Tag: sumi ink

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 Tai 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

PRINT Fish Tai

Art, Film, Japanning July 23, 2016

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

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

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 Tai PRINT Fish Two PRINT Fish Three SCRAPBOOK SCRAPBOOK-More Pages SCRAPBOOK-A Few Pages More and the posts on 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

Art, Comics, Germania, Japanning August 5, 2015

This post begins a profile of another artistic activity that I have been active in for a few years now, that being the design and printing of limited run art postcards. These are some of the early cards. More will be added in subsequent posts to this one e.g POSTCARD 2, 3 etcetera. I hand-printed these postcards that were created from a combination of drawing and printmaking. I would make odd numbered editions of say 8, 19 or 33. A print run greater than 50 was rare. The total would be determined by the amount of blank cards I had available at the time of production. Once I finished a session that meant the end of that particular batch as I would not repeat the design. Cards in an edition are all original prints, or monoprints, so-called by being similar in design but with no exact duplicates.

First postcard in my Abstract series-© 2006 Michael Hill

The following three postcards show variations produced in one edition: (1) the overlaid pink patch is in a different position on each card and its shape and strength of colour vary; (2) the dragon stamp(the small curvy line) is in almost the same position on two cards but not the third and its legs seem absent in two impressions; (3) the large black and yellow mass varies in colour and texture from card to card; (4) the Post Office marking is at the top, bottom or missing; (5) my MH signature seal, whilst generally in the same position, is actually upside down on two of the cards…a creative accident!

A postcard from my Abstract No.2 series-© 2006 Michael Hill

Another postcard from my Abstract No.2 series-© 2006 Michael Hill

A third postcard from my Abstract No.2 series-© 2006 Michael Hill

Reverse side of postcard from Abstract No.2 series-© 2006 Michael Hill

A postcard from my Abstract No.3 series-© 2006 Michael Hill

A postcard from my Abstract No.4 series-© 2006 Michael Hill

A postcard from my Abstract No.5 series-© 2006 Michael Hill

Beer drinking, on most occasions a bottle of stout, marked the end of an edition to celebrate completion. This was usually late in the afternoon as I never seemed to print in the mornings. After a few years I supplemented this hand-made approach with digital printing, making copies from the scanned original. But then I eventually abandoned that and returned to the hand-made process.

UPDATE: 12 OCTOBER 2015: A selection of these art postcards have been displayed in exhibitions over the past few years, the first in 2007 titled Abstract Nos. 1-11 at the DAB LAB Gallery in the courtyard of the Faculty of Design, Architecture and Building of the University of Technology, Sydney.

Pop-Up Postcard Exhibition: Abstract Nos.1-11, DAB LAB Gallery, UTS, 2007

Pop-Up Postcard Exhibition by Dr. Michael Hill: Abstract Nos.1-11, DAB LAB Gallery, UTS, 2007

Detail: Pop-Up Postcard Exhibition: Abstract Nos.1-11, DAB LAB Gallery, UTS, 2007

Detail: Pop-Up Postcard Exhibition by Dr. Michael Hill: Abstract Nos.1-11, DAB LAB Gallery, UTS, 2007

Exhibition flyer designed by Michael Hill

Exhibition flyer designed by Dr. Michael Hill

Reverse of ABSTRACT exhibition flyer.

UPDATE: 6 NOVEMBER 2015: At Hondarake Full of Books in 2012 the launch of my artist book/comic Blotting Paper was accompanied by a mini exhibition of 33 0f my art postcards from the Abstract, Landscape and Seasons series.

An exhibition of postcards accompanying the launch of my artist book/comic Blotting Paper at Hondarake Bookshop, February 2012 (Photo by Louise Graber)

An exhibition of handmade art postcards accompanying the launch of my artist book/comic Blotting Paper at Hondarake Bookshop, February 2012 (Photo by Louise Graber)

Fukushima Kids 2013 Auction, Japan: 10 postcards, made in small sets of 5-30, each print a monoprint, different and unique. Reverse side is signed and dated plus has artist’s stamp. Cards can be kept or mailed. These postcards were made on machine made cardboard following the Japanese sosaku hanga method of printmaking.

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 Tai 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

INKING IN OCTOBER: InkTober

Art, Blotting Paper, Comics October 1, 2014

I have decided to participate in this InkTober event in which artists submit a drawing each day of the month of October. I shall, however, only do it on every other day. Consequently I plan to produce an inked image on the odd numbered dates-1st, 3rd, 5th, 7th etc. That amounts to a potential 16 inkings over the period, if I manage to stay with it. These will be progressively posted here on my blog and dated. I shall also endeavour to add an image of the drawing implement(s) employed. I see this exercise as an opportunity to ‘warm up’ for issue 4 of my Blotting Paper artist book/comic that I am about to commence work on and also as an experimental image-making outlet. And I expect it shall be fun. 2014 UPDATE: A new and different drawing will be added every odd numbered date of the month.

Ink drawing#1 with unipin 0.8 Fine Line for october 1st (© 2014 Michael Hill)

Ink drawing#2: Abstract landscape, with uni pin 0.8 Fine Line for October 3rd (© 2014 Michael Hill)

Ink drawing#3: Object landscape, with uni pin 0.8 Fine Line for October 3rd (© 2014 Michael Hill)

Ink drawing#4: Object landscape, with uni pin 0.8 Fine Line for October 7th (© 2014 Michael Hill)

uni pin 0.8 Fine Line Black

Switching back to abstraction but with the addition of some ghosting colour line.

Ink drawing#5: Abstract landscape, with uni pin 0.8 Fine Line plus Montana acrylic paint marker 2mm Shock Yellow for October 9th (© 2014 Michael Hill)

Ink drawing#6: Abstract landscape, with uni pin 0.8 Fine Line plus Montana acrylic paint marker 2mm Shock Yellow for October 11th (© 2014 Michael Hill)

Returning to the objective whilst retaining an element of abstraction and some acrylic colouring.

Ink drawing#7: Object landscape, with uni pin 0.8 Fine Line plus Montana acrylic paint marker 2mm Shock Yellow for October 13th (© 2014 Michael Hill)

Ink drawing#8: Object landscape, with uni pin 0.8 Fine Line plus Montana acrylic paint markers 2mm Shock Yellow and Shock Green Light for October 15th (© 2014 Michael Hill)

Montana acrylic paint marker series.

Midway through the month I have managed to maintain my planned participation of posting an ink image every other day and am now moving in the direction of making blind contour drawings of moving subjects.

Ink drawing#9: Contours of moving objects-football in the park, with Artline 1.0 ballpoint pen for October 17th (© 2014 Michael Hill)

Ink drawing#10: Contours of moving subjects-cycling in the park, with Artline 1.0 ballpoint pen for October 19th (© 2014 Michael Hill)

Ink drawing#11: Contours of moving subjects-anthropomorphic animal cosplay in the park, with Artline 1.0 ballpoint pen for October 21st (© 2014 Michael Hill)

Ink drawing#12: Contours of moving subjects-community gardening in the park, with Artline 1.0 ballpoint pen for October 23rd (© 2014 Michael Hill)

Artline 1.0 Ballpoint Pen, Medium, Black

Returning to abstraction for the final four images and last week of the month I am switching to printmaking, exchanging the pen for a brush and using sumi ink to make monoprints.

Ink drawing(monoprint) #13: Abstract shape- with brush and sumi ink for October 25th (© 2014 Michael Hill)

Ink drawing(monoprint) #14: Abstract shape, with brush and sumi ink for October 27th (© 2014 Michael Hill)

Ink drawing(monoprint) #15: Abstract shape, with brush and sumi ink for October 29th (© 2014 Michael Hill)

Ink drawing(monoprint) #16: Abstract shape, with brush and sumi ink for October 31st (© 2014 Michael Hill)

Japanese hake brush and Sumi ink.

BLOTTING PAPER The Comic: Production Report No.20

Art, Blotting Paper, Comics, Japanning January 29, 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 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

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

BLOTTING PAPER The Comic: Production Report No.13

Art, Blotting Paper, Comics, Japanning April 21, 2012

Composed from elements of drawing, handwriting, collage, photography, typography and printmaking Issue #1 of my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics involved a range of graphic tools. These were displayed at the launch with a description of my work methodology.

Searching for inspiration with sketching and sake. (Photo by Michael Hill)

The first stage of the process is getting an idea. This may arrive as a result of reading and research, travel, visits to galleries to look at art and objects and make sketches. One sketch book in the photo below shows a collaged image of a fictitious Japanese monster Shitake Man. Some sake also proved useful at this preliminary stage.

Sketch book collage and sake cup. (Photo by Michael Hill)

Concepts and images come to mind in the second stage, design. Sketching determines the shapes that will be obtained through image-making techniques.

Printmaking tools: chisel, carved blocks, rubber type and sharpening stone. (Photo by Michael Hill)

Bamboo baren, seals, string, sumi ink, brushes and printed postcard. (Photo by Michael Hill)

Where printmaking is involved the third stage brings out brushes, ink and paper for the printing part of the project. A baren which is piece of dried bamboo that has been stretched over a board is used to ensure that the paper makes good contact with the inked block. The pressure applied can be varied to produce the degree of intensity of the ink. The autumn postcard print in the photo above has been constructed from 5 layers of print.

Bench hook, brushes, bamboo jar. (Photo by Michael Hill)

On completion of the work the sake may re-appear to accompany a session of reflection on the creative outcome.

For a visual diary record and time-line overview of this project, see all of the BLOTTING PAPER production reports relating to 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

BLOTTING PAPER The Comic: Production Report No.5

Art, Blotting Paper, Comics October 1, 2011

I mentioned in an earlier report that I am employing a range of image-making media to produce the artwork and text for my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics. In this post I’m showing some examples of the images that have been generated through a printmaking process at a small studio, Studio Buljan, in Petersham in Sydney’s Inner West. Some of these prints may turn up in the first chapter The Ingurgitator. Both the chapter and the comic begin in sunshine in Sydney but things take a bit of a dark turn towards the end not so much in terms of nocturnal as subconscious terrain. There is an evening ritual wherein Doctor Comics cooks dinner and drinks wine whilst reading some of his latest comics acquisitions and conversing with his feline companions. This often results in a dream state that is a melange of memory, thought, taste and reflection.

These images are monoprints so called because of their singularity. By re-inking of the block and manipulating the images some degree of continuity is presented. This enables a sequential element to come into play. I have used this approach in creating the artwork for animation projects. Employed in printmaking, comics and animation it is both labour saving and destructive. The images come up quickly but the act of re-inking and printing the block destroys the originals. There is no going back. For a visual diary record and time-line overview of this project, see all of the BLOTTING PAPER production reports relating to 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