its rougher carving and less even inking.  However, they both demonstrate the quality that I think is so appealing in Drewes’s work: the ability to imbue his pieces with a warmth of emotion regardless of style or technique.
        Contrast those two earlier scenes with one from fifty years later.  This pond is certainly
more detailed, but he’s still got that expressionistic roughness to his carving.  However, I think the roughness is deceptive because he’s absolutely masterful in the way his gouges do exactly what they need to do, black against white, white against black, both against textured backgrounds, so that you see not only trees, hills and sky, but details of reflections and ferns, dark and light.

        Next are two landscapes from the early 70’s (an era of printmaking about which I don’t usually have much to say).  These both make really fun use of layered inks, geometry, and pushing that line of representation versus abstraction.  The forest on top looks a little more random in its streaks and tailings of carving, while the Greek island below looks a bit more planned and controlled.  The layering of white ink is particularly interesting in giving some texture to the otherwise flat planes.  It looks as if Drewes printed with black and then printed the same block with white almost directly on top, but just enough offset to give those little shadows to create depth.  Both these pieces have wonderful colors.

        Finally, for a little bit of variety, people.  These women are not very detailed, and look as solid and worn as the architecture.  They have probably worked as long and hard at their jobs as Drewes did at his — and there’s even the suggestion that they may be having some fun with it, as Drewes clearly did, too.

        Tune in next time for the Abstract Prints of Werner Drewes.

[Pictures:  Locust (no.205), woodcut by Werner Drewes, before 1968;

Storm Cloud, color woodcut by Drewes, 1977;

Rock in the Surf, woodcut by Drewes, 1921;

The Little Brook, woodcut by Drewes, 1930;

The Beaverpond, woodcut by Drewes, 1980;

Sunlit Forest (Autumn Forest), color woodcut by Drewes, before 1971;

Mykonos I, color woodcut by Drewes, 1974;

Housecleaning (no. 259), woodcut by Drewes 1966
(All images from Smithsonian American Art Museum).]

Words of the Month - Johnson's Dictionary

        Samuel Johnson (England, 1709-1784) was a writer, critic, and lexicographer whose dictionary, published in 1755, had a huge influence on the English language.  There had been a number of dictionaries published before Johnson’s, but they tended to concentrate on “hard words” rather than being comprehensive, to have poor definitions, and to fail to indicate how words were actually used.  Johnson took about eight years to produce his dictionary at the instigation of a group of publishers who saw the demand.  It included 42,773 entries in the first edition, which made it the largest dictionary of the time, but this was still perhaps only a quarter of the words in the language.  Among the words Johnson left out were all those beginning with the letter J before jubilant: everything from jab through joy.  Oops.  It also gave few guides to pronunciation and its etymologies were weak.  On the other hand, it included not only definitions of multiple senses of words, but frequent notes on usage and literary quotations.  It became extremely popular and was considered the definitive English dictionary until the completion of the Oxford English Dictionary more than 150 years later - and this despite its enormous size and expense which apparently only about 200 people a year could actually afford.  (It was the abridged edition that actually sold well.)  It became the model for both how dictionaries should be made and how entries should be presented.

        Johnson’s dictionary was also widely lauded as an incredibly impressive feat of scholarship for a single person to have completed, and it is most definitely the work of one single man, displaying his own personal opinions and quirks.  Some of his more famous editorial and humorous comments include the definitions

finesse - artifice; strategem: an unnecessary word which is creeping into the language (I include this because of the editorial comment - Johnson tended to disparage all things French, as is evident below - but it’s also interesting to note how his definition differs from the current meaning.)

lexicographer - a writer of dictionaries; a harmless drudge…

monsieur - a term of reproach for a Frenchman

oats - a grain which in England is generally given to horses, but in Scotland supports the people

patron - one who countenances, supports, or protects.  Commonly a wretch who supports with insolence, and is paid with flattery

        (I have also seen the following quoted as humor or editorializing:

luggage - any thing cumbrous and unweildy [sic] that is to be carried away; anything of more weight than value    

But judging by the quotations with which Johnson illustrates the word, I tend to think it is actually a serious definition.)

        I also want to share with you some of his less-famous words.  Johnson’s dictionary includes a number of entries that are no longer present in my standard “college” dictionary, and some fun ones are

ariolation or hariolation - soothsaying, vaticination  (Johnson’s source for this word is Thomas Browne, whose contributions to the lexicon I discussed previously.)

clancular - clandestine; secret; private; concealed; obscure; hidden

cubiculary - fitted for the posture of lying down

     and also discubitory - fitted to the posture of leaning

digladation - a combat with swords; any quarrel or contest

        Johnson’s birthday is coming up, so on September 18 you might spare a moment to appreciate the work, scholarship, and occasional snarkiness of one of the English language’s most influential lexicographers.

[Pictures: Samuel Johnson, engraving by P. Maverick from a drawing by W.H.Brown, 1811 (Image from Internet Archive);

Horse, wood block print from A Farmer’s Alphabet by Mary Azarian, 1981.]

Jakubowski's Fairy Tales

        Stanislaw Jakubowski (Poland, 1888-1964) is a Polish artist about whom I have very little information.  However, he made 10 woodcuts illustrating Kraina slowianskich basni (Land of Slavic Fairytales) in 1929.  For this series, at least, his style is very dark and shadowy with only a few white lines to delineate form and texture.  The fineness of the lines and hatching give these almost the look of wood engravings, but there are certainly some thicker gouges, as well.  Also, I’m not sure how large they are.

        We’ll start with the dragon, because a good dragon is always a winner.  Note that this one has no wings; otherwise, however, it’s a classic.  Plus, I like the bright area in the background: moonlit clouds, perhaps?

        Another classic creature is this basilisk — not the version that’s been conflated with the cockatrice, but the true King of Serpents.  It clings to a most excellent gnarled tree, something Jakubowski clearly enjoyed depicting, as similar trees show up in several illustrations.  But I especially like the touch of fantasy in the plants.  The vine at the left has a distinctly whimsical vibe.

        And finally, Baba Yaga’s chicken-legged hut.  This is a subject that’s been in the back of my head for a long time as something I would enjoy doing.  Baba Yaga is an interesting character who deserves her own post some time, but she is, basically, the most famous witch in Slavic folklore.  In Jakubowski’s version there is a crow or raven perched outside, and a girl is sitting by the door or perhaps climbing down the ladder.  I assume these details are specific to the particular story this piece illustrates.  Another interesting touch is that while Baba Yaga’s hut is usually said to be in a forest, the plants in Jakubowski’s version appear more like weeds enlarged to forest scale - or perhaps the house
is shrunk down to something more like actual chicken size.  In it you can see again Jakubowski’s predilection for whimsical botany.  The faint pin-prick suggestion of very circular clouds in the sky is also reminiscent of the brighter clouds behind the dragon.

        I did share one more of Jakubowski’s fairy tale illustrations previously.  You can see his will-o-the-wisps here, with another gnarled tree.  The very dark style with only the wispiest of white lines works particularly well in depicting faint, mysterious faerie flames.  I think his work is great and I’d love to see more some time.

[Pictures: Dragon;

Basilisk;

Baba Yaga’s Hut, all woodcuts by Stanislaw Jakubowski from Kraina slowianskich basni (Land of Slavic Fairytales), 1929 (Images from lamus dworski).]

Here's Something Cool: Mysteryes of Art

        John Bate first published The Mysteryes of Nature and Art, his illustrated compendium of mechanical and technological instructions, in 1634.  It proved popular for its practical instructions for how to make various fireworks, waterworks, art, and “confusedly intermixed” “extravagants.”  The book is most famous because it was a favorite of young Isaac Newton, said to have inspired him  to study science - especially in the matter of fireworks and colors.  Although there are fascinating projects described and illustrated throughout the work, I have chosen to show you some of Bate’s information about art.

        First, I give you a couple of recipes in which Bate instructs the artist on how to make colors, which makes up a major proportion of his advice.  Keep in mind that pre-made paints and inks were not available from your local craft store in the seventeenth century.  An artist had to be a chemist first.

        A Purple colour.  Take two pound of Heidleber, two ounces of Allum, halfe an ounce of ashes of Copper, halfe a pound of water; put them into a Skillet, and let them boyle till a third be consumed: when it is cold, straine it into a cleane vessell, and let it stand a while, then straine it into another, and then let it stand till it be thick enough.

        That sounds complicated enough, but rational.  However, apparently an artist had to be an alchemist, as well.  The following instructions seem to include more than a little magic:

        To write a gold colour.  Take a new hennes egge, make a hole at one end and let the substance out, then take the yolke without the white, and four times as much in quantitie of quicksilver; grinde them well together, and put them into the shell; stop the hole thereof with chalke, and the white of an egge, then lay it under an henne that sitteth with sixe more, let her sit on it three weeks, then breake it up, and write with it.

        Of course I’m most interested in what Bate has to say about printmaking.  His first edition covers only copper engraving and etching, but in the second edition, published the next year, he includes an extensive section on engraving in wood.  He says The working is farre more tedious and difficult than the working in brasse… when you have cut it so that it may be pickt out, yet if you have not a great care in picking it out, you may break out a part of your work, which may deface it…

On the other hand, for those inconveniences an Artist may finde in the practise thereof, this is one commodity he shall gaine; he shall be private in his designes; for he himselfe may print them when they are cut…  Bate and I are on the same wavelength there: much of the fun of relief printmaking is the ability to draw the design, carve the design, and print the design all myself.
        It’s fun to see how many different skills were required for the art being made 400 years ago.  I don’t think I would have been up to it.

[Pictures: frontispiece to Of Drawing, Limming, Colouring, Painting, and Graving;

A very easie way to describe a Towne, or Castle: being within the full sight thereof;

Of Gravers, all wood block prints from The Mysteries of Nature and Art (second edition) by John Bate, 1635 (Image from Internet Archive).]

Summer Vacation: UK Edition

        It’s time for another armchair trip with block prints, and today we’re heading for the UK.  I actually don’t have many proper British scenes of my own to share, but we’ll begin in the small Lancashire town of Yealand Conyers.  I visited here in 1987, where I made a sketch of the wonderfully “quaint” buildings visible from my hostel window.  (You can see the sketch here, in the first picture.)  I didn’t then use it as the basis of a block print until 11 years later, when it was one of my earlier rubber block prints, made only a year or two after I really started working with rubber block prints as my medium of choice.

        We skip up to Scotland next, for another of my faux woodcuts from The Extraordinary Book of Doors.  This door is in St Salvator’s Chapel in the University of St Andrews.  It dates to the fifteenth century.  I’ve also posted some other artists' block printed views of Scotland, which you can revisit:

Waverly train station in Edinburgh

Highland landscapes

Plus a post that serves as our transition, with coastal views in both Scotland and all the way down in the East of England.

        From here we will visit another church door, this one from St Bartholomew-the-Great in London.  The design in the upper corners is supposed to represent William Bolton, who was prior from 1505-1532.  It’s a crossbow bolt through a cask or tun.

While we’re in London, here are a couple more landmarks by E. White

And two views of nearby Ely Cathedral to round out our string of churches.

        That’s all I have from the UK, but I may as well throw in an English-speaking bonus from the antipodes.  This fern actually represents the fiddlehead of a tree fern in New Zealand.  The original is about life size, the size of a curled fist.  I love ferns of all sorts and am pretty much completely nuts about tree ferns.  I took about a thousand photographs of them while in New Zealand, and based this print on one.

        I have also previously shared some of A. Laurence’s views of Australia, which you can revisit,

plus a kangaroo.

        And after that it’s time to come on home, our block-printed travel completed for the summer.  I hope you enjoyed some of my views of different parts of the world that I’ve been fortunate enough to visit in the past.  I hope we’ll be able to  travel again safely before too much longer.  In the meantime, don’t forget the interconnectedness of the whole Earth, both nature and we people who are inextricably intertwined, in relationship with each other and everything else around the world.

[Pictures: Window at Yealand Conyers, rubber block print by AEGN, 1998;

Plate X; Plate XXII, illustrations from The Extraordinary Book of Doors by AEGN, 2014;

New Zealand Fern, rubber block print by AEGN, 2000.]