Title: The Spotlight
Size: 22.86 x 15.24 cm Medium: Linocut ink print Date: September 2022 The Spotlight is an exploration of the inner feelings associated with stage fright, which I have personally experienced many times. My piece is a linocut ink print and is inspired by Roy Lichtenstein’s Modern art series and his use of hard lines and solid blocks of color. The piece is meant to feel strange and unsettling, reflecting the emotions of dread and anxiousness commonly experienced by those with stage fright and anxiety.
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Inspiration
I was inspired by Lichtenstein's Modern Art I and Modern Art II. This series is an exploration of cubism, in tandem with Lichtenstein's own style. The two works are fragmented images of comic-like faces separated by hard thick lines of dark color. The lines direct the viewers gaze around the piece, bringing focus to the many eyes and other facial features. Although fragmented the pieces have an overwhelming sense of unity, leaving the viewer to wonder just how many different faces are depicted. Both pieces are very similar to one another, being the same in concept but different in form and color.
Artist in focus: Roy LichtensteinThe artist this piece was inspired by was Roy Litchtenstein and his Modern Art I and Modern Art II. Lichtenstein was a “key figure in the Pop Art movement and beyond” according to MoMA. He is known for his comic strip like works, often characterized by their hard lines and iconic Ben-Day dots. While Lichtenstein is most known for his Pop Art, he often experimented with other mediums and styles such as sculptural pieces, Expressionism, and Cubism.
Lichtenstein was born on October 27, 1923, in New York City. As a teen, Lichtenstein studied briefly with the painter Reginald Marsh. He was later served in the military during the Second World War, after which he studied at the Ohio State University. He recieved his masters degree in 1949 and went on to teach at New York State University College in Oswego, and at the Douglass College of Rutgers University in New Brunswick. Lichtensteins iconic comic strip style likely began in 1960 when he painted an image of mickey mouse and donald duck for his children. While he was dissatisfied with this attempt he saw promise in it and continued experimenting with similar works. By 1962 Lichtenstein had his first art show in New York City, the show was a success and his work was praised internationally for its innovation. Lichtenstein continued this style for the rest of his life, although he often experimented with others. He died from Pnemonia in New York City on September 29, 1997, at the age of 73. Lichtenstein remains as one of the most famous artists of the latter 1900s. He is still praised for his innovative and pioneering techniques that began the Pop Art movement. The Roy Lichtenstein Foundation began in 1998, and according to its website, aims “to facilitate public access to the work of Roy Lichtenstein and the art and artists of his time; to create a catalogue raisonné of all known Lichtenstein works; and to share information which could assist the development and education of the next generations of curators, critics and scholars concerning the artist Roy Lichtenstein.” |
Modern Art II by Roy Lichtenstein, 1996
Modern Art I by Roy Lichtenstein, 1996
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Planning
Process
After I had come up with ideas, I crudely sketched a composition before refining it into a full sketch equivalent in size to the final printing block. I changed the sketch a few times before landing on a final design. I then transferred the image onto my linocut block by spreading graphite over the back of the sketch and then placing it on my block, tracing the linework. I then proceeded to slowly carve away the areas I wanted to remain white on my final prints. The carving process took many hours of careful work, any mistakes I made could not be done away with easily. Once my carving was complete, I began the printing process. I spread a thin layer of water-based ink onto my block with a brayer, making sure to spread the ink evenly. I centered my block face-down on a piece of specialized printing paper and then used a baren to press the ink onto the paper. I then carefully removed the block and set the print off to the side to dry. I repeated this process several times, further carving and correcting parts I didn't like. After finishing tweaking my piece I completed the process another few times, being extra careful so that my final prints looked professional and complete. While it was difficult to come up with a good quality print, the block itself turned out nice, and the lines were well carved. At one point I accidentally carved through my block so there was a hole on the left side. I developed my skills with the carving tools immensely while creating this piece. When I began using them, they felt nothing like what I expected, and it took a few careful attempts at lines before I felt comfortable using them. The tools would also slip sometimes, this was a problem not only for a clean piece but also safety. I made sure to always carve away from me so that I did not hurt myself if the carving tool slipped. Many of my failed prints laid out (above)
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Carving process (above)
Using the printing press (above)
CritiqueThis critique will be comparing my piece The Spotlight to Roy Lichtenstein's Modern Art I and Modern Art II
Similarities
-All pieces highlight strong, thick line-work and utilize it to break up the piece. -The pieces all place emphasis on the human eye, with eyes featuring prominently in all three. -The Spotlight also makes use of line-work similar to Lichtenstein's in the beams of the spotlights. -The pieces also all focus on contrast and solid blocks of color. Differences -The Spotlight only utilizes black and white, unlike Lichtenstein's pieces which each include many different colors -Lichtenstein's pieces utilize more straight lines rather than flowing natural lines like The Spotlight. -My piece puts more emphasis on eyes than Lichtenstein's which feature all aspects of the human face. -Lichtenstein's pieces feature more white space than mine, which utilizes more dark space with white Line-work. |
Printing with a brayer and baren (above)
ReflectionThis was my first-time block printing and I believe I learned many valuable skills throughout this project. I found difficulty working with this new medium, especially with the limit of only a few weeks. My biggest struggles were using the tools to carve cleanly and effectively as well as the printing process itself. I printed dozens of prints, experimenting with amounts of ink as well as pressure and even after many attempts I did not come up with a perfect print. However, my printing struggles also led to the most growth. Printing is now the part of this process I am most familiar with. I like how I was able to explore the art of Roy Lichtenstein throughout this piece, whose art I have not always been drawn by. I also enjoyed the aspect of being able to create multiple copies very easily, which I have not experienced in other mediums.
Uncarved block print with image transferred onto it (above)
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Experimentation
I tried many methods for printing , creating dozens of prints. My first few prints had too little ink and came out fuzzy and light. I tried adding more ink but that quickly led to me losing my thin lines and causing the print to be too dark. I mainly used a barren for pressure when i was printing but I tried to put it on a press a few times to see what would happen. I ended up not liking the press as it put too much pressure on my piece, so I went back to using the barren. It was quite difficult to find the balance between too much and too little ink.
ACT Connections
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
I thought about Lichtenstein's work the entire time I was creating my piece, this led to many choices like the design of eyes and spotlights as well as the emphasis on thick lines.
What is the overall approach the author has regarding the topic of your inspiration?
The author believed Lichtenstein's Modern Art I and Modern Art II were and experimentation of his, adapting his technique into the cubist style of art.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
I was really opened up to Pop art and have come to appreciate its emphasis on reproduction and mass production. The ability to reproduce something for many people to enjoy and possess cannot be understated.
What is the central idea or theme around your inspirational research?
Art from very distant mediums can still feel similar and connected.
What kind of inferences did you make while reading your research?
Use of space is very important when creating a composition, this ties into the idea of balance in a piece. A piece that does not effectively utilize space may not be very aesthetic.
I thought about Lichtenstein's work the entire time I was creating my piece, this led to many choices like the design of eyes and spotlights as well as the emphasis on thick lines.
What is the overall approach the author has regarding the topic of your inspiration?
The author believed Lichtenstein's Modern Art I and Modern Art II were and experimentation of his, adapting his technique into the cubist style of art.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
I was really opened up to Pop art and have come to appreciate its emphasis on reproduction and mass production. The ability to reproduce something for many people to enjoy and possess cannot be understated.
What is the central idea or theme around your inspirational research?
Art from very distant mediums can still feel similar and connected.
What kind of inferences did you make while reading your research?
Use of space is very important when creating a composition, this ties into the idea of balance in a piece. A piece that does not effectively utilize space may not be very aesthetic.
Bibliography
Britannica, The Editors of Encyclopaedia. "Roy Lichtenstein". Encyclopedia Britannica, 5 Apr. 2022, https://www.britannica.com/biography/Roy-Lichtenstein.
“Roy Lichtenstein Foundation.” Roy Lichtenstein Foundation, https://lichtensteinfoundation.org/.
Tate. “'Modern Art I', Roy Lichtenstein, 1996.” Tate, 1 Jan. 1996, https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-i-al00381.
Tate. “'Modern Art II', Roy Lichtenstein, 1996.” Tate, 1 Jan. 1996, https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-ii-al00382.
“Roy Lichtenstein Foundation.” Roy Lichtenstein Foundation, https://lichtensteinfoundation.org/.
Tate. “'Modern Art I', Roy Lichtenstein, 1996.” Tate, 1 Jan. 1996, https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-i-al00381.
Tate. “'Modern Art II', Roy Lichtenstein, 1996.” Tate, 1 Jan. 1996, https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-ii-al00382.