Rockwell Kent revolutionized the art of woodblock printing, garnering substantial recognition for his innovative techniques. Diverging from the prevailing woodblock print paradigm, Kent's approach marked a transformative phase in his artistic trajectory in 1919. The conventional woodblock method involves cutting out shaped portions of the block's surface, resulting in white spaces in the image, while the elevated sections would then print in a singular color - oftentimes black. In contrast, Kent extracted thick, parallel, and horizontal lines following the wood grain itself, establishing a distinctive visual language that was far more appealing and complex.

Beyond his contributions to woodblock prints, Kent's artwork found acclaim in advertising art, leaving an undeniable mark on diverse industries, ranging from fine jewelry to yachts. Kent's ability to shape corporate visual communication while maintaining a steadfast association with the woodblock style elevated his unique position within the artistic landscape. Despite the dominance of woodblock prints in his body of work, Kent's adaptability and innovative spirit allowed him to transcend artistic boundaries and leave an enduring impact on various creative domains.

Kent's artistic ingenuity is further illuminated through the lenses of skeuomorph and print nostalgia. The term "skeuomorph" represents Kent's capacity to mimic the design of artifacts in alternative materials, transcending mere the technological standard of that time. The concept of print nostalgia is best described by his deliberate adherence to the black-and-white characteristic of woodblock prints, a medium rendered technologically obsolete for decades. Kent's skeuomorphs emerged as enduring facets of an artistic style, resilient beyond the constraints of their technological origins, solidifying his legacy as a versatile and influential artist.

To fully grasp the significance of Kent's work, it is essential to examine its relationship with his publications in the New Masses. Within the pages of the New Masses, Kent's woodcutting techniques take center stage, contributing to a robust and impactful visual message. For instance, in his illustration "Workers of the World, Unite," the bold lines characteristic of Kent's woodcuts align with the rallying cry's revolutionary spirit. These woodcutting techniques bring a tactile and organic quality to his illustrations, enhancing the authenticity and unfiltered representation valued by the magazine.

Kent's departure from conventional woodblock printing techniques was not merely a technical innovation but a deliberate visual strategy that resonated with the primary message of the New Masses. The bold lines and tactile nature of Kent's woodcutting were not only technical choices but deliberate visual strategies. These techniques where the raw and unrefined quality of woodcuts aligns with the magazine's commitment to authenticity and the unfiltered representation of the working-class experience. 

Kent's ability to shape corporate visual communication, coupled with his association with the woodblock style, allowed for tremendous success in the artistic field of his time. In the context of the New Masses, where visual elements played a crucial role in conveying ideological messages, Kent's woodcuts became powerful tools for communicating the urgency and solidarity of the leftist cause. His innovative woodblock printing technique marks a significant contribution to artistic boundaries as well as the New Masses, further solidifying his legacy as a versatile and influential artist.