Tag: monoprints

POSTCARD-Fifth Series

Art August 12, 2017

Continuing the profile of my art postcards here are some more recent examples from this year on various themes. These cards are hand-printed, created from a combination of drawing and printmaking in low print run editions. Once I finished a session it meant the end of that particular batch. I would not repeat the design or reprint it. Cards in an edition are all original prints, similar in design but are mono prints in as there are no exact duplicates. They fall within the standard postcard size dimensions of 10cm x 15cm or a near approximate. More information about this project is contained on the four previous POSTCARD posts (see the links below at the bottom of this post).

My previous POSTCARD posts form part of my graphic based material that includes painting, printmaking, cartooning and scrapbooking: THE GRAFIK GUITAR BOOKBINDING THE GRAFIK GUITAR CARTOON MORE CARTOONS RESEARCH CARTOONS UNIVERSITY CARTOONS POSTCARD POSTCARD-Second Series POSTCARD-Third Series POSTCARD-Fourth Series POSTCARD-Fifth Series PRINT Fish Two SCRAPBOOK SCRAPBOOK-More Pages SCRAPBOOK-A Few Pages More plus the posts on production of my artist book/comic BLOTTING PAPER: 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 Issue #3: No.30 No.31 No.32 No.33 No.34 No.35 No.36 Issue #4: No.37 No.38 No.39 No.40 No.41 No.42 No.43 No.44 Issue #5: No.45 No.46 No.47 No.48

PRINT Fish Three

Art, Comics, Film, Japanning June 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.

Inking prints for the animation in the studio.

Other posts of my graphic based material include: THE GRAFIK GUITAR BOOKBINDING THE GRAFIK GUITAR CARTOON MORE CARTOONS RESEARCH CARTOONS UNIVERSITY CARTOONS POSTCARD POSTCARD-Second Series POSTCARD-Fourth Series PRINT Fish One PRINT Fish Two PRINT Fish Three SCRAPBOOK SCRAPBOOK-More Pages SCRAPBOOK-A Few Pages More and my artist book/comic BLOTTING PAPER: 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 Issue #3: No.30 No.31 No.32 No.33 No.34 No.35 No.36 Issue #4: No.37 No.38 No.39 No.40 No.41 No.42 No.43 No.44 Issue #5: No.45 No.46 No.47 No.48

POSTCARD-Fourth Series

Art, Comics February 27, 2017

Continuing the profile of my art postcards here are some early ones from the years 2007-2009 on the theme of The Seasons. These cards were hand-printed, created from a combination of drawing and printmaking in low print run editions. Once I finished a session it was the end of that particular batch and I would not repeat the design. Cards in an edition are all original prints, but monoprints, i.e. the cards look similar in design and form a series but with no exact duplicates, but variations, thus the label of monoprints. The cards fall within the standard postcard size dimensions of 10cm x 15cm. The orange print marks visible on some cards come courtesy of Australia Post. More information about this project is contained on the three previous POSTCARD posts (see the links below).

A postcard from my Seasons series-© 2008 Michael Hill

A postcard from my Seasons series-© 2007 Michael Hill

A postcard from my Seasons series-© 2009 Michael Hill

UPDATE MARCH 7, 2017: A gallery display of a selection of my cards from the Seasons series.

Posts of my graphic based material include: THE GRAFIK GUITAR BOOKBINDING THE GRAFIK GUITAR CARTOON MORE CARTOONS RESEARCH CARTOONS UNIVERSITY CARTOONS POSTCARD POSTCARD-Second Series POSTCARD-Third Series POSTCARD-Fourth Series POSTCARD-Fifth Series PRINT Fish One PRINT Fish Two SCRAPBOOK SCRAPBOOK-More Pages SCRAPBOOK-A Few Pages More and the posts on production of my artist book/comic BLOTTING PAPER: 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 Issue #3: No.30 No.31 No.32 No.33 No.34 No.35 No.36 Issue #4: No.37 No.38 No.39 No.40 No.41 No.42 No.43 No.44 Issue #5: No.45 No.46 No.47 No.48

POSTCARD-Third Series

Art, Comics September 21, 2016

This post continues the profile of my production of hand-made art postcards in limited editions, featuring more examples from the Abstract series. As previously stated each card is an original, a monotype, similar in design but not an exact duplicate of any other card.

Cards in an edition are all original prints, similar in design but with no exact duplicates as can be seen in the following four examples from the Abstract No-14 series. These cards were all made in the same batch during the same printmaking session, however, variations in colour, texture and positioning of compositional elements can be detected.

THE GRAFIK GUITAR

Art, Japanning March 27, 2016

My artist book The Grafik Guitar consists of 38 monoprints on the theme of the deconstruction of elements of the acoustic guitar, namely the machine head, tuning pegs, fretboard, strings and sound hole. The separate elements were carved in lino or wood then overlaid in various combinations and intensities to form composite monoprints. The Japanese creative print method (sosaku hanga) was adopted as part of the approach to this project using Japanese knives and chisels. The blocks were printed on Chinese paper with water colour ink, sumi and additional hand colouring.

A design application of the work was made in the form of a poster, program cover and published conference proceedings cover for an international popular music studies conference in Sydney, IASPM 1999.

For further development of this work see: BOOKBINDING THE GRAFIK GUITAR

Other posts of my graphic based material include: CARTOON MORE CARTOONS RESEARCH CARTOONS UNIVERSITY CARTOONS POSTCARD POSTCARD-Second Series POSTCARD-Third Series POSTCARD-Fourth Series PRINT Fish One PRINT Fish Two SCRAPBOOK SCRAPBOOK-More Pages SCRAPBOOK-A Few Pages More and the posts on production of my artist book/comic BLOTTING PAPER: 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 Issue #3: No.30 No.31 No.32 No.33 No.34 No.35 No.36 Issue #4: No.37 No.38 No.39 No.40 No.41 No.42 No.43 No.44 Issue #5: No.45 No.46 No.47 No.48

BLOTTING PAPER The Comic: Production Report No.21

Art, Blotting Paper, Comics March 21, 2013

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)

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 inky, murky and stickyy feel of this etheric landscape he must traverse in search of an exit a series of monochromatic monoprints has been utilised.

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)

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)

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.18

Art, Blotting Paper, Comics November 16, 2012

Continuing the series of regular reports documenting the production process and progress of the second issue of my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics, this post focuses on the image-making aspect of the project, in particular, the role that printmaking is playing in the portrayal of spirits, ghosts and apparitions in Chapter 2: A Blot On His Escutcheon.

Monotype print in sumi ink of etheric body. (© 2012 Michael Hill)

In this chapter the Doctor Comics character is teleported into the supernatural world via a dream experience. To materialise a shadowy and vaporous landscape and some of the ethereal figures he encounters sumi ink blot patterns have been manipulated on soft paper and absorbed as monoprints. Over and under-inking the blocks has resulted in intense black or under-inked white patches on the printed paper.

This fantasy dream sequence called Dreaming Time occurs toward the end of the chapter wherin Doctor Comics confronts a few fearful looking, ghostly figures or apparitions that step out from seething, textured backgrounds. The monotype printing method and the use of sumi ink enabled the generation of experimental images with a restricted palette. The incorporeal characters were manifested and embodied in this manner. Examples of these are in the two monoprints of the etheric body and the shadowy phantom directly above and below this paragraph.

And it’s not all ghostly as there are also some light-hearted moments in this chapter of Doctor Comics collecting graphic novels, interacting with his cats, cooking, creating and reflecting.

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