Posted on Leave a comment

PORT PIECES: Abstract ink works

PORT PIECES: Abstract Ink landscape, Ella Johnston

I’ve been recently working on a series of abstract ink works for a new book from Dunlin Press.

The book, PORT, is an anthology looking at the subject of ports. The publication essentially explores places where ‘here’ contacts ‘there’; where known and unknown meet; where perceptions of possible experience are expanded. It features essays, interviews, stories and poetry – I’m very excited to be working on it.

PORT PIECES: Abstract Ink landscape, Indian ink on Arches watercolour paper, Ella Johnston

I thought long and hard about this project. I wanted something that reflected the character of such places. Because these locations by their nature are scenes of transition, movement and trade, I needed to convey their shape-shifting essence.

I pondered the medium and colours I was going to use for the pieces. I needed movement, flow and immediacy so I stuck with inks, my current tool of choice.

PORT PIECES: Abstract Ink landscape, Indian ink on Arches watercolour paper, Ella Johnston
So I approached these compositions as palimpsests; each quick application of ink acting as layers of stories, activities and histories coming together. I played with colour initially but settled on black and white arrangements as I felt they were starker and more visceral.
PORT PIECES: Abstract Ink landscape, Indian ink on sumi rice paper, Ella Johnston
I also experimented with the surfaces I applied my abstract ink works on. My paper selection is an integral part of every original piece. So I mixed it up a bit, using sumi rice paper, Arches smooth hot-pressed and textured cold pressed Arches watercolour paper. Every surface produced very different results as each paper type absorbs the ink washes, marks and strokes completely differently.

PORT PIECES: Abstract Ink landscape, Indian ink on Arches watercolour paper, Ella Johnston

The abstract ink works will be featured as book illustrations, with a selection being printed as limited edition fine art prints and postcards as a companion to the publication. The book is being launched in the autumn and I’ll be sure you keep you updated on its progress here.

Posted on Leave a comment

Experiments in ink!

Ink, mark-making experiments Ella Johnston
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
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 teasel drawing Ella Johnston
Composition, Indian ink feather and teasel drawing, book paper, gold leaf collage.
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.

Composition, Indian ink teasel drawing Ella Johnston
Composition, Indian ink teasel drawing Ella Johnston

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.

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

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

Composition, Indian ink feather and teasel drawing, book paper, gold leaf collage. Ella Johnston
Composition, Indian ink dried seed-head, 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
Composition, Indian ink teasel, feather and seedhead drawing Ella Johnston