Continuing the series of regular reports documenting the production process of the first and second issues of my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics, Chapter 1: The Ingurgitator and Chapter 2: A Blot On His Escutcheon, this post shows some of the art tools and the workspace utilised in the production of two-dimensional print images. In terms of image-making techniques, printmaking is suitable for generating both single and sequential images.

A bowl of sumi ink, a brush and a bamboo baren. (Photo by Michael Hill)

Following the Japanese creative print approach the use of sumi ink enabled me to obtain solid blacks in some of the images. The ink was brushed onto the block or substrate surface carrying the ink. The paper was placed onto this and rubbed down on the reverse side with a bamboo baren.

Bench hook, roller, rag and bucket on studio bench. (Photo by Michael Hill)

Materials used included water based ink and paint, rags and cloths for smearing, cleaning and wiping the ink, and a plentiful supply of running water for washing the blocks and brushes as well as my hands.

Water, cloths, sink and lino block. (Photo by Michael Hill)

Despite the implied reference to woodblocks in Japanese print techniques, it need not always involve woodblock printmaking. The wood may be replaced by alternative materials such as vegetables, fruit, leaves, string, rubber or other found objects that are sufficiently flat or pliable to be inked and pressed onto paper. The creative print (sosaku hanga) approach places the emphasis on the act of making the print. Oh joy!

Printmaking attire. (Photo by Michael Hill)

For a visual diary record and time-line overview of this project, see all of the BLOTTING PAPER production reports. Issue #1:   No.1   No.2   No.3   No.4   No.5   No.6   No.7   No.8   No.9   No.10   No.11   No.12   No.13    Issue #2:   No.14   No.15   No.16   No.17   No.18   No.19   No.20   No.21   No.22   No.23   No.24   No.25   No.26   No.27   No.28   No.29