Dry Point |
Exhibition TextTitle: Intrusion
Medium: Dry Point Size: 20 cm x 15 cm Time of Completion: October 2017 Intrusion is dry point that has been transferred onto paper with oil-based ink. This piece was heavily inspired by German Expressionism artist: Otto Dix, and incorporates a similar usage of shading and exaggerated positions. Intrusion is intended to abstractly convey the negative emotions associated with intrusive thoughts, while also connecting to my previous block print piece’s idea of obsession. This idea of obsession is portrayed through the use of multiple vines traveling across the figure. |
Critical Investigation/Artistic Inspiration
The majority of my artistic inspiration for this dry point project originates from the German Expressionism movement, of which took place between the approximated years of 1905 to 1920. The German Expressionism movement primarily focused on showcasing the raw feelings of anxiety and depression that went widespread throughout Europe as a result of a feeling of disconnect from the surrounding world. These fervent emotions were commonly expressed throughout artworks - of which consisted of films, woodcuts, and paintings - through the usage of distorted figures and rugged line work. It was through the use of these distorted figures and stylized lines that the idea of pain was expressed so abstractly in considerably unique methods.
As a result of the several mediums making up the German Expressionism movement, I found several artists to take possible inspirations from. However, when being initially introduced to this project, I felt oddly compelled to reuse my artistic inspirations from my block print piece. This idea of reusing my old inspiration formulated from the shared, stylized usage of sharp lines and additional serrated textures that were expressed within the two mediums. I thought it would be easier to recycle Kӓthe Kollwitz as my inspiration, however I instead decided that the German Expressionism movement had a much larger selection of skilled artists that I should investigate to promote diversity within my different projects. It wasn’t long after this decision to explore other possible artistic inspirations, I came across German Expressionism artist: Otto Dix. Born in 1891 within Untermhaus, Germany, Otto Dix is primarily renowned as both a painter and printmaker. Otto Dix heavily focused on expressing the corrupt and generally immoral lifestyle throughout Germany at the time. This intense theme would often be showcased through symbolic depictions of nudes as well as a common personification of the negative emotions surrounding theses corrupt lifestyles. In addition to the common paintings of nudes, Dix also focused on creating collections of intricate dry points that displayed similar emotions of melancholy through sharp lines and exaggerated expressions. These dry points often depicted wounded soldiers and were inspired by Otto Dix’s time as a WWI survivor. Yet as Dix continued to create these political artworks, he was identified as a threat by the Nazi Party during WWII, of which ultimately resulted in Dix declining to create more dry points. In the end of his career, Dix had completely shifted focus from dark depictions of soldiers to landscape paintings that typically covered Christian themes. I personally felt heavily inspired by Dix’s dry point pieces. Specifically, it was the common usage of exaggerated figures and the detailed line work that influenced a majority of my work. While additionally it was throughout the process of analyzing Otto Dix’s pieces that I was able to determine how the dry point scratchboards could be manipulated to create such intense figures. The pieces that influenced me the most include: War Wounded Soldier (1916), Mealtime in the Trench (1924), Dying Soldier (1924), Dead Sentry in the Trench (1924), and Skull (1924). |
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Planning Phase
Process
After finalizing the remaining details within my planning sketch, I began the process of creating my actual dry point print. To begin this process, I first had to take a clear, linoleum board - of which our class had been provided - and line it up with the defined proportions of my completed sketch. Once I felt generally pleased with the placement of my plastic board, I then removed the two protective layers of plastic from each side of the board itself. These layers were initially placed along the board to prevent it from getting dirty or smudged, but since I would later be covering this plastic board entirely in oil-based ink, I didn’t heavily focus on keeping the print clean. It was after removing these plastic, protective layers, that I then readjusted the dry point board so it lined up with the proportions of my planning sketch again. Then, as a final precaution, I decided to tape my board down to the planning sketch itself to ensure that it wouldn’t accidentally slide or move throughout the carving process, as this would create an extremely disproportionate print.
This is when I started to etch out the design of my dry point planning sketch using a linoleum cutter. This cutter consisted of a single, sharply pointed blade that had been covered in tape to prevent injury, yet it also had a wooden base to hold along the end of the cutter itself. Throughout this process I typically placed my hand along the taped parts of the blade, instead of along the wood, as this provided me the opportunity to treat the carving tool as a pencil, of which I am more experienced at using to create intricate artwork. Aside from the carving tool, my initial plan to carve this piece consisted of me etching out the outline of the two figures within the work, and then I would essentially carve inwards, more specifically towards the center of the figures. Yet, I quickly abandoned this idea to instead focus on developing my etching skills and techniques through a sort of “trial phase,” throughout this carving process. Since I had never created a dry point print before - and had very limited experience using similar carving techniques - I felt that I needed a buffer phase to adequately practice scratching my board. This was to ensure I would not ruin the piece, as I had only been provided with the one board to use for this entire project. In order to easily develop my carving skills within this trial process, I primarily focused on etching in the straighter lines within my piece first. This specifically included the lines along the clothing of both figures and the thorns along the vines within the sketch. Doing this allowed me to first learn how to handle the etching tool itself, and to furthermore determine how much pressure I needed to apply on the board itself to create a satisfactory cut. Once I felt considerably confident with my carving skills, I then began to focus on etching in the other - and more complex - portions of my piece. This primarily included the vines, clothing ruffles, and flowers throughout my piece. It was through the entirety of this process that I heavily referred to previous techniques I had developed to create my block print carving, as the two mediums were created in very similar ways. I specifically referred to the techniques I used to create the more intricate details within my block print in order to develop my dry point, as dry point pieces are typically more detailed than the average block print. These intricate details within my dry point were the hardest to create, as the small lines were harder to etch out in smooth movements while using a bigger carving tool. This is especially true for the vines within my piece, as they all bend in very obscure ways, of which were hard to replicate through the usage of scratching a heavy tool against a solid linoleum board. It should also be noted that at this point in time, I was unable to clearly see how my carving looked without constantly moving it into a light source. As a result of this I had to stop frequently to check if my piece lined up with my planning sketch. However, after so long of doing this, I accidentally discovered a method to see where the lines within my piece were being made. I discovered this unique trick of using light to detect where my lines were along my piece while taking a photo of my etching with the flash on, as this flash temporarily lit up the carvings along my piece. It was after this that I then turned on the flashlight on my phone, and placed it along the linoleum board. This made carving process considerably easier, as I could then immediately see how my cuts looked in comparison to my planning sketch, of which furthermore let me know if any changed needed to be made. Following the discovery of this technique that allowed me to see how my carvings looked along the linoleum board, I felt considerably more confident in my skills to begin experimenting with my piece. Although not by much, I would occasionally add a few details throughout my piece to better capture the look of Otto Dix’s dry points. I felt that my piece thoroughly showcased the exaggerated emotions, as well as the movement, portrayed throughout Dix’s pieces; yet I still felt that some of his carving techniques were not visible enough within my carving. As a result of this, I experimented with the thorns, vines, and shadows along the figures to better mimic the look of ruggedness within my artistically inspirational pieces. Yet, these experimental details were added on whims, and I still focused moreso on completing the originally planned image for the print. Considering the more intricate details of my dry point, I started out the etching process by carving around the vines along the plague doctor figure. This was done first because the vines lay on top of the clothing ruffles, and I felt that it would make sense to develop the vines first in case my tool were to slip. Multiple times throughout this process I would accidentally lose grip of my carving tool, and it would create an extra line in places not specified by my sketch. If the clothing had been carved first, I would have then been unable to fix the mistakes along the vines without forcing my carving to look considerably awkward or sloppy. Yet after these vines and thorns had been created, I then focused on carving out the details within the clothing of the two figures. Finally I focused on creating the most intricate details within my dry point. This included the flowers along the head of the cowering figure as well the flowers that were scattered along the eyes and back of the plague doctor. In the end I ultimately decided to leave the shadowing details along the edges of my sketch out of the piece, as I felt this clouded other important details within the carving. Yet, in doing this, I distanced my look from the detailed and dark appearances of Otto Dix’s work, as most of his dry points were covered entirely in jagged lines and rough textures. Once this dry point carving had been completed, I was then able to begin the printing process for my piece. This process began by taking a sheet of cardstock paper and submerging it in a bucket of water. Doing this thoroughly enabled water to seep into the paper, of which would allow the paper to become flexible, and furthermore allow it to sink into the crevices of the carving to absorb the ink within them. While this paper sat in the water, I then took a container of oil-based ink and used a plastic palette knife to disperse the ink around the print. Throughout this process I wore gloves to keep the oils from getting stuck to my skin, as it is considerably difficult to remove the oil without using valuable paint thinner. While spreading the ink along my piece, I would take the plastic palette knife and press hard against the carvings on my dry point to forcefully put ink into the lines. After my entire piece had been covered in a thick layer of ink, I then started to scrub off the excess ink that would not be needed on my final prints. This was the ink that was on the outside of my carvings, and to remove them I took several sheets of torn paper and simply scrubbed the ink out. This process took awhile, as the dark ink was hard to completely remove from the plastic board, yet, once this process had eventually been completed, I then took the drenched sheet of paper out of the water and laid it down on the table. In order to keep the paper together I had to lightly dry it by carefully laying a towel over it and applying minimum pressure. While at the same time, I had to be careful, as applying to much pressure would prevent the paper from being able to sink into the cracks of my dry point. When the paper had been sufficiently dried, I then took both my print and the sheet of paper to the printing press. This printing press consisted of a roller and a flat board to lay my prints on. By placing my prints on the board and sending them through the roller, I was able to forcibly push the paper into the crevices of my print, of which created a better image along my cardstock. After sending the paper and carving through the press, I then separated the two carefully to prevent my image from blurring. I then finally placed the newly created prints along the drying rack to keep them from leaking onto one another. I also then cleaned out my carving - as well as my carving tools - through the careful dispersion of paint thinner. |
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Experimentation
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Throughout the entirety of the dry point process, I mainly experimented with my dry point piece during the printing phase. I primarily experimented through the amount of ink present both within the actual, carved lines of my piece, and the amount of ink present on the outside of these lines. This ink affected the amount of darkness present within the piece, and additionally deepen the connections between my artwork and Otto Dix’s artworks, as Dix’s artworks had an immense amount of shading throughout the whole piece. Not only this, but I also experimented with the spottiness and thickness of the lines along the figures. This was in attempts to further showcase the idea of obsession taking over an individual, and seeing how these lines affected that portrayal.
I first decided to experiment with the amounts of ink along the outside of the dry point carving itself. During the printing process, I would simply scrub the print less in some areas in an attempt to create a piece with additional shadows within it. However, as I began to look at my final set of prints, I noticed that the prints with extra ink looked messy and blurry, opposed to looking detailed. This was a result of the ink sliding around the paper as it was pressed inside the printing press, as the carved lines absorbed the paper, rather than pushing against it. These messy lines did not capture the look of Otto Dix’s work in the way I desired, and as a result, I ultimately decided to scrap these final prints. After experimenting with the amount of ink present along the outside of my dry point carvings, I then attempted to experiment with the amount of ink present within the carving itself. To alter the overall amount of ink within the carving, I would simply scrub the carved lines more in some areas than it others. This would result in the wet sheet of paper absorbing more or less ink, of which would then change the final appearance of the ink on the paper. However, the final appearance of these lines also appeared messy, and did not benefit the overall look of my final dry point piece. In addition to this, I also felt that my piece already had a significant amount of negative space within it, as a majority of my piece depended on line art. As a result of this, I decided to also scrap these final prints as well. I ultimately decided to not color this piece with watercolor, as I felt it strengthened the connections to my previously created block print project. |
Reflection
In the end, I feel considerably proud with my dry point piece. Although I wish I could have incorporated additional detail within this piece, I feel that I created a successful dry point despite a generally limited amount of previous knowledge on the medium. Additionally I feel that I have deepened my overall understanding of the German Expressionist movement through an additional investigation of the artists and techniques created throughout the period. It is through this increased understanding of techniques and skills developed throughout the German Expressionist movement that I was also able to continuously develop my own skills considering a dry point medium. It is because of this that I feel confident in the final appearance of my dry point artwork, yet I still hope to continue increasing my skills in consideration to my carving capabilities.
Additionally, I feel that my Weebly is also considerably successful, as I included all the required information within it, while also providing a plethora of images that showcase the true process of creating a dry point carving. I also captured all of the ideas I wanted to express in writing about this piece, yet I do feel that I could work on increasing my analysis of my artistic inspiration in relation to my own artwork more than I currently am. As I continue to create more pages for my class projects, I will most definitely be able to increase my overall writing and analysis skills for my final artworks.
Additionally, I feel that my Weebly is also considerably successful, as I included all the required information within it, while also providing a plethora of images that showcase the true process of creating a dry point carving. I also captured all of the ideas I wanted to express in writing about this piece, yet I do feel that I could work on increasing my analysis of my artistic inspiration in relation to my own artwork more than I currently am. As I continue to create more pages for my class projects, I will most definitely be able to increase my overall writing and analysis skills for my final artworks.
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?
5) What kind of inferences (conclusions based on your evidence and reasoning) did you make while reading your research?
- It is through the extreme usage of exaggerated figures as well as negative and positive space that a visible connection between my artwork and the German Expressionist movement is developed. Additionally, the theme of obsession ties into the negative emotions that were being commonly expressed throughout this art movement. In specific relation to Otto Dix, I used severely expressions as well as shading techniques to connect my artwork to his dry point pieces.
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 Otto Dix’s artwork and his ideas of immoral lifestyle in his German environment. Yet, authors also discussed how the Otto Dix utilized his time as a veteran to showcase severe ideas of corruption within Germany at the time.
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 and corruption within society.
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 obsession controlling an individual both physically and mentally. It was ultimately through the desire to present obsession controlling an individual within my work that connected me to the dry points of Otto Dix, as he used unique techniques - such as expressing pain through the use of exaggerated figures - to showcase similar underlying themes.
5) What kind of inferences (conclusions based on your evidence and reasoning) did you make while reading your research?
- 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 distortion of figures that German Expressionist pieces are able to express such intense feelings of despair and anxiety. These feelings can be especially expressed through the dry points of Otto Dix, as he generally felt disgust towards his presumably corrupt society.
Bibliography
“Catalog Prints.” Otto Dix, www.ottodix.org/catalog-prints/page/3/. Accessed 13 Oct. 2017.
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“Catalog Prints.” Otto Dix, www.ottodix.org/catalog-prints/page/5/. Accessed 11 Oct. 2017.
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Dix, Otto. “Otto Dix. Mealtime in the Trench (Loretto Heights) [Mahlzeit in der Sappe (Lorettohöhe)] _ from _The War (Der Krieg). (1924) | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/87731?locale=en. Accessed 13 Oct. 2017.
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Dix, Otto. “Otto Dix. Skull (Schädel) from The War (Der Krieg). (1924) | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/63262. Accessed 11 Oct. 2017.
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“Home.” Otto Dix, www.ottodix.org/. Accessed 15 Oct. 2017.
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“Otto Dix | DIE BARRIKADE (1922) | Artsy.” Artsy - Discover, Research, and Collect the World's Best Art Online, www.artsy.net/artwork/otto-dix-die-barrikade. Accessed 11 Oct. 2017.
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“Catalog Prints.” Otto Dix, www.ottodix.org/catalog-prints/page/5/. Accessed 11 Oct. 2017.
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Dix, Otto. “Otto Dix. Mealtime in the Trench (Loretto Heights) [Mahlzeit in der Sappe (Lorettohöhe)] _ from _The War (Der Krieg). (1924) | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/87731?locale=en. Accessed 13 Oct. 2017.
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Dix, Otto. “Otto Dix. Skull (Schädel) from The War (Der Krieg). (1924) | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/63262. Accessed 11 Oct. 2017.
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“Home.” Otto Dix, www.ottodix.org/. Accessed 15 Oct. 2017.
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“Otto Dix | DIE BARRIKADE (1922) | Artsy.” Artsy - Discover, Research, and Collect the World's Best Art Online, www.artsy.net/artwork/otto-dix-die-barrikade. Accessed 11 Oct. 2017.