Block Print
"Juxtaposition"
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Process
Brainstorming |
Planning |
1. Write down potential themes, artistic inspirations, and cultural connections you can incorporate into your piece.
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2. Create two to three planning sketches. Incorporate the concepts you brainstormed and be aware of what negative and positive areas translate to with prints. Furthermore, consider the limitations of block printing and how you will add value to the piece.
- Collect photos and convert them into black and white images. |
Transferring Image3. Using Adobe Illustrator or Photoshop, create a 22x15cm artboard/canvas. Split the photo of the face and the mask in half. Combine them together and print out the image. Cut out the photo and, with a pencil, apply a layer of graphite to the back of the image. Place the photo graphite side down on to a 22x15cm piece of linoleum. Trace the image to transfer the outline of the image onto the linoleum.
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Carving
4. Using three different sized carving tools: a fine blade tool, a medium blade tool, and a wide blade tool. Each blade should be curved and sharp enough to make a smooth cut into the linoleum. Place the linoleum block on a flat surface and cut away from your body. For the mask, use the wide blade tool and cut as much linoleum away in as few passes as possible. Be sure to leave small lines of linoleum in between each cut on the mask, this is key to creating texture. Continue to use the wide blade tool to carve the background. On the left side of the piece, use the fine blade tool to carve out the facial features and background. For the hair and beard, use the medium blade tool. As a general rule for cutting: approach the linoleum block with the cutting tool at an acute angle (relative to the linoleum block), apply enough pressure to pierce the linoleum, then slowly guide the tool along the outline.
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Printing
5. Place the linoleum block on a sheet of newsprint and place a small amount of black water based ink on a metal sheet with a palette knife. Roll the ink with a brayer in multiple directions using quick strokes. Continue rolling until a consistent texture appears throughout the ink. Apply the ink to the linoleum block with the same brayer with a full vertical movement alternating up and down until the block is covered in ink. To ensure even coverage, apply the ink using a horizontal motion followed by diagonal strokes. Roll over each edge with the brayer to ensure the block is completely covered then transfer the linoleum block to a clean sheet of newsprint. Once the ink is applied, place a sheet of watercolor or drawing paper on to the linoleum block and lightly press down on the back of the sheet. Next, place another piece of newsprint on top and begin transferring the ink with a baren. Start rubbing the back of the newsprint with a small amount of pressure and slowly increase. Be sure to rub over all edges and corners. Once the ink has been transferred, remove the top sheet of newsprint and slowly lift the print with one fluid motion. Allow the print to dry completely before any further handling.
Experimentation
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When carving the linoleum block, experiment with various cutting tools with blades of varying sizes. Before choosing the three tools I wanted to use to carve the majority of the block with, I tried a triangular blade as well as a duller blade. Both were ineffective for me, as they left rough cuts. I was unable to get an initial cut into the linoleum block which resulted in unclean lines. After I found my preferred cutting tools, I explored their specific uses and familiarized myself with the types of cuts they did best. I further experimented during the printing stage. At first, I only rolled the ink vertically on to the linoleum block which resulted in a lack of consistency with the prints. I then rolled the ink horizontally, vertically, and diagonally which resulted in much more consistent ink distribution.
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Artistic Inspiration
"Juxtaposition" was inspired by the German Expressionist, Käthe Kollwitz as well as early African art. By studying Käthe Kollwitz, I gained a better understanding of value and its application in print making. Kollwitz's "Frontal Self-Portrait" inspired the left half of my print, the side with my face. She was a graphic artist that focused on infusing social commentary into her works. She used the contrast of black and white and harsh lines to express the feelings associated with war. Kollwitz establishes a provocative and unsettling tone by conveying an ugly truth and a real emotion. The left half of my piece emulates Kollwitz's pained expression and juxtaposes the black and white to evoke a similar unsettling tone. Rather than removing material to form my face, I subtracted material to display my facial features; the negative spaces outline the shape of my face. Whereas Kollwitz utilizes fine lines to create a detailed print, I opted for thicker and bolder lines that stand out, allowing me to simplify my face to mere suggestions. The detail on my hair, the backgrounds, and the right side of my piece draws inspiration from early African art. Focused primarily on sculptures and masks, the movement was rooted in the culture of the early African people. This culture focused heavily on the supernatural and spiritual and psychological existence. Masks were used for rituals, dances, and other performances including a performance to honor the dead. A noticeable feature of their masks was exaggerated features and unique patterns that attributed to their unrealistic look. This was a preventative measure; when performances were done to ward off supernatural powers, performers wore masks to hide their identities to avoid retribution. In other words, masks were their armor. This concept of masking one's identity to protect themselves inspired my piece. I exaggerated the smile and the eye of the mask to evoke the early African culture as well to address the American culture. My interpretation of African masks lacks patterns and a strange facial geometry, but it succeeds at symbolizing a masquerade.
Reflection
By completing this project, I have reacquainted myself with linoleum carving and improved upon my preexisting skills. I completed a similar project in middle school; I disliked block printing at the time, but after creating "Juxtaposition", I've come to appreciate the medium. I've familiarized myself with the intricacies of block printing, including the advantages and limitations. While thin lines are possible with block printing, it's often easier and cleaner to utilize thicker lines. While I am content with my piece, in the future, I would like to recreate the print with lines of varying width to add more contrast. After analyzing my piece, it's clear that a majority of the lines on the left side are of a similar width, leading to a homogeneous appearance where no elements stand out. Furthermore, the background of the left side adds unnecessary movement which detracts the viewer from the subject. This could be remedied by changing the background to positive space. All things considered, I enjoy my piece enough to say it is finished, for now. In the future, I will return to block printing and recreate "Juxtaposition." I want to emulate Kollwitz's work better by adding value through crosshatching. This was a learning experience and I am certain that I have improved by creating my block print.
Meaning
"Juxtaposition" is a social commentary on the multiple faces, or masks, that people possess. Much like Käthe Kollwitz's work, my piece does not exist to explain through words, but rather, through images that tell a familiar story. Whether people recognize it or not, we all have different masks that we wear on certain occasions. Life in itself is like a masquerade ball; we are mysterious to the people around us because we are selective when it comes to the parts of us we let others see. The left side of my piece embodies the the part of myself that I show to those around me. On the surface I am quiet and reserved, but the truth that people cannot see is represented by the right half of my piece. At my core, I am loud and rambunctious. The mask featured on the right side of the print does not necessarily embody these traits, but rather, the idea that the part of me that very few people get to see is unrecognizable when compared to the face I often wear. As to why we wear masks, the reasons vary. But at the core exists a fundamental purpose; we are protecting ourselves from a world that may not like who are but will enjoy what we pretend to be. In early African culture, masks were used to protect performers from the supernatural beings they opposed. By wearing the mask, performers temporarily gave up their own identities and embraced the identity of the masks they wore. That same way of thinking exists within us to this day. This is not to say that masks are a negative concept. This is to say that in order to understand oneself, one must embrace and recognize the numerous identities they possess.
Connection to ACT
1. I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the background of my piece as well as the mood established by the mask and face. Early African art incorporated similar patterns that inspired the background of my piece. Furthermore, Käthe Kollwitz utilized realistic emotions to incorporate social commentary into her work; my piece was inspired by her creative decisions and features a similar facial expression.
2. The authors point of view regarding Käthe Kollwitz is that she was an artist that focused on exposing the effects of war on German civilians through the social commentary she weaved into her work. In regards to early African art, the authors' point of view is that African masks were a means of temporarily replacing a performers identity.
3. While researching, I realized that people turn to art as a method of healing and empathy. Furthermore, I discovered that the early African culture was rooted in the supernatural. By learning more about their masks, I've to the generalization that hiding one's true nature by assuming different personas is rooted in the desire to protect oneself.
4. The central theme of my inspirational research was human nature exposed and hidden by masks.
5. While reading my research, I inferred that Käthe Kollwitz was a pacifist opposed to war and by displaying the expressions of those affected by war, she advocated for the civilians that couldn't speak out against the countries waging them. Furthermore, I inferred that early African art existed to serve a spiritual purpose rather than for aesthetics.
2. The authors point of view regarding Käthe Kollwitz is that she was an artist that focused on exposing the effects of war on German civilians through the social commentary she weaved into her work. In regards to early African art, the authors' point of view is that African masks were a means of temporarily replacing a performers identity.
3. While researching, I realized that people turn to art as a method of healing and empathy. Furthermore, I discovered that the early African culture was rooted in the supernatural. By learning more about their masks, I've to the generalization that hiding one's true nature by assuming different personas is rooted in the desire to protect oneself.
4. The central theme of my inspirational research was human nature exposed and hidden by masks.
5. While reading my research, I inferred that Käthe Kollwitz was a pacifist opposed to war and by displaying the expressions of those affected by war, she advocated for the civilians that couldn't speak out against the countries waging them. Furthermore, I inferred that early African art existed to serve a spiritual purpose rather than for aesthetics.
Sources
Websites
The Museum of Modern Art. "Käthe Kollwitz | MoMA." The Museum of Modern Art. The Museum of Modern Art, n.d. Web. 12 Oct. 2016.
Murrell, Author: Denise. "African Influences in Modern Art | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Denise Murrell, n.d. Web. 13 Oct. 2016.
Books
Prelinger, Elizabeth, Käthe Kollwitz, Alessandra Comini, and Hildegard Bachert. Käthe Kollwitz. Washington: National Gallery of Art, 1992. Print.
Marc, Alexandre. African Art: The World Bank Collection. Washington, D.C.: World Bank, 1998. Print.
The Museum of Modern Art. "Käthe Kollwitz | MoMA." The Museum of Modern Art. The Museum of Modern Art, n.d. Web. 12 Oct. 2016.
Murrell, Author: Denise. "African Influences in Modern Art | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Denise Murrell, n.d. Web. 13 Oct. 2016.
Books
Prelinger, Elizabeth, Käthe Kollwitz, Alessandra Comini, and Hildegard Bachert. Käthe Kollwitz. Washington: National Gallery of Art, 1992. Print.
Marc, Alexandre. African Art: The World Bank Collection. Washington, D.C.: World Bank, 1998. Print.