Jacques Hnizdovsky's method of working has been described by William Gorman in an article published in the AMERICAN ARTIST magazine in 1978. “Using an original drawing as a guide, Hnizdovsky begins a series of drawings on parchment tracing paper. Each successive image is refined and modified toward the stylization he wishes the design to take. Strict attention is paid to details, nuances, balance of masses, black and white distribution.
The number of preliminary drawings at this stage may vary between six and twenty. Once a drawing is completed to his satisfaction, it is ready to be transferred to the woodblock.
“For the transfer of the pencil drawing to the woodblock, he prefers to use a sheet of carbon paper affixed to the woodblock with masking tape. The master drawing is then placed face down on the carbon paper and secured with tape while the design is carefully traced with a pencil from the back of the drawing paper. The transferred image will be in exact reverse position on the surface of the block. As Hnizdovsky traces, he continues to refine and strengthen the overall design.
The number of preliminary drawings at this stage may vary between six and twenty. Once a drawing is completed to his satisfaction, it is ready to be transferred to the woodblock.
“For the transfer of the pencil drawing to the woodblock, he prefers to use a sheet of carbon paper affixed to the woodblock with masking tape. The master drawing is then placed face down on the carbon paper and secured with tape while the design is carefully traced with a pencil from the back of the drawing paper. The transferred image will be in exact reverse position on the surface of the block. As Hnizdovsky traces, he continues to refine and strengthen the overall design.
Perhaps some lines require thickening while others may be lessened in weight. The object at this stage is not only to transfer, but to strive consciously to improve and refine the linear quality of the drawing.
When the entire drawing has been traced and the tissue and carbon removed, the carbon lines on the woodblock are then intensified with india ink and a fine brush or sometimes a felt tip pen. (This inking is for permanence, as the carbon lines would smudge and lose clarity as the block is handled during the cutting process.) As he inks, he further strengthens the structure of the drawi
ng.
“Hnizdovsky’s woodcutting tools are simple instruments: a sharp pointed flat blade and various V and U shaped gouges, each implanted in round wooden handles.
The time involved in the actual cutting of the block depends on at least two factors, the size of the design and its complexity. Most of his larger woodcuts entail weeks of cutting, some may take months.
When the entire drawing has been traced and the tissue and carbon removed, the carbon lines on the woodblock are then intensified with india ink and a fine brush or sometimes a felt tip pen. (This inking is for permanence, as the carbon lines would smudge and lose clarity as the block is handled during the cutting process.) As he inks, he further strengthens the structure of the drawi
ng.“Hnizdovsky’s woodcutting tools are simple instruments: a sharp pointed flat blade and various V and U shaped gouges, each implanted in round wooden handles.
The time involved in the actual cutting of the block depends on at least two factors, the size of the design and its complexity. Most of his larger woodcuts entail weeks of cutting, some may take months.
The wood planks are generally of a hardwood such as cherry, pear, beech or apple, which enable the artist to execute his extremely detailed prints. While Hnizdovsky favors the hardness of pear for his intricate prints, he also enjoys the soft pliable quality of linoleum and has created many black and white and color linocut
s.
“The inking, proofing and pulling of an entire edition can consume additional weeks of tedious and painstaking work. He hand prints five to ten trial proofs, correcting and refining each successive image. Once he is satisfied with the image, he proceeds to print the artist’s proofs, an edition of approximately 35, and then the regular designated edition of between 100 and 200 prints. For many years all of Hnizdovsky’s blocks were printed by the hand and spoon pressure method. This was extremely time consuming. In 1975 Hnizdovsky acquired a manually operated Vandercook proof press, which appreciably lessened the printing time.” Hnizdovsky still continued to print all editions himself, except for the etchings, which were printed under his direct supervision.
s. “The inking, proofing and pulling of an entire edition can consume additional weeks of tedious and painstaking work. He hand prints five to ten trial proofs, correcting and refining each successive image. Once he is satisfied with the image, he proceeds to print the artist’s proofs, an edition of approximately 35, and then the regular designated edition of between 100 and 200 prints. For many years all of Hnizdovsky’s blocks were printed by the hand and spoon pressure method. This was extremely time consuming. In 1975 Hnizdovsky acquired a manually operated Vandercook proof press, which appreciably lessened the printing time.” Hnizdovsky still continued to print all editions himself, except for the etchings, which were printed under his direct supervision.
