illustrating six poems in the Sunday Review: “tax time no accounting for poetry”

The image concept was created keeping in mind being able to work with [ or around] an already existing text layout to be later displayed into the double page of the paper…so image and texts would be come as a ‘one’ versa having a text aside a rectangular shape image. This was the main challenge of this project, it required some fine tuning to make sure that the 6 poems would have their text spaces none obstructed by the art work. Fortunately, unlike with ‘taxes issues’ I was given no restrictions as far as the image is concern.

The New York Times-Tax Break - original linoleum cut print

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New York Times Sunday Review, paper version - Tax Break - double page — morning April 15th 2012

” The deadline for filing tax returns is Tuesday. Elbow-deep in the language of gross income, of capital gains and losses, of 1098, 1099 and W-2, we asked six writers: Is there any room for poetry? ” [ The NewYork Times quote]

New York Times Sunday Review, paper version - Tax Break - details showing the printed poems inserted into the art work

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New York Times Sunday Review - inline version

poems  no dot appear on the web  version inside of the art work, which makes sense otherwise their would not be readable [ two small], the very large size printed paper double page version allow [ on the contrary] to be displayed inside the blue areas. Taking advantage of size and background support is part of the  ’art’ equation.

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Creating the original linoleum prints:  drawing, cutting and printing process

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sketch for Tax break

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cutting the linoleum block — in progress

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cutting the linoleum block ready for printing

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linoleum block with printed image

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A friendly New Yorker reading the paper at the created page...

It is a strange feeling sitting near by someone actually reading the New York Times at the very same page one has been a contributor- [while all thoughts from the finished job are away]. Asking oneself ” so my image  contribution has actually a function ? ” This encounter made it up for all my assignment headaches, meanwhile I am not too sure if in the future I should take it less seriously or in the contrary more intensely …

☛ View more – poems on line [...]

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◊ Drawings linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012.

What to do with culture ‘G”? A silent but efficient tool of discrimination within French national  education system. Two  linoleum cuts to illustrate this issue published in Le Monde‘s weekend edition, Paris, April 14 th, 2012.

Keeping or getting ride of “culture G ‘?  A short cut for ‘ general culture’, a sentence that does not have much meaning in American Education. In France it has been an effective on going loophole tool to weed out generations of unprivileged students – regardless if their intellect merits equals the well-heeled one’s— hardly an embarrassment for a country that harbors the republic  slogan ” Equality, Fraternity ” – still driven by the same old privilege dynamics promoted by French King Louis’ dynasty. Le Monde titled it “ a rusted selecting tool”. In France, being an able student is not sufficient to get “A’s”, she/his still need to package with some rare ingredients aside the academic course  — it is impossible to even be aware of them  if not raised in a family that knows the bells and the whistles of it — to be good will never be good ‘enough’,  an invisible wall comes as a divider  — as a best scenario one may be lucky if looked at in a condescending way…

page, le Monde culture G, "la une"

Being clueless of  ’sophisticated ‘codes made me bare stigmatization, a phenomena that does not stop at school benches! Irony and pure luck  provided me with a fertile ground for tackling this assignment . What ever I succeed or I fail, praise or blame “Culture G”!

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original linoleum cut, Culture " G" la une

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double page, le Monde culture G

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original linoleum cut, le Monde , Culture G for the double page

Even so the linoleum cut has been created as ‘ONE’ single piece,  I had to keep in mind that it would split in ‘TWO’ parts in the final printed in a specific layout version on the 2 pages of Le Monde.

The action contrast of the image as been greatly enhance , the idea behind being of making an advantage result of what was set a a starting difficulty.It is important to notice as well that the colors are purposely very vivid in the planning that they will weaken down after the final mass produce printing phase onto the newsprint quality paper support.

Even so it is always interesting to challenge oneself on different avenue, I rather leave this sort of ‘image building’ to designer – as for my point of view this does not truly changes the foundations of my working methods because if the ideas come from the mind, at the end of the day  my hands would have still to physically deliver it…I deeply resent this educational approach that leads blindly people to mind oriented versa hand orientated final and only destinations, this absurd behavior would make only unbalanced and therefore dysfunctional and in completed human being, and it is nothing new to say that this gears towards a narrow vision of ‘productivity’ therefore a harm to individual as well as society.

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◊ drawings, linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012.

Presented as ” Zitat”, which stands for “quote” in German.

Published here as an opinion linoleum cut my work made its first presentation in Columbia Journalism Review, New York,  November/December 2005. A commission to illustrate in issue on vaccine under the title “Drug Test: Is a vaccine preservative linked to an autism? Politically, scientifically, and emotionally complex, the thimerosal question challenges journalism.”  It has been acknowledge that some cases are being feared to be reported by journalists, this is one of them .

DrugTest - linoleum cut 2005 13"x9.5"= 33x24 cm - 1st publication by the C J Review, New York

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Drug Test - GlobKult Magazine, Germany - web page

☛ Viewmore[...]

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◊ Drawings linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012.

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How I have responded to commissioned sensitive issues.

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Salut Mental

I don’t want to be so arrogant and pretend that my ‘speciality ‘ has become to respond to the visualization of the human struggle but I having being ‘label’ for being ‘So dark’, I believe it is Johnny Cash that was called ” the man in black “, but lets face it he had the guts to go and sing in jails song critical off the incarceration establishment – I don’t know if I will have ever the courage to volunteer teaching art in such a places even so it is possibly the most needed…lets face it art schools and art gallery are the privilege of a small segment of an’elite’ population. This is in part of the reason why my ‘art work’ lays out in newsprint rather that inlaid into silver or gold. If you want to see it go and get the newspaper in a recycling bean, it has no restriction of access …but it would not indulge you, flatter you …and rarely lie to you otherwise what would be the sense, and like a very dear and close friend would say : ‘ you may as well die!’

It is the “dying” theme that has invited me to start this page, not to be a party ‘pooper’ but rather because to respond to a new assignment on  ’ suicide ‘.

I have handle so far assignments on: dead, diseases, rape, torture, alcoholism, of course depression, ‘natural’ and not so natural environmental disasters, ‘terrorism’, jail riots, one of the worse being starvation…

In fact many years ago I already got an assignment on similar ‘suicide’ theme.  It came [at the time by fax] from Paris a 3:00 am, it was on a morning of Dec. 24. it was snowing in New York City and everything would have seem almost normal except for the fact that 2 hours before a friend [who had surgery the day before] and I barely made it out alive from her building fire escape , the entire place was burning.

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From an endless list – few links relating to the subject:

“Darfur Fleeting Moment ” - the New York Times Week in Review, May 21, 2006

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◊  drawings, linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012.

Workshop – a memo of my cutting instructions of March 28, 2012.

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How to carve a ‘block

Every students came to class with a drawing they wished to change into a carved image. At the beginning of the class they were given a grey block, by using cutting tool they ‘digged’  into it with the final intention to ‘ ink ‘ their blocks, ‘apply ‘a piece of paper over it and finaly ‘press’ it. The carving is done with the intention of creating a second independent image by ‘transferring’ it to the piece of paper, commonly called a ‘ print’, by doing so one obtains ☛ the mirrored image of one’s block ☚

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Carving a block  and  “how to handle patterns? ”

Here is the question that came out from my email feedbacks: “This is Peter from Steve Kennedy’s class. Can you give me some ideas, how to handle patterns? Thanks, Peter”

Because this hits right into the ‘core’ the “block cutting ” dilemma I decided to try to tackle it openly rather than presenting a” report of the day” of your assignment in progress. Even so a blog page may not be the most appropriated tool as a solving demonstration, it intends to provide a starting debate on this issue.

First I wish to get you out of your class room, second I will invite you to return to it. Keeping in mind in both cases that the # one principle it is not to learn how to “DO” [ draw, carve..etc] but rather to “OBSERVE” with your naked eye. Your eye is your ” A” tool –  so become visually opinionated and critical.

Parsons entrance and patterns

Everyday single day, did you notice, you have been walking under a Parsons sign made of PATTERNS?  Of course you call them conveniently ‘type,’ but ‘type’ 1/2 size of the high of your body is… a truly a “pattern”. It represents an expensive and large metal surface to cut into in order to get one single of this letter. Do not be fooled by the size or a given shape name, just teach yourself how to identify shapes.

Apple store 5 Ave, New York.

Don’t look for fancy formulas or apps served to you by technology merchants — there are the first one to embrace  ” patterns/shapes” – just turn the letter “shape”  into a pear or an apple one. Apple  Stores kings of the “flat digital” screen are turning them into ‘faking the eye’ 3D’s on they apps – beside in up hilled 5 Avenue, New York the same idea of floating “cut/pattern” matches the architects/designers’ ones of the Parsons’ building…and the same brushed steel look as well.

Apple at the meat market in New York.

To continue with the maker of your iphones, with a slit variation in style, the exactly  same the pattern principle is being applied on its Meat Market store in New York. What is the difference? A negative “shape”  [cut through] versa a ” positive” one, on the example above [cut around] …the ‘negative ‘ cut out is the landmark of every laptop model – the logo brand appears as a cut out form [metal or plastic] – when the machine is turned on light can be seen thanks to this cut out. My point is NOT to advertise for a computer brand but rather to demonstrate that you everyday tools/toys are providing you with  “some ideas, how to handle patterns” [ Peter's]. Again were are taking about objects that you touch endlessly in the course of  your routine day!

Williamsburg bridge, New York

Use your camera as a “carving” tool so you eye can record you visual experience to share with your classmates. Here my ‘illusionary’ photo , focuses on a ‘positive’ pattern,it is based on use of the ‘invert pattern’ principle from the Apple of the meat market  store.

Taking a walk to the park, I just have observed a woman that own to looking twin little looking dogs. Wanting not to be confused on who is who?  Political correctness? Being artsy?  In any case, either she find them this way or got them to the ‘coiffeur,’ but the result is that one is B the other is W. Both dogs playing on a green grass. Magically and free of charge this woman game me the best tips for “some ideas, how to handle patterns” [ Peter's]

It has to be understood that it is not the “cutting” that makes any “patterns” but one able to identify “patterns” without even getting the trouble to cut anything. If it is not clear to your mind it is not possible be deliver.

Type that uses pattern cut out principle

What other consideration involving patterns?  We have define positive and negative, but they do only exist if we consider what is their “background”. One B color letter printed on a B colored paper? This will not obviously visually work.

Snow carving

While the carving remains into a ‘block’ [ thick material] as long as the light can create a ‘shade’ you will find your way  visualizing speaking! Why because your image is on 3D. It is the moving to 2D = transferring into a different background that raise difficulties.

shadow pattern

Remove yourself from the illusion-light created only by the electricity — observe nature,  create a  pattern in any possible circumstances …. While running, this time free from tools and material charges…before cutting into a block.

"shadow" printing

The “how to handle patterns” ? [ Peter's] – Could it be just the shade from a female silhouette ? If this block plate would be made out of gold, what would be the use of spoiling 2/3 of its surface my leaving it not occupied? Challenge yourself by using the visual opportunity of plural ‘pattern’ into your available space.

a modest paper cut - Asia

No impressive metal or material is needed, here just a simple piece of paper does effectively the job. This case of paper cutting shows a higher level of achieving ‘patterns’ — in this case, ‘patterns’ are created inside ‘patterns’ [some of them identified as 'lines'].

Peter at Parsons with his first proof

This is why  it becomes so confusing for  the mind. Philosophically speaking what makes ‘line’ and ‘pattern’ different? Honestly NONE ! But what does truly matter, theoricals  definitions or down to earth results ones? What missing in Peter’s image?  Creative patterns “VARIATIONS”. Not just and only single pattern negative ‘line’ repeated endlessly …soba noodles kind of shape. Please don’t be offended , in my early days I was told by a great painter that my watercolor mountains looked like melting ice cream! Would you like just a plain noodle boule or with some ‘patterns’ of tofu, veggies, spices…?

Peter from Parsons - mirroring images

It is not by all means an obvious process, rather a challenging one: it involves an other kind of ‘rational’. Having started to tackle this technic on my own [without instructor, proper material and tools] in 1976, I can identify with every bit of  difficulties everyone had to try to over come on the March 28 class.

a New York high school student at work

To insure better chance of success it is necessary that the top part of your block be of a DIFFERENT color than the part that will appear after the cut…do not be afraid to practice how to cut, how to handle a cutting tool, keep in mind to get sharp lines not smoochy ones, otherwise the final print will suffer…

moving into cutting

Of course, it is wise to plan her/his ‘patterns’ in drawing before – but once you have assert you position make sure that you will go for what you have plan for, otherwise you may confuse yourself at the moment that you need the most to master the blades…

the 'invert' pattern

It is a classic to end up carving the ‘invert’ of the original planned design, like I  am presenting it here ] with the help of some photo computer app — imagine your client having approved your original sketch and you coming smiling with the ‘invert’ of it!

the result

It truly does not matter this time, we are on earth for a life learning process, there is not such thing as a ‘ mistake,’ while planing maybe necessary for accounting, after all it is not so for the arts. Try not to have a too much elaborated final sketch because when one jumps to a different material, it is like switching into a different language, one must express within the specific language …

back to the starting point

Back to Peter question? “Can you give me some ideas, how to handle patterns?” Just don’t be afraid to look around in class, even if you happen to be the only male student of it. Look how your ‘sister’ next to you is finding solutions, she is teaching you some tips better then myself…even her iphone has patterns! While you struggle with this problem, she is struggling with the cutting part, for you it is a ‘piece of cake,’ so she should also be observant of how you cut ‘lines’ — the class must remain a pool for sharing info.

cutting the figure

NO fear from this cut, finished very quickly, still would have gain on slowing down, so some body parts will be better defined — it is very importance on a case of dealing with complex trikes lines, so you will avoid to run in major difficulties later on while inking the block…while cutting always keep in mind the fallowing next step!

defining your cut

It is perfectly fine to ask questions, still ultimately f0llow your guts and intention above all — as a creator you are the only one that needs to decide for your work. True I am here to help, but certainly do not follow what I say without questioning it, what may work for me maybe a disservice to yourself…beside your younger eyes and hands maybe able to do a better job than me! Still be aware not to insure yourself or your classmate with any of this sharp cutting tools

drawing and cut

I am definitely impressed how this student manage to cut the ‘hands and feet ‘of her figure. Even so she does have a very precise and fine line drawing to start with she has created ‘patterns’ on her block — this a perfect example of  good translation. Even so her cut lines are thicker than the ones of her drawing the result is effective. The class should take good note of her metaphorical spring message.  If we continue acting like having a bag covering our heads, no wander we cannot “see” patterns around us.

the harmony

Just do not observe your classmate work but what there are wearing as well, I do not mean on a fashion sense but rather for shapes they are attracted by or are relating to. Above shows an amazing relation between the design of the rings from her working hand and her lines cuts into the block.

proofed block

In fact she works on a  jewelry makers the style [or engravers of silver plates.] Her work would be perfectly suited for etching or dry point — notice as well how she uses with confidence the entire surface of her block.

pattern planing

Here there is no so much relation between what is wear and the planned drawing. Her drawing feels more like a final print …this is perfect case of over planing, DO NOT imitate the final product before you start cutting, you give up creativity and you will more likely ending frustrating yourself on forcing to adapt to the plan…leave room to allow discovery. In other words do not double your working time!

block and print

Still certainly this model of using lines and little pattern follows one of the ancient tradition of block carving: fabric printing. This is a case were working towards inventive/creative patterns will get you satisfactory results.

cut for printing

Constantly bear in mind that in our case, the CUT must be such that it need to be, at the end of the work, ‘printable’ — and even more so if you are not yourself the printer. Regardless if the printer is good or bad, always anticipate the worse scenario — allowing the roller to lay the color on the “NONE carved parts” = what ever you will spare from cutting. Which means that one creates two kids of patterns [and lines] printable ones and none printable ones — one needs to balance this  two extremes in order to hopefully achieve harmony.

back to ancient Mexico

In conclusion, from the details of two ancient Mexican potteries one can make a clear difference of two working methods. On the left, similar Peter’s results — on the right the image , an “upgraded” from line only, going towards pattern and lines — note that in this case a glaze is apply on top of the clay, the removing of the glaze allow natural clay’s color to be exposed therefore creating a ‘visual/colored’ contrast.

color printing from the author

It is hard to understand what “pattern” is about while using one single color, it become an urgent evidence while printing ‘areas’ colors. Of course it is way more technically involving, but eventually  this could, in some case, be the goal. In any event not mastering step one level of ‘pattern’ creation will deprive one from  joy.

start all over again

This is what it takes to have an artist mind, she came to class with a well plan and define sketch, she soon realized while cuttingher block that her  planned design was not suitable for the cutting technic. So she started a new different idea on the back of her block, allowing herself to keep smiling.

Do not impose the torture of wanting to follow your idea at any cost, rather train your mind to adapt for what circumstances, or material call you for… focus on the “intelligence” of your given tools and material rather than forcing on the contrary direction of their own nature.

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To go back to the previous class: VIEW MORE: “Carving Project” one – Parsons The New School for Design, New York.

To learn about engraving and wood cut: VIEW MORE: “Gravure à Vivre” a French lecture on engraving

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we will meet  April 4, for  printing  your final blocks  – any questions or comment, follow Peter’s steps, please kindly leave a reply – thank you for your participation.

Raymond

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◊ this project is my contribution as an invited guest artist to the art program class of Professor Steven Kennedy.

◊  drawings, linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012

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Workshop – part one – a memo of my keynote presentation, March 21, 2012.

For a definition of  ”carving”  and  ”printing” and how to achieve it,

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Carving as we encounter it in our daily life

fountain engraved stone & stove casted iron plate

On a hot summer  day  walking through the woods in the Pyrenees Mountains just at the very edge top ‘dividing’ France and Spain territories one may be happy to find spring water that does not come out of a plastic bottle [labeled from a company]. Free of charges, a pure liquid is popping out deep from the ground ready to help you moving on with your journey…this water is for everyone to enjoy and share even by opposing ‘enemies’ by trade: custom officers and smugglers. In the year of 1881 smugglers made a point by carving into a big piece of hard stone located just above the fountain a warming message [ in French] for the officers…an other warning message of a different nature casted into iron, a left over from an old Canadian wood stove remind one to ‘ remove the ashes daily’…So does “carving” carries messages?

stone sarcophagi hanging hight outside a church wall in Gerona, Spain

We all are very familiar with  ”carvings”  because we are aware that they are linked to remote history – like with the case of this stone sarcophagi above. It is not so much because ancient or no so ancient civilization were only capable to produce this kind of technical work [ instead of laptops] …but it is rather because “carved “work has been able to endure the abuse/punishment of the time as well as repeated human destructions…to the point that on some cases ” carvings’ are the ONLY record left…

motif on concrete stairs made out the pattern of the bottle bottom,France.

The visual effect of “carvings” is not necessary produced by the means of hard hammering down. One has been able to obtain results simply working with soft material, some of them being able to harden lately – like melted metals, pottery and in more recent times with concrete. Most them serving very basic practical needs – above a textured walking surface to prevent it from being slippery [made by stamping a bottle bottom into fresh concrete ]…who has not seen “craved” words/graffiti’s on side walks … ” I love my mom”?

drawn with use of light, an RV's pottery bottom and a door handle in Spain.

I never had the luxury of carving a block of marble, put I did tackled with clay  - one day as I was stamping my seal under the bottom of one piece I had the urge to “write” in the wet clay ” dessiner dans la lumiere” [to draw with 'day' light] – here the image of the letter is not reveal to the eye visually by the help of ink or paint but rather by indenting into soft ‘mud’. If, in any given surface, one can creates a difference of levels/highs one will be able to read it…the digging into, combined with the magic of light creates a ‘shade,’ this unable us to visualize images and words.

Con Edison's street plate next to it is 'rubbling' transfer with pencil on paper, New York

Away from green mountains and 1881 ancient times, today in the New York asphalt we take for granted that we are walking on to of  the ‘ carved’ Con Edison’s steel plates  - YES, the very electrical company that allows us to use our’ virtual/digital’ devices. Including myself being able to communicate with you on this very blog. Con Edison is using strongest possible ‘carved’  tick iron plates ! Why ? One as to b e able to identify them and protect the cables below from the tare of the elements including car, trucks and buses running over it constantly.

I have no clue who had the idea of transferring a 3 D carved image into a 2 D flat material?  But if you stick your hand into the mud and than apply to almost any surface in someway you should be able to read the image of your own hand. In the case of the Con Edison’s plate one needs simply to apply a piece of paper and rube pencil over it, this creates a ‘transfer’, which could be labelled/named as being a “print”  - it has to be well understood that now a day almost anything is label “print” – in our case this word means  ’transfer ‘-  we achieve this process by applying pressure or friction.

Now it should be out of confusion with wording definitions: ” Carving project” is our short cut name or ” Carving & Transferring Project”.

VIEW MORE: “Gravure à Vivre” a French lecture on engraving

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Carving & transfer process: an assignment from the Los Angeles Times

Los Angeles book revue assignment - from start to finish - drawing idea and final publisher paper version

Here is an example describing from start to finish how a newpaper article idea was illustrated and then published April 2010 in the Book Review of the Sunday Los Angeles Times. The original art  work use the “CARVED & TRANSFERED” technic.

one creates an image by removing pieces of material with the use of ANY tool, as long as it is harder than the material one works with – in this case sharp & hard steel blade versa soft & pliable linoleum …Of course we are tempted to jump into the quick conclusion that the “stronger” wins over the “weaker” material.  But it is not so simple because by its nature the blade may have a tendency to over rule the linoleum, if this is the case I would have the drastic consequence on creating a very poor reading quality image . Only the mastering of [ this] two opposite strength, keeping balance and harmony, would make one eventually progress on any given project.

Los Angeles Times - progression carving into the linoleum block - from start to finish

3 different stages of progress with the ‘carving’ using the same linoleum block. The goal being of creating lines and patterns. It has to be understood that one creates patterns by removing material as well as NOT removing material – one has mainly to achieve a balance of contrasting patterns in order to have an image come to life.

Los Angeles Times - the final carved linoleum block and its printed image created by the use of a press

VIEW MORE: ” The line “, published by the Sunday Los Angeles Time

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we will meet on March 28,  for a real ‘ carving’ session of a block. Have your drawing ready for this class. – any questions or comment please kindly leave a reply – thank you for your participation.

Raymond

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◊  this project is my contribution as an invited guest artist to the art program class of Professor Steven Kennedy.

◊  drawings, linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012

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3 illustrations  for a story by Alice Munro – Harper’s April 2012 issue publication, New York.

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Train #1 - Harper's April 2012

“He would have been believed. Coming home from so far away, from Germany and the war, he could have got mixed up in his head. It’s not too late, he would be where he was supposed to be before midnight. But all the time he’s thinking this he’s walking in the opposite direction. He doesn’t know many names of trees. Maples, that everybody knows. Pines. He’d thought that where he jumped was in some woods, but it wasn’t…”

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Train #2 - Harper's April 2012

“He did as she asked, and then stood watching, not wanting to move an inch.She got Margaret Rose headed back to where the pail was, and the stool, on this side of the barn.“You can pick it up now,” she said. “As long as you don’t wave it around at her…”

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Train #3 - Harper's April 2012

“She calmed down and cheered up once they got to their turnoff and were actually in the city. They found themselves on Avenue Road, and in spite of exclamations about how everything had changed, she seemed to be able on every block to recognize something she knew…”

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◊ quoted texts are a copyright of Alice Munro and  Harper’s Magazine 2012.

◊  drawings, linoleum cuts, photographs and texts copyright Raymond Verdaguer, 2012.