Project Three
Title: Bugs Unclassified
Size: 14" by 10"
Medium: Lino cut and Ink
Date: November 2021
Size: 14" by 10"
Medium: Lino cut and Ink
Date: November 2021
Exhibition Text:
As the world continues to grow, insects are among the fastest growing species with it. This lino cut represents the huge population of beetles that take up the world, inspired by Wassily Kandinsky's color pallet. This piece reminds the viewers how unique bugs can be, just as how unique they can be.
As the world continues to grow, insects are among the fastest growing species with it. This lino cut represents the huge population of beetles that take up the world, inspired by Wassily Kandinsky's color pallet. This piece reminds the viewers how unique bugs can be, just as how unique they can be.
Inspiration:
While researching for an artist that could mimic the type of art I was hoping to produce I was entranced by Horace Brodzky's artwork. Both as a person and as an artist, Brodzky was devoted to using line to tell a story and create a sense of movement. Originally Brodzky focused on just the core idea of what shapes looked like. Horace Ascher Brodzky was an Australian artist and writer most of whose work was originally created in London and New York. His work had everything from paintings, drawings to lino cuts, of which he was an early pioneer. He was one of the earliest Australian artists to embrace the modern style of the twentieth century. Brodzky was the first Australian to be exhibited at the Venice Biennale and he was one of the first artists to experiment extensively with lino-cutting. His graphics ended up being used to illustrated the literary works of Ezra Pound, Eugene O’Neill, Upton Sinclair and Theodore Dreisler. As an artist he excels at showing movement of the female figure. His line is an exquisite blend of emotion and control, and master of technique that only a finest artist can command. His art work was especially interesting to me because of his use of negative space and thick and thin lines. This created an inspiration in my head that focused on only using negative space to create shape. A lino cut was the perfect medium for this and thus began my process. I focused on making sure my sketch used more than one focal point, just as Brodzky did. |
Two lino-cuts done by Brodzky during the 1920s
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Planning:
As I began working out my planning process for this piece I knew I would have to be specific about the connections that I was going to make so that it could be more obvious to the viewer. I needed to find an inspiration that showed use of line to create movement, while also being visually interesting for the viewer to look at and enjoy. I drew most of the elements from Brodzky's very impressionist linocuts. The linocuts had the same color theme and overall composition, while also having a different focus and overall feel. This allowed for the two to not be identical in nature, but still extremely similar. In order to match the theme that Brodzky had when creating his Lino cuts, so I focused on three things.
1. Using different thickness of lines- Brodzky focused on having thick and thing lines to create shape instead of just one solid line
2. Including one abstract detail- To allow the viewer to be drawn in just has Brodzky did with the negative space he used
3. Having a smooth overall look to the piece- Having all the lines be printed in the same finish (solid or patchy not both)
These three things helped me to shape my artwork into a piece that would truly show emotion and show the main themes of the work. In order to properly plan this piece I began by laying out what I wanted to accomplish each day that I would work on the piece. I began with picking out a subject that would properly fit into the theme of my piece. This would allow me to keep my creativity balanced while also being productive. Next, I worked on what my main focal point would be. I planned on following in my inspirations footsteps, and using the abstract detail, the most interesting part of the painting, to show the amount of story in the piece. This would allow me to use all of the three elements listed above to truly show the theme. Lastly, I planned out my construct, because my piece was Lino-cut I had had to take extra time on this step. I wanted the piece to be able to fit to the original inspiration and also be recognizable as four beetles pieced together. To do this I had had spend time making sure the beetles were accurate to different species of beetles in real life. This helped me focus my piece on including only the details I really needed so that the piece did not loose the style that Brodzky had in his pieces.
As I began working out my planning process for this piece I knew I would have to be specific about the connections that I was going to make so that it could be more obvious to the viewer. I needed to find an inspiration that showed use of line to create movement, while also being visually interesting for the viewer to look at and enjoy. I drew most of the elements from Brodzky's very impressionist linocuts. The linocuts had the same color theme and overall composition, while also having a different focus and overall feel. This allowed for the two to not be identical in nature, but still extremely similar. In order to match the theme that Brodzky had when creating his Lino cuts, so I focused on three things.
1. Using different thickness of lines- Brodzky focused on having thick and thing lines to create shape instead of just one solid line
2. Including one abstract detail- To allow the viewer to be drawn in just has Brodzky did with the negative space he used
3. Having a smooth overall look to the piece- Having all the lines be printed in the same finish (solid or patchy not both)
These three things helped me to shape my artwork into a piece that would truly show emotion and show the main themes of the work. In order to properly plan this piece I began by laying out what I wanted to accomplish each day that I would work on the piece. I began with picking out a subject that would properly fit into the theme of my piece. This would allow me to keep my creativity balanced while also being productive. Next, I worked on what my main focal point would be. I planned on following in my inspirations footsteps, and using the abstract detail, the most interesting part of the painting, to show the amount of story in the piece. This would allow me to use all of the three elements listed above to truly show the theme. Lastly, I planned out my construct, because my piece was Lino-cut I had had to take extra time on this step. I wanted the piece to be able to fit to the original inspiration and also be recognizable as four beetles pieced together. To do this I had had spend time making sure the beetles were accurate to different species of beetles in real life. This helped me focus my piece on including only the details I really needed so that the piece did not loose the style that Brodzky had in his pieces.
Process/Techniques/Inspiration:
As I began finishing the piece and how it worked together I had had to focus on using my skills as both an artist, but also focusing my creativity. I wanted my piece to cohesively work well together, while also giving off the complexity I was hoping for. Working with a medium I was not skilled in proved to be a challenge, but it also helped me to stay accurate to my inspiration's medium. I began by sketching out the beetles and format, and then working to the carving itself, so that the piece would surround the beetles and its texture most. This would guide the viewers eyes to the details of the thick dark line and not the thin lines. Next, I had to focus on how the beetles would work together in the painting. Having several different species meant that there had to be enough variation that they were not copying each other, but also enough similarity so that the viewer could immediately tell that they were beetles.
Continuing, in order to create the best quality piece that I could, I focused on my technique a lot. For example, I focused intently on not having the lines the same height as the surface of the piece. This would promote better composition of the piece in the end. Furthermore, I focused on having the space between the lines clean and evenly inked. This added a lot of time to the overall process of my piece, but resulted with a cleaner finishing product. The legs, for instance, took a long time to complete; but the overall finished look gave the exact look that I was going for. Giving the final product a complex and clean look. Finally, I focused on my technique of awareness as well to allow the piece to be abstract realism, and accurate to my original vision. I wanted to keep it as realistic to the basic shapes of a beetle so that there would not have to be any inference in what bugs were printed in the Lino-cut. The piece definitely takes a more impressionist approach as of right now. Overall, the piece gave way for more inspiration as I added each element together. All in all, the piece connected to the artist through its use of thick and thin lines, negative space, and the purpose behind both pieces.
As I began finishing the piece and how it worked together I had had to focus on using my skills as both an artist, but also focusing my creativity. I wanted my piece to cohesively work well together, while also giving off the complexity I was hoping for. Working with a medium I was not skilled in proved to be a challenge, but it also helped me to stay accurate to my inspiration's medium. I began by sketching out the beetles and format, and then working to the carving itself, so that the piece would surround the beetles and its texture most. This would guide the viewers eyes to the details of the thick dark line and not the thin lines. Next, I had to focus on how the beetles would work together in the painting. Having several different species meant that there had to be enough variation that they were not copying each other, but also enough similarity so that the viewer could immediately tell that they were beetles.
Continuing, in order to create the best quality piece that I could, I focused on my technique a lot. For example, I focused intently on not having the lines the same height as the surface of the piece. This would promote better composition of the piece in the end. Furthermore, I focused on having the space between the lines clean and evenly inked. This added a lot of time to the overall process of my piece, but resulted with a cleaner finishing product. The legs, for instance, took a long time to complete; but the overall finished look gave the exact look that I was going for. Giving the final product a complex and clean look. Finally, I focused on my technique of awareness as well to allow the piece to be abstract realism, and accurate to my original vision. I wanted to keep it as realistic to the basic shapes of a beetle so that there would not have to be any inference in what bugs were printed in the Lino-cut. The piece definitely takes a more impressionist approach as of right now. Overall, the piece gave way for more inspiration as I added each element together. All in all, the piece connected to the artist through its use of thick and thin lines, negative space, and the purpose behind both pieces.
Experimentation/Critique/Compare and Contrast:
In my past experimentations with art, I have only tried out Lino-cut once and so this was easier to start, but also I wanted to challenge myself to make it look cleaner. I took this into account when I started my piece. I first began my piece by focusing on just the final composition of how I would connect my inspiration to my final creation. I knew that I wanted the piece to look cohesive, while also being made up of several different components. So I experimented with different lines depth for each element of the sections and shadows, as well as adding other unusual shapes that would end up creating the shadows and framing the beetles. Doing these things helped me better understand how to put together the final composition for the piece. During the process I learned three very important things:
1. Including both thick and thin lines helps to create a shape without using actual shading.
2. Using more ink than you think you will need assures that your lines are going to look fuller when you print it.
3. Using different sized scoops to carve out the stamp help with small details in the end.
Continuing, these three things helped me evaluate my success as an artist and my understanding of my inspiration as I worked on it. I also experimented with the techniques I used to cut out the different sized lines. Originally I tried using the same size for the entire piece but this made the beetles too two dimensional and not professional enough. This led me to using different sized tools so that I could make more details, even if they were small. Furthermore, the composition of the entire piece was extremely important. This can be interpreted in many ways but ultimately had to be focused onto one singular meaning. This was something I struggled with originally because it was an aspect of the piece I knew was important, but I didn't have a meaning past the inspiration. Eventually I was able to have enough ideas that I could create a singular focal point, while also looking like it was a cohesive piece. Finally, with these concepts, I was a was able to create a piece that flowed and used line and balance to create a stamp that looked like four beetles all lined up carefully. Using my new skills surrounding technical art, I had a better understanding of using Lino-cut and ink to create a balanced artwork.
In my past experimentations with art, I have only tried out Lino-cut once and so this was easier to start, but also I wanted to challenge myself to make it look cleaner. I took this into account when I started my piece. I first began my piece by focusing on just the final composition of how I would connect my inspiration to my final creation. I knew that I wanted the piece to look cohesive, while also being made up of several different components. So I experimented with different lines depth for each element of the sections and shadows, as well as adding other unusual shapes that would end up creating the shadows and framing the beetles. Doing these things helped me better understand how to put together the final composition for the piece. During the process I learned three very important things:
1. Including both thick and thin lines helps to create a shape without using actual shading.
2. Using more ink than you think you will need assures that your lines are going to look fuller when you print it.
3. Using different sized scoops to carve out the stamp help with small details in the end.
Continuing, these three things helped me evaluate my success as an artist and my understanding of my inspiration as I worked on it. I also experimented with the techniques I used to cut out the different sized lines. Originally I tried using the same size for the entire piece but this made the beetles too two dimensional and not professional enough. This led me to using different sized tools so that I could make more details, even if they were small. Furthermore, the composition of the entire piece was extremely important. This can be interpreted in many ways but ultimately had to be focused onto one singular meaning. This was something I struggled with originally because it was an aspect of the piece I knew was important, but I didn't have a meaning past the inspiration. Eventually I was able to have enough ideas that I could create a singular focal point, while also looking like it was a cohesive piece. Finally, with these concepts, I was a was able to create a piece that flowed and used line and balance to create a stamp that looked like four beetles all lined up carefully. Using my new skills surrounding technical art, I had a better understanding of using Lino-cut and ink to create a balanced artwork.
These two images show the progression of the carving process. I started with the background of the beetle and laying out the shape, before I went to the body of the beetle.
This beetle was already finished, as I worked on each beetle one at a time so I could improve my techniques as it went. This allows for a greater amount of experimentation. |
Compare and Contrast:
These pieces share many similarities while also having their own person style, creating differences. Brodzky's piece focuses on the female figure and how contorting the body can create certain moods. Whereas my piece focuses on the shape of beetles and how each species can have slight differences, just like humans, and thus that is what makes them so interesting. Both pieces also use the same medium, but focus on using the negative space in different ways. Brodzky focuses on using the line to create outlines and not shapes on the inside of the body. Whereas I focus on using the negative space to show highlights on the body as the piece is printed.
These pieces share many similarities while also having their own person style, creating differences. Brodzky's piece focuses on the female figure and how contorting the body can create certain moods. Whereas my piece focuses on the shape of beetles and how each species can have slight differences, just like humans, and thus that is what makes them so interesting. Both pieces also use the same medium, but focus on using the negative space in different ways. Brodzky focuses on using the line to create outlines and not shapes on the inside of the body. Whereas I focus on using the negative space to show highlights on the body as the piece is printed.
Reflection:
Looking back on the final piece that I created, I am very proud of the process and product I was able to produce. I was able to adapt quickly to using a skill set I was not entirely confident in using, which helped me learn about what my strengths
and weaknesses were. Continuing, I was able to see a clear connection between my inspiration and my final piece. I included similar themes, as well as similar final lessons for the viewer to take away. I wanted to focus on the "structure" of the artwork and make it the entire piece. That way it would flip the subjects from the original geometric-ness of the sketch. I knew in the beginning of this piece I had to focus on getting to a final product and not correction every single mistake that I would make. Although I am not a perfectionist, when I work on art I tend to over analyze the piece I am creating and never finish my projects. Knowing this was something I would have to work around I planned out each day and how much work I would get done on that day. This helped me to finish my stamp in a timely manner and create a piece I was overall truly proud of.
Continuing, my favorite part of creating this piece was definitely printing the final piece. Being able to see how the sketch finally lays out in a final product brings the entire project back to its inspiration. If I were todo this project again however, I would want to include more organic shapes inside of the beetles (like on the wings). Even with the difference in line size, the beetles appear geometric and do not have a lot of movement to them. This could totally be related to the style and the materials I choose to work with, however I still would want to try and make it better. When people view my piece I want them to question how much they know about beetles. I want the viewer to want to learn about all the different types of beetles and how all their wing patterns can be different, just like butterflies. This curiosity is the main goal of piece and I hope that gets taken with the viewer when they are done admiring the piece.
Looking back on the final piece that I created, I am very proud of the process and product I was able to produce. I was able to adapt quickly to using a skill set I was not entirely confident in using, which helped me learn about what my strengths
and weaknesses were. Continuing, I was able to see a clear connection between my inspiration and my final piece. I included similar themes, as well as similar final lessons for the viewer to take away. I wanted to focus on the "structure" of the artwork and make it the entire piece. That way it would flip the subjects from the original geometric-ness of the sketch. I knew in the beginning of this piece I had to focus on getting to a final product and not correction every single mistake that I would make. Although I am not a perfectionist, when I work on art I tend to over analyze the piece I am creating and never finish my projects. Knowing this was something I would have to work around I planned out each day and how much work I would get done on that day. This helped me to finish my stamp in a timely manner and create a piece I was overall truly proud of.
Continuing, my favorite part of creating this piece was definitely printing the final piece. Being able to see how the sketch finally lays out in a final product brings the entire project back to its inspiration. If I were todo this project again however, I would want to include more organic shapes inside of the beetles (like on the wings). Even with the difference in line size, the beetles appear geometric and do not have a lot of movement to them. This could totally be related to the style and the materials I choose to work with, however I still would want to try and make it better. When people view my piece I want them to question how much they know about beetles. I want the viewer to want to learn about all the different types of beetles and how all their wing patterns can be different, just like butterflies. This curiosity is the main goal of piece and I hope that gets taken with the viewer when they are done admiring the piece.
ACT Questions:
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
- While completing my artwork I was able to clearly identify the cause and effect relationship between my inspiration and its effect on my artwork through the discussion of focus unique media. My inspiration directly influenced the focus on the line and negative space in order to create the focal point of the piece.
What is the overall approach the author has regarding the topic of your inspiration?
-Budzky wanted to create an abstract view of a the movement in the female figure, and used line size and positive vs negative space to create an art piece. He wanted simplicity with meaning.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
- As I researched the inspiration I came to the conclusion that often times people are unaware of the true mass amount of bugs that there are in the world. This was surprising to me and lead me to become even more interested in creating a art work that can further this curiosity.
What is the central idea or theme around your inspirational research?
- The central idea/theme of my inspirational research was curiosity. This allowed me to focus my research on finding pieces of art work that inspired creativity and curiosity in myself. This helped focus my research on learning the reason of why an artwork was created, rather than just how it was created.
What kind of inferences did you make while reading your research?
- While reading my research I had to make inferences about the meaning behind Brodzky's pieces and I also had to inference how throughout the times information would change. This adaption allowed me to focus beyond the moment of creating the piece, but how it would affect the viewer later on.
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
- While completing my artwork I was able to clearly identify the cause and effect relationship between my inspiration and its effect on my artwork through the discussion of focus unique media. My inspiration directly influenced the focus on the line and negative space in order to create the focal point of the piece.
What is the overall approach the author has regarding the topic of your inspiration?
-Budzky wanted to create an abstract view of a the movement in the female figure, and used line size and positive vs negative space to create an art piece. He wanted simplicity with meaning.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
- As I researched the inspiration I came to the conclusion that often times people are unaware of the true mass amount of bugs that there are in the world. This was surprising to me and lead me to become even more interested in creating a art work that can further this curiosity.
What is the central idea or theme around your inspirational research?
- The central idea/theme of my inspirational research was curiosity. This allowed me to focus my research on finding pieces of art work that inspired creativity and curiosity in myself. This helped focus my research on learning the reason of why an artwork was created, rather than just how it was created.
What kind of inferences did you make while reading your research?
- While reading my research I had to make inferences about the meaning behind Brodzky's pieces and I also had to inference how throughout the times information would change. This adaption allowed me to focus beyond the moment of creating the piece, but how it would affect the viewer later on.
Citations:
Horace Brodzky Australian/British 1885-1969 signed Vintage etching. Bright Colors Art & Collectibles. (2018, October 29). Retrieved November 7, 2021, from https://brightcolors.com/product/horace-brodzky-australian-british-1885-1969-signed-vintage-etching-3/.
Horace Brodzky. The Art Institute of Chicago. (2018). Retrieved November 7, 2021, from https://www.artic.edu/artists/44586/horace-brodzky.
Horace Brodzky Australian/British 1885-1969 signed Vintage etching. Bright Colors Art & Collectibles. (2018, October 29). Retrieved November 7, 2021, from https://brightcolors.com/product/horace-brodzky-australian-british-1885-1969-signed-vintage-etching-3/.
Horace Brodzky. The Art Institute of Chicago. (2018). Retrieved November 7, 2021, from https://www.artic.edu/artists/44586/horace-brodzky.