Block Print
My artistic inspiration primarily stems from the German Expressionism movement, of which took place during the approximated years of 1905 to 1920. During its peak, this movement went widespread throughout a majority of Europe, and focused on intense feelings of anxiety as well as disconnection from the outside world. These feelings of both loss and anguish within this movement influenced the common usage of distorted figures that consisted of rugged lines and shapes in most artwork. Such abstract shapes encapsulated the despair throughout the movement in a different light than previously known in other artistic movements.
The German Expressionist movement had several, varying, kinds of mediums within it. Yet I specifically felt inspired by the woodcuts created during this time. The main reason I felt inspired by these woodcuts was due to the fact that both mediums of work required carving as a form of manipulation. It was after this discovery that I decided to continue my research on woodcuts; in order to see what I would be capable of creating based on the materials needed for this kind of artwork. This is when I came across German Expressionism artist: Kӓthe Kollwitz, and her multiple, complex woodcuts. Born in 1867, Kӓthe Kollwitz was a German artist who created both prints and sculptures in attempts to tackle the commonplace injustice within her country. One notable characteristic of Kollwitz is that she often allowed the surrounding conflict in both Europe and her personal life to influence her art. A primary example of this influence being the death of Kollwitz's son in 1914. Of which resulted in the mass production of prints that displayed mothers desperately attempting to protect their children. The use of jagged lines, and angular shapes within her woodwork pieces were the main influence on my work; as these shapes and cuts had been used to showcase pain in very distorted methods. Which is what I aspired to portray through my personal block print. While, in addition, the use of negative and positive space within these woodcuts also further helped me develop techniques to make my own carving successful. The wood-works that most inspired my piece are: The Volunteers, as well as Visit to the Hospital, created in 1922 and 1929 respectively. Simple sketches created by Kӓthe Kollwitz were additional sources of inspiration for my block print. Although these mediums differ from my block print, I felt that the use of line and space within these pieces influenced the layout of my project’s design. However, these sketches did not provide the majority of inspiration for my block print. Yet the specific sketches that I felt most influenced by included, Woman Working in Profile Facing Left, (1903) Self-Portrait, (1927) Self-Portrait, (1933) Charge, and Battlefield. |
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Planning Phase
Concept Sketch #1
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Brainstorming ideas for this block print’s design was the very first step I took during the process of this project. Since the beginning of this process, I had already known that I wanted to display the idea of beauty within suffering, and knowing this early on allowed me to quickly start producing sketches for my block print image.
My first image of three displayed a lone figure covering their face with their hands. This figure consisted entirely of scribbles and jagged lines, all of which created precise details and a rough texture throughout the piece. I originally thought of making this sketch into my block print because I felt it could easily be connected to the German Expressionist movement. Furthermore, I felt that the piece had a very apparent association with my desired theme of beauty within suffering, and it would lead to an easy reflection process l later on. However, as I continued to develop the sketch, my theme gradually began to disjoint from what the piece conveyed. This sketch successfully captured suffering, yet lacked the representation of beauty that I wanted to coexist with suffering in this piece. After many failed attempts to reconnect my theme to my sketch, I ultimately decided to simply scrap the piece as a whole and to instead consider other ideas for my block print. This sketch never made it past the early concept art, and therefore has no lines surrounding it to mark the proportions of the block print. |
Concept Sketch #2
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The second of three concept images that I created displays a woman clawing at her face, with cracks jutting out from her fingertips and traveling across her cheeks. I originally intended to have this woman be a portrayal of myself, yet as the drawing progressed, I found it increasingly difficult to correctly capture my hairstyle within the sketch. With my current skill level in art, I was unable to successfully sketch out my hair in a way that related to the woodcuts within German Expressionism without looking awkward at the same time. It was because of this that I finally decided to abandon this second idea, as with the given time frame, I knew I would be unable to produce a quality print of a human face. However, despite my choice to scrap the idea, I knew that this piece successfully connected to my theme. The contrast of the feminine figure to the harshness of her hands clawing into her bruised face represented beauty within suffering. In addition to this, my second concept showcased the idea that physical injuries were not enough to destroy inner beauty. Even though I am happy with my final block print design, I am still slightly disappointed that I had to scrap this second idea as a result of my artistic capabilities. This sketch - unlike the first one - was actually sketched within the proportions of a block print. Meaning that I traced the outline of the block print onto a sheet of paper, and sketched within that area to see what my design would look like within the space I had been given. Another note is that the words near the top of the sketch were possible title ideas that were also scrapped in the end.
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Concept Sketch #3 (Final Sketch)
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Before I had even started working on my third sketch, I decided to conduct further research relating to the German Expressionism movement. It was during this time that I began to seriously take notice of Kӓthe Kollwitz and her work. I had seen her work beforehand in my previous research sessions, but I had never considered using her techniques as a source of inspiration until this point. Yet shortly after deliberately looking into Kӓthe Kollwitz’s work, I found a large quantity of artwork from her that ultimately inspired my final sketch. With the jutted and sharp lines within Kollwitz's work influencing the backdrop of my block print, as well as the basic texture on my plague doctor’s cowl. Not only did Kӓthe Kollwitz’s work influence my sketch, but it also influenced the theme of my piece. Since the beginning of this process, I had been determined to center my theme around the concept of beauty within suffering. Yet nothing I had sketched accurately portrayed this theme in the way I had desired. This is where Kollwitz’s work came in, as it showed me ways to convey the idea of suffering in such a way that I could still hint at the idea of beauty within the same block print. These multiple factors resulted in my third sketch becoming my final sketch, as I felt confident in both my abilities to create and to reflect on my planned block print. It should be noted that the roses within my final sketch were not inspired by anything from the German Expressionism movement specifically. However the line-art I had created on my sketch was inspired by the distorted line-art within most German Expressionist pieces. |
Process
After creating a sketch that I felt confident with, I then made the stylistic decision to actually reverse the image through the use of tracing paper. I decided to do this because my final sketch was the intended product of my final print. By this I mean that I purposefully wanted the plague doctor to reside on the right side of the print, and so I took an extra step to ensure that this could happen. I reversed this sketch by taking a sheet of tracing paper and first sketching out the original image. Then after the sketch was copied, I was simply able to flip the paper over and copy this side onto the block print instead. This was possible only because tracing paper is considerably translucent, and I was able to see through it for transferring easily. By reversing the image I was also able to ensure that no hidden errors were within my piece, as I was able to analyze my sketch through a new perspective.
Once the image had been reversed, I decided to print out a copy of the new sketch. It was after this that I began the process of transferring my image onto my block print. To do this, I covered the entire back of the image with a thick layer of graphite. Then I taped the image down onto the block print and sketched over the lines to copy the image onto the block. This process works because the graphite on the back of the image leaves an impression on the paper when my pencil places pressure on top of the individual lines. This is what allowed me to easily replicate my sketch through carving. Since I had never had any past experiences with block prints, I decided to begin my carving in the areas with large amounts of negative space. This provided me with a buffer period of carving, as within these areas of future negative space, I would have room for possible error opposed to the areas of my print that had more precise details. This area was primarily the beak on the plague doctor, yet as I felt more confident with my carving skills, I began to experiment with some of the smaller areas/lines along the cowl and hat. During this process, I also ensured to keep my carvings close to the surface. This prevented the possibility of creating holes within my block print, while also allowing me to create the scratchy texture along the mask later on. After almost entirely completing the plague doctor outline, I started to carve the background of my piece. This process wasn’t as easy to complete, as the thin lines were harder to actually carve out. While additionally the roses took very precise movements, and were ultimately saved for last. It was during this time that I also decided to deepen some of the cuts I had made earlier. This was done to prevent ink from filling in the entire block print, and created the visible gap between the negative and positive space within my piece. Once my carving had been completed, I began the printing process by taking a portion of ink and using a small paint roller to disperse it around a flat metal sheet. This process involved rolling over the dab of ink multiple times to sufficiently spread it around the metal surface. Spreading the ink around also further prevented possible clumping, and allowed me to place thin coats of this ink on my piece without having to worry about the carved wells overflowing. Using the same paint roller from earlier, I would then transfer the ink from the metal sheet onto the block print gradually. Such a gradual process was done to create even coats of paint along the different sections of the artwork. While completing this process I referred back to Kӓthe Kollwitz and her woodcuts. Although the types of mediums differ, the process of printmaking itself remains considerably the same. It was because of this I made sure to research her techniques to gain a better sense of understanding considering printmaking. It was after this inking and short research process that I was finally able to create my prints. To do this I would take a single sheet of paper and simply lay it on top of the inked block print, while being sure to center the paper with the print. After the paper had been centered on top of the print, I would then take a plastic baren and push the paper against the block. This would force the ink on the block print to transfer onto the paper in thicker amounts, which ultimately lead to more detailed images. Yet if the baren was pushed too hard against the block, the ink would sometimes overflow into the carved wells and it would destroy the overall quality of the piece. In contrast to this, not placing enough pressure on the baren would create a spotty image that lacked detail overall. It was only through a process of repeated printing that I could successfully determine how hard and for how long I would need to push the baren into the rubber block to create a decent print. (Of which I determined to be hard pressure for an approximate 4 minutes) To ensure that each area of my print was evenly inked I would move vertically and horizontally with the baren and push pressure into the paper as I went along. Finally, after my prints had all been completed, I laid them out along the class’s drying rack for a few hours in order to keep the ink from leaking into the other pages. |
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Experimentation
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Throughout the entirety of creating my block print I primarily tried to experiment with my piece during the inking process. One way I did this was through the length and the amount of lines along the mask of the plague doctor. I originally had intended to create these lines as a way to form texture, yet throughout the inking process I discovered that there needed to be a select balance between these lines and the negative space. This would prevent one side of the piece from overpowering the other, and also keeps the viewer interested in the entire piece rather than just one part of it. At first I simply printed off what I had carved on my block print from earlier. Yet as the lines turned out to be too long, I started to cut them shorter in attempts to reach that balance between the two areas of the print. Additionally I would use less ink around the mask of this piece to keep less lines from actually showing up in the final print. It was only after multiple test prints and several carving processes that I found a good balance of textured lines along the mask.
Not only this, but I also experimented with the amount of ink along the background and foreground of the piece. For one print I deliberately used less ink in the background of the image to create a spotty look. After this didn't create the same effect as I had intended, I reversed the areas of interest, and instead used less ink on the plague doctor. This created a spotty foreground, and although I could appreciate the texture of the piece, I ultimately felt that simply not having a spotty project would be for the best. I came to this conclusion because I didn't want others to see my piece and simply think that I was lazy, rather than it being a purposeful choice. Additionally, the consistent use of ink kept the balance of the piece intact. Overall I made an approximate 10 prints, and each looks considerably different from one another. It is through the differentiation between these pieces that my development of technique and style can be visibly seen. |
Reflection
Overall, I can honestly say that I am extremely happy with the results of my block print. Although I had no previous experience with this kind of medium, I felt that I was able to successfully develop new kinds of techniques and styles that suited this type of artwork. Additionally I feel that my artistic inspiration allowed me to explore new ways to express feelings of suffering as well as well as the idea of beauty. It is through the plague doctor itself that I captured the idea of beauty within suffering in a very unique way. The idea that old plague doctor masks were filled with herbs and flowers to mask the stench of sickness in the air especially showcases that such contrasts of ideas exist in this world’s history.
However, aside from the physical piece itself, I feel that I created a decent analysis of this artwork as well. Although it is my first Weebly entry on one of my art projects, it contains almost all - if not all - of the information that was required within the rubric. Hopefully as I begin to write more of these Weebly entries, I can capture the idea of my piece more efficiently than I have this time. Yet I do feel that this time I had a large amount of pictures that captured the process of creating my block print, and although it is not the only aspect I’m graded on, it is a key component to a descriptive journal.
However, aside from the physical piece itself, I feel that I created a decent analysis of this artwork as well. Although it is my first Weebly entry on one of my art projects, it contains almost all - if not all - of the information that was required within the rubric. Hopefully as I begin to write more of these Weebly entries, I can capture the idea of my piece more efficiently than I have this time. Yet I do feel that this time I had a large amount of pictures that captured the process of creating my block print, and although it is not the only aspect I’m graded on, it is a key component to a descriptive journal.
Connecting to the ACT
1) Clearly explain how you are able to identify the cause-effect relationship between your inspiration and its effect upon your artwork.
2) What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
4) What was the central theme or idea around your inspirational research?
- It is through the use of texture - such as sharp, jagged lines and several organic shapes - within my artwork that a visible connection to the subjective German Expressionist movement can be made. While additionally the usage of both negative and positive space within my piece can show inspiration from German Expressionist artist Käthe Kollwitz. In addition to this, the theme of suffering and tragedy through my piece also reflects common themes being reflected through this movement.
2) What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
- Throughout my research, several authors discussed the various connections between Käthe Kollwitz’s personal life and her artwork. Yet authors also commonly discussed how the tragedies of the surrounding world affected the messages presented through the German Expressionist movement in general.
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
- The primary conclusion that I discovered through my research was that a majority of art from the German Expressionist movement was affected by the emotions felt throughout Europe at the time. While additionally, I came to the conclusion that war was a common topic of protest throughout this movement; primarily being the protest of war.
4) What was the central theme or idea around your inspirational research?
- The central theme that I focused on throughout my inspirational research was the presentation of beauty within suffering. It was ultimately the idea of being able to show such pain through an image with underlying beauty that motivated me to see how Käthe Kollwitz presented multiple emotions through her works. The contrast of emotions throughout her pieces appealed to me immensely.
- Through the research and readings I conducted I was able to determine that it is through both the texture of lines as well as the contrast in color that German Expressionist pieces are able to express such intense feelings of despair and anxiety. These feelings can be especially expressed through the woodcuts from artists such as Käthe Kollwitz, as she has had firsthand experience with these emotions of pain and suffering.
Bibliography
“The Drawings of Käthe Kollwitz.” The Drawing Source, www.thedrawingsource.com/kathe-kollwitz.html. Accessed 11 Sept. 2017.
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The Editors of Encyclopædia Britannica. “Käthe Kollwitz.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 28 Apr. 2017, www.britannica.com/biography/Kathe-Kollwitz. Accessed 12 Sept. 2017.
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“Expressionism Movement, Artists and Major Works.” The Art Story, www.theartstory.org/movement-expressionism.htm. Accessed 12 Sept. 2017.
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“German Expressionism (C.1905-35).” German Expressionism Art Movement, www.visual-arts-cork.com/history-of-art/german-expressionism.htm. Accessed 9 Sept. 2017.
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“Käthe Kollwitz | Self Portrait (1927) | Artsy.” Artsy - Discover, Research, and Collect the World's Best Art Online, www.artsy.net/artwork/kathe-kollwitz-self-portrait. Accessed 11 Sept. 2017.
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“National Museum of Women in the Arts.” Käthe Kollwitz | National Museum of Women in the Arts, nmwa.org/explore/artist-profiles/k%c3%a4kollwitz?gclid=Cj0KCQjw6NjNBRDKARIsAFn3NMqDIT9yixFq4Xei8DZQBKgYPxJN57P8j18UBbKnPBdNJS0l0sOSE18aAvvrEALw_wcB. Accessed 10 Sept. 2017.
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“Visit to the Hospital (Besuch im Krankenhaus).” Art Object Page, www.nga.gov/content/ngaweb/Collection/art-object-page.8203.html. Accessed 11 Sept. 2017.
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“The Volunteers, Käthe Kollwitz ^ Minneapolis Institute of Art.” The Volunteers, Käthe Kollwitz | Mia, collections.artsmia.org/art/56193/the-volunteers-kaethe-kollwitz. Accessed 11 Sept. 2017.
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The Editors of Encyclopædia Britannica. “Käthe Kollwitz.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 28 Apr. 2017, www.britannica.com/biography/Kathe-Kollwitz. Accessed 12 Sept. 2017.
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“Expressionism Movement, Artists and Major Works.” The Art Story, www.theartstory.org/movement-expressionism.htm. Accessed 12 Sept. 2017.
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“German Expressionism (C.1905-35).” German Expressionism Art Movement, www.visual-arts-cork.com/history-of-art/german-expressionism.htm. Accessed 9 Sept. 2017.
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“Käthe Kollwitz | Self Portrait (1927) | Artsy.” Artsy - Discover, Research, and Collect the World's Best Art Online, www.artsy.net/artwork/kathe-kollwitz-self-portrait. Accessed 11 Sept. 2017.
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“National Museum of Women in the Arts.” Käthe Kollwitz | National Museum of Women in the Arts, nmwa.org/explore/artist-profiles/k%c3%a4kollwitz?gclid=Cj0KCQjw6NjNBRDKARIsAFn3NMqDIT9yixFq4Xei8DZQBKgYPxJN57P8j18UBbKnPBdNJS0l0sOSE18aAvvrEALw_wcB. Accessed 10 Sept. 2017.
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“Visit to the Hospital (Besuch im Krankenhaus).” Art Object Page, www.nga.gov/content/ngaweb/Collection/art-object-page.8203.html. Accessed 11 Sept. 2017.
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“The Volunteers, Käthe Kollwitz ^ Minneapolis Institute of Art.” The Volunteers, Käthe Kollwitz | Mia, collections.artsmia.org/art/56193/the-volunteers-kaethe-kollwitz. Accessed 11 Sept. 2017.