![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/06\/Traces-for-Tomorrow-650.jpg\" "\\"Traces-for-Tomorrow-650\\"")
<\/a><\/p>\nTraces for Tomorrow,<\/em>
\n7.75 x 9, drypoint with collage<\/a><\/h6>\nThe fact is, however, as grateful as we are for the technology, these digital images don’t do justice to seeing the originals in person. But here we are. Do take a moment to observe the\u00a0delicacy of touch, the nuance of color, the appropriate placement of found objects, the scratched in\u00a0calligraphy, all assembled into a design that just “works.”<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/06\/Defining-Marks-650.jpg\" "\\"Defining-Marks-650\\"")
<\/a><\/p>\nDefining Marks,<\/em>
\n17 x 16, linocut and drypoint<\/a><\/h6>\nDo I sound like a fan? Of course I am. But I’m also an artist, and as such know when I’m looking at something that has attained a high level. The above is a\u00a0juxtaposition\u00a0of a number of pursuits, the Anne-designed “alphabets” cut into\u00a0linoleum block, inked and printed on luscious 100 percent rag paper, and then another combination of cat-tail reeds and geometry printed on semi-transparent tissue and bonded together. Who’d have thought?<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/06\/Continuing-the-Search-650.jpg\" "\\"Continuing-the-Search-650\\"")
<\/a><\/p>\nContinuing the Search,<\/em>
\n11 x 9, drypoint with collage<\/a><\/h6>\nThe combinations are endless. Just add together patterns and lines and circles and a generous does of imagination and there’s another. Oh, and don’t forget the original idea at the beginning and then the evaluative thought again between each pass through the press to consider what the piece still needs, or whether it is finished.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/06\/Journey-Inward-650.jpg\" "\\"Journey-Inward-650\\"")
<\/a><\/p>\nJourney Inward,<\/em>
\n10 x 10, monotype, drypoint and collage<\/a><\/h6>\nPeople often ask, “How do you know when it’s finished?” In my painting I used to answer, “When it’s completely overpainted and ruined, then I know.” Anne is more deliberate than that, taking her time to know. And even when one fails, she can cut it up and use the good parts in another piece. It’s all part of what makes every work completely unique.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/06\/Close-Encounters-2_10-650.jpg\" "\\"Close-Encounters-2_10-650\\"")
<\/a><\/p>\nClose Encounters,<\/em>
\n12 x 16, monotype<\/a><\/h6>\nKeep in mind that each one of these is an original work. That they are called “prints” can be confusing. They are not reproductions. They are called prints because they are made on a press, a hand-press, one at a time. They are “monotypes,” because there is only one, “mono.”<\/p>\n
<\/a><\/p>\nDefining Marks,<\/em>
\n17 x 16, linocut and drypoint<\/a><\/h6>\nDo I sound like a fan? Of course I am. But I’m also an artist, and as such know when I’m looking at something that has attained a high level. The above is a\u00a0juxtaposition\u00a0of a number of pursuits, the Anne-designed “alphabets” cut into\u00a0linoleum block, inked and printed on luscious 100 percent rag paper, and then another combination of cat-tail reeds and geometry printed on semi-transparent tissue and bonded together. Who’d have thought?<\/p>\n
<\/a><\/p>\nContinuing the Search,<\/em>
\n11 x 9, drypoint with collage<\/a><\/h6>\nThe combinations are endless. Just add together patterns and lines and circles and a generous does of imagination and there’s another. Oh, and don’t forget the original idea at the beginning and then the evaluative thought again between each pass through the press to consider what the piece still needs, or whether it is finished.<\/p>\n
<\/a><\/p>\nJourney Inward,<\/em>
\n10 x 10, monotype, drypoint and collage<\/a><\/h6>\nPeople often ask, “How do you know when it’s finished?” In my painting I used to answer, “When it’s completely overpainted and ruined, then I know.” Anne is more deliberate than that, taking her time to know. And even when one fails, she can cut it up and use the good parts in another piece. It’s all part of what makes every work completely unique.<\/p>\n
<\/a><\/p>\nClose Encounters,<\/em>
\n12 x 16, monotype<\/a><\/h6>\nKeep in mind that each one of these is an original work. That they are called “prints” can be confusing. They are not reproductions. They are called prints because they are made on a press, a hand-press, one at a time. They are “monotypes,” because there is only one, “mono.”<\/p>\n
<\/a><\/p>\nContinuing the Search,<\/em>
\n11 x 9, drypoint with collage<\/a><\/h6>\nThe combinations are endless. Just add together patterns and lines and circles and a generous does of imagination and there’s another. Oh, and don’t forget the original idea at the beginning and then the evaluative thought again between each pass through the press to consider what the piece still needs, or whether it is finished.<\/p>\n
<\/a><\/p>\nJourney Inward,<\/em>
\n10 x 10, monotype, drypoint and collage<\/a><\/h6>\nPeople often ask, “How do you know when it’s finished?” In my painting I used to answer, “When it’s completely overpainted and ruined, then I know.” Anne is more deliberate than that, taking her time to know. And even when one fails, she can cut it up and use the good parts in another piece. It’s all part of what makes every work completely unique.<\/p>\n
<\/a><\/p>\nClose Encounters,<\/em>
\n12 x 16, monotype<\/a><\/h6>\nKeep in mind that each one of these is an original work. That they are called “prints” can be confusing. They are not reproductions. They are called prints because they are made on a press, a hand-press, one at a time. They are “monotypes,” because there is only one, “mono.”<\/p>\n
<\/a><\/p>\nJourney Inward,<\/em>
\n10 x 10, monotype, drypoint and collage<\/a><\/h6>\nPeople often ask, “How do you know when it’s finished?” In my painting I used to answer, “When it’s completely overpainted and ruined, then I know.” Anne is more deliberate than that, taking her time to know. And even when one fails, she can cut it up and use the good parts in another piece. It’s all part of what makes every work completely unique.<\/p>\n
<\/a><\/p>\nClose Encounters,<\/em>
\n12 x 16, monotype<\/a><\/h6>\nKeep in mind that each one of these is an original work. That they are called “prints” can be confusing. They are not reproductions. They are called prints because they are made on a press, a hand-press, one at a time. They are “monotypes,” because there is only one, “mono.”<\/p>\n
<\/a><\/p>\n