I had an amazing opportunity to study traditional printmaking at Il Bisonte school for advanced printmaking in Florence (Firenze) Italy. I lived there for a year, studied children's book illustration and b/w intaglio printmaking. This is some of the work completed there.
Etching and Drypoint, Chine Colle
Dimensions 8" x 8"
On the local trains from Florence one could take slow older routes to places like Siena, San Gimignano and others. This older man sat across from me on the slow ride to Sienna, he slept with a large rolling grocery basket filled with meticulously ordered newspapers from top to bottom. The ones on the bottom were yellowed the ones on the top more recent. I sketched him while he slept. He never awoke before I disembarked.
Dimensions: 3.5" x 12"
L'ombrelle di Venezia
Etching and drypoint, Chine Colle
Dimensions: 5" x 11"
I lived in Venice Italy for a few months. it rained periodically, and when it did I had a horrible fear of having my eye taken out by one of the many umbrellas overlapping and huddled together in streams moving along the narrow stone corridors of that stone city.
Dimensions: 5" x 7"
Etching and Drypoint ( dutch Mordant on Copper)
Dimensions: 4" x 7"
Dimensions: 3" x 3"
The Umbrella Man
etching, aquatint, drypoint
Dimensions: 4" X 7"
You can see the original drawing/ illustration in "dumpsters" under Draw. Part Of the The Dumpsters .
Trying to Save Piggy Sneed a short story by Author John Irving, was published in an edition of 26 lettered and 99 numbered copies. The project required the collaborative efforts of many people across the country. The book was designed and printed by Inge Bruggeman at Textura Letterpress in Portland, Oregon. She letterpress printed the edition on Somerset Book paper, from 14pt. Joanna monotype cast by the Bixlers in Skaneateles, New York. In Monterey, California, Gilbert Neri created the imagery for the book by placing heated elements on fax paper. These digitized images were then made into photopolymer plates and printed by Inge in Portland. Ann Marie Kennedy made the cover, endsheet, and ‘scrap’ papers by hand in her studio in Carrboro, North Carolina. The binding, designed by Anna Embree and Inge, was executed by Anna in Tuscaloosa, Alabama. Finally, back in Portland, Inge made the boxes with the production assistance of Rachel Wiecking.