Japanese – Ella's Place

Posted on October 15, 2018October 12, 2018 by ellajohnston12

Brush-drawn faces #inktober

This year I decided to take part in Inktober. In typical Ella style I haven’t followed the #inktober drawing prompts. However I have enjoyed taking part in the art challenge, particularly my black and white brush-drawn faces.

As regular readers of this blog will know I am hugely influenced by Matisse and Japanese brush drawings. So this is me working through my influences and trying new drawing techniques and styles.

I feel a bit indulgent creating these face drawings. I love using a Japanese calligraphy brush with this free flowing Indian ink. I really enjoy the easy curves and marks this brush makes. However I’m aware I need to develop my own style. It’s a really stage in developing new work.

Posted on September 24, 2018September 26, 2018 by ellajohnston12

Experiments in ink!

In preparation for #inktober I’ve been playing with experiments in ink!

Composition, Indian ink feather and teasel drawing, book paper, silver leaf collage. Ella Johnston

Ages ago I told you about how as an artist and illustrator I strive for simplicity, well this has been a little mantra playing in my head all year so recently I gave into it. I’ve started working on art work and illustrations using simple black Indian ink and various mark-making tools.

Simplicity is hard.

Composition, Indian ink teasel drawing Ella Johnston

Composition, Indian ink feather and teasel drawing, book paper, gold leaf collage.

These scratchy ink sketches and gold/silver leaf and book paper collages are my first steps along my journey into the simple mark marking. Taking my cue from various Japanese ink artists I’ve experimented with my mark-making tools. I’ve fashioned ‘pens’ and ‘brushes’ from dried out teasels, found feathers, dried seed-heads and bunches of twigs to produce various line effects.

I thought I would combine these ink strokes with collage to create movement, contrast and texture. I’m also fascinated by palimpsests (where a manuscript or piece of written-on material has been written over but still bears visible traces of its earlier form) so I wanted to create a sense of that.

At the moment, I still need to work on my serenity ( I imagine a few people have remarked on that through the years).

I like combining humble unbleached papers I use for the inner pages of my hand-stitched books (sometimes painted with washes of colour, sometimes not) with gold and silver leaf to create a sense of collision. After these elements are layered up, I naturally want to produce something visceral and energetic over them with the ink marks.

Composition, Indian ink feather and teasel drawing, book paper, gold leaf collage. Ella Johnston

This mark-making method is real fun and, at this stage in my development with getting to know this way of working, I feel a little indulgent. I love the variation in marks the teasel, feather and seed-head tips create – I could go on all day marvelling at all the different line effects they produce.

Composition, Indian ink teasel, feather and seedhead drawing Ella Johnston

Posted on October 17, 2016October 17, 2016 by ellajohnston12

Monday Moodboard: Japanese prints

More pattern research this week, this time I’m trawling through traditional Japanese prints. It makes such a lovely Monday moodboard.

My original passion for these designs started many years ago when a good friend of ours sent me some patterned washi paper from her home town in Japan. Ever since I’ve been stashing away more washi papers, collecting affordable prints and illos as well as gathering lots of visual examples on pinterest.

Whether it’s floral, avian or geometric in their themes, the delicate designs, intricate composition and sensitive use of pretty, coordinated colour is sure to inspire me. I wonder how its influence will show in my new work?

Posted on May 18, 2016June 6, 2016 by ellajohnston12

11 Indigo Inspired Buys

While I often plump for hot shades and vibrant hues come summer, sometimes I yearn for clean lines, cooling colours and simplicity.

A beautiful indigo inspired palette fits the bill perfectly. This colour scheme can be used to create a Tuscan, Moroccan or even Japanese art style vibe. It’s a look that incorporates artisan craft, intricate illustration plus both geometric and ornate pattern so you indulge in it whatever your tastes. I’ve used the look in my dining room with shibori coasters and my bedroom using my blue and white thistle fabric to make bedside lanterns. The deep blues, crisp whites and dark accents give everything a fresh, light feel that you can carry on into very early autumn.

The high street agrees with me – in fact it’s all about the indigo for SS16 so, here’s my top 11 blue for you buys…

Play the blues interior picks ellasplace.couk — Moroccan Blue Dinnerware from Sainsbury’s

Posted on September 29, 2015September 30, 2015 by ellajohnston12

How to make a book in eight easy steps

If you are anything like me you’ll have loads of spare bits of patterned, or even plain, card and reams of paper lying around. I’ve got a great little Japanese stab-bound book project that uses up all your stash and is brilliant for when you want to make handmade gifts for people.

So here’s how to make a book in eight easy steps. I’ve screenprinted one of my bird illustrations onto a card cover of my book but you can make yours with anything you like.

YOU WILL NEED
Awl
Ruler
Pencil
Two sheets of A6 card for your cover
15 sheets of 120gsm A6 paper
Book-binding thread and needle
Rough paper (same size as your book pages and card)

1: Use rough paper to make a template. With a ruler, draw a line from top to bottom of the rough at 1cm from the spine. Starting 1cm from the top, mark off an even number of points spaced evenly on that line.

2: Working on a hard, flat surface. Use the awl to make holes in the intersections as shown – I’m protecting my table (and my hands) by placing the paper on a cork board so the awl can ‘sink in’.

3: Place the front cover card underneath the template, holding or clipping the front edge to keep from moving. Protect your work surface as you punch a hole at each of the marked points using an awl. Repeat for the back cover.

(c) Ella's Place 4: Place a quarter of the book pages underneath the template and make holes as shown. Continue with the remaining pages doing quarters at a time. The pages and cover should all look the same once punched.

5: Put all the pages, including the front and back covers, together. Thread the needle through the top back hole of the book, leaving some thread loose. Make a running stitch along the holes in the book, pulling the thread tight each time through a hole while keeping your top thread loose.

6: Loop the thread at the bottom of the book’s spine and go through the bottom hole. Place the book on its side, loop around the top of the spine and go through the bottom hole again.

7: Do a running stitch into the next hole, loop around the top of the spine and go through that hole again on to the next hole. Repeat until you get to the top of the book.

8: Make a loop at the top of the book and go through the top hole. Slip the needle under two of the top bindings coming out of starting hole. Tie a tight knot with the original loose thread.

Look – you’ve made a book!