preferred drawing material was using hard waxy jet black media and eventually drawn on very large drawing paper (several here); toward the close, I became firstly drawn to the sound in the halls and less about any set-up offered to us in my favorite Rufino Silva class

began w/oils and evolved into acrylic paints which could be blown dry; nearing my traditional closure, instructor Harland Snodgrass dropped by commenting "what are you doing here, Leif"

very productive/engaged-lotsa hours into lithographic printing from a hand-surface-prepared Bavarian limestone either grey or regular colored; SAIChicago's Ray Martin; Gloria DeFilipps, SAIC and Oxbow student, were hearty encouragers
began w/clay and quickly moved through constructions into sounding, environmental projections; Jim Zanzi was the first speaker at one of my spontaneous news conferences-covered by my own REDOT network; Steve Waldek, Don Kingman, Tony Philips, Sonia Sheridan and others encouraged and supported my 1969 Audible Constructs class proposal
engrossed w/ warping&wefting Norwegian goat hair which enlarged my tele-communicative thoughts as an analog switchboard operator, and spending many many many hours at the largest loom; I wove enough material enabling Linda Novak accomplishing two personal projects: making a winter coat I wove for my wife Gloria DeFillips Brush and select a commercial woven pattern created later as Gloria's wedding dress

again, many many many hours using my portable Royal red typewriter & was THE chance, as I then thought, toward transformg imaginings into concepts spurred by silent soundtracks; in one of many small apartments surrounding the Loop-throughout chgo daze- I did spend double the Royal hours with my Wollensak tapeing recorder; Iowa City's ahead



























Models were available in all levels of drawing classes and these samplings were drawn btwn 1966-1969; I diverged very quickly into sound-related conceptual processes and very soon in U teaching/research, I found art grant monies coming my way<including this one. some of these were drawn on very large paper- from rolls

fr/hexagram chair: listening to hallway sounds drawing & transcribing these perceived waveforms


1968 sketch for multiple atmospheric laser light shows

1970 drawing onto side by side copper plates w/colored pencils on a white gessoed base (traces of which can be seen at the lower edges, below left, of blue cloud bottom).top
































































































































Preparing, etching & printing from this 70 pound yellow Bavarian limestone: W- two stones sandwich a grit which scours both surfaces, erasing a previously etched image on the bottom stone- to be drawn upon- requires a hand grinder to create a finer smoothing of its surface; X-the printing process begins using paper beneath the hand to guard against skin oils from staining the receptive surface onto which a greasy hard ebony pencil used to write onto the surface and upon completion the writing is (made permanent) Y-etched with a wash of of gum arabic solution, later rinsed of water and allowed to dry.

Even before completing my printing experience aluminum plates, weighting in ounces, became an option. By the time I had reached my first teaching position at the U in Iowa City all their limestones had been tossed into the Iowa River; Z-before applying this ink-laden leather roller the stone was lightly gone over with a wet sponge and the the ink was applied; water and ink don't mix and with the correct amount of rolled over the stone it was carried to the press, a 100% rag bond paper was laid atop and both were cranked through the press. Though on the stone in reverse, the printed writing reads correctly in a page from a book I was preparing (Y).




My involvement in printmaking moved quickly fr/traditional lithography and evolved into many image-handling directions. Besides using color, which required a new drawing for each color and had to be carefully registered-to prevent ghosting at the edges-using steel pins at any opposite corners. This meant that tiny holes had to also match with printing paper corners. I'd insisted that SAIC student Joan Flasch -school store honcho- stock a very heavy rag-content Strathmore paper. She complied and always w/ a hugh grin. BTW, in order to finance my printing habit, I asked for advance $s and received "shares" for unseen future copies from faculty and students. I wrote their names in my (1of?) copy.


conceptual drawing depicting the relaying -via up-linked satellite data- exactly what on earth was happening to specific sections of land; combined litho w/ metal , wax & yarn


detail of above color lithograph: 22 vibration sensors in 2-rows w/ a laser transmitting tower (dyed red Norwegian goat hair yarn) & stamped on the surface of a copper-faced circuit board- "satellite coverage terrain plane and ether concert resolution G2;" unmapped terrain is outlined in black and the transmitted terrain data is in color lower r; 4 brass rings hold the plane to the paper print


3-d faux hologram/illusions

conceptual series of relating Hexagrams meeting over BAFFINLAND and its Polar Quiets

part 1 of 4 self portrait series where portions of my head were inked in purple, rolling over parts of the stone prior to etching/printing

1969 self portrait

conceptual b&w litho depicting a rectangle of sand on a beach near the OXBOW Michigan US lithographic shack


subliminal wordings; propaganda; AT&T tele-phone monopoly since 1800s ; $ vs bisiness

These are collages, combining applied Xerox prints and photographs to portions of the otherwise lithographic process and includes hand writing.

1975 scanned realtime B&W imaging: hand, Sonia Sheridan, face, leif BRUSH




































































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