Featured NWC formline opinions

So, I'm (re)organizing a cabinet in my basement and (re)found this wood block carved for block printing, and which I bought a few years ago for $2. It's a hardwood, maybe cherry.

I occasionally make linoleum block prints so I went ahead and made a quick print with it tonight. (My ink is old / gummy, so the lines aren't as 'crisp' as they could be...)

Even so, I'd like to ask for your all's opinions on the design.

Thank you!

@komokwa @all_fakes

 

no one I recognize
no reason to connect the eye to the outer socket , as it pulls the part behind the beak back in towards the eye , and ruins the ovoid as it should be seen.

the sun / moon in the beak is for a raven to hold, but they don't have curved beaks

the double appendage off the back of the head could be the sign of a Kolus ( kulus )...but the top one is too distended , & the U form is out of balance.
also , the tips should be flared to the top...(as below..)

if u were going to use this in or as any marking....... I'd choose something else..

 

Wow, so interesting. I completely see the several different points you're making here. I so appreciate it.

 

I wonder if it was a school project . My sister did wood carving projects in her high school art class in the 1980's.

 

The wood looks more like walnut, and not a block that a printmaker would typically choose, with that big knot in the back. The recessed areas look gnawed, rather than carved with traditional chisels or gouges. It may be that some sort of dremel or router was used. (Some of this input is courtesy of 2manycats, whose password is currently non-functional for some unknown reason.)

 

Yeah that seems completely possible, given the inconsistencies komokwa outlined above.

 

Yes, on closer inspection, the edge lines are not clean and sharp as would be expected from a clean and sharp knife or gouge.

Thanks for the comments.

 

Agree with Komo; but would also point to some parts that are not bad, just as examples for further study:
some of the u-forms are correctly done, such as that in the lower left (the one in the upper left, not so good - the extension of the upper half makes no sense, as if the maker was trying to fill up the space. Better artists would find correct ways to fill space, so as to balance filled and unfilled areas while still following the rules).
And the outer form-lines do show a good taper where they join; and this is something often overlooked by amateurs.
The relief crescents in the projections on the back of the head are also a good feature - this provides relief to what would otherwise be an area of excessive black.
That said, note how Komo's example shows many of those same good features, without any of the defects mentioned:
Note the taper of the black form lines where they join; the balance of positive and negative space; and at the rear of the eyebrow, and again at the rear of the jaw, note on Komo's how there is a three-pointed relief area, sometimes called a "trigon" - if that were not present, there would be an excessive amount of unrelieved black.
Also note on Komo's example: the fine white lines surrounding and separating colored areas; again, if these were not present, there would be a lack of definition to many areas.
These are all features of good form-line usage, marks of a good carver. It is good to practice looking for such features, and to observe with a critical and discerning eye.
I do enjoy looking at form-line examples, and talking about them...thanks.

 

Well, as the primary (but not only) beneficiary of your guys's commentary, I see exactly what you're saying, am 'taking notes' so to speak, and am thankful to continue developing my aesthetic 'eye' with your help. Awesome!