FABRO
Visual Artist
Brasil
Visual Artist
Brasil
As a M.Sc. in Engineering working for a long time in public policy (Science and Technology), I was hardly involved in art. I had nonetheless long admired the work of the Dutch artist M. C. Escher (1898–1972).
After retirement, in search of a new passion, I decided it was time to learn about xylography to find out how Escher worked.
In a course at the University of Brasilia (Brazil), I learnt there were two basic xylography techniques: wood carving, in which woodcuts are made on the long-grained surface of the wood, and wood engraving, in which the incision is made on the end grain.
After my first engravings, I found too restrictive the dichotomy between black (uncut segments) and white (cut segments), prevalent in traditional engravings.
Searching for alternatives, I notice that one-millimeter wide lines would print black stripes. Still if I reduced the width of the lines, in a controlled and deliberate fashion, I could simulate different shades of grey.
This is the technique I am currently developing.
After retirement, in search of a new passion, I decided it was time to learn about xylography to find out how Escher worked.
In a course at the University of Brasilia (Brazil), I learnt there were two basic xylography techniques: wood carving, in which woodcuts are made on the long-grained surface of the wood, and wood engraving, in which the incision is made on the end grain.
After my first engravings, I found too restrictive the dichotomy between black (uncut segments) and white (cut segments), prevalent in traditional engravings.
Searching for alternatives, I notice that one-millimeter wide lines would print black stripes. Still if I reduced the width of the lines, in a controlled and deliberate fashion, I could simulate different shades of grey.
This is the technique I am currently developing.
