Tag: animation

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 in grey with overlaid red and pink hand-colouring and some smudging with green surrounds for the animated film Toxic Fish-©1990 Dr. Michael Hill.

Fish woodblock print in grey with overlaid purple smudging and hand-colouring and yellow surrounds for the animated film Toxic Fish-©1990 Dr. Michael Hill.

Fish woodblock print in basic black with overlaid grey hand-colouring and smudging effects for the animated film Toxic Fish-©1990 Dr. Michael Hill.

Fish woodblock print with overlaid blue over-saturated hand-colouring and surrounding purple and yellow coloured textural patches for the animated film Toxic Fish-©1990 Dr. Michael Hill.

Fish woodblock print with overlaid yello/brown/grey hand-colouring and green surrounds for the animated film Toxic Fish-©1990 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.

Fish woodblock print with overlaid with blue, purple and and yellow hand-colouring and yellow smudged surrounds for the animated film Toxic Fish-©1990 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:

MORE CARTOONS

POSTCARD-Second Series

PRINTMAKING: Fish Two

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.

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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.

PRINT-fish-bream1:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill.

PRINT-fish-bream2:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. This print also stamped to be sold for framing as static artwork.

PRINT-fish-bream3:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. This print also stamped to be sold for framing as static artwork.

PRINT-fish-bream4:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. This print also stamped to be sold for framing as static artwork.

PRINT-fish-bream5:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill.

PRINT-fish-bream6:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill.

PRINT-fish-bream7:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. This print also stamped to be sold for framing as static artwork.

PRINT-fish-bream8:72

Tai/sea bream woodblock print with overlaid hand-colouring for the animated film Toxic Fish-©1990 Dr. Michael Hill. This print also stamped to be sold for framing as static artwork.

Artist-4149

Shooting my 1990 animation Toxic Fish on the Oxberry animation rostrum camera with artwork produced from woodblock printmaking.

Posts of my graphic based material include:

BOOKBINDING THE GRAFIK GUITAR

CARTOON

POSTCARD

BLOTTING PAPER The Comic: Production Report No.14

Art, Blotting Paper, Comics August 25, 2013

NOTE:   R E- E D I T   C U R R E N T L Y   I N  P R O G R E S S!

With publication of the second issue of my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics, Chapter 2: A Blot On His Escutcheon just a matter of weeks away (September is looking increasingly likely subject to completion of the binding and delivery of the comics. What has been fixed though is that the book will form part of an exhibition of works on paper at a new gallery in Glebe called GAUGE. Here is an image of the title page. The image has been constructed from elements of photography, printmaking, typography and collage and shows Doctor Comics returning from a shopping expedition.  UPDATE: Exhibition dates have now been firmed to 18-29 September 2013 but still no firm launch date for the comic.

Title page of Issue #2 of Blotting Paper (Design-© 2013 Michael Hill).

Title page of Issue #2 of Blotting Paper (Design-© 2013 Michael Hill).

Press Release for Blotting paper exhibition.

Press Release for the Blotting Paper exhibition.

GIGANTOR AND GOJIRA IN THE HOUSE

Art, Comics, Film, Japanning April 1, 2012

I’m happy to now have two three dimensional flat sculptures of Gigantor and Gojira on the kitchen walls of our house: Gigantor the giant, remote controlled, peace-keeping robot, based on the manga Tetsujin 28-go (Iron man No.28) by Mitsuteru Yokoyama and adapted for animation, plus Gojira (Godzilla) star of the famous Japanese movie directed by Ishirō Honda. These plaques are the work of model maker, artist and comics creator Lewis P. Morley and were exhibited just last month at a gallery in Redfern, Sydney. Once installed, Lewis agreed to attend to their christening.

 Gigantor installed …above the stove in the kitchen. (Photograph and ceramic tile design by Louise Graber)

I have always thought that Gigantor’s body resembled a pot-bellied stove so I decided that it was appropriate he be positioned above the stove. His clunky design with rivets and pistons, prior to those more elegant mobile suit robots, such as Gundam that succeeded him, have some resonance with the metal stove and the various pots and pans on the shelves.

Gojira installed on the Japanese graduated toned wall. (Photograph by Louise Graber)

The whale eating Gojira, on the other hand, coming from the depths of the ocean and memorably seen in the 1954 Godzilla movie wading through Tokyo Bay, had to go over the kitchen sink.

Lewis and his magic silver signing pen signing Gojira. (Photograph by Louise Graber)

Christening Gigantor in steampunk style with steam from a boiling kettle. (Photograph and ceramic tile design by Louise Graber)

Christening Gojira with water from a metal jug. (Photograph by Louise Graber)

Job done: the artist poses in front of the installation.  (Photograph and ceramic tile design by Louise Graber)

It was very kind of Lewis to come over, wearing his Gundam T-shirt and perform this ritual. He now has visiting rights. This post was first published on the Doctor Comictopus blog.

Doctor Comictopus avatar for Michael Hill Ph.D (a.k.a. Doctor Comics) designed by Michelle Park.

Doctor Comictopus alias for Michael Hill Ph.D (a.k.a. Doctor Comics) designed by Michelle Park.

UPDATE: GODZILLA GETS RESIDENCY CERTIFICATE IN TOKYO, June 2015

News photo: Godzilla officially welcomed to Shinjuku by the Mayor.

News photo: Godzilla officially welcomed to Shinjuku by the Mayor.

UPDATE: POSTER DESIGNS FOR THE NEW SHIN GODZILLA FILM, April 2017

CATS IN COMICS: The Rabbi’s Cat

Art, Cats in Comics, Comics, Film October 4, 2011

This cat can talk! The Rabbi’s Cat by Joann Sfar.

This is a story about a wonderful talking cat from Algeria that lives with a rabbi and occasionally visits Paris. One day it ate the rabbi’s parrot and in so doing, gained the gift of speech. Being a smart cat it denied eating the bird and instead demanded conversion to Judaism. The design of the cat appears loose and improvised. Whilst it is rather thin and scrawny in physique it is big in terms of personality, intelligence and cheek. This richness of character and determination affords the cat the capability of comprehending foreign languages(he speaks Arabic, French, Latino and a bit of Spanish) and of learning the Torah. The rabbi’s cat is a marvellous, witty and charming cat that pleases itself, as cats do. It has appeared in several comics and most recently in an animated feature film of the same name and is the creation of the Joann Sfar, a jury prize winner at Angoulême for The Rabbi’s Cat graphic novel. The cat likes to hang out with the rabbi’s daughter and snuggle up close to her. It even tells her that it loves her. She tells it to shut up as she prefers it when it’s quiet or not around. It’s also inconvenient for both of them when her boyfriend visits. The cat loves a bit of a scratch, preferably on the ear by a female foot with painted toenails. Resilient, resourceful, stubborn, smart, curious and decidedly nocturnal, this cat is difficult to ignore.

This cat considers taking up painting to impress his love.

The Rabbi’s Cat (Le Chat Du Rabbin) film is a charming animated adaption of the graphic novels by Joann Sfar who also co-directed the film thus ensuring an authentic visual adaption of the bande dessinee. I saw the film at the 2012 French Film Festival in Sydney and I have been reading the graphic novels for a couple of years. You can watch the trailer of the film here. Sfar is a prolific and award winning comics creator with awesome talent who is now transferring his talents to filmmaking. Sfar had previously directed the highly stylised live-action film Gainsbourg (vie héroïque) based on the life of the famous 1960’s French pop singer Gainsbourg (that’s Serge Gainsbourg, Charlotte’s dad). The film won the French Oscar, César Award, for Best First Film. The Rabbi’s Cat (Le Chat Du Rabbin) film also won a César for Best Animated Feature and the similar prize at the 2011 Annecy International Animated Film Festival. It is a traveller’s tale in more ways than one dealing with the cat’s progress from ordinary cat to talking cat, its enforced separation from its beloved mistress, the rabbi’s daughter, and its struggles with the rabbi in its attempts to convert to the Jewish religion. Then there is the overland journey in an antique Citroën half-track, all terrain vehicle from France to Africa with the rabbi, a Russian artist and others in search of African Jews in Ethiopia. The film is ambitious covering material from three of the graphic novels although some characters and sequences have been altered or omitted. Its visual design has also been modified into a more simplified cartoon look suitable for animation production from Sfar’s sumptious illustrative style but the images remain rich and varied. It contains plenty of satire including a few barbs aimed at Tintin and his dog Snowy whom the travellers meet in Africa and whom the cat finds somewhat obnoxious.

Poster of the film.

Poster of the film.

For a more formal analysis of The Rabbi’s Cat graphic novel see my post Gridlocking Joann Sfar’s Talking Cat on The Comics Grid. You can also watch an extract from a new documentary by Sam Ball called Joann Sfar Draws From Memory that shows Sfar cheerfully drawing in a restaurant with his pen and water-colours whilst dining and commenting on his cross-cultural background and port city upbringing.

This post was previously published on the now discontinued Doctor Comictopus Blog.

Doctor Comictopus alias for Michael Hill Ph.D (a.k.a. Doctor Comics) designed by Michelle Park.

Doctor Comictopus alias for Michael Hill Ph.D (a.k.a. Doctor Comics) designed by Michelle Park.