汤姆·基林 是这样的艺术家

“本草图绘制过程是这么个人，我认为人们对我的工作做出反应，因为有一种亲切感吧，我有在现场，由景观所环绕，浸泡在所有的细节，而不是靠一张照片。”

如果你住在湾区足够长的时间，机会是你已经遇到一个汤姆·基林打印。 Since 1975, when Tom produced his firstillustrated book, he's steadily been making multi-color landscapeprints;自1975年以来，当汤姆执导了第一部绘本，他一直稳步进行多色印刷的景观;carvinghis images into linden, plywood, linoleum and other block materialsusing Japanesehandtools.他的雕刻图像转化为椴树，胶合板，油毡及采用日本手工具等块状物料。Born andraised in Mill Valley, Tom has long drawn his inspiration from thedistinctive scenery of Northern California.出生在MillValley提出，汤姆早已引起了他的灵感来自北加州独特的风景。 His outdoor excursions where he makes on-sitesketches are central to hiswork;他的户外活动，在那里，他让现场的草图是中央对他的工作; spending hours amidst the backdrop of mountains,coastlines, and forests lends him a nuanced understanding andappreciation for the colors and textures of hisprints.花费数小时水光山色，海岸线和森林的背景下借给他一个细致入微的理解和赞赏他的版画的颜色和纹理。ThoughTom relies on his notes and sketches, he also allows hisimagination and memory to break with reality a bit– colors areoften hyper-saturated and perspective slightlytorqued.虽然汤姆依赖于他的笔记和草图，他也让他的想象力和记忆与现实打破了一下，颜色往往是超饱和和角度稍有扭转。

On hisPoint Reyes property, just a few steps away from the home he shareswith his family, Tom's studio is organized forefficiency.在他的岬财产，只有数步之遥的家里他与他的家人，汤姆的工作室举办的效率。He's goteverything tweaked just so— when working the press he wants allnecessary tools to be within arm'sreach.他把一切都调整了只是这样，当工作的记者，他希望所有必要的工具是近在咫尺。Tom'smeticulous methods are influenced by both Japanese woodcuttechniques and Europeanwood-engraving;汤姆的细致方法是由两个日本木刻技巧和欧洲木版画的影响;hisprocess begins with reversing an image onto an initial or keyblock, which is usually the most detailed of the multiple blocksneeded to make aprint.他的过程中开始反转像投影到初始或密钥块，这通常是最详细的需要，使一个打印的多个块。Theactual printing of the multi-block image begins with the making ofa set of proof sheets from the key block, which are then used toinsure perfect registration of each succeeding colorblock.多块图像的实际开始打印了一组从密钥块，然后再用来保证每个成功色块的完美登记证明表的的建设。Thoughmultiple colors can be rolled simultaneously onto the same block,usually each color is individually printed on handmade Japanesepaper with a hand-cranked press he has owned for 35years.虽然多种颜色可以同时卷绕在同一个块，通常每个颜色单独印在手工日本纸与手摇记者，他已拥有了35年。Severalshades of ink are layered atop one another—from lightest todarkest—to create the rich hues of his Big Sur canyons or ombreeffect of a duskyMt.油墨的几个色调是分层放到另一个，从最轻到最暗，创造他的大苏尔峡谷或昏暗山Ombre的效果丰富的色调。Tamsky.谭天空。

Duringour visit Tom mentioned that though he's been making prints forclose to 40 years his technique is constantlyevolving.记者在采访中汤姆提到，虽然他一直进行打印了近40年，他的技术也在不断发展。Thesesmall discoveries and innovations are often incremental, but theycontinue to keep his processprogressive.这些小的发现和创新往往是渐进的，但他们继续保持他的过程中进步的。I thinkthe desire to continue pushing one's method is a crucial componentin any creative process— without it work can easily become toosettled, too definite, and therefore somewhatspiritless.我认为，继续推进自己的方法的愿望是在一个重要组成部分的任何创作过程中，没有它的工作很容易变得太结算，太明确，因此有些死气沉沉。So, itwas nice to hear that even after almost 40 years in the game, Tomhasn't quitfine-tuning.所以，很高兴地听到，即使经过近40在游戏里，汤姆并没有退出微调。

做你的工作有什么媒介？ How would you describe your subjectmatter? 你会如何形容你的题材？What themes seem to occur/reoccur in yourwork似乎什么题材发生/再出现在你的工作
Japanese-style woodcut prints are what Imake.日式风格的木刻版画是我做了什么。 I carve my images into cherry, all-shina plywood,Amsterdam linoleum and other block materials using Japanesehandtools.我刻我的图片到樱桃，全支那胶合板，阿姆斯特丹油毡及采用日本手工具等块状物料。Mymulti-colored images are printed on handmade Japanese kozo paperusing oil-based inks and a German hand-cranked proofing press thatI've had since 1977. I love the process of Japanese printmaking,but I never studied it inJapan.我的多色图像是使用油基油墨和德国手摇打样记者自1977年以来，我已经有印上手工制作的日本小僧纸。我喜欢日本版画的过程，但我从来没有研究过它在日本。I justspent a lot of time looking at old Japanese prints, mostlylandscapes.我刚花了很多时间在看老日本版画，大多是风景。 Almost all my work involves landscapes, which allbegin with sketches I've done onsite.几乎所有我的工作是风景，这一切开始的草图我已经在现场完成。 My focus is primarily the Northern Californiaarea, but I do have many sketches and prints from furtherafield.我的重点主要是在北加州地区，但我确实有许多素描和版画从更远的地方。

你的过程是参与并开始与现场草图，你能简要地总结在创建多色印刷的步骤是什么？
It'simportant to me that I start with sketches that I've made onsite.重要的是，我认为我开始，我已经在现场做草图。 I also take notes and utilize my memory andimpressions.我还做笔记，并利用我的记忆和印象。 I give myself permission to not completely stickto “reality”— especially with colors.我给自己的权限没有完全坚持“现实” -尤其是颜色。 Thesketching process is so personal and I think people respond to mywork because there's an intimacy to it— I'm there on site,surrounded by the landscape, soaking in all the details, and notrelying on aphotograph.绘制草图的过程是这么个人，我认为人们对我的工作做出反应，因为有一种亲切感吧，我有在现场，由景观所环绕，浸泡在所有的细节，而不是靠一张照片。

Theimage is first reversed onto an initial or key block, which isusually the darkest and most detailed of the multiple blocks neededto make aprint.该图像是第一扭转到一个初始或密钥块，这通常是需要的，以使一个打印的多个块中的最暗和最详细。The keyblock contains the outlines and visual information necessary tomake all the succeeding blocks print their colors in register onthe final print, so it is carved first and its image is thentransferred to several more color blocks, which are thencarved.关键块包含的轮廓和必要的视觉信息，以使所有的后续块打印他们的颜色在最终打印寄存器，所以它首先雕刻，其形象，然后转移到几个色块，然后再刻。Theactual printing of the multi-block image begins with the making ofa set of proof sheets from the key block, which are then used toinsure perfect registration of each succeeding colorblock.多块图像的实际开始打印了一组从密钥块，然后再用来保证每个成功色块的完美登记证明表的的建设。Beginning with the lightest color, the firstcolor block is set in the press and adjusted in relation to theproof sheets.最轻的颜色开始，第一个颜色块设置在报刊和有关证明表作出调整。When thecolor block is perfectly aligned with the key block image, thehandmade edition paper is then used, and a number of sheets arepulled equal to the edition number of theprint.当彩色块是完全与密钥块的图像对齐时，手工版纸，然后用和若干张拉到等于打印的版本号。Thisprocess is repeated with each color block, allowing a day or twobetween each print run for the preceding color todry.这个过程被重复，每个颜色块，允许一两天每个打印运行之间进行前述色晾干。

在过去，你曾与他人合作创建手写本书的插图; notably, you worked with poets WilliamEverson and Gary Snyder— how have these projects comeabout?值得注意的是，你曾与诗人威廉·埃弗森和加里·斯奈德，怎么也得这些项目的呢？
I alwayshave loved the interface between poetry and visual art (indeed, oneChinese word for visual art is “wordless poetry” or “silentpoetry”— which was the title of my retrospective exhibit recentlyup at USF's ThacherGallery).我总是爱诗歌和视觉艺术（事实上，一位中国字的视觉艺术是“无言的诗”或“无声的诗”-这是我的回顾性展览的标题近日在上升之间的接口USF的撒切尔库）。 Those large-format Sierra Club books of the 1960swere an inspiration as were the Japanese “poetic diaries” combinedwith woodcut prints of the ukiyo-e era — so I started out doinghand-printed books of my own poetry and prints, but soon was able(through showing my earlier works to them and working with them onother projects) to get my favorite poets to collaborate on projectsthat I, or my printer peers, dreamed up.20世纪60年代的那些大幅面塞拉俱乐部书是一个灵感的是日本的“诗意日记”结合浮世绘时代的木刻版画 -所以我开始做我自己的诗歌和版画手工印刷的书籍，但很快能够（通过展示我的早期作品给他们，并与他们在其他项目上工作），以获得我最喜欢的诗人的项目，我，还是我的打印机的同龄人，想出了合作。

你会如何描述你的工作和诗歌，特别是什么语言带给你的工作，反之亦然？之间的相互作用
Manyaspects of landscape, and certainly the human emotions elicited inresponse to it, are hard to put into visual communications, so weneed the intangible world of ideas and emotions supplied throughwords to fill in the complete “picture” of alandscape.景观的许多方面，当然引起响应它的人的情绪，是很难付诸视觉传播，所以我们需要无形界的话，通过提供给填写的风景完全“图片”的思想和情感。I seethe written word as supplying another dimension so theviewer/reader can immerse herself totally into a sense ofplace.我看到书寓提供另一个维度，使观赏者/读者可以完全沉浸到自己的地方的感觉。Also,from a design standpoint for books, the type “fills in the whitespaces”— but don't tell the poets and writersthis!此外，从设计的角度书籍，类型为“填补了空白” - 但不要告诉诗人和作家这个！

What does having a physical space to makeart in mean for your process, and how do you make your space workfor you?什么是有一个物理空间，使艺术的均值为您的过程，你如何让你的工作空间？
To dothe printmaking I need a fair amount of space for my press, severalworktables and storage room for supplies, especially paper andwoodblocks.做版画，我需要的空间，我按一个公平的数额，几个工作台和储藏室的供应，特别是纸张和木块。Also, asI have gotten more into providing finished art for my public, I doa lot of custom framing so the presentation of my work is up to myownstandards.此外，正如我得到更多的转化为我市民提供成品艺术，我做了很多自定义的框架，使我的工作表现是到了我自己的标准。So, INEED a space big enough for this,too.所以，我需要一个空间，这个够大了。 I used to have a one-car garage— really, it wasan old carriage house built on dirt and slowly sinking back intoit;我曾经有一个车库，真的，这是建立在泥土慢慢下沉回到它的老马车的房子; it was a block form the beach in Capitola and Icalled it “the rat-hole.” But now I have a two-car garage builtfrom my own design in Inverness Park— it's got lots of naturallight, cross ventilation, storage and a press set-up that enablesme to print without walking more than two steps in anydirection.它是一个块形成的海滩，卡皮托拉，我把它称为“老鼠洞”，但现在我有一个两个车库从因弗内斯我自己设计建造公园，它有充足的自然光线，交叉通风，储存和记者的建立，使我没有走任何方向两个以上的步骤进行打印

有什么事你当前正在使用，或者是兴奋的开始，你能告诉我们什么呢？
Thenewest print I am making is called “Isosceles Peak from DustyBasin” made from sketches I did in The Palisades, on the Westernside of theSierras.最新的打印我提出被称为“等腰三角形从山顶盆地尘埃”从草图我确实在帕利塞兹，在山脉的西侧进行。

What are you presently inspired by— arethere particular things you are reading, listening to or looking atto fuel your work?什么是你目前的启发，在那里你正在阅读的特别的东西，听或看，以推动你的工作？
I amALWAYS inspired by the beauty of the naturalworld.我总是对自然世界的美丽灵感。 Currently I am finishing up a new book on theCoast of California that will be published by Heyday in Berkeley,which will include poetry from many wonderful California poets ofthe past and some who are still withus.目前，我完成了在加州海岸的一本新书，将由刊登鼎盛时期在伯克利，其中将包括诗歌从过去的许多美好的加州诗人和一些谁仍然和我们在一起。I amalso starting a whole series of “treescapes” where the landscapesare dominated by trees as the primary visual element (but still inthe context of a total landscapeenvironment).我也开始了一系列的地方风景都以树林为主作为主要视觉元素（但仍处于总景观环境的背景下）“treescapes”的。

发生在你的工作有什么变化？是否有过那些带领你的工作在新的或显著方向任何明显的经验？
ActuallyI have slowly evolved my ability to do elaborate Japanesquelandscape prints over many years— my earlier work was cruder andmore “decorative”, first one-color, then with just a few colorplates.其实我已经慢慢演变了我的能力，多年来，我以前的工作是草率和更多的“装饰”，第一个颜色，然后用短短彩板做精细的日本式的风景版画。Now mycolor prints are quite elaborate, running to 10 or 15, andsometimes more colors with many reduction cuts and other littleinnovations.现在我的彩色打印效果都相当精细，运行到10或15，有时更多的色彩与许多削减削减和其他的小创新。So mytechnique is constantly evolving, but incrementally, always alongthe same path.所以，我的技术在不断地发展，但增量，总是沿着相同的路径。

你如何驾驶的艺术世界？ Has your relationship with it changedover the years?已与它的关系改变了多年？
It hasbeen a long, slow process of evolution to reach the point where Ican now make a living atit.它一直是进化的一个长期，缓慢的过程，达到的地步，我现在可以谋生吧。 Fine book printing once dominated my relationshipwith the marketplace, now it is multi-colored prints sold through afew small craft-galleries that I have been involved with for manyyears, along with outdoor art shows, bigger shows in publicspaces/galleries and (increasingly) my website on theInternet.精美画册印刷为主一次我与市场的关系，现在则是通过一些小工艺品，画廊，我已经参与了很多年，随着户外艺术展览，在公共场所/画廊更大的展示和销售多色印刷品（越来越多），我的网站在互联网上。But mybiggest and best shows are right here at my bi-annual Open Studioevents every Thanksgiving and Memorial Day Weekend (see my PointReyes Open Studiosgroup).但我最大的和最好的节目就在这里我两年一度的开放工作室活动每一个感恩节和阵亡将士纪念日周末（见我的雷斯岬工作室开放组）。

Do you have a day job?你有一天的工作？ What is it?这是什么？ What does it mean to you?是什么意思呀？
I'm donewith that!我与该做的！ But I did used to teach in the HumanitiesDepartment at San Francisco State University.但我没有用在人文系任教旧金山州立大学。 Before that, for many years, I taught AfricanHistory and worked in Africa, back East andelsewhere.在此之前，很多年了，我教非洲的历史和在非洲，背东和其他地方工作。