Words of the Month - Ophidian Etymologies

         In honor of the Year of the Snake (which we celebrated with block prints here), today’s words of the month are all words for snakes.

        ophidian - Not exactly in common usage, this is a fancy word meaning “snake-like.”  It comes from the Ancient Greek word for “small snake.”  It now also refers (scientifically) to a group of reptiles including all snakes and a few other reptiles that are more closely related to snakes than other lizards.  But let’s get back to the basics…

        snake - from Old English, from a root meaning “to crawl; creeping thing”

        serpent - from Latin, also from a root meaning “to creep.”  This is the same ultimate root that in Greek became herpeton, which gives us our scientific word herpetology, the study of reptiles and amphibians.  Serpent is the word that was used to translate the tempter in Genesis, which certainly hasn’t helped its reputation.

        viper - from the Latin word for “snake,” which comes ultimately from the same root meaning “to live” as in vivacious.  In English (in the early 15th century) the meaning narrowed to refer only to venomous snakes.

        venom - this comes by way of French, from Latin, in a long series of shifts in meaning: poison, from drug or medicine, from charm or seduction, from love potion, from a root that meant “to desire” and also gave us Venus.

        adder - from Old English, originally a word for “snake” in general, the sense narrowed to the venomous viper of Britain.  However, the word was originally nadder, and lost its N through faulty separation, which you can read about in the post The Wandering N.

        python - This was the name of the individual giant serpent that Apollo vanquished near Delphi.  The name became the word for particularly large tropical constrictors, beginning via French around 1580.  You can see a post about some other eponyms, What’s in a Name.

        boa - The boa was a kind of large snake mentioned by Pliny in the 1st century CE, but no one knows where that name came from.  By the 1620s the word referred to South American constrictors, and in 1836 it was applied to the scarf of fur or feathers wrapped, like a boa constrictor, around the wearer’s neck and shoulders.

        cobra - This means “snake” in Portuguese, being just the “snake” part of the Portuguese name meaning “snake of the hood.”  The Portuguese came from Latin colubra, another word for “snake,” which is “of uncertain origin.”  The Latin word also gave us colubridae, the scientific name for the largest and most diverse family of snakes, colubrine, which is another fancy word meaning “snake-like,” and Coulobre, the name of a monstrous serpent you can learn about in my post Unique Named Dragons.

        asp - The name of this venomous snake of Egypt entered English around 1520, ultimately from Greek.  Its name meant “round shield,” presumably because of its neck hood.

        From “creeping” to “living,” and from the Fall of humanity to the love potions of Venus, snakes have developed from some interesting roots.  I’m certainly glad not to live in a place where I have to worry about the dangers of snake bites, but I’ve always liked snakes.  How about you?

[Pictures: Rattlesnake, lino-cut by Christopher Wormell, from Teeth, Tails, and Tentacles, 2004;

Viper, linoleum block print by Sebastien G. Orsini from Dans le Mystere des Animaux Sauvages, 2011 (Image from Sebastien Orsini);

Cobra, lino-cut by Christopher Wormell, from An Alphabet of Animals, 1990.]

Intriguing Architecture

         Sometimes architecture is one of the ways that the world tickles my imagination and draws me to curiosity and wonder.  Today I’ve got a few relief block prints that depict magical architecture in various forms.  First is a wood engraving by Kouki Tsuritani that depicts a strange spiral building.  There’s nothing about this that would require magic, but it certainly is not an ordinary building.  Not only is the spiral shape mysterious, but the perspective lends ambiguity to the height, as well as to the form.  Is it an enclosed building with tall windows, or is it more of an arcade or colonnade?  Like many wood engravings, this is quite small and the lines are very fine, so that it looks very precise and detailed, but when you try to look at the little person in the doorway, you discover that it’s really very simple.  Still, with that conical hat in that mysterious building, it must be a wizard!

        Next are two linoleum block prints by Brian Reedy.  These are both much more explicitly fantastical, and both are cities in the sky.  Even so, they are quite different.  The castle on the cloud has a pleasing array of turrets and towers in the European style, and is a very satisfying  example of a classic idea.  Who wouldn’t want to explore this magical castle?  The castle on the moon, on the other hand, is Moroccan in style, and includes some interesting twists.  For one thing, the fact that the crescent is the solid shape of the moon, and not simply an illusion of shadow, leaving no doubt that this is created by magic.  Then the different scales of the moon, the buildings, and the lamps leave me wondering how a human would fit into the scheme.  There are also a few palm trees, which are sure to make living there much more pleasant.  I particularly like the windows poking out of the other side of the crescent, implying that the whole moon has rooms or at least passages inside.

        I’m also throwing in a wood engraving by Hilary Paynter, which is not really fantasy, although I can't believe that it's a real place, either.  Either way, it definitely tickles my sense of adventure and desire to explore.  This one is quite large and extremely detailed.  It’s possible that it’s a real place, but if so it certainly includes more than its fair share of cool stuff!  There’s that enormous ammonite fossil above the beach, and the stone staircase leading up over the boulders.  As you follow the path up, there’s the tunnel door, and the ancient arches, and the array of enticing architecture, including the building on the right that’s cantilevered out over the edge of the cliff.  I’d love to explore this island, but I’m glad I don’t have to make this hike every day if I lived there!

        Which of these magical places would you most like to explore?

[Pictures: Spiral, wood engraving by Kouki Tsuritani, c. 2022 (Image from Society of Wood Engravers);

Castle on a Cloud, linocut by Brian Reedy (Image from Brian Reedy’s web site);

Moroccan Moon, linocut by Reedy, (Image from Brian Reedy’s web site); 

Seal Island, wood engraving by Hilary Paynter, c. 2022 (Image from Society of Wood Engravers).]

Big Botanicals by Kubish

         I haven’t had a chance to do this in a while, but one of my favorite winter activities is visiting a greenhouse, where it’s warm, humid, green and growing inside, while outside the glass everything is monochrome ice and snow.  Aga Kubish is an artist based in the UK whose huge block prints capture a little of that spirit.  She makes huge linoleum block prints which take days to sketch and weeks to carve.  Her style is the traditional use of fine lines, cross-hatching, etc., but the size of the pieces gives them a different impact.

        This first one is the view that made me want to feature Kubish’s work on an icy February day: the Palm House I wish I had attached to my studio right now!  At 70x100 cm (27.5x39.5 inches) this piece would definitely make you feel like you were there.  And I always love a spiral staircase, too.

        This carpet of ferns is a little smaller (76x56 cm), but it’s still a fair bit larger than any piece I’ve ever done, and the fern fronds are about life sized.  I love how the many layers of shaded ferns give the piece depth.  I’m also interested by the composition with no obvious focal point, which is something I’m not bold enough to do in my own work.  I’ve always had a thing for ferns, so I find this really beautiful.

        Although most of Kubish’s work is botanical, I also thought I’d share this portrait of an incredibly curly, twirly, tangled jellyfish.  I imagine it was a lot of fun (and a lot of work) to sketch out all those interlaced threads.

        Sometimes I think about making larger pieces, but so far I’ve been daunted not only by the work, but even more by the thought of having to carry huge pieces around with me to shows.  I’ve already stopped bringing my posters to shows simply because they’re a pain in the neck to transport and display.  Still, it’s fun to consider what I might do if I had 2x3 feet to work in!

        If you want to know more about Kubish’s process, click on the links and go to her web site, where she’s got lots of photos and videos of the making of some of these pieces.  Meanwhile, those of us in the northern latitudes can look at these pieces and dream of growing things.

[Pictures: Palm House, linocut by Aga Kubish, 2022 (Image from seanestart);

Ferns, linocut by Kubish, 2021 (Image from seanestart);

Jellyfish, linocut by Kubish, 2024 (Image from seanestart).]

Boskone Panel Signpost

         This weekend I’ll be off to Boskone, another sci fi/fantasy convention, at which I’ll be participating as an artist and an author in all the usual ways: art show, reading, and panels on art and writing.  So today is another signpost panel, to highlight links that may be of interest to attendees at any of the panels I’ll be on.

• Block Print Workshop

        Step-by-step - If you click here (or on the label in the sidebar), you’ll get to a whole bunch of posts that give instructions for specific projects or techniques, from mini tile blocks and Provincetown white line blocks to collagraphs and trace monotypes.

        Handout - If you need to see the handout of instructions and materials that I provide at workshops, it’s always posted here.

• Legends Reborn - Folklore is at the heart of so many fantasy stories, but each culture’s legends bring something new to the table. Why does folklore have such power over us? Why does it endure? And how do authors honor these stories while making them their own?

        The Mythical Creatures label in the sidebar links to over 200 posts about creatures from folklore all around the world and through history, but if you want to focus it slightly, you can start with Mythical A-Z, and How to Make a Fantastical Creature.

        Magical Botany - 26 posts featuring magical plants from folklore

        Mythical and Imaginary Places - 26 places of folklore from A to Z

        The Beast - A post showing how 10 different artists have portrayed Beauty’s Beast.

        Some Favorite Fairy Tales - A post about what I personally find so enchanting about some of the iconic fairy tales.

        Selkies - A post touching on why shape-shifter stories are so universally fascinating, and how I used elements of this folklore in one of my own books.

        Baba Yaga Village - A case study of my adapting folklore in a block print.

        Cold Iron - A case study of my struggle to figure out how to adapt some traditional folklore into the modern world.

• Broad Universe Rapid-Fire Reading (plus Autographing and Book Launch Party.)

        I’ll be reading from Bittersweetness & Light, which you can learn more about here, and in these posts: launch, some art, and some full stories and a poem.

• The Art of Creating Fantastical Creatures - Dragons, griffons, and mermaids. What does it take to create a lifelike being that only exists in the artist’s head? What does an artist have to keep in mind when drawing imaginary beasts? How do you choose the right color palette? And how do you put personality into creatures who have no analog in real life to draw from?

        Chimeras - A post related to the “Chimera Principle” of creating creatures from elements of other creatures.

        Symbiote City - A post related to the “Jabberwock Principle” of balancing alienness with familiarity.

        A Touch of Science and Dracopedia - Two posts listing some books that offer inspiration and lessons in drawing fictional creatures.

        Working from Photographs - A post with case studies in how I use reference photos.

        On the Virtues of Beasts - My own book of fantastical creatures, plus lots of images to be seen here and here, including some discussion of how I came up with my versions.

• Selling Art Without Selling Out - From executing commissions for clients to selling prints online or at conventions, there are a wide array of ways to sell one's art. There is no one perfect way that fits each artist, and it can be important to maintain your own personal vision. Our panel of creators will discuss the pros and cons of different approaches and answer your questions.

        The Price of Art - A post on how I think about my pricing.

        Limited Edition - A post on the history and practice of limited editions of original art.

        Art Show Checklist, Show Preparations, and Portrait of an Open Studio Weekend - Three posts on the nitty gritty of participating in weekend art fairs.

[Pictures: It Takes a Flock, rubber block print by AEGNydam, 2021 (originals sold out, Image from NydamPrints.com);

Pet Peeves, rubber block print by AEGNydam, 2023 (Image from NydamPrints.com).]

Year of the Snake

         Welcome to the Year of the Snake.  It’s the year of the wood snake, to be specific, and while I was going to celebrate with wood block prints anyway, this just makes it even more appropriate.  Snakes are not as popular in art as, say, horses, and often when they do appear they’re cast in the role of the villain.  You can see some examples in my previous posts on the Oillipheist, the Serpent in Eden, and a sea serpent.

        Serpents have also appeared with many variations in mythology and fantasy, including amphiptere, ouroboros, amphisbaena, and basilisk.  Fantasy snakes are the only ones I’ve actually done block prints of myself, although I keep thinking I may get around to a garter snake at some point.  Today, though, I wanted to share some real life snake block print goodness.

First up is this amazing piece by M.C. Escher, which certainly has a touch of the fantastic, but with beautifully life-like grass snakes.  This piece is printed with three blocks, green, orange, and black, but even more interesting to me is that each block is only a third of the circle, and was printed three times to complete the whole 360°.  You can’t see the seams at all!

        The next piece seems very appropriate to the Lunar New Year, since it includes peonies and has the look of a paper cutout, both of which are auspicious symbols associated with New Year celebrations.  The snake is a garter snake, which is the kind I see around my house.  I’m very fond of them and I think this piece is particularly beautiful.

        Our next snake is out in the wild in a more tropical setting.  It comes from Robert Gibbings, who did a number of wood block prints in South Seas settings.  I find the composition interesting, as it is full and varied to suggest a jungle, but simultaneously very even and measured in the placement of each element.  Just like in real life, the snake doesn’t necessarily want to be a focal point, and blends with the lines of branches.  I don’t know what exact species it's meant to be, but it looks like some sort of boa.

        Today’s oldest snake comes from the Japanese Picture Book of Crawling Creatures from 1788.  Personally, I love to see these crawling creatures getting some love, and in the book they’re accompanied by poems.  This is a rat snake and looks quite masterful, although interestingly, its tongue is not forked.

        Finally, a dramatic snake among nettle leaves.  This one is a puzzle block print, which means it was carved as a single block, but the different colored areas were then cut apart, like pieces of a puzzle, in order to be inked separately.  The species of snake isn’t specified for this one, but it’s certainly a very handsome creature.  I hope it will be up to the task of bringing some good fortune this year.

        Plus, by all means revisit a very dramatic snake here in Lino Prints by Harris.

        You can’t get much more grounded than snakes, and this will be a year to keep yourself firmly supported by all the truly important things.

[Pictures: Snakes, woodcut by M.C. Escher, 1969 (Image from Escher in het Paleis);

Oracle, woodcut by Maarit Hänninen, 2025 (Image from MaaritHanninen.com);

Snake in Trees, wood engraving by Robert Gibbings, 1934 (Image from Burstow & Hewett);

Rat Snake, color woodblock by Kitagawa Utamaro from Ehon mushi erami, 1788 (Image from The Met);

Snake and Nettle, linocut by Kerry Pagdin (Image from the artist’s Etsy shop WaywardCitizen).]