BLOTTING PAPER The Comic: Production Report No.26

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 and Saturday September 21 is being scheduled subject to completion of the binding and delivery of the books). 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 for fish and books.  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.

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

BLOTTING PAPER The Comic: Production Report No.25

With publication of the second issue imminent this post continues the series of regular reports documenting the production process and creative development 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. It shows photographs of details of the studio workspace, my own arrangement this time and a change from the one used in the production of the first issue.

The brush collection (Photo-© 2013 Michael Hill)

The brush collection (Photo-© 2013 Michael Hill)

A collection of brushes for inking, painting and gluing the artwork.

Paper supplies (Photo-© 2013 Michael Hill)

Paper supplies (Photo-© 2013 Michael Hill)

Scaffold shelves holding paper and cardboard supplies for use in the drawing, printing and binding of the book.

Working with rubber type (Photo-© 2013 Michael Hill)

Working with rubber type (Photo-© 2013 Michael Hill)

Table top work area with type and number stamps and colour coded outline of script.

Keeping track of time (Photo-© 2013 Michael Hill)

Keeping track of time (Photo-© 2013 Michael Hill)

Production schedule wall chart calendars to help keep track of time and target desired deadlines.

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

BLOTTING PAPER The Comic: Production Report No.24

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 more examples of the image-making aspects of the project including assemblage, drawings, design, photography and printmaking, plus a bit on project management.

Some roject management-the blog log.

Some project management-the blog log.

This Doctor Comics Blog and the series of posts on the Blotting Paper comic have provided a means of monitoring and scheduling the progress of production of the comic. The posts also required some project management in the form of a colour coded blog log.

Bloody fish (woodblock print-© 2000 Michael Hill)

Bloody fish (woodblock print-© 2000 Michael Hill)

Both fish and cats feature in the comic, the fish more realistically rendered than the cats. Above is an image from an earlier fish animation, with added blood. Below is a sketch for one of the feline characters.

Red cat (pencil and ink drawing-© 2010 Michael Hill)

Red cat (pencil and ink drawing-© 2010 Michael Hill)

There is a lot less photography in Chapter 2. Nevertheless it has again been used to anchor some of the earlier scenes in a physical reality (below).

Down the garden path (Photo-© 2013 Michael Hill)

Down the garden path (Photo-© 2013 Michael Hill)

Designs for Doctor Comics (pencil and ink drawings-© 2013 Michael Hill)

Designs for Doctor Comics (pencil and ink drawings-© 2013 Michael Hill)

Some sketches (above) for consideration of Doctor Comics in older and somewhat obese form. It turns out a little more kindly in the comic.

Blotting paper comic concept (ink drawing assemblage-© 2012 Michael Hill)

Blotting paper comic concept (ink drawing assemblage-© 2012 Michael Hill)

An assemblage suggesting a visual statement: characters, location, content (above). 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

BLOTTING PAPER The Comic: Production Report No.23

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 more examples of the printmaking aspects of the project.

The inky black lake scene (Monoprint-© 2011 Michael Hill)

The inky black lake scene (Monoprint-© 2011 Michael Hill)

A deliberate ‘blotting’ effect was obtained from pressing a saturated inked block onto highly absorbent paper for a scene from the forthcoming second issue. After the printing, the paper had to be peeled from the block quite carefully to avoid tearing due to the combination of the wet inked areas and the paper’s very soft and fibrous tissue texture.

Proposed cover or insert (Monoprint-© 2011 Michael Hill)

Proposed cover or insert (Monoprint-© 2011 Michael Hill)

This unused print, above, from the first issue remains a possible inclusion as a cover or insert in the second issue.

Fish tail print (Monoprint-© 2011 Michael Hill)

Fish tail print (Monoprint-© 2011 Michael Hill)

Tails and fins of a cooked fish were inked and printed for some images used in Chapter 1. This approach was inspired by the Japanese sosaku hanga printmaking method in which inkable flat objects were employed as ‘blocks’ as an alternative to woodblocks. The resultant graphic effect is shown in the print above and photos of the image-making process involved in making that print, below.

Printing the fish tails (Monoprint-© 2008 Michael Hill)

Printing the fish tails (Photos by Louise Graberl)

Proposed back cover print (Monoprint-© 2010 Michael Hill)

Proposed back cover print (Monoprint-© 2010 Michael Hill)

Another unused print, above, from the first issue is a possible inclusion as a postcard insert in the second issue. It was constructed from a combination of woodblock and object printing. Decisions, decisions! 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

BLOTTING PAPER The Comic: Production Report No.21

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 describes more aspects of the use of printmaking in the image-making process, this time in the creation of landscapes of subconscious terrain.

Dark glade-first impression. (Monoprint-© 2008 Michael Hill)

Dark glade-first impression. (Monoprint-© 2008 Michael Hill)

As documented in an earlier production report Doctor Comics finds himself in a heavenly yet shadowy and vaporous landscape as a result of an intense dream experience. In an attempt to express the airy, floaty and papery feel of this etheric landscape that he must traverse in search of an exit a series of monochromatic monoprints has been utilised.

Dark glade-second impression. (Monoprint-© 2008 Michael Hill)

Dark glade-second impression. (Monoprint-© 2008 Michael Hill)

This landscape can be seen more clearly, sequentially, as more light is added by means of a longer exposure to each successive image. Despite the extra light he still finds it hard to trace his way through.

Dark glade-third impression. (Monoprint-© 2008 Michael Hill)

Dark glade-third impression. (Monoprint-© 2008 Michael Hill)

These prints were made using an etching process with a novel method of printmaking that involves exposure of the design drawing to a light sensitive plate via sunlight that marks the lines on a gelatin coated metal plate. The plate is then rubbed with a stiff brush under running water to carve the lines, so to speak. This process is known as solar plate etching.

Dark glade-the etching plate following exposure to sunlight and wetbrush. (Design-© 2008 Michael Hill)

Dark glade-the etching plate following exposure to sunlight and wetbrush. (Design-© 2008 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

BLOTTING PAPER The Comic: Production Report No.20

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 mentions some of the 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 and a brush

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

Following the Japanese creative print approach sumi ink enabled the getting of 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 and roller on studio bench.

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 block.

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

Despite the implied reference to woodblocks in Japanese print techniquess, it need not always involve woodblock printmaking. The wood may be replaced by other materials such as vegetables, fruit, leaves, string, rubber or other found objects that are sufficiently flat or pliable that they may 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.

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

BLOTTING PAPER The Comic: Production Report No.19

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 Escutcheonthis post focuses on the various print layers that were put together to create the intended cover design of the first issue and not used but may be in the second issue.

Uninked title block drying in the sun-© 2011 Michael Hill.

Uninked title block drying in the sun-© 2011 Michael Hill.

The type is assembled in reverse so that it reads the right way round when printed. A plywood block was used as a base and the rubber letters glued onto it.

Background texture formed the first print layer-© 2011 Michael Hill.

Background texture formed the first print layer-© 2011 Michael Hill.

Colour overlay on background-© 2011 Michael Hill.

A blue colour overlay was printed on the background to form the second layer-© 2011 Michael Hill.

Working in a tiny studio I had no available bench space for drying. Letting the prints dry outside on the ground in the Spring sunshine proved a fast way to obtain the dryness. On the other hand the prints were susceptible to a breeze that arose and falling frangipani flowers in the studio garden.

Prints on the grass.

Prints on the grass making a run for it–© 2011 Michael Hill

Some of the prints took advantage of the wind and jumped onto the grass. Accepting any randomness in my print process I didn’t mind when some of the wet prints landed face down on the grass and were smudged.

Typographic design of title on overlay and background-© 2011 Michael Hill.

Title design printed on overlay and background-© 2011 Michael Hill.

The final stage involved printing the type over the blue overlay and brown background.

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