Roads Collar, 1989: Brushstroke Series print by artist Roy Lichtenstein

  • Roads Collar, 1989 is a print by artist Roy Lichtenstein from his Brushstroke figure series

    Roads Collar, 1989

    Lithograph, waxtype, woodcut, and screenprint on 638-g/m² cold-pressed Saunders Waterford paper, 133 x 73.3 cm (irregular)

    Edition of 30; plus 1 BAT, 2 PP, 2 Presentation Proofs, 1 NGA archive proof, 1 Graphicstudio Proof, 1 USFP, 2 SP, 8 AP

    ©The Estate of Roy Lichtenstein

    BACK TO: BRUSHSTROKE FIGURE SERIES
     
    Roy Lichtenstein’s Roads Collar, 1989, is one of the more figurative works from the Brushstroke Figures series, where the artist constructs a portrait using bold painterly gestures. The central form is anchored by a large salmon-pink brushstroke that defines the body of the figure, layered with additional strokes that build the face and expression. To the left, a red Ben-Day dot brushstroke introduces texture, while mint green, blue and red strokes shape the eye, nose and mouth. The features appear playful and exaggerated, with a red-lipped smile and white teeth emerging from the layered marks, demonstrating Lichtenstein’s ability to create character through simplified graphic forms.
     
    Executed in lithograph, waxtype, woodcut and screenprint on heavy Saunders Waterford paper, the print reflects the technical complexity of Lichtenstein’s late printmaking practice. Deep blue brushstrokes suggest button details beneath the face, while yellow and black strokes above form stylised hair, creating a vibrant contrast of colour and pattern. Issued in a limited edition of 30 with additional proofs, Roads Collar highlights Lichtenstein’s exploration of the brushstroke as both image and subject, transforming painterly gestures into a structured Pop Art composition.
  • "My work is right where it is, right on the canvas, definitely not a window into the world.

     

    - Roy Lichtenstein

    Roy Lichtenstein combined bold colour with a wide range of printmaking techniques to create striking visual textures in his works. Through methods such as lithography, screenprint, woodcut and waxtype, he was able to reproduce the appearance of thick, expressive brushstrokes while maintaining the crisp precision associated with Pop Art. Bright reds, blues, yellows and greens are often set against neutral grounds, exaggerating the shapes of faces and figures while emphasising the graphic structure of the composition.