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RESEARCH CONTEXTUAL REFERENCES & PROJECT RATIONALE

ESSAY QUESTION: Why is the witch an enduring image? Through my research into the witch craze of the 15th to 18th centuries, I looked into the art and illustrations of that era, finding woodcut to be a popular medium. From this I pushed my practical into an exploration of printmaking. Using linocut to emulate the woodcut aesthetic, I decided to illustrate medieval torture tools. This aligned with the themes of repression, from the history of the witch, and evil, from the depiction of the witch.

‘The infamous witch-house of Bamberg contained thumb screws, leg vices, whipping stocks furnished with iron spikes, scalding lime baths, prayer stools furnished with sharp pegs, racks, the strapped and other devices.’ (Russell & Alexander, 2007 p.81)

Georgie Gozem - BA (Hons) Illustration - OUIL601 CoP3

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INITIAL IDEAS SKETCHES & PROPOSAL DEVELOPMENT

Initially I starting testing dry point etching for this project. I soon realised I didn’t have enough time in this module to improve enough to create successful outcomes. After evaluating the stage that I was at, I chose to focus on linocut, developing on my existing skills.

The final proposal was to create a series of lino prints of various torture tools. The focus is on taking the tools out of their usual context and presenting them as interesting, intriguing objects. Some of them may look quite beautiful, until realising that they are used to inflict great pain, or death.

Georgie Gozem - BA (Hons) Illustration - OUIL601 CoP3

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DEVELOPMENT

Following the Holbein cut, I tested myself with a linocut that had no pressure on it. Instead of copying another image, I designed something of my own and applied what I learnt about mark making, texture and form.

CRITICAL STAGES / TURNING POINTS

A critical turning point for me in this project was imitating an old Hans Holbein woodcut. I recreated it in lino, learning more about the process, mark making and cutting techniques.

These exercises completely altered the way that I approached a cut, the way I think about describing texture and form & how I consider light and shadows. I started cutting finals in this way.

Georgie Gozem - BA (Hons) Illustration - OUIL601 CoP3

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FINAL OUTCOMES All lino prints have been set in a frame and printed onto A4 Somerset paper. They are separated by tissue in order to protect them and present them. The top print is the Holbein cut as it has been vital to the project, and they are all wrapped together in linen fabric. I propose that this would actually be a leather wrap, which would be potentially more suitable.

Georgie Gozem - BA (Hons) Illustration - OUIL601 CoP3

GG

Pres boards final  
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