Thursday

SELF-EVALUATION

The brief was to take a key innovation from one country and translate it to suit the public/culture of another country. I picked the concept of Carrotmobbing; a method of activism that leverages consumer power to make the most socially-responsible business practices also the most profitable choices. Essentially, it is a network that organises consumers to make purchases that give financial rewards to those companies who agree to make environmentally friendly choices. The fact that this idea seemed very rational and at the same time within my own powers to achieve, is why I decided to translate it to the local markets of India, where I am from. I chose to work on specific visual elements of the Campaign. I re-designed the original Carrotmob logo to better suit Indian markets and make it more recognisable. I illustrated the logo by hand, taking inspiration from the traditional 'woodcut' style. My key inspirations were the wordless graphic novels of American illustrator and storyteller Lynd Ward. Using dramatic wood engravings, he created a style that was part Art Deco, part Expressionism and part something else entirely. His novels are pinnacles of the unique art of contrast, light and darkness, both literally and metaphorically. I also looked at works of American illustrator Steven Noble, who has created many nationally recognized intricate woodcut logos and ad campaigns for a large list of high calibre clients. I was heavily impressed by his highly disciplined and complex line work.

I also created a comic-strip explaining how Carrotmob works, using hand-drawn illustration in the traditional Indian Warli-painting style. I thought it would suit the tastes of Indian audiences and draw their attention. To further promulgate the campaign and event, I also designed Posters, Flyers, T-shirts and Stencils using the same woodcut Carrot logo and illustrations. The posters and flyers gave me an opportunity to work with text and expand my knowledge of type; an area I usually avoid delving into.

It was a very interesting brief to undertake and a subject that drew my immediate attention. The simplicity, along with the eclectic mix of traditional and modern methods of advertising and illustration is what, in my opinion, make the campaign a visual success.


COMIC STRIP DONE




LYND WARD'S WOODCUTS

Graphic Novel Granddaddy: Lynd Ward’s Woodcuts


Iconic engravings, or what The Great Depression has to do with the art of light and darkness.

For many, last year’s mega-hit Watchmen validated the notion of the graphic novel as a formidable creative genre. But perhaps the most compelling, aesthetically and conceptually innovative work in that genre was done more than seven decades ago.

In the 1930’s, American illustrator and storyteller Lynd Ward “invented” the genre when he created a series of wordless graphic novels in woodcuts, using dramatic wood engravings to create a style that was part Art Deco, part Expressionism, part something else entirely.

At the dawn of the stock market crash in 1929, he released his first novel, God’s Man — a masterfully illustrated, articulate, and thought-provoking semi-autobiographical story about struggles of self and life.

Ambiguous and abstract, these visual narratives lend themselves to the reader’s own interpretation, which makes them all the more engaging and powerful.







The woodblock, whether cut with a knife or engraved, develops its image by bringing details out of darkness into the light. This seems to give it an advantage over ways of working that start with an empty white area. In a sense, what is happening is already there in the darkness, and cutting the block involves letting only enough light into the field of vision to reveal what is going on.

Ward followed up with Mad Man’s Drum (1930), Wild Pilgrimage (1932), Prelude to a Million Years (1933), and Song Without Words (1936).

These last two are so rare and precious they are only available as collectors’ editions, with astounding pricetags upwards of $500 — a hard-fact indication of just how iconic Ward’s work is.

It has always been a matter of some surprise to me that this process can go on for a considerable period and all take place silently. I hear no sound; there is never a word spoken.

His last graphic novel, Vertigo (1937), was an absolute masterpiece, a pinnacle of this unique art of contrast, of light and darkness, both literally and metaphorically.

Brimming with powerful Depression-era images, it is also ironically relevant today, illustrating this same urgency unrest in the context of our contemporary economic downturn.

Get yourself a copy (while it’s still priced at the measly $11.53) and indulge in the real heritage and art of the graphic novel.


Woodcut in Graphic Design



The illustrator: Judy Stevens trained as a fine artist in painting and printmaking at Hornsey College of Art (now Middlesex University). She has worked as an illustrator for many years - her work includes children’s books, cookery books, advertising and regular contributions to The Guardian, Observer and New Statesman magazines. She likes to combine the traditional methods of English printmakers such as Eric Ravilious, Edward Bawden and Clare Leighton - working with wood-engraving, lino cuts and traditional printing presses. She also experiments with computer techniques, giving her work a more contemporary feel. Judy is inspired by the history along the Sussex and Suffolk coasts and by the eccentricities of life in her home-town, Brighton.




Steven Noble Illustrations

Scratchboard, Line Art, Woodcuts and Engravings of Illustrator Steven Noble






STEPHEN SNIDER : Woodcut Advertising



Animals!!: Woodcut prints By Ayda Girma

Ayda Girma is currently based in Paris.

What are wood cut prints?
Woodcut prints are releif prints from carved woodcut blocks.

How did you discover wood cut printing and what appeals most to you about it?
I took a woodcut printing class while I was in college and use the process for some of my projects. I really like the carving of the woodblock, it is like sculpting. And the whole process has a rhythm once you’re in it, it’s pretty great. Very meditative.

Who are some of your favorite wood cut artists?
I don’t have specific artists that are my favorites, but I love and admire Japanese printmakers like Utagawa Hiroshige, although their style is very different than mine.

For the images displayed, how long did each wood cut take you?
I would estimate that each woodcut took about 3-5 hours to carve. The printing is slightly less labour intensive, but everything has to be set up; the ink on the block is rubbed on right after the paper has been moistened by water before it dries up, and the paper is pressed with the right amount of pressure and time, etc..

What was the inspiration behind these wood cuts?
I wanted to make a hand made book and wanted it to retain the handmade quality on all aspects, so woodcut prinitng seemed like a good idea, as I would be able to make multiple prints/books and keep the images consistent without having to redo the image.

I know you’ve printed some of these designs on Tshrits. Where else can we see more examples of your work?
Right now, I don’t have a place for new work, but I will let you know as soon as I have anything on display.














*All prints are 7 x 9 inches