Printmaking

Money, Money, Money.

new-zealand-bank-note

Why is it that almost all foreign currency looks so much better than the American dollar? I’m not bashing the buck, but from a design perspective, to me foreign currency is simply more visually interesting than the American greenback. Case in point, the currency of the year awarded by The International Bank Note Society for the New Zealand for its $5 polymer note. The design features the face of New Zealand native mountain climber Sir Edmund Hillary, with a backdrop of Mount Cook and, a yellow-eyed penguin seemingly printed with what looks like metallic gold foil.

Now, with that said, I don’t think this is an award winning piece of design in the true sense. It is busy, and burdened with an abundance of imagery, and various patterns, but if you look at it in terms of a contemporary painting or print, it’s quite successful. I know that the reason for the patterns, color, overprints, and such are due to security issues and a need to foil counterfeiters, but this is something I might hang on a wall, and that is often the case for foreign currency with me. I’m not going to do that with American currency.

For more about the competition you can find it in this article at theguardian.com along with a video. And below are some additional curency examples.

ARS-50-Front

BDI-2000-Front

CHE-50-Front

CHN-100-Front

GMA-100-Front

MDV-1000-Front

NZL-50-Front

SCO-5-Front

Woodcuts, By Bryan Nash Gill.

Apperently I am getting all in touch with Nature today.

Bryan Nash Gill is a Connecticut artist whose work crosses a number of fields including printmaking. When I came across his website a couple weeks back I meant to post  something about a series of images that he created from cross sections of logs through a wood engraving process.The images have a haunting quality to them, and at the same time they are a record of the life of the tree which has been duplicated and editioned through the printing process. Each of these images are created to scale with a number of them sized at more than 48 inches square. Gill, starts with pieces of dead or damaged wood salvaged from his Connecticut area. He then cuts through the wood until he finds a cross section that he finds engaging. Gill then sands the the cross section as smooth as possible and burns and brushes the block to reduce the areas of soft wood between the growth rings, making them more distinct before printing.

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Bryan Nash Gill is not simply a naturalist, he is an artist rooted in nature he draws his vocabulary from the world of New England’s woods.