The image I chose to recreate is the illustration of the Mantis Religiosa from The Naturalist’s Library, by Sir William Jardine. The image was originally produced as a drawing by pencil, but was then replicated via plates and engravings to be produced in the widely successful publications of The Naturalist’s Library. I chose this particular image for a couple of reasons. Firstly, and perhaps most fundamentally, I found this image enjoyable to look at – purely aesthetic. My second reason, as it so happens to relate to the first, was my intrigue on the notion of mechanical objectivity, specifically on representations of the natural world as Golgi had experienced himself. I wanted to explore what it means to create an accurate depiction of an aspect of the world, and better understand the boundaries between achieving something aesthetic versus something real. This was an opportunity for me to experience “the temptations of aesthetics, the lure of seductive theories, the desire to schematize, beautify, simplify” (Objectivity by Daston & Galison, 120). Thinking about these concepts, I went on to recreate the image, splitting the process into three stages. In the first stage, I traced the image onto tracing paper with a wooden pencil, using a reference image that I had picked out and printed in black and white ink. I didn’t have access to a colored printer, so I decided to stay true to my reference by using graphite to shade in areas to create the necessary tones and contrast. In the second stage, I initially tried imprinting the graphite I had applied on the tracing paper onto my blank page. However, upon realizing that the image would appear inverted, I decided to retrace what I had drawn, this time onto the back of the tracing paper, in an attempt to correct the orientation. In my final stage, I pressed the back of the tracing paper (which now placed the image in the right direction) onto my blank page, using the back end of a sharpie to press the graphite onto the paper. After forceful pressing, I unveiled my creation: an incredibly faint tracing of the image, with some portions missing entirely. With my mechanical pencil, I then filled in all the missing pieces (of which there were many) using my tracings and the reference image as a guide. At last, my recreation was complete.

Before you start, provide answers to the following:

• What is this image for?

This is a depiction of the Mantis Religiosa.

• Where is the image coming from? What do we know of its source? Its audience?

This image comes from The Naturalist’s Library, by Sir William Jardine and a number of other authors, created around 1833. This series was meant for anyone with an interest in the natural world who was seeking out beautiful and informative depictions of it.

Materials & measurements

• Can we identify all the materials needed to make it?

From what I’ve read in The Naturalist’s Library, the images were originally produced by pencil. Then, via engravings onto plates, copies could be made to produce books for the public.

• Are there multiple varieties of tools used to make it?

Not aside from pencil and plates & engravings. For my recreation, however, I’ve decided to stick to the use of pencil, since I don’t really have access to the more complex methods of engravings and plates.

• What is the stability of a material over time?

Pencil is known to be a pretty stable material. It should last long periods of time without fading, unless it is smudged or rubbed against a surface repeatedly.

Tools & equipment

• What tools are necessary?

I will need to use a pencil to draw with, and a blank page to draw onto. I will also need a reference image and tracing paper that I can use to recreate the image. Finally, I will need supplemental items such as an eraser, tape, a pencil sharpener, my iPhone to record my progress, and a source of light.

• What are the best ways to replicate the effects of inaccessible tools?

I would look for how the image was originally produced and then search for the most feasible ways to achieve a similar effect. Here, the use of pencil is rather easy to replicate, so that is what I will use.

• How do technological changes impact our interpretation/expectation of the image? (e.g., engraving, woodcut, silver chromate)

As copies of The Naturalist’s Library were made, plates were used to reproduce the images. This process, which includes engravings, alters the form of the images in terms of textures, vibrance, hues, and detail. Thus, the means by which the images were reproduced is not perfect, and could be done far better with modern technology. In fact, the very nature of the images (as drawings) is prone to error. Something more objective (like a modern, high-resolution camera) could produce an image that is far more accurate.

FIELD NOTE 1 OF 3

Date: 2/6/22

People Involved: Just me!

Location: Baker Dorm Room

Reconstruction conditions:

In the comfort of my room, AC set to 66.5 degrees Fahrenheit. Mostly quiet aside from the occasional chatter from my suitemates.

Time and duration of reconstruction:

Start time: 4:15 P.M.

End time: 5:10 P.M.

Equipment and tools used:

Pencil, paper, eraser, tracing paper, image reference, tape, pencil sharpener, iPhone & light

Subjective factors, e.g., how things smelled/looked/felt:

The room was cool but comfortable, the perfect temperature. I was sitting at my desk, which I don’t do too often. The light was shining on the paper from above and behind me, exposing the shadows cast by the lamp I had on my desk directly in front of me.

Prior knowledge that you have:

I used to draw and sketch things a lot as a kid, as a sort of creative outlet to let my imagination spew out onto the page. I don’t recall doing much of that past elementary school, aside from the occasional bouts of inspiration I experienced during the first COVID summer. Revisiting that part of me has been quite reminiscent of my childhood, and it’s almost as if my fingers we’re starting to remember how to hold the pencil again, in the same way that I used to. The flow slowly crept back in.

Reflection on your practice:

As I set up the first part of my recreation, carefully taping the corners to my desk, I realized I hadn’t used tracing paper since art class in early middle school. It seemed intuitive to me though. I sharpened my pencil (which may have been a mistake in retrospect) and started tracing. It was a simple task, but it felt good. My hands worked quickly and my fingers pressed intentionally. The more I traced, the more confident I became in my strokes and the more ambitious I became in my detailing. I think I may have gotten too excited, as I poked the point of my pencil right through the tracing paper. I moved on more carefully. Upon finishing, I realized that if I flipped the tracing paper and pressed it onto my blank canvas to paste what I had traced, the image would appear flipped.

Photos/video documenting process:

The first image I printed, on the bottom, was one that was linked through the Canvas assignment page. It seemed a bit too dark to be able to see through the tracing paper, and I figured I could find another version that had a bit more contrast and where I could see the details better… that’s the image I ended up using, which can be seen on the top.

 

I taped the image to my desk.

 

I taped the tracing paper on top of the image, then began tracing!

 

This is what it looked like after I had traced most of the image. Notice how you can more clearly see the image compared to the photograph above where I hadn’t started tracing yet.

Questions that arise:

• How can I work efficiently while also remaining vigilant?
• How do I complete the recreation without inverting the image?
• When I trace some details and not others, how does that relate to mechanical objectivity as Daston and Galison put it?

 

FIELD NOTE 2 OF 3

Date: 2/7/22

People Involved: Me, again 🙂

Location: Baker Dorm Room, again 🙂

Reconstruction conditions:

I was seated at my desk, AC set to 72 degrees Fahrenheit. My door was open, so I engaged in a funny conversation with my suitemates, who were seated just outside in our common room, while I took on the second stage of my recreation.

 Time and duration of reconstruction:

Start time: 11:05 A.M.

End time: 12:00 P.M.

Equipment and tools used:

Pencil, paper, eraser, tracing paper, image reference, tape, iPhone & light

Subjective factors, e.g., how things smelled/looked/felt:

My room was a little toastier this time around. It’s gotten pretty chilly outside as of late, so my roommate had the heater roaring, filling the room with a warm but musky scent. Can’t say it was ideal, but it was at least better than being outdoors. The lighting was all the same. My pencil felt familiar in my hand, as if my fingers had already developed muscle memory. The tip was a bit duller now: perfect for capturing details while minimizing the chances of another tear.

Prior knowledge that you have:

I haven’t had much experience with tracing paper, but as mentioned previously, I feel that my childhood passion for drawing has helped me a good bit. Since my last field note, I get the sense that I’m already better equipped to take on this next portion of the recreation.

Reflection on your practice:

This second part of my recreation started with the idea that I would be able to imprint the graphite on the tracing paper onto my blank page by pressing against the back of the tracing paper with the end of a sharpie. But as I had imagined earlier, if I carried on this way, the recreation would turn out reversed, and the mantis would be facing towards the right instead of to the left. That meant it was time to think of a new approach. After a bit of thought, I came up with something rather simple: I was going to retrace onto the backside of the tracing paper. By doing this, I would be able to imprint the graphite in the correct orientation. So that’s what I did. After a while of retracing, however, I could feel myself starting to rush. I had already done this before, and the further along I got, the more entrenched I was in the small details that became all the more annoying while seeming endless.

Photos/video documenting process:

I retaped the tracing paper on top of my blank page, but this time flipped over. I then used the end of the sharpie to press the tracing paper against the page to imprint the graphite.

 

This is when I started tracing the back end of the tracing paper in hopes of being able to replicate the image in the right orientation.

 

Almost done with retracing the image!

Questions that arise:

• How does my attention-span/patience affect my end result? How can I improve this?
• Will my alternative approach pay off in the end?
• Does engaging with friends in a conversation detract from my ability to trace the image at the same time? How viable is multitasking?

 

FIELD NOTE 3 OF 3

Date: 2/11/22

People Involved: Myself

Location: Baker Dorm Room, for the last time 😉

Reconstruction conditions:

A nice 70 degrees Fahrenheit. My roommate was lying in his bed next to our conjoined desks. We were having a good chat whilst I worked on the final stage of my recreation!

Time and duration of reconstruction:

Start time: 2:03 P.M.

End time: 5:48 P.M.

Equipment and tools used:

Mechanical Pencil, paper, eraser, tracing paper, image reference, tape, iPhone & light

Subjective factors, e.g., how things smelled/looked/felt:

I switched to a mechanical pencil for drawing on what would be my end-product. A normal pencil’s point would dull rather quickly (which served its purpose when working with delicate tracing paper), while a mechanical pencil would stay sharp enough to replicate any small details.

Prior knowledge that you have:

Despite my general inexperience with the overall process of this type of recreation, I felt that the end stage was more in line with that I had done has a kid. I wasn’t used to the texture of the tracing paper, and taping the corners of my pages to the desk. The freedom, however, of being able to draw where my eye took me next and move about the page without strict adherence to the line adjacent to the previous was more familiar to me.

Reflection on your practice:

This was my longest sitting and I was getting antsy. I would get up from my chair and work standing up, hunched over my desk. I would take brief but frequent pauses to talk to my roommate. But as the final image came together, I became entranced by what I had created. The beauty began setting in, and that motivated me to make it even better. I was, of course, still tired of drawing the image repeatedly. But I was also growing obsessive over every small detail I could find. It was an incredible depiction of the mantis, and it was truly beautiful to me. It made me think about what we had discussed in class, relating aesthetics to correctness. I viewed my drawing as beautiful because it was so accurate both in its imitation of the original and its relation to the true form of a mantis. It was honestly hard to make myself stop drawing, but relieving nonetheless.

Upon finishing, I realized that I had written ‘PLATE B.’ on the top left corner, while further research revealed to me that it actually said ‘PLATE 8.’ The image I was using as reference was not premium quality, and I kind of just assumed it said ‘B.’. Likewise, on the bottom right corner, I couldn’t tell if it was ‘Lizars sc’ or ‘Lizars se’, so I just drew it as ambiguous as I had seen it on my reference image. Total opposite of Mechanical Objectivity. I wonder if Ramón y Cajal would be as upset with me as he was with Golgi?

Photos/video documenting process:

After finishing retracing the image, I flipped the tracing paper back over and began pressing against the graphite to imprint it onto the blank page.

 

This is what it looked like after quite vigorous pressing. It didn’t really show too well 🙁

 

I began recreating the image using what I had imprinted with the tracing paper as reference to guide my drawing.

 

 The final product!

 

A more professional shot of my final product!

Questions that arise:

• How does taking breaks from an activity/project influence the process? Does it influence the end result?
• Does the presence of my roommate affect the way I draw/my recreation at large? What influence does his gaze have?
• Does changing instruments (normal pencil to mechanical pencil) midway through the process influence my drawing? Is the effect positive or negative?
• How does one know when to stop? Is every little detail absolutely necessary? Are they even worth including?
• How does the bigger picture play into this? In other words, how do I know when the purpose of this image has been served and when I can stop drawing all the little details of the surrounding flora? What role do those peripheral details play? Are they simply aesthetic? And is that enough reason to include them?
• Is it worth doing something by hand that a computer could do considerably better?