By Kathy Corey
The Heartland Art Club created the David Cornell Composition Award to remember Plein Air Painter, David Cornell. David Cornell was Shawn Cornell’s father. After retiring from his career in engineering, he began painting. He became a founding member of the Missouri Plein Air Painters Association (MOPAPA) and the Heartland Art Club, and a member of the Gateway East Artists Guild (GEAG). He and Shawn taught workshops together for years. He was well known in the Plein air community and enjoyed by all.
This year the David Cornell Composition Award was given to Michael Halbert for his “St. Louis Imagined” linocut print. Michael has been working as a commercial artist for forty years and the last thirty-six years as a full-time freelance illustrator. He worked in a variety of styles and mediums and has gradually narrowed his focus to pen and ink and finally to scratchboard. I had the privilege to speak with Michael about his award-winning artwork, his process for creating art, and his advice to novice artists.
Can you tell us about your artwork, “St. Louis Imagined”?
“St. Louis Imagined” by Michael Halbert
My image of “St. Louis Imagined” is an 18” x 24” linocut. My focus for this work was on composition and design. I wanted a flow or rhythm to the piece. I used different shapes “S-ing” their way from top to bottom. I looked to balance the white shapes against the black shapes and one texture next to another texture. Also, I knew that lighting that would cast long shadows would be key to the overall composition. The St. Louis aspect is secondary.
I started with a very rough sketch done to size. Then, on tracing paper, I revised the sketch, paying attention to how the shapes fit into the “rule of thirds.” I revised that sketch again to nail down all the shapes. Everything except the arch is imagined. I experimented with the linear perspective. Instead of having one eye level as a camera would, the drawing has several eye levels. I also looked for ways of making things ambiguous. An example would be shading a tree in such a way that it could represent the underside or the crown of a tree, or it could represent a hill line beyond the tree.
My image of “St. Louis Imagined” is an 18” x 24” linocut. My focus for this work was on composition and design. I wanted a flow or rhythm to the piece. I used different shapes “S-ing” their way from top to bottom. I looked to balance the white shapes against the black shapes and one texture next to another texture. Also, I knew that lighting that would cast long shadows would be key to the overall composition. The St. Louis aspect is secondary.
I started with a very rough sketch done to size. Then, on tracing paper, I revised the sketch, paying attention to how the shapes fit into the “rule of thirds.” I revised that sketch again to nail down all the shapes. Everything except the arch is imagined. I experimented with the linear perspective. Instead of having one eye level as a camera would, the drawing has several eye levels. I also looked for ways of making things ambiguous. An example would be shading a tree in such a way that it could represent the underside or the crown of a tree, or it could represent a hill line beyond the tree.
I transferred my sketch to the linoleum. I started cutting the block. I used different kinds of marks to represent different textures. For instance, I often use a teardrop-shaped mark to represent leaves. I also use the size and spacing of theses marks to indicate lighting (or shading). Care must be taken with each mark because cuts cannot be undone. Lighting effects and details were made up during the cutting process. I thought by working this way it would make the work look more spontaneous. I didn’t keep an accurate record of the time it took for all of this, but I’m sure it was at least a couple hundred hours. I printed the edition with help on some of the prints by instructor Brian Lathan at the print studio at Meramec Community College.
The printing process starts with proofing on inexpensive paper. That took approximately two hours. Then the printing of the addition starts using archivable paper that costs ten dollars a sheet. There are wasted prints for various reasons, and only the good prints make it into the edition along with two or three artist’s proofs. Each print pulled takes about half an hour. Although each of the prints of a good edition are very much alike, they have their own differences when examined closely. I haven’t signed and numbered the edition yet, but it will end up being an edition of about twenty-four plus two artist’s proofs.
What inspires your creativity?
Lately what inspires me most is made up landscapes with the focus on interesting compositions and lighting.
How would you describe your artistic style?
I use pen and ink on Ampersand Claybord. My style is similar to the look of an old-time woodcut or engraving. I use this same look when cutting a wood engraving, woodcut, or linocut.
What are your favorite tools of choice?
For my illustrations on scratchboard, I usually use Micron pens or technical pens for drawing, but lately I have been using crow quill pens. I use standard scratch board knives for scratching white lines out of solid areas of India that have been brushed on. I use Ampersand Claybord for the surface to draw on.
For my linocuts and woodcuts, I use woodcut knives. The brand of knife I use is Sankaku. The linoleum I use for linocuts is Unmounted ArtPrint Linoleum (gray), and the wood for woodcuts is Shina Plywood.
What is the greatest lesson you have learned as an artist?
I should have gotten some formal art training. A community college would have taken me a long way. I wasted a lot of time trying to figure things out on my own. Also, it’s never too late to learn new things. I try and take at least one class a semester at Meramec Community College. I’ve been doing that regularly for the last several years.
What are your recommendations for artists just starting out to pursue their passion?
I recommend good formal art training, such as a community college. You can learn a lot online for free, or very inexpensively. The advantage of taking classes at a regular brick and mortar school is the feedback from fellow students. One of the best things about being in the art field is that artists tend to appreciate the talent of other artists.