tag:blogger.com,1999:blog-2930804547109798568.post545247718952227224..comments2023-11-29T06:20:15.009-06:00Comments on DC AIGA: The Horse's Mouth: How to Look at a PictureUnknownnoreply@blogger.comBlogger2125tag:blogger.com,1999:blog-2930804547109798568.post-83433237451713167122009-05-30T07:38:11.314-05:002009-05-30T07:38:11.314-05:00Thank you Alvin, you give an interesting point. It...Thank you Alvin, you give an interesting point. It seems that for Jimson, an important aspect of 'visual language' is repetition of similar and dissimilar patterns in a constructed composition. I hesitated to label Blake as a 'Romantic artist.' In addition, to poetry, Blake was a very fine printmaker and copperplate engraver…he would hand color his prints.Versluishttps://www.blogger.com/profile/13722414942814514821noreply@blogger.comtag:blogger.com,1999:blog-2930804547109798568.post-13676289713579975792009-05-28T23:05:51.239-05:002009-05-28T23:05:51.239-05:00It's good that he referenced William Blake - paint...It's good that he referenced William Blake - painter, poet and printer - who believed poetry and painting were the same thing in different forms. Blake's Songs of Innocence and of Experience were originally published in a series of copper plates, using a method he invented, with the poets etched in along with the illustration. Reading his, and any, poetry resonates with the approach that Jimson prescribes - feeling and emotion and repetition to evoke a response rather than a systematic puzzle to solve. <br />Or, that's what I think he's saying.Alvinhttps://www.blogger.com/profile/14193906684238142301noreply@blogger.com