Gouge: The Modern Woodcut 1870 to Now - PegandRail Design Ideas

The book Gouge: The Modern Woodcut 1870 to Now explores the various forms and applications of the woodcut during the modern era. This thematic survey draws connections between the woodcut medium in different countries like Mexico, France, and Korea, despite their geographical distance. Woodblock printing is widely practiced and regarded as one of the most common artistic techniques worldwide. While the motivations and circumstances of artists may vary greatly, the visual characteristics of the gouge cuts establish a common thread among the works featured in this exhibition.

Woodcut

The process of creating a woodcut can be simplified to the use of a block of wood, a cutting tool called a gouge, ink, and paper. The woodcut originated in Japan and China in the eighth century, where Buddhist monks utilized this technique to reproduce devotional texts. It was not until the fifteenth century that the woodcut gained popularity in Europe, particularly in the hands of German master Albrecht Dürer. Although the medium continued to develop, including the introduction of color in the chiaroscuro woodcut, it declined in popularity towards the end of the Renaissance. While woodcuts were still commonly used to depict biblical and folk scenes, intaglio printing techniques were considered more sophisticated for aesthetic communication. During the seventeenth and eighteenth centuries, woodcuts were primarily used to illustrate street banners, broadsides, and reproductions in popular journals and calendars. The woodcut’s popularity increased again at the end of the nineteenth century due to its appeal as a popular art form, its organic nature, and the accessibility of natural materials. Artists like Paul Gauguin in France rediscovered and embraced the woodcut for its pure and unadulterated qualities, paving the way for other artists to experiment with the medium. Throughout the twentieth century, the woodcut continued to evolve and be explored in various ways within contemporary studios.

A contemporary form of communication or expression.

The pieces in this section demonstrate the emergence of the woodcut as a modern medium, which still maintains a primal energy and ancient purity of form. Émile Bernard’s Christ on the Cross (ca. 1890–91) is an audacious print for its time. Few artists of the nineteenth century had created woodcuts as independent works of art, and none had been as explicit in exposing the wood itself. A revolutionary change occurred in the history of printmaking when artists like Bernard chose to embrace the textures and imperfections of the plank, incorporating them into their designs. The woodcut was no longer seen as an inferior version of engraving, nor did it attempt to imitate it. Instead, it became a means for expressing an entirely new and spontaneous graphic language. Paul Gauguin played a crucial role in this phase of bold innovation. A daring and nonconformist individual, Gauguin harbored a deep curiosity and passion for the natural and the supernatural, which greatly influenced his groundbreaking woodcut creations. Te Atua (1893–1894) is one print from a series that Gauguin made in Paris after returning from Tahiti in 1893. It was originally intended for publication in Noa Noa, a visual diary of his experiences on the island. The smoky and chiaroscuro effects seen in this early proof were achieved through various methods of inking and wiping the block. With artistic freedom, Gauguin skillfully molded the desired tones that would best convey the mysterious spirits and cavernous enclaves of the island.

The woodcuts from early-nineteenth-century Japan, characterized by their mixed colors and undefined perspectives, played a significant role in popularizing woodcuts in Paris during the 1880s. Printmakers also made a joint effort to raise public awareness about this art form. They achieved this by circulating illustrated journals like L’Estampe originale, which showcased Bernard’s Christ on the Cross and some of the most daring cuts of that time by Félix Vallotton. Alfred Jarry, known primarily as an avant-garde playwright, was also a woodcut artist and advocate for the medium in L’Ymagier, a short-lived journal he co-founded with Rémy de Gourmont. This journal focused on popular and devotional images and even published woodcuts from Calcutta made around 1870—a noteworthy fact for this exhibition. Rare examples of these Indian works, depicting scenes from the life of Krishna and secular portraits, are displayed in this section. Their spontaneous style, swift portrayal of form, and direct imagery foreshadow the art of Henri Matisse and his contemporaries in France. The woodcuts from this period share a lively common language, whether they were created for art collectors or for visitors to Asian shrines.

During the modern period, the independent nature of the woodcut was a major factor. Without the need for a press, acid, or a professional printmaker, woodcuts could be achieved. The Norwegian artist Edvard Munch freely experimented with blocks, expanding the creative possibilities of this medium. In each composition, he explored various options, resulting in unique woodcuts like the rare impression of Towards the Forest (1915). Additionally, the woodcut is the most sculptural form of printmaking, as seen in the modeled and tactile block for Matisse’s Nude Seated in Profile on a Chaise Longue, The Large Woodcut (1906), which was supposedly cut by the artist’s wife.

From the beginning of the twentieth century, the gouge line becomes more and more raw and unedited. Emil Nolde’s portraits, which are deeply evocative, for instance, emerge from darkness with only a few fragmented strikes of the block. The German Expressionists, drawing direct inspiration from sculptural artifacts and ethnic carvings, make their own spontaneous cuts. Surprisingly, the woodcut’s association with an earlier era, one that is more spiritual and less materialistic, appeals to artists who desire to surpass historical and cultural boundaries and create new forms of modernism. In Wassily Kandinsky’s influential book Klänge (Sounds, 1913), a stylistic journey in woodcut form is traced from folklore-like figurative compositions to complete abstraction. Czech artist Joseph Váchal also chooses woodcut as his preferred medium, and his clever yet dark scenes appear to belong to both ancient times and a future era. Although Váchal is not well-known, his Seven Deadly Sins (1912) demonstrates his immensely original mind and inspired use of the gouge.

How Is Woodcut Printing Different From Other Forms of Printmaking?

Woodcut is a distinctive medium due to its simplicity and the difficulties posed by the material. When put through a printing press, original woodblock prints have the potential to develop cracks. Initially, woodcut was primarily a monochrome printing medium. Nevertheless, advancements in technology during the 1700s brought about the ability to incorporate multiple layers of color into this form of relief printmaking.

Wood engraving is the most similar technique to woodcut. The distinction lies in the ability of artists to produce more intricate and precise images compared to conventional woodcuts. In wood engraving, artists carve into the wood grain rather than alongside it.

Intaglio could be considered the opposite of woodcut due to the artist directly carving or etching on the plate surface, leading to ink filling the spaces instead of sitting on the raised surface.

Screen printing and other printmaking methods differ from carved blocks in their approach. Unlike carving, these methods involve using stencils or chemical processes to create prints.

The Woodcut Printing Process – How To Make Your Very Own Woodcut Block

Woodcut printing has gained popularity and widespread adoption primarily due to its utilization of readily available materials and lack of requirement for a significant workspace. Getting started only necessitates a small number of items, yet with the correct materials, one can ensure their longevity for several years.

Creating a woodcut block print involves several steps. After familiarizing yourself with the techniques, you can unleash your creativity!

Below is a simple compilation of all the necessary items for commencing woodcut printing.

Woodblock(s)
Chisels
Paint/ink
Drawing tools
Paper
Ink roller
A baren or something to apply pressure with

Step 1 – Prepare All of Your Materials

To prevent frustration while working with woodcuts, it is important to keep all your tools nearby and in good condition. It can be incredibly disheartening to be fully engrossed in your work only to realize that a particular chisel is missing.

Chisels are a distinctive tool that requires cautious handling. If you have an interest in woodblock carving, it is advisable to invest in durable tools that can serve you for a lifetime. Due to their sharpness, chisels should not be left accessible to pets or children.

The most common types of woodblocks used for this purpose are plywood and pear, although cherry and birch options can also be found, depending on what is available at your local art store.

For the woodcut printing process, it is important to have a cozy and uninterrupted workspace. Ideally, there should be ample space available to work comfortably and possibly create a little clutter.

Step 2 – Practice Carving on a Scrap Woodblock

In order to learn a new artistic medium, it is crucial to familiarize oneself with the tools and materials. Attempting to create a masterpiece immediately often leads to feelings of frustration or the possibility of damaging the materials.

If you use various chisels, the markings on your woodcut will vary. When you are working on your final piece, you will be able to determine which tool is necessary if you have already practiced.

To become more familiar with your tools and practice your printmaking techniques, utilize a less appealing woodblock.

Step 3 – Conceptualize Your Artwork

In order to begin the woodcut process, it is important to first have a clear concept of the image you want to create. Due to the challenges associated with carving wood, selecting an appropriate picture that complements the medium will enhance the overall experience.

In order to determine the desired appearance of your art, you may begin by sketching thumbnails. Following this, you can proceed to directly sketch your concept onto the wooden block. Alternatively, if you prefer using your initial sketch, you can employ a technique like Wintergreen Transfer to transfer your work onto the block directly.

Another option is to unleash your imagination and begin sketching or carving directly onto the woodblock. This approach can be slightly risky but also enjoyable. However, it is important to keep in mind the quality of the woodblock you are working with, as carving against the grain may result in the breakage of large chunks.

Step 4 – Begin Carving Your Woodblock

Now comes the moment you have been eagerly anticipating: it’s time to produce your own stunning artwork!

To effectively learn carving techniques, it is highly beneficial to not only engage in practice but also observe skilled carvers in action. As your knowledge of different techniques expands, your ability to innovate and express creativity in carving increases.

Certain woodcut artists prefer to start their work by placing a frame around the entire woodblock, which serves the purpose of “containing” their image. This technique offers guidance and assists in overcoming the apprehension associated with making the initial cut.

Working with negative space may feel different from working with 2D mediums or sculptures, and you will appreciate the opportunity to practice here.

Step 5 – Apply Your Ink to the Woodblock

In this stage of woodcut, it is important to pay close attention to detail. If you use an excessive amount of ink, your print will appear blotchy and untidy. Conversely, if you use too little ink, the image will appear faded. Although the initial prints may not be flawless, it is essential to continue practicing.

In order to achieve a uniform coverage, it is important to use a consistent and rhythmic motion while applying ink, going back and forth smoothly.

Typically, a small amount of printing ink can make a significant difference. Once you are confident in determining the quantity of ink required, you can begin to explore various color combinations.

Step 6 – Make Your Woodcut Print

The most challenging aspect is to ensure that your woodblock and paper are aligned evenly. To achieve this, you can employ pencil marks, a ruler, or tape on a suitable surface to align them.

To ensure accuracy, place your paper gently onto the inked woodblock. Should a baren be unavailable, feel free to utilize the reverse side of a cooking spoon, a smooth polished stone, or even your hands to massage the back of the paper in order to transfer the print.

To ensure an even transfer, apply uniform pressure across the entire surface or experiment with varying pressure in different areas to achieve a faded effect. Once you are certain the print has been successfully transferred, peel the paper from the woodblock starting at the top and moving towards the bottom. To prevent any slippage, hold onto both top corners of the paper.

Step 7 – Admire Your Woodcut Print

Once you reach this stage, your final print is ready! The advantage of woodcut printing lies in its ability to produce countless copies of your artwork. Furthermore, if you are dissatisfied with the print or desire a new creation, you can simply reuse the wood and carve an abstract design onto it.

By thinking step by step, you can also enhance your existing woodcut art by adding color or paint, thereby creating personalized and distinctive pieces. This adaptable medium offers not only a fulfilling and engaging experience but also serves as a source for all the presents you require for your loved ones!