Category: animation

PRINTMAKING: Fish Six

animation, Art, experimental, Film, printmaking May 9, 2023

This is the final in a series of six posts documenting the production of the experimental prints that I created using woodblock printmaking techniques and their use for both gallery exhibition as art prints and also as animation frames in my experimental animated film Toxic Fish (see the photos below). The fish in this post is the kohada. Its static shape on the woodblock and in the film frame contrasts with the simulated flooding of coloured toxins from commercial pollution which are overlaid around it and which eventually poison the fish. Variations in the volume of ink applied to the block plus the choice of hue produced a range of similar but different outcomes that, when edited in sequence, contributed to the creation of the illusion of movement. At most times the associated movement of both fish and toxins dramatically and frantically appear to twitch and jump all over the frame. The action looks frenetic. That effect is reinforced by the percussive soundtrack. The film was selected and screened at CINANIMA, the Animation Festival in Esphino, Portugal, and at the Art Gallery of NSW in Sydney, as well as at the Big Day Out rock festival in Sydney (see certificate and photo on a previous post: PRINTMAKING: Fish Four).

A woodblock print with overlaid hand-colouring for gallery exhibition and as a frame in my animated film *Toxic Fish*-©1990 Michael Hill. (Print of image for animation, dark blue ink over black base shape of fish with blue and green ink striped overlay and surrounds, for use as single and double frame sequence of the animation at 24 f.p.s.)

A woodblock print with overloaded, hand-coloured blue ink blotches for gallery exhibition and as a single frame in my animated film *Toxic Fish*-©1990 Michael Hill. The print of the fish for the animation has overloaded blotches of blue and grey ink smudged overlaid onto the basic shape of fish with yellow and grey ink surrounds, for use as single and double frame sequence of the animation at 24 f.p.s.)

A woodblock print with overlaid hand-colouring for gallery exhibition and as a frame in my animated film *Toxic Fish*-©1990 Michael Hill. The print of the fish for animation has overloaded blotch of green ink over the outline shape of the fish with surrounding pink and grey ink smudges and brush strokes, for use as single and double frame sequence of the animation at 24 f.p.s.). Imagine seeing all seven of the above frames within a single second of the film…it’s a quite frantic movement of colour, shape and positioning!

Sitting at the Oxberry animation film rostrum stand back in 1990, shooting the film, frame by frame, from the individual woodblock prints. I appear both happy and calm and pleased with the process despite the frantic impact that the film makes. I do listen to music while I work but I don’t recall what I was listening to that day.

A later grouping of one species of the fish for art gallery exhibition. Individual prints were torn and collaged into a school formation.

This post concludes my look at the Toxic Fish animation project, however, there will be further posts under the PRINTMAKING banner.

PRINTMAKING: Fish Five

animation, Art, experimental, Film, printmaking February 8, 2022

This is the fifth in a series of six posts documenting the production of the experimental prints that I created with woodblock printmaking techniques for both gallery exhibition and also as frames in my experimental animated film Toxic Fish (see photos below). The fish in this sequence is the gizzard shad. Its static shape on the woodblock contrasts with the flooding of coloured toxins from commercial pollution which are overlaid around it which eventually poison the fish. Variations in the volume of ink applied to the block plus the choice of hue produced a range of similar but different outcomes that when edited in sequence contributed to the creation of the illusion of movement. The film was screened at CINANIMA, the Animation Festival in Esphino, Portugal, and at the Art Gallery of NSW in Sydney, and also at the Big Day Out rock festival in Sydney (see certificate and photo on previous post: PRINTMAKING: Fish Four).

A woodblock print with overlaid hand-colouring for my animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Print of image for animation, green ink over black shape of fish with red and green ink smudged overlay, for use as single and double frame sequence of the animation at 24 f.p.s.)

A woodblock print with overlaid hand-colouring for my animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Print of image for animation, orange ink over black shape of fish with blue and grey ink smudged overlay, for use as single and double frame sequence of the animation at 24 f.p.s.) This print also stamped to be sold for framing as static artwork.

A woodblock print with overlaid hand-colouring for my animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Print of image for animation, pink ink over black shape of fish with pink ink smudged overlay, for use as single and double frame sequence of the animation at 24 f.p.s.)

A woodblock print with overlaid hand-colouring for my animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Print of image for animation, red ink over black shape of fish with red and grey ink smudged overlay, for use as single and double frame sequence of the animation at 24 f.p.s.)

Some examples of the fish art from the animation, as in the image above, have been added to the Doctor Comics website (doctorcomics.com) under the post heading PRINTMAKING: Fish 1, 2, 3 etc.(see links below at the bottom of this post).

All photos postcards, postcard art and printmaking by Dr. Michael Hill aka Doctor Comics.

MY COMICS ART TRAVELS: Third Stop-Japan

animation, character design, comic art, Comics, Japanning, printmaking, Travels November 1, 2021

This post features one of my many visits to Japan to study and research manga and anime.

Doctor Comics in Japan, outside of Takadanobaba Station, under the railway tracks, actually, (see steel girder supporting a section of the tracks above the mural at top of photo). Here, near to his former Tokyo Studio, is a memorial mural to the anime and manga artist, Osamu Tezuka, October 2016. (Photo by Louise Graber)

Japan is known as the Character Kingdom with its merchandising of manga and anime figurines and collectibles, many at an affordable price. (Photo by Louise Graber)

Doctor Comics recognises Anime and Manga characters designed by Shigeru Mizuki, in the toy store, *Yamashiroya,* in Ueno, Tokyo. (Photo by Louise Graber)

Doctor Comics studies a scroll in a window of the bookshop area of Tokyo called Kanda. (Photo by Louise Graber)

Another print shop in Kanda… (Photo-©2016 Dr. Michael Hill).

In a shop window in Kanda Doctor Comics finds figurines of characters from Shigeru Mizuki’s manga and anime *KITARO*. (Photo-©2016 Dr. Michael Hill).

Those same Mizuki characters again in another shop window. (Photo-©2016 Dr. Michael Hill).

A beer ad with cartoon figures (Doctor Comics sometimes enjoys a beer whilst reading manga). (Photo-©2016 Dr. Michael Hill).

…and D.I.Y. printmaking, at Ogawamachi Railway Station where one can print the station logo on a post card or whatever at the stamp desk below…(Photo-©2016 Dr. Michael Hill).

Stamp and stamp pad plus work desk await. (Photo-©2016 Dr. Michael Hill).

All photos postcards, postcard art and printmaking by Dr. Michael Hill aka Doctor Comics.

My ON MY TRAVELS… posts form part of my graphic based material that includes painting, printmaking, cartooning and scrapbooking.

PRINTMAKING: Fish Four

animation, Art, experimental, Film, printmaking February 14, 2021

This is the fourth post documenting the production of experimental fish prints that I created with woodblock printmaking techniques and their use in my experimental animated film Toxic Fish (see photos below). The fish in this sequence is the Kohada. Its static shape on the woodblock contrasts with the flooding of coloured toxins from commercial pollution which are overlaid around it which eventually poison the fish. Variations in the volume of ink applied to the block plus the choice of hue produced a range of similar but different outcomes that when edited in sequence contributed to the creation of the illusion of movement. The film was screened at the Animation Festival in Esphino, Portugal(see certificate below), and at the Art Gallery of NSW in Sydney, and also at the Big Day Out rock festival in Sydney.

A woodblock print with overlaid hand-colouring for the animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Monoprint of image for animation, black ink for shape of fish with black ink surrounds), for use as single and double frame sequence of the animation at 24 f.p.s.).

A woodblock print with overlaid hand-colouring for the animated film *Toxic Fish*-©1990 Dr. Michael Hill. (black ink with sepia wash overlay, for use as single and double frame sequence of the animation at 24 f.p.s.) This print also stamped to be sold for framing as static artwork.

A woodblock print with overlaid hand-colouring for the animated film *Toxic Fish*-©1990 Dr. Michael Hill. (Woodblock print of image, blue/black ink with green ink overlay, for use as single and double frame sequence of the animation at 24 f.p.s.) The fish in this sequence is the *Kohada* or Gizzard Shad. Its static shape on the woodblock contrasts with the flooding of coloured toxins around it.

A woodblock print with overlaid hand-colouring for the animated film *Toxic Fish*-©1990 Dr. Michael Hill. (print of image for animation purple/brown ink over black with green ink overlay, for use as single and double frame sequence of the animation at 24 f.p.s.)

A woodblock print with overlaid hand-colouring for the animated film *Toxic Fish*-©1990 Dr. Michael Hill. (print of image for animation with use of overprinting out of registration to stress texture.) This print also stamped to be sold for framing as static artwork.

Two of the hand-carved woodblocks of various sizes and sharpening stone that were used in the production of the animated film Toxic Fish-©1990 Dr. Michael Hill..

Me, shooting the film on the Oxberry animation rostrum camera for the animated film *Toxic Fish*-©1990 Dr. Michael Hill.

Certificate of participation in the International Animation Festival, Espinho, Portugal, 1990.

Colleague Jeremy Allen pointing to the large screen projection of my film at the rock music event *BIG DAY OUT.* (Photo and artwork-©1990 Dr. Michael Hil).

All photos postcards, postcard art and printmaking by Dr. Michael Hill aka Doctor Comics.

PRINTMAKING: Fish Three

animation, Art, experimental, Film, printmaking May 5, 2017

This is the third post on the fish prints I made with woodblock printmaking techniques for the experimental animated film Toxic Fish. The fish in this sequence is the Kohada or Gizzard Shad. Its static shape on the woodblock contrasts with the flooding of coloured toxins around it.

Fish woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. Fish printed in black ink with orange and yellow surrounds including grey smudging. This print also stamped to be sold for framing as static artwork and was also later reworked and published as an art postcard-©1999 Dr. Michael Hill.

Fish woodblock print with overlaid pale-blue hand-colouring and orange surrounds for the animated film Toxic Fish-© 1990 Michael Hill. This print also stamped to be sold for framing as static artwork and also published as an art postcard-©1999 Dr. Michael Hill.

Fish woodblock print with overlaid purple hand-colouring with yellow and pink surrounds for the animated film Toxic Fish-© 1990 Michael Hill. This print also stamped to be sold for framing as static artwork and also published as an art postcard-©1999 Dr. Michael Hill.

Overlay textural effect inking of a sequence of prints for the animation on the floor of the studio. (Photo by Louise Graber).

Other posts of my graphic based material include:

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POSTCARD-Second Series

PRINTMAKING: Fish Two

animation, Art, experimental, Film, printmaking January 28, 2017

This is the second post in my series of making fish prints made using the woodblock printmaking method for my experimental animated film titled Toxic Fish. As the ocean fish are poisoned their bodies swell up then disintegrate. The static shape of the fish from the woodblock holds firm at first before being flooded by toxins. The method employed was to gradually over-ink the block so that details were dampened into puddles and definition reduced.

A woodblock print with overlaid hand-colouring for the animated film Toxic Fish-© 1990 Michael Hill.

Here is a photo of me carving one of the blocks using a Japanese chisel. Warning: this is not the recommended way to of doing it! It is much safer done on a fixed bench with one carving away from, not towards, oneself. The photo is condensed pose of the process for promotional purposes.

Hand carving one of the woodblocks for the animated film Toxic Fish-Photograph © 1990 Demetra Christopher.

If you liked this post you might like to look at others on my Blog.

PRINTMAKING: Fish One

THE GRAFIK GUITAR

POSTCARD

PRINTMAKING: Fish One

animation, Art, experimental, Film, printmaking July 23, 2016

This series of posts will profile a collection of creative prints that I have made over the years, beginning with a series of fish. Using the woodblock printmaking method with variations in inking to make monoprints, the prints made could be used in animation. Six species of fish were featured, the first of which, featured here, is the Japanese Tai or sea bream. I was very attracted to the idea of working in both animation or printmaking at the time but found it difficult to sustain both and then to choose between the two. I found the answer in combining both mediums. Animation’s enormous need for artwork could be more speedily met by using the printmaking medium. I was doubly happy but have since settled on making comics which falls in the space somewhere in-between the other two.