That’s quite a title.

I’m finished with the 5-panel collage graphic novel I’ve been working on. It’s magazine Impressionist (loose, ripped dots). Hee hee. I used a palette of only grayscale bits, ripped from magazine pages. Recycle art, too.

I am enjoying this technique, even though it’s really time-consuming. I think I will do some single-panel, larger pieces this way (these are 6″ x 6″) and experiment with it some more.

This particular piece tells an adaptation of the Chinese Zuo Ci story. Zuo Ci was a Taoist monk who meditated and cultivated “Tao” all the time. One day, he turned into a crane and flew away (and the legends say he could turn himself into a crane any time he wanted, since he’d reached enlightenment). That would be a nifty skill to have. Think of traffic…

Anyway, I generated a 5-panel story which captures the moment when Zuo Ci might have realized he could transform.

Zuo Ci, in front of the open-air temple, sees a crane… (Hmmmm….)

I liked the Impressionist/primitive type of feel the ripped paper bits gave this. it was hard to do fine detail on such a small panel.

I think future projects on larger panels will yield more detail, so I am hoping to experiment more.

This took a long time. Each step kinda felt like the motions in this video. I think you’ll see what I mean.

(Hope I embedded it right, Robert):

Small Willow, originally uploaded by plasticpumpkin.

]]> http://plasticpumpkin.wordpress.com/2009/08/30/small-willow/feed/ 2 plasticpumpkin http://plasticpumpkin.wordpress.com/2009/08/19/painting-a-day-project-for-30-days-robots-3-8-18-09/ http://plasticpumpkin.wordpress.com/2009/08/19/painting-a-day-project-for-30-days-robots-3-8-18-09/#comments Wed, 19 Aug 2009 09:27:20 +0000 plasticpumpkin http://plasticpumpkin.wordpress.com/?p=585 ]]>

Painting a Day for 30 Days Project (Robots) – #3,
8.18.09, “Hmm…?”

I’m working on a themed “Painting a Day for 30 Days” project series, beginning August 16th, 2009.

A plethora of possible themes were suggested by customers, friends, and people on Twitter and Facebook. After the vote, it was decided that the first 30-day theme would be ROBOTS. Yep. Robots.

8.18.09 – Painting a Day for 30 Days Entry #3

“Hmm…?”

Size:  9″ x 12″

Technique: “Primitive” illustration-style watercolor over pencil, with ink. The pencil lines are left in on purpose, to give the robots a playful, innocent feel. I wanted them to seem almost childish, simple, cautious, and curious (and I don’t mean that in an insulting way).

Inspiration: I’m still on a children’s book illustration kick. Thin, fluid watercolors paired with shaky pencil lines and emotion.

Three robots contemplate a chick. 1001001…

I’ve already started #4, which is a darker, more impressionistic cyborg robot. Hmmm….

All of my daily projects will be posted for sale in my ARTFIRE shop, to help promote that great new arts & crafts venue. The people who own Artfire are really cool.

Robot Kittens - 8.17.09

Painting a Day for 30 Days Project – #2,
8.17.09, Robot Kittens

For those of you who are walking in on the project mid-sentence, I’m launching a themed “Painting a Day for 30 Days” project series, beginning August 16th, 2009.

A plethora of possible themes were suggested by customers, friends, and people on Twitter and Facebook. After the vote, it was decided that the first 30-day theme would be ROBOTS. Yep. Robots.

8.17.09 – Painting a Day for 30 Days Entry #2

“Robot Kittens.”

Size: about 18″ x 9″

Technique: Abstract Chinese brush painting on white rice paper, with sumi-e ink pen and ink over top.

Inspiration: It seems my first two entries are inspired by illustration and childhood fantasy.

I thought of the kitten shapes first–something unusual for robot form, yet not so far fetched (remember the robotic dogs and cats that responded to interaction a few years back).

I put the kittens, very simplified and Japanese pop culture inspired, on a more desolate, futuristic background. The background is purposefully blotchy and incoherent, and the kittens are purposefully primitive and child-like.

All of my daily projects will be posted for sale in my ARTFIRE shop, to help promote that great new arts & crafts venue. The people who own Artfire are really cool.

Painting a Day for 30 Days Project – #1,
8.16.09, Rosie the Roboto

For those of you who are walking in on the project mid-sentence, I’m launching a themed “Painting a Day for 30 Days” project series, beginning August 16th, 2009.

A plethora of possible themes were suggested by customers, friends, and people on Twitter and Facebook. After the vote, it was decided that the first 30-day theme would be ROBOTS. Yep. Robots.

(Every time I type “Robot” I keep producing the word “Roboto.” *snicker*).

Anyway, for the next 30 days, I will be painting or producing a piece of original mixed media art, based on the theme. Sometimes it will be a loose interpretation. Sometimes it will be painterly, amusing, silly, funny, serious… who knows.

8.16.09 – Painting a Day for 30 Days Entry #1

“Rosie the Roboto.” Yes, I meant this occasion of “roboto.” hee hee.

Technique: I did Rosie freehand, on heavily textured Western watercolor paper. She is illustrated with a Japanese Niji Watercolor pen (somewhere between a brush painting style brush and a Western brush) and ink.

Inspiration: I could have started with a big, muscle-bearing Gundam-style explosion. Or a more sinister, anti-industrial-revolution style mechanoid. Instead, I was inspired by Rosie. Rosie the Robot from The Jetsons, or rather, a robot of my own based loosely on my memories of Rosie, not intended to *actually* be Rosie (so please don’t sue me, Jetsons people).

One of my favorite art mediums to study is the golden age of illustration (mid to late 1800s, into the early 20th century). Expressive artists like Harry Clarke, Arthur Rackham, Maxfield Parrish, and Howard Pyle are huge influences for me, even when I do traditional Chinese brush painting, though the influence may not be readily apparent. I have always marveled over the ease with which illustrators create emotion, a sense of story, and a sense of direction–sometimes loosely, other times with intense detail.

So, Rosie the Roboto is done here as an illustration. I’ve been reading some of Felix Mayerhofer’s delightful children’s books, and the playful joy radiated through my water pen when I did her. That sense of discovery (Rosie has plucked a batch of flowers) and that air of innocence (Rosie smiles, thinking she might be able to replace the pair of flowers on her head).

I also enjoyed pairing an inorganic robot with natural elements.

She was fun! Can’t wait to tackle tomorrow’s. It could be a block print of a very anti-human murdering machine.

8.17.09 Update

All of my daily projects will be posted for sale in my ARTFIRE shop, to help promote that great new arts & crafts venue. The people who own Artfire are really cool.

Cypress, originally uploaded by plasticpumpkin.

The original painting, done with ink and watercolor on off-white, tamarind-infused rice paper is now in a private collection. Yaay! But, I do have prints available (they’re enhanced, so the crinkles in the paper are no longer visible).

Cypress trees are integral to Chinese traditional painting. They are synonymous with perseverance, longevity, health. Some cypress in greater China are centuries old. They twine, twist, and climb, become more interesting with age.

I hope we all become more interesting with age!

Resting Samurai, originally uploaded by plasticpumpkin.

“Resting Samurai” is from a batch of paintings I did last month. I was on a Zatoichi / Blind Swordsman kick, although this ancient traveler isn’t blind. For some reason, he also reminds me of Davy Jones (and I mean that in an endearing way).

He was done on double shuen rice paper and his style of dress dates from just before the Meiji.

Yep. I’ve teased you guys through Twitter, Facebook, and my blog–and now I have something to share.

The Factory on 5th Art Space is hosting a comeback art show this July, called “Back from the Dead – the Re-Animation Show.” In addition to a zombie fashion show, zombie flicks, and traditional arts & crafts, we’re also having a zombie-themed art challenge, which invites visitors to vote for “best of show.”

For my zombie entries, I’ve used traditional Chinese brush painting techniques in a non-traditional way.

Kabuki Zombie 1

Done in traditional Chinese single-stroke techniques (each brush stroke is laid down once on the rice paper) and color washes. This is part 1 of 2. The second features a kabuki zombie in full kabuki outfit. Inspired by Japanese brush and woodblock work of ghosts and ghouls, which were very popular from about the 1400s onward.

This guy is grotesque, dark, possibly missing part of his body–yet swirling, zombie-infested mists prevent a full view. He still has some of his kabuki makeup on. Perhaps he was bitten backstage?

Kabuki Zombie 1, originally uploaded by plasticpumpkin. Click for larger version.

Zombie Wears Prada I

Yeah. He’s probably not what you were expecting for a zombie–but some zombies have more flesh on them than others. This one in particular KNOWS he’s hot. In fact, he’s so certain of it, he’ll eat your arm off if you say otherwise. He knows good fashion when he sees it, but he’s still one of the undead.

“Zombie Wears Prada” is a mixed media relief block print piece. I used an etched block printing plate and ink to create the zombie, and used other elements to complete the grungy look.

Zombie Wears Prada, originally uploaded by plasticpumpkin.

Zombie Wears Prada II

Like his pal, Zombie Wears Prada I, this guy is GQ, slick, and undead. He’s also a mixed media piece. The zombie was produced with the same printing plate as the above (proving yet again that printmaking is beyond wonderful; no two hand-pulled prints are ever the same!).

Zombie Wears Prada II, originally uploaded by plasticpumpkin.

Another hand-pulled print made from the zombie plate, with multiple colored layers.

Hot Zombie, originally uploaded by plasticpumpkin.

These guys haven’t been mounted or framed yet. I’ll post a follow-up once they’re finished.

More scrollwork by CustomJapaneseCalligraphy.com.

This time, Joanthon has mounted one of my glossy art prints on a traditional wide kakejiku. He chose the red Ichimonji (the cloth tape above and below the print) to echo the dangers of life as a fisherman, and in honor of the blood of those lost at sea.

In traditional scroll mounting, every part of the finished piece contributes to the entire spiritual and viewing experience. This is very different from Western framing, which is most often chosen because it matches a sofa, or doesn’t clash with curtains The symbolic value is just as important as the aesthetic value.

Traditional Japanese and Chinese scroll mounting is meant to enhance the painting or calligraphy, while also participating in the viewer’s experience of the art. In fact, it is a form of art itself, and becomes part of the finished artwork.

Every color, pattern, and accent is carefully chosen, to elicit emotion, to invoke a mood, or to carry over the poetry of the piece.

Been working on some new hand-pulled prints, as some of you know. This is just the tip of the iceburg.

These are created with a relief printmaking technique, similar to linoleum block printing, which I have also enjoyed in the past. The images are composed of multiple layers of inked plates. No two are ever alike, even if I use the same plates and colors. The nature of hand-pulled prints simply make it so.

I love the immediacy and surprise of printmaking with relief techniques!

The Edge of Sleep
(maybe in a hot room with a fever)

The Edge of Sleep

Multiple layers printed on canvas.

Will o’ Wisps.

Will o' Wisps

Multiple layers. The grass dances. The Will o’ Wisps float. Printed on rice paper.

Those Waves.

Those Waves

More layers. Those waves. You remember them.

Done on white organic paper with flower bits.

Black Tree.

Black Tree

I’ll be posting some of these to my Etsy shop soon.