Block Print
Exhibition Text
Autumn is a time of nostalgia for me. The piece, Autumn, recalls memories of my childhood, even if they aren't clear at the moment. The piece used a leaf to represent the season and memories associated. The not so apparent leaf is hidden in the pattern to make the viewer question their familiarity with memory.
Autumn is a time of nostalgia for me. The piece, Autumn, recalls memories of my childhood, even if they aren't clear at the moment. The piece used a leaf to represent the season and memories associated. The not so apparent leaf is hidden in the pattern to make the viewer question their familiarity with memory.
Planning
Inspiration
My inspiration for my block print came from Bridget Riley's work in the American op art movement of the 1960's. No particular work of hers influenced my piece. The thing that was influential was her use of simple organic and geometric shapes through a monochromatic palette to create movement. I was originally inspired by Frank Stella's work in the minimalist movement which lead me to Riley. Both artists were part of the minimalist movement which is apparent in many of their works. Using their ideas of minimalism and movement, I wanted to create a print that alluded to a familiar object in everyday life, but was simple enough to make the view question if they actually see it. |
"Bridget Riley." Op-art.co.uk. N.p., 2016. Web. 23 Oct. 2016.
"Bridget Riley - 116 Artworks, Bio & Shows on Artsy." Artsy.net. N.p., n.d. Web. 23 Oct. 2016.
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"Bridget Riley." Op-art.co.uk. N.p., 2016. Web. 23 Oct. 2016.
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Critical Investigation
Minimalism emerged in New York in the 1960's due to younger artists questioning the boundaries of various media. They were rediscovering old styles of art and decided to favor innovation over drama. The subject of the art was less about expression through over-used symbols, and more about what is and makes art. According to theartstory.org, artists attempted to avoid emotional content and bring attention to materiality and anonymity. Anonymity was presented through simple forms in the art so that the viewer can see pretty much what they want to see.
Bridget Riley, for much of her life focused on the simple forms that created object in their entirety, usually using black materials on a white background and not paying much attention to detail. Even in her early years, her work was very frequently created in a somewhat hasty way using patches of color, scribbles, or smudges. She started creating op art in the late 50's to early 60's. She didn't create op art for the soul purpose of creating it. Bridget Riley said her art is about nature, “although in completely different terms. For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance.” Another interesting aspect of the creation of her illusions is that she makes them based on what she see, not by studying any particular visual phenomenon.
Minimalism emerged in New York in the 1960's due to younger artists questioning the boundaries of various media. They were rediscovering old styles of art and decided to favor innovation over drama. The subject of the art was less about expression through over-used symbols, and more about what is and makes art. According to theartstory.org, artists attempted to avoid emotional content and bring attention to materiality and anonymity. Anonymity was presented through simple forms in the art so that the viewer can see pretty much what they want to see.
Bridget Riley, for much of her life focused on the simple forms that created object in their entirety, usually using black materials on a white background and not paying much attention to detail. Even in her early years, her work was very frequently created in a somewhat hasty way using patches of color, scribbles, or smudges. She started creating op art in the late 50's to early 60's. She didn't create op art for the soul purpose of creating it. Bridget Riley said her art is about nature, “although in completely different terms. For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance.” Another interesting aspect of the creation of her illusions is that she makes them based on what she see, not by studying any particular visual phenomenon.
Planning Sketches
Throughout the planning phase, I created many sketches around the idea of familiarity. I knew from the beginning that that was the message I wanted to convey, but I didn't know how to show it through my art work. I was looking at architecture and monuments for a while, until I was inspired by Oldenburg. This idea didn't work out because I soon realized that I was limited to just black and white and the contrast they create with each other. Click on an image to learn more about it.
Throughout the planning phase, I created many sketches around the idea of familiarity. I knew from the beginning that that was the message I wanted to convey, but I didn't know how to show it through my art work. I was looking at architecture and monuments for a while, until I was inspired by Oldenburg. This idea didn't work out because I soon realized that I was limited to just black and white and the contrast they create with each other. Click on an image to learn more about it.
Experimentation I only had one thing to experiment on, which was my final piece, so I approached carving and printing with care. I had to discover just how much pressure it took and which shape tool to use in order to carve out the right amount and depth of linoleum from my block. I found that it is best to use a larger and wider tip on the carving tools when first stating to care just to get the general shape out. Once the shape was carved out, I went back with a much smaller tool and refined the corners and edges. For the edges, in order to avoid a lot of refining, it is best to carve out the side of the shape with a single, smooth drive of the tool. If you use a lot of small marks, the edge sometimes gets really small corners from starting and stopping at different angles. Another important aspect of carving is to not go too deep. A good rule of thumb is that if you can see light through the block when you lift it up, you should stop carving there because you will go through the plate. To remind myself not to carve in places where I already did too much, I put an "X" on the spot with a pencil. Printing was a very tedious manner. I have made well over 10 prints because I cannot get them dark enough. When I pull a print the paper is still visible through parts where the ink was suppose to be. I attempted to roll the ink out less on the the plate before applying it too my block, but I found that it only creates air bubbles in a think layer of ink. In addition to that, the edges are not sharp and it produces it print that looks like a dry lake bed. Click on images to the right to read more about them. |
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Process
These are a few points in the process of creating a block print that have proven to be significant. The top row is the step by step process of for carving and the bottom is the process for printing. Click on the pictures for specific details about what was going on at that point.
The final step not shown was actually printing. I placed a sheet of copy paper on the block as straight as possible. I then placed a sheet of news print on that and began to rub the paper on to the block so the ink transferred. I then gently peeled the sheet of copy paper off the block and set the print aside to dry. If the print is showing marks that are not suppose to be there, it is really easy to go back with a carving tool and just remove the unwanted mass.
Steps:
Steps:
- Sketch the image you want to print.
- Remember that the image will be flipped when printed.
- Use the graphite transfer method to get the image on the block.
- Carve away all the areas that are covered in graphite.
- Use a large carving tip first and then refine edges and corners with a smaller tip.
- Roll out about a teaspoon of ink with a brayer until there are no longer any bubbles.
- Roll the ink onto the block with the brayer.
- Put a piece of paper straight on the block.
- Put newsprint on top of that.
- Use the baren to rub the paper on to the block.
- Peel the print from the block
- Set it aside to dry.
Evaluation
My Work
Based on meaning and inspirations of my print, with bias aside, I would say that it communicates them well. The meaning is apparent when it takes the viewer a second to understand what they are looking at. When they question it and why they see it, my piece is successful. The print also appears to be related to the Op Art movement with the shapes and patterns and having a minimalist approach. However, The print is not dark enough and doesn't have a high enough contrast to truly fit the Op Art expectations and criteria. |
Reflection
Overall, I am satisfied with the outcomes of my work. It took me a while to actually get started because I was contemplating on the best was to present familiarity in a monochromatic medium. The hardest part was trying to find inspiration to create my block print. With the changing of the seasons under way, I had this idea of Autumn in my head and it gave me nostalgia to when I was younger. I decided to roll with that idea in one of my favorite movements: Op Art. I like it because of my fascination with pattern and repetition.
At the beginning of this project, I knew I wanted to communicate a theme of familiarity, so I had to find something that everybody could identify so I first looked to monuments, but those weren't personal enough. I was hoping the image of a leaf detached from a tree would remind people of memories in which the image was familiar. For this, I believe that I did a great job in communication through symbolism.
The one part I was not proud of was my inability to pull a clean print. I tried different ways and different amounts of ink, but i still couldn't achieve the desired black and white contrast I was looking for. At some point, I will have to reseach how to pull a dark print and then attempt it another time.
At the beginning of this project, I knew I wanted to communicate a theme of familiarity, so I had to find something that everybody could identify so I first looked to monuments, but those weren't personal enough. I was hoping the image of a leaf detached from a tree would remind people of memories in which the image was familiar. For this, I believe that I did a great job in communication through symbolism.
The one part I was not proud of was my inability to pull a clean print. I tried different ways and different amounts of ink, but i still couldn't achieve the desired black and white contrast I was looking for. At some point, I will have to reseach how to pull a dark print and then attempt it another time.
ACT Responses
Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork:
My inspiration greatly influenced how I composed my block print. The Op-artists very frequently used organic and geometric shapes to create their entire piece. They influenced the patterns within my print.
What is the overall approach (pov) the author (from research) has regarding the topic of your inspiration?
From my research, I speculate that the authors believe Op Art is the product of many simplified art movements. One even mentioned that it could be comparable to pointillism or impressionism.
What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I discovered that people viewed minimalism and Op Art as a rebellious act toward classical styles, and because of that it was not accepted as art by the older generation.
What was the central idea or theme around your inspirational research?
My research was focused around the theme of familiarity. This was a popular theme in the minimalist movement for the minimalists often used a lot of already-made objects in their art that people could identify with.
What kind of inferences did you make while reading your research?
Before researching, the only inference I made was that minimalism dealt specifically with shapes that could be anything if you changed you perspective a little. At first that wasn't was I was looking for, but then I found out that their definition of minimal was not as extreme as mine.
My inspiration greatly influenced how I composed my block print. The Op-artists very frequently used organic and geometric shapes to create their entire piece. They influenced the patterns within my print.
What is the overall approach (pov) the author (from research) has regarding the topic of your inspiration?
From my research, I speculate that the authors believe Op Art is the product of many simplified art movements. One even mentioned that it could be comparable to pointillism or impressionism.
What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I discovered that people viewed minimalism and Op Art as a rebellious act toward classical styles, and because of that it was not accepted as art by the older generation.
What was the central idea or theme around your inspirational research?
My research was focused around the theme of familiarity. This was a popular theme in the minimalist movement for the minimalists often used a lot of already-made objects in their art that people could identify with.
What kind of inferences did you make while reading your research?
Before researching, the only inference I made was that minimalism dealt specifically with shapes that could be anything if you changed you perspective a little. At first that wasn't was I was looking for, but then I found out that their definition of minimal was not as extreme as mine.
Bibliography
"Bridget Riley." Op-art.co.uk. N.p., 2016. Web. 23 Oct. 2016.
<http://www.op-art.co.uk/bridget-riley/>
"Bridget Riley - 116 Artworks, Bio & Shows on Artsy." Artsy.net. N.p., n.d. Web. 23 Oct. 2016.
<https://www.artsy.net/artist/bridget-riley>
"Minimalism Movement, Artists and Major Works." The Art Story. N.p., 2016. Web. 23 Oct. 2016.
<http://www.theartstory.org/movement-minimalism.htm>
Wilkins, David G., and Bernard Schultz. Art Past/art Present. 5th ed. New Jersey: Pearson Education, 2005. Print.
<http://www.op-art.co.uk/bridget-riley/>
"Bridget Riley - 116 Artworks, Bio & Shows on Artsy." Artsy.net. N.p., n.d. Web. 23 Oct. 2016.
<https://www.artsy.net/artist/bridget-riley>
"Minimalism Movement, Artists and Major Works." The Art Story. N.p., 2016. Web. 23 Oct. 2016.
<http://www.theartstory.org/movement-minimalism.htm>
Wilkins, David G., and Bernard Schultz. Art Past/art Present. 5th ed. New Jersey: Pearson Education, 2005. Print.