Munch's approach to printmaking was extremely experimental, and he often varied the inking in his prints from impression to impression, especially in his woodcuts.  He would also treat the same subject in different techniques, as, for example, he did with Anxiety, executing a version in lithography before attempting it in woodcut.  Although Munch's theme of societal pressure and alienation is conveyed in all the versions, the formal and technical differences among the individual works manifests a range of nuanced meaning and emotion.

Munch's woodcut of the subject, two variants of which are shown here, was his first effort in this technique. He immediately grasped the potential of the medium, exposing the grain of the wood itself and conveying his stark subject through the rawness of his gouges on the wood block. While the black version conveys a particularly dark and somber mood, the red version suggests associations with blood or an otherworldly rose light at sunset.

蒙克的版画制作方法非常具有实验性，他经常在版画中改变用墨，在各种印象感觉之间变换，又起是在他的木刻版画中。 他也会将不同技法用于同一主题，例如他的作品《焦虑Anxiety》，在尝试木刻之前他先制作了石版印版本。 虽然蒙克的社会压力和疏离主题在所有版本中都得到传达，但各个作品之间形式和技法的差异体现了多种的意义上和情感上细微的差别。

蒙克的这个主题的木刻版画，这里展示出的两个版本，是他在这种技法上的第一次尝试。 他很快就抓住了这种媒介的潜力，将木头本身的纹理显露出来，并通过他在木块上的粗糙凿痕来传达他荒凉的主题。 虽然黑色版本传达了一种特别黑暗和忧郁的情绪，但红色版本却暗含与血液或日落时超凡脱俗的玫瑰色光照的联系。