湯姆·基林 是這樣的藝術家

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“本草圖繪製過程是這麼個人，我認為人們對我的工作做出反應，因為有一種親切感吧，我有在現場，由景觀所環繞，浸泡在所有的細節，而不是靠一張照片。”

如果你住在灣區足夠長的時間，機會是你已經遇到一個湯姆·基林列印。 Since 1975, when Tom produced his firstillustrated book, he's steadily been making multi-color landscapeprints;自1975年以來，當湯姆執導了第一部繪本，他一直穩步進行多色印刷的景觀;carvinghis images into linden, plywood, linoleum and other block materialsusing Japanesehandtools.他的雕刻影象轉化為椴樹，膠合板，油氈及採用日本手工具等塊狀物料。Born andraised in Mill Valley, Tom has long drawn his inspiration from thedistinctive scenery of Northern California.出生在MillValley提出，湯姆早已引起了他的靈感來自北加州獨特的風景。 His outdoor excursions where he makes on-sitesketches are central to hiswork;他的戶外活動，在那裡，他讓現場的草圖是中央對他的工作; spending hours amidst the backdrop of mountains,coastlines, and forests lends him a nuanced understanding andappreciation for the colors and textures of hisprints.花費數小時水光山色，海岸線和森林的背景下借給他一個細緻入微的理解和讚賞他的版畫的顏色和紋理。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.雖然湯姆依賴於他的筆記和草圖，他也讓他的想象力和記憶與現實打破了一下，顏色往往是超飽和和角度稍有扭轉。

On hisPoint Reyes property, just a few steps away from the home he shareswith his family, Tom's studio is organized forefficiency.在他的岬財產，只有數步之遙的家裡他與他的家人，湯姆的工作室舉辦的效率。He's goteverything tweaked just so— when working the press he wants allnecessary tools to be within arm'sreach.他把一切都調整了只是這樣，當工作的記者，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;湯姆的細緻方法是由兩個日本木刻技巧和歐洲木版畫的影響;hisprocess begins with reversing an image onto an initial or keyblock, which is usually the most detailed of the multiple blocksneeded to make aprint.他的過程中開始反轉像投影到初始或金鑰塊，這通常是最詳細的需要，使一個列印的多個塊。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.多塊影象的實際開始列印了一組從金鑰塊，然後再用來保證每個成功色塊的完美登記證明表的的建設。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.雖然多種顏色可以同時卷繞在同一個塊，通常每個顏色單獨印在手工日本紙與手搖記者，他已擁有了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.油墨的幾個色調是分層放到另一個，從最輕到最暗，創造他的大蘇爾峽谷或昏暗山Ombre的效果豐富的色調。Tamsky.譚天空。

Duringour visit Tom mentioned that though he's been making prints forclose to 40 years his technique is constantlyevolving.記者在採訪中湯姆提到，雖然他一直進行列印了近40年，他的技術也在不斷髮展。Thesesmall discoveries and innovations are often incremental, but theycontinue to keep his processprogressive.這些小的發現和創新往往是漸進的，但他們繼續保持他的過程中進步的。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.我認為，繼續推進自己的方法的願望是在一個重要組成部分的任何創作過程中，沒有它的工作很容易變得太結算，太明確，因此有些死氣沉沉。So, itwas nice to hear that even after almost 40 years in the game, Tomhasn't quitfine-tuning.所以，很高興地聽到，即使經過近40在遊戲裡，湯姆並沒有退出微調。

做你的工作有什麼媒介？ How would you describe your subjectmatter? 你會如何形容你的題材？What themes seem to occur/reoccur in yourwork似乎什麼題材發生/再出現在你的工作
Japanese-style woodcut prints are what Imake.日式風格的木刻版畫是我做了什麼。 I carve my images into cherry, all-shina plywood,Amsterdam linoleum and other block materials using Japanesehandtools.我刻我的圖片到櫻桃，全支那膠合板，阿姆斯特丹油氈及採用日本手工具等塊狀物料。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.我的多色影象是使用油基油墨和德國手搖打樣記者自1977年以來，我已經有印上手工製作的日本小僧紙。我喜歡日本版畫的過程，但我從來沒有研究過它在日本。I justspent a lot of time looking at old Japanese prints, mostlylandscapes.我剛花了很多時間在看老日本版畫，大多是風景。 Almost all my work involves landscapes, which allbegin with sketches I've done onsite.幾乎所有我的工作是風景，這一切開始的草圖我已經在現場完成。 My focus is primarily the Northern Californiaarea, but I do have many sketches and prints from furtherafield.我的重點主要是在北加州地區，但我確實有許多素描和版畫從更遠的地方。

你的過程是參與並開始與現場草圖，你能簡要地總結在建立多色印刷的步驟是什麼？
It'simportant to me that I start with sketches that I've made onsite.重要的是，我認為我開始，我已經在現場做草圖。 I also take notes and utilize my memory andimpressions.我還做筆記，並利用我的記憶和印象。 I give myself permission to not completely stickto “reality”— especially with colors.我給自己的許可權沒有完全堅持“現實” -尤其是顏色。 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.繪製草圖的過程是這麼個人，我認為人們對我的工作做出反應，因為有一種親切感吧，我有在現場，由景觀所環繞，浸泡在所有的細節，而不是靠一張照片。

Theimage is first reversed onto an initial or key block, which isusually the darkest and most detailed of the multiple blocks neededto make aprint.該影象是第一扭轉到一個初始或金鑰塊，這通常是需要的，以使一個列印的多個塊中的最暗和最詳細。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.關鍵塊包含的輪廓和必要的視覺資訊，以使所有的後續塊列印他們的顏色在最終列印暫存器，所以它首先雕刻，其形象，然後轉移到幾個色塊，然後再刻。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.多塊影象的實際開始列印了一組從金鑰塊，然後再用來保證每個成功色塊的完美登記證明表的的建設。Beginning with the lightest color, the firstcolor block is set in the press and adjusted in relation to theproof sheets.最輕的顏色開始，第一個顏色塊設定在報刊和有關證明表作出調整。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.當彩色塊是完全與金鑰塊的影象對齊時，手工版紙，然後用和若干張拉到等於列印的版本號。Thisprocess is repeated with each color block, allowing a day or twobetween each print run for the preceding color todry.這個過程被重複，每個顏色塊，允許一兩天每個列印執行之間進行前述色晾乾。

在過去，你曾與他人合作建立手寫本書的插圖; notably, you worked with poets WilliamEverson and Gary Snyder— how have these projects comeabout?值得注意的是，你曾與詩人威廉·埃弗森和加里·斯奈德，怎麼也得這些專案的呢？
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).我總是愛詩歌和視覺藝術（事實上，一位中國字的視覺藝術是“無言的詩”或“無聲的詩”-這是我的回顧性展覽的標題近日在上升之間的介面USF的撒切爾庫）。 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世紀60年代的那些大幅面塞拉俱樂部書是一個靈感的是日本的“詩意日記”結合浮世繪時代的木刻版畫 -所以我開始做我自己的詩歌和版畫手工印刷的書籍，但很快能夠（通過展示我的早期作品給他們，並與他們在其他專案上工作），以獲得我最喜歡的詩人的專案，我，還是我的印表機的同齡人，想出了合作。

你會如何描述你的工作和詩歌，特別是什麼語言帶給你的工作，反之亦然？之間的相互作用
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.景觀的許多方面，當然引起響應它的人的情緒，是很難付諸視覺傳播，所以我們需要無形界的話，通過提供給填寫的風景完全“圖片”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.我看到書寓提供另一個維度，使觀賞者/讀者可以完全沉浸到自己的地方的感覺。Also,from a design standpoint for books, the type “fills in the whitespaces”— but don't tell the poets and writersthis!此外，從設計的角度書籍，型別為“填補了空白” - 但不要告訴詩人和作家這個！

What does having a physical space to makeart in mean for your process, and how do you make your space workfor you?什麼是有一個物理空間，使藝術的均值為您的過程，你如何讓你的工作空間？
To dothe printmaking I need a fair amount of space for my press, severalworktables and storage room for supplies, especially paper andwoodblocks.做版畫，我需要的空間，我按一個公平的數額，幾個工作臺和儲藏室的供應，特別是紙張和木塊。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，正如我得到更多的轉化為我市民提供成品藝術，我做了很多自定義的框架，使我的工作表現是到了我自己的標準。So, INEED a space big enough for this,too.所以，我需要一個空間，這個夠大了。 I used to have a one-car garage— really, it wasan old carriage house built on dirt and slowly sinking back intoit;我曾經有一個車庫，真的，這是建立在泥土慢慢下沉回到它的老馬車的房子; 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.它是一個塊形成的海灘，卡皮托拉，我把它稱為“老鼠洞”，但現在我有一個兩個車庫從因弗內斯我自己設計建造公園，它有充足的自然光線，交叉通風，儲存和記者的建立，使我沒有走任何方向兩個以上的步驟進行列印

有什麼事你當前正在使用，或者是興奮的開始，你能告訴我們什麼呢？
Thenewest print I am making is called “Isosceles Peak from DustyBasin” made from sketches I did in The Palisades, on the Westernside of theSierras.最新的列印我提出被稱為“等腰三角形從山頂盆地塵埃”從草圖我確實在帕利塞茲，在山脈的西側進行。

What are you presently inspired by— arethere particular things you are reading, listening to or looking atto fuel your work?什麼是你目前的啟發，在那裡你正在閱讀的特別的東西，聽或看，以推動你的工作？
I amALWAYS inspired by the beauty of the naturalworld.我總是對自然世界的美麗靈感。 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書，將由刊登鼎盛時期在伯克利，其中將包括詩歌從過去的許多美好的加州詩人和一些誰仍然和我們在一起。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).我也開始了一系列的地方風景都以樹林為主作為主要視覺元素（但仍處於總景觀環境的背景下）“treescapes”的。

發生在你的工作有什麼變化？是否有過那些帶領你的工作在新的或顯著方向任何明顯的經驗？
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.其實我已經慢慢演變了我的能力，多年來，我以前的工作是草率和更多的“裝飾”，第一個顏色，然後用短短彩板做精細的日本式的風景版畫。Now mycolor prints are quite elaborate, running to 10 or 15, andsometimes more colors with many reduction cuts and other littleinnovations.現在我的彩色列印效果都相當精細，執行到10或15，有時更多的色彩與許多削減削減和其他的小創新。So mytechnique is constantly evolving, but incrementally, always alongthe same path.所以，我的技術在不斷地發展，但增量，總是沿著相同的路徑。

你如何駕駛的藝術世界？ Has your relationship with it changedover the years?已與它的關係改變了多年？
It hasbeen a long, slow process of evolution to reach the point where Ican now make a living atit.它一直是進化的一個長期，緩慢的過程，達到的地步，我現在可以謀生吧。 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.精美畫冊印刷為主一次我與市場的關係，現在則是通過一些小工藝品，畫廊，我已經參與了很多年，隨著戶外藝術展覽，在公共場所/畫廊更大的展示和銷售多色印刷品（越來越多），我的網站在網際網路上。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節目就在這裡我兩年一度的開放工作室活動每一個感恩節和陣亡將士紀念日週末（見我的雷斯岬工作室開放組）。

Do you have a day job?你有一天的工作？ What is it?這是什麼？ What does it mean to you?是什麼意思呀？
I'm donewith that!我與該做的！ But I did used to teach in the HumanitiesDepartment at San Francisco State University.但我沒有用在人文系任教舊金山州立大學。 Before that, for many years, I taught AfricanHistory and worked in Africa, back East andelsewhere.在此之前，很多年了，我教非洲的歷史和在非洲，背東和其他地方工作。