Sunday, February 15, 2009

Strunk and White in Blue

In High School, The Elements of Style by Strunk and White was a required text every year to assist us in learning to write in a concise and clear manner. I still use it, often subconciously, to edit letters, my children's homework essays and works I translate.
The chief concept of eliminating all the unnecessary wordage that doesn't contribute to the content is still sound.
Not everything written is poetry and often everyday communication is full of extra detail that contributes little other than bulk. I don't have any training in graphic art but I admire the work of others who have the gift to convey a complete and powerful thought or concept with a minimum of detail or line. If road signs and logos would be on the one end of the spectrum then the beautiful, concise draftmanship in the simple sketches of Rodin or Schiele or Matisse might be on the other end. (I'm partial to nudes).
This came to mind as I was printing, over and over again the copies of my Ox print.
Working light to dark, I printed the yellow plate first, the numbers in 2009 clearly legible the rest an odd assortment of circles and shapes.
Next, the red plate in a nice transparant, clear pigment. This overlapped the yellow a bit making a nice orange and filling in what would become the red yoke.
But before I printed the proofs of the blue block, I pulled a few copies on clean paper to see if the ink was printing clearly and I had to pause.

This block, printed all by itself, was already complete.

Without the keyblock and without the two other colors everything I wanted to include was already here: the bull, the strong contrast of horns against sky, the year. While I did lose the idea of the Italian Chianina breed and the "details" of the chain of the nose ring or the shadows of the neck, and the nice contrast the black nose and horns made against the white body, this was all "extra detail" that added bulk but not much content to what I had hoped to produce.
The nagging voice in my head reminds me that I could not have produced this blue block in isolation. I don't have that economic, bold skill in composition and draftmanship that I admire so much in the work of others. I can get there, often laboriously (rather than effortlessly) by producing in bulk, and then through the editing process, working to eliminate what is nonessential. In times like these, I need the help of a good, disinterested editor who with a red pen can slash through the irrelevant or needlessly showy, or just plain badly done. Or I need just the clarity to do it alone.
But, I went ahead and printed the blue block over the others. And then on top went the keyblock in sumi ink mixed with a sepia tube watercolor. It was only partly because I didn't want to waste all that paper already cut and printed to start over. The other reason was I wasn't really able (willing?) to discard the original idea and all the work I did to get there.
So the finished, four-block, four-color image I spent a month working is the one that will go out in the mail next week.

I kept a few of the blue ones. One to file in the small folder I keep of the works I consider successful and the other to post on the corkboard over my workbench in my studio as a visual reminder and reprimand of what I want to accomplish and what I'll have to do to get there.

1 comment:

  1. Thanks for sharing your discovery. They are both terrific prints. I'm enjoying your blog.