Project #3 (Digital Illustration) - What Remains
Exhibition Text
Title: What Remains
Medium: Digital Illustration Size: 30.69 in x 38.47 in Time of Completion: October 2018 Inspired by German Expressionist: Kӓthe Kollwitz, What Remains is a digital illustration that conveys the loss of identity through a combination of values and high contrasts between varying hues. Generally, this digital piece aims to illustrate the effects of an identity crisis, and furthermore that the loss of an identity has a significant impact the individual sense of self. Similarly to Kollwitz, this illustration utilizes negative space as well as jagged lines to highlight negative emotions. |
Critical Investigation/Artistic Inspiration
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 loss in very distorted methods. Which is what I aspired to portray through my digital illustration. 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 illustration. Primarily, I felt that the usage of high contrasts and emphasis within these pieces influenced the layout of my project’s design. However, these sketches did not provide the majority of inspiration for my artwork. Yet the specific sketches that I felt most influenced by included, Woman Working in Profile Facing Left, (1903) Self-Portrait, (1927) and an additional Self-Portrait. |
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Planning Phase
Planning Sketch #1
Planning Sketch #2
Planning Sketch #3
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To begin the process of developing this digital illustration, I primarily focused on attempting to connect this piece to previous artworks I had created this year. In order to do this, I examined a plethora of older artworks to see which characteristics were common between the variety of projects. From this research, I found that most of my artworks typically included some kind of floral material, or plant life of some sort. From this realization, I started developing my first of three planning sketches. This planning sketch specifically depicts a flower holding a gigantic hibiscus flower. Initially, I felt pleased with this planning sketch, as I felt that is was an artwork I could successfully illustrate in the given time frame to complete this project. However, as I continued to analyze this first sketch, I felt a general disconnect from the theme, as the work itself didn’t appear to specifically convey anything. Despite my attempts to draw a theme from this planning sketch, I repeatedly fell short, as the piece lacked any defining features that evoked a deeper emotion within any viewers. As a result, I decided to scrap this planning sketch, and experiment with nature in different methods.
The second planning sketch I developed continued to follow the theme of nature, and attempted to use this theme as a connecting factor to the previous works I’ve created. Intended to be an abstract depiction of a lake, I attempted to promote feelings of tranquility and stillness within this project. However, I quickly felt myself disliking the theme I was developing, as other works I’ve created tend to focus more so on negative emotions such as confusion, depression, and anxiety. This made me feel uneasy, as I didn’t enjoy the disconnect between this project and previous projects I created. As a result, I ultimately rejected the idea and started working towards developing sketches based off of other themes within my work altogether. The final planning sketch I developed focused on contrasting themes of decay and loss, as I felt this more similarly connected to previous themes I’ve presented within my works. Although I ultimately did not use this piece in later portions of my process, it defined a significant change in the theme I desired to highlight within my works. This sketch displays a skull that has had all flesh melted away, leaving nothing but a shadow behind of what the animal used to be. |
Process
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Experimentation
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Primarily, I experimented with the shadows present within my piece in attempts to more efficiently convey a sense of loss and suffering. To begin this process of experimentation I heavily focused on defining certain features of the figure within the project. To do this I referred back to my initial outline to see which portions of my artwork were lacking, and would become more visible with the aid of shadows. However, I felt that this didn’t contribute much to the theme of my piece, and as a result started shifting the overall placement of the shadows in my work. This included placing the shadows solely in the background of the artwork, as well as shrouding the entire illustration in darker values. After various trials I ultimately felt that attempting to cover the figure in shadow added to my theme of loss, as the subject of the piece becomes much harder to find amongst the dark palette.
After deciding to cover the entire piece in shadow, I worked with editing the specific color of the shadows itself. At first I used lighter shades of gray over the piece, but quickly decided that this didn’t blend the foreground and background of my illustration as smoothly as I intended. Following this, I then experimented with the opposite side of the spectrum, and worked with almost pitch black shades of gray. However, this idea was quickly abandoned as well, as the grays were too dark, and made the figure within my work almost indistinguishable from the background. As a result, I compromised, and used a shade of gray between the two hues I initially experimented with. This ended up working out the best for my illustration though, because it blended the subject with the background of my piece nicely, while also not hiding the figure too much. |
Reflection
After analyzing this piece further, I have determined that - despite the presence of certain flaws - I am considerably proud with this digital illustration overall. Never having completed a partial silhouette in any of my previous artworks, I feel pleased with my ability to outline the human figure, and furthermore to highlight specific features of the body/face. However, specific aspects of the silhouette within this artwork (such as the mouth, right eye, and portions of the chin) appear clustered together, and don’t present the higher level of refinement that is present within other sections of my digital illustration. In contrast, however, the hair, left eye, and neck are all features of this piece that I’m happy with. Furthermore, I’m generally pleased with the color palette present within this piece, as well the unity that comes from it. Overall, I feel that the consist usage of a limited palette puts emphasis on the other Elements of Art present within this project, such as line, space, and form.
Additionally, I feel that the theme I presented within this piece is conveyed considerably strong, as the combined usage of line, negative space, and darker hues showcases a depressing tone to the viewer. More specifically, this theme can be successfully presented through the darker hues, as these respective colors showcase the stereotypical sense of grief and suffering,while the extreme presence of space isolates and amplifies these emotions to overwhelm the viewer. Furthermore, this theme connects my piece back to my inspiration, as both Kӓthe Kollwitz and my own artwork attempt to highlight feelings of loss. However, I personally feel that the specific loss of identity could be confusing, as my piece is somewhat abstract, and the theme might not be apparent to certain viewers. In future projects, by exaggerating the figures within my artwork, I feel that I would be able to efficiently showcase emotions unlike before.
Additionally, I feel that the theme I presented within this piece is conveyed considerably strong, as the combined usage of line, negative space, and darker hues showcases a depressing tone to the viewer. More specifically, this theme can be successfully presented through the darker hues, as these respective colors showcase the stereotypical sense of grief and suffering,while the extreme presence of space isolates and amplifies these emotions to overwhelm the viewer. Furthermore, this theme connects my piece back to my inspiration, as both Kӓthe Kollwitz and my own artwork attempt to highlight feelings of loss. However, I personally feel that the specific loss of identity could be confusing, as my piece is somewhat abstract, and the theme might not be apparent to certain viewers. In future projects, by exaggerating the figures within my artwork, I feel that I would be able to efficiently showcase emotions unlike before.
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 use of line - 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 loss 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 loss and general suffrage. It was ultimately the idea of being able to show such pain and a loss of personality 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.
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 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.
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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.
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“Expressionism Movement, Artists and Major Works.” The Art Story, www.theartstory.org/movement-expressionism.htm.
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“German Expressionism (C.1905-35).” German Expressionism Art Movement, www.visual-arts-cork.com/history-of-art/german-expressionism.htm.
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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.
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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.
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Nydam, Anne E.G. “Käthe Kollwitz, Superprintmaker.” Black and White, nydamprintsblackandwhite.blogspot.com/2011/05/kathe-kollwitz-superprintmaker.html.
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“Selbstbildnis (Self-Portrait).” British Museum, www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=684862&partId=1.
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“Selbstbildnis Von Vorn (Self-Portrait from the Front) - Käthe Kollwitz.” FAMSF Explore the Art, 22 Apr. 2016, art.famsf.org/käthe-kollwitz/selbstbildnis-von-vorn-self-portrait-front-54945.
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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.
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“Expressionism Movement, Artists and Major Works.” The Art Story, www.theartstory.org/movement-expressionism.htm.
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“German Expressionism (C.1905-35).” German Expressionism Art Movement, www.visual-arts-cork.com/history-of-art/german-expressionism.htm.
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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.
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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.
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Nydam, Anne E.G. “Käthe Kollwitz, Superprintmaker.” Black and White, nydamprintsblackandwhite.blogspot.com/2011/05/kathe-kollwitz-superprintmaker.html.
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“Selbstbildnis (Self-Portrait).” British Museum, www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=684862&partId=1.
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“Selbstbildnis Von Vorn (Self-Portrait from the Front) - Käthe Kollwitz.” FAMSF Explore the Art, 22 Apr. 2016, art.famsf.org/käthe-kollwitz/selbstbildnis-von-vorn-self-portrait-front-54945.