The New York Times book review published an article this last sunday that features some photos of old graphic novels done by Lynn Ward, that are all based on woodcut prints. The visual style of his work is really great, so i thought i'd point it out in case anyone is looking for this kind of visual inspiration. It would be interesting to try and put together paint action sequences to create these kinds of woodcut effects. If anyone is interested i can point out some different approaches you could take.
I am always interested in woodcut approaches, Thanks for your offer.
As it happens, I originally saw and bought Lynd Ward's graphic novel, "God's Man," about 40 years a ago. Lynd Ward was a great artist. I was awed and overwhelmed by its impact. I doubt whether a modern printing could emulate the darkness or power of the blacks on the printed page at the time of the original printing. By the way, I still have the book.
I love woodcuts. Years ago I bought a number of originals by Fritz Eichenberg, Claire Leighton and others when the prices were very affordable. For some reason woodcuts have never been considered seriously in the upper echelon of the art world. The same is true for watercolors in comparison to oil paintings. I believe they are both dramatic and great, though.
Here's something quick i threw together as an experiment this morning as a paint action sequence.
I'm using the anti-alias solid brush type to draw white vectors on a black background. Lynn Ward does a really great job of making the object outlining really jump out in the woodcut, and this isn't doing that nearly as well, but is making an attempt to try and do something like that. I'm using a combo of the vectorizer and edge paths to first define and paint in the object outlines. Then i use the Threshold ip op to build selection masks to constrain the additional white vector painting for the highlight fills.
"There is a PASeq editor parameter called Layer Playback. If it's off, then the PASeq plays back on the current layer. If it's on, then the original layer information used when the PASeq was recorded is played back.
Here's a tip on…"
Let's say I run Gallery Show and find a paint action sequence I like and I save it. And later want to use it on layer 2, but it was created for layer one. Is there a way to change that sequence that says layer 1 to layer 2.I ask this because I might want to keep my layer 1 with what I created, but feel that the paint action sequence using a "MIN" composition would enhance the whole final outcome.See More
This piece was triggered by music recorded in concert, prompting me to treat the project as if my images were a third instrument, improvising alongside the two musicians.
The musicians are Waldemar Knade (viola) and Jerzy Mazzoll (bass clarinet)…
"You can record a history sequence that records what is running for gallery show output.
One thing to be aware of is that it's easy to configure gallery show to build up visual effects over time by combination of the output of successive…"