The Historical Impression of Ukiyo-E: How It Transformed the Floating World, Impacted the Western Civilization, and Influenced Modern Society

Figure 1: "The Great Wave off Kanagawa" by Hokusai. Willem. The Great Wave off Kanagawa. 2011. Woodblock Print. Word press. Web. 12 Nov 2011. .

         Many of us have seen the work of art created by the infamous Katsushika Hokusai titled “The Great Wave off Kanagawa.” The undulating features in the seemingly colossal tsunami reach out like a monster with many sharp claws (in the crest) and a gaping fanged mouth (the trough) (see figure 1). In its powerful clutches are three boats with men struggling to fight through the forces of the water, akin to the instability exhibited in Japan’s pre-modern economy, politics, military, and culture. Peering through its trough is Mt. Fuji, erecting into the peaceful sky giving the viewer a poignant sense of hope and tranquility.

On contrary to this pivotal piece of Japanese art history, the origins of these ukiyo-e prints intended to entertain and provide pleasure. Hokusai made his artistic vision into reality by the means of the ukiyo-e woodblock printing process.  Today, we know that this process was a product of a collaborative group of artisans of ordinary origins. We will take a look at a few prominent Japanese artists who left behind a legacy of visual masterpieces unique to Japan after we talk about the prints from the Floating World; the ukiyo-e. Based on the meaning, process, and history of ukiyo-e, it has transformed Japanese society from the Edo period to the Meiji period followed by its revival, impacted the western civilization and inspired many artists, and paved way for today’s modern society including contemporary art in Japan.

浮世絵 “Ukiyo-E”

"Ukiyo-e." Wikipedia. Wikimedia Foundation, Inc., 2011. Web. 12 Nov 2011. .

         The term “ukiyo-e” translates to “images of the Floating World” (Koyama-Richard 38). To better describe the concept behind “the Floating World,” we can look at one of Japan’s earliest, and finest writers of Japanese literature, Asai Ryoi. He states in his novel “Ukiyo Monogatari” ("Tales of the Floating World", c. 1661) the following quote:

... Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating; ... refusing to be disheartened, like a gourd floating along with the river current: this is what we call the floating world... (qtd. in Schultz).

Its conception came about in the start of the 1650s and denotes aspects of Buddhism including changeability and fleeting pleasure. In our earthly domain the ukiyo-e represents transcendence of human desires and materialism (Koyama-Richard 38). Looking at these magnificent woodblock prints, one can take a glimpse into early Japan made possible by the visual representation of Japanese society, culture, customs, clothes, and insight. Before anyone can fully appreciate the ukiyo-e, one must understand the painstaking yet meticulous process of producing a woodblock print.

         The artists behind the ukiyo-e prints that gained notoriety are typically painters that had no contributions toward the creation process of the prints themselves. In order for one design to be published, there has to at least include an artist, carver (horishi), and a printer (surishi). Each position in any production is artisans in their own rights (Sakata). They each spend years training in master’s studios or apprenticeships.

The artist sketches the design on a piece of thin yet strong paper with light ink, making numerous edits and studies. Once the artist is satisfied with the designs and drawing, it is passed onto the carver. The carver then pastes the drawing onto a block of cherry wood with rice paste and begins carving out the design. The inside of the lines are first carved out before finishing up on the outside lines. This main block is used only for the black lines. Any other colors must have separate blocks for each one accordingly to the artist’s original vision. Registration marks are carefully attended to, in order to ensure a perfect print between multiple impressions. Several proofs are made for pending approval of the artist. Once the blocks are carved out and accepted, it is given to the printer. The printer’s apprentices prepares the paper to be used for printing with sizing formula called “dosa,” consisting of alum and animal hide glue (to prevent bleeding). The printer maintains a tremendous amount of effort in considering the shrinkage of papers while moist and the registration prints. According to the artist’s design, the printer begins printing using organic pigments, dyes, and finely ground minerals mixed with animal hide glue and some water (Hirano).

The resulting effort of these artisans is ready to serve and distribute to the general public with beautiful images anyone can often afford. This collaborative and artistic process is slightly reminiscent of mass production of everyday products, inspiring artists of modern times such as Andy Warhol and Takashi Murakami (which we will talk about later). The prints that brought pleasure and entertainment were just as fleeting as the history of ukiyo-e. Despite the allusion to an inevitable end of the popularity behind ukiyo-e prints, its history has stimulated a revival and a better appreciation in the later 20^th century.

          The progeny of ukiyo-e has rested on a foundation originating from the rise of a thriving new capital called Edo, a city that will become the modern Tokyo we know of today. In 1603, Tokugawa Ieyasu (1542-1616) was appointed by the emperor to become a shogun. He decided to set up his new capital in Edo and a period of peace ensued for the people of Japan. The imperial capital of Edo rapidly gained momentum for economical expansion and growth of population due to the now stable nation in a period of peace (Koyama-Richard 37). One of the things the Tokugawa bafuku introduced to the political system at the time was the sankin kotai system, where alternate attendance is required by all daimyos so the shogunate can keep a close eye on political activities.

Though the daimyos suffered financial burdens due to spending alternate residencies between Edo and their domains, the new capital enjoyed financial gain. While they resided in their domain, their wives and children was left behind in Edo as hostages to ensure loyalty and fulfillment of duties (Schirokauer, Conrad, David Lurie, and Suzanne Gay 145). Four classes have organized Japanese society: samurai, farmers, artisans, and merchants. The samurai class grew richer alongside the merchant class, creating the middle-class (chonin). The daimyos’ crippling debt encouraged business with the merchants through money lending. The expanding economy allowed more indulgence amongst the samurai class, and simultaneously the artisans fed their creative appetite with a surge of cultural activities such as art, literature and performance art such as Noh drama. With a boasted economy, the opportunity for the market of ukiyo-e prints became a reality (Koyama-Richard 38).

In the flourishing markets of Japan, woodblock prints became wildly popular. This was the time that the merchant class was on the rise during the peaceful period of the Tokugawa rule. The increasing urbanization of Osaka, Kyoto, and Edo let to the growth of the pursuit for sensual pleasure, entertainment, and sometimes luxurious materials. The pleasure district of Yoshiwara was the epicenter for feeding such indulgence. The demographics of samurais and merchants who sought a secular city life overpowered the Tokugawa’s grasp on these activities in vain. The ukiyo-e prints, which also included books, provided urban delights for the fraction of the cost of the real luxuries Edo had to offer. Again, another example of how the concept of the “floating world” captures the concept of a transient human life and the ephemeral material universe (Kleiner 743). This concept alludes to modern Pop Art movement, blurring the distinction between lines of the high and the low by combining art and affordability.

Hishikawa Moronobu led the consolidation of development efforts of ukiyo-e. Similar to the history of cinema and film, the ukiyo-e prints began as black and white images. Then came more colors, with the overture of the red and green colors. Three- or four-color prints became common in the 18^th century (Schirokauer, Conrad, David Lurie, and Suzanne Gay 154). Ukiyo-e prints played many roles including advertising (such as silk, restaurants, and beauty products), portraiture with kabuki actors or courtesans of envied beauty, and entertainment (an initial ancestor of the mangas today). It continuously added to the purpose of communication, such as local news or medicinal recipes for cures. It served the quota for education as well, in telling children stories or illustrated encyclopedias (Koyama-Richard 38-40).

One who resides in the thriving Edo period can own a piece of ukiyo-e for the price of a bowl of noodles. “The Great Wave off Kanagawa” by Hokusai (figure 1) was just as frugal, on contrast to today’s perceived priceless value. The chonin class can acquire ukiyo-e and include them in albums or paste them onto walls. The processes of woodblock printing grew with the efficient system of publication distribution of Japanese graphic art. The artisans earned money by selling their designs to publishers or being hired for a commission of a specific design. The names of the artist and the publisher were present in all final prints. Women, more specifically wives and daughters, helped the artists to develop the intended designs (Kleiner 744).

The development of ukiyo-e prints rose due to the improvement of the materials used in woodblock printing and paper substrates based off of the bark of the mulberry trees. Expenditures by the publishers were alleviated by the utilization of inexpensive dyes derived from plants and animals, with the exception of occasional use of the much more lightfast (level permanence and protection against ultraviolet rays) mineral pigments. The introduction of synthetic dyes to Japan in the midst of the growing economy became exhibited in the woodblock prints beginning of the 19^th century, like Hokusai’s “The Great Wave off Kanagawa” shown in figure 1 with the use of Prussian blue pigment to portray the ferocity and realness of the infamous tsunami wave (Kleiner 744).

Figure 2: "The True Views of Tokyo" by Utagawa Hiroshige. Koyama-Richard, Brigitte. One Thousand Years of Manga. 1st ed. Flammarion: Flammarion, 2007. Print. 68-69.

         Today we examine these ukiyo-e prints as a window into the Tokugawa society, just like any other forms of visual art. For example, Utagawa Hiroshige depicted beautiful landscapes in a roll-and-move game called “The True Views of Tokyo” with a purpose to educate players’ with Japanese geography and history (Koyama-Richard 68-69). In Utagawa Toyokuni’s colorful nishiki-e (comparable to posters with more than three colors) “Parody of Merchants of the Four Classes,” the triptych print depicts various women’s delight to possess a print of their favorite actor (Koyama-Richard 39). Despite the original intent of Japan’s closure to the rest of the world in the early Tokugawa period, it was inevitable for Western and Eastern art to inspire some of the greatest artists in history. 

Figure 3: "Parody of Merchants of the Four Classes" by Utagawa Toyokuni. Koyama-Richard, Brigitte. One Thousand Years of Manga. 1st ed. Flammarion: Flammarion, 2007. Print. 39.

         The emergence of masterworks such as one exhibited in figure 1 inspired the Western civilization, more specifically the Impressionists, Post-Impressionists, and even other prominent artists engaging in varying movements. In contrast of what we call the movement of Japonais, the Japanese aesthetic influence in the Western society, the Japanese artists began to express interest in Western art (Kleiner 744). In the height of shunga prints, prints depicting erotic scenes of sexual activity, Picasso expressed his secret fascination with multiple etchings and drawings (figure 3) influenced by the print in figure 2, “The Dream of the Fisherman’s Wife” by Hokusai. Many other Western artists succumbed to the enigmatic influence of the ukiyo-e prints such as the likes of Van Gogh (shown in figure 4), Monet, Gauguin, Klimt, Pissarro, Whistler, and Degas (Munro 31). Concurrently, Japanese artists like Megara Ryuzaburo became the one of Renoir’s disciples. Japanese ukiyo-e prints became present force in the influence of Impressionism, Cubism, Futurism, Dadaism, and surrealism (Schirokauer, Conrad, David Lurie, and Suzanne Gay 235).

Figure 4: "The Dream of the Fisherman's Wife" by Katsushika Hokusai. The Dream of the Fisherman's Wife. 2011. Painting. Wikipedia. Web. 14 Nov 2011. .

Figure 5: One of many "tentacle" etchings done by Picasso showing evident Japanese ukiyo-e influence. Musashi. Drawing from the Secret Images: Picasso and Japanese Erotic Prints exhibition. 2009. Painting. Blogger, Barcelona. Web. 14 Nov 2011. .

Figure 6: "Portrait of Père Tanguy" by Vincent Van Gogh. Japanism. 2011. Painting. Wikipedia. Web. 14 Nov 2011. .

         The time approached within the Meiji period to open back up to the Western civilization, under the pressure of the results of the Opium War and Commodore Matthew Perry’s arrival (Schirokauer, Conrad, David Lurie, and Suzanne Gay 175). In its wake was the popularity of ukiyo-e, evident by the recent end to Tokugawa rule and the renewed interest in recovering imperial power. The samurai class faced a dramatic end with the course of the Meiji Restoration of 1868 approaching (Schirokauer, Conrad, David Lurie, and Suzanne Gay 188-189). The Great Kanto Earthquake of 1923, which killed over one hundred thousand people, leveled old Tokyo and left space for a new modern capital. Traces of the event were personified by images of catfish, a symbol for protection against earth tremors. It often ejected koban (the currency at the time) flying out of its mouth, alluding to the success that came out of the rubbles (particularly for carpenters) (Koyama-Richard 47). Increased interests from the West have introduced the coup de grace of the ukiyo-e prints, the invention of photography (Wanczura).

         The death of ukiyo-e later stimulated reminiscence of the old tradition. It finally became revived with the “New Prints” (Shin Hanga) movement during the Taisho and Showa periods. It was the rejuvenation of ukiyo-e traditions that was focused during this movement. These artists, in accordance to the saying “history repeats itself,” were influenced by Impressionism and included the elements of light and value alongside traditional ukiyo-e aesthetics. Watanabe became the prominent publisher in this movement, sponsoring low-income artists within the markets of the United States. The lesser-known Sosaka Hanga movement emphasized the creativity of the woodblock prints instead of the artisanship of the ukiyo-e process. Japanese art gained momentum on Western art influence in the wake of the war during the path of Japanese globalization. The Shin Hanga prints remained still popular over the Sosaka Hanga prints due to the Westerners’ strong interest in traditional looking woodblock prints (Wanczura).

         The massive influence the history of ukiyo-e prints still exists in today’s modern society. Like the effects of Japonais, artists like Takashi Murakami began exploring contemporary art through interdisciplinary means. Murakami developed his theory of “Superflat” on the basis of the Japanese aesthetics, strongly involving the dissident ukiyo-e prints of the past. For many of his paintings, Murakami utilizes screen-printing techniques similar to the woodblock printing process (another form of printmaking). The ukiyo-e prints’ contribution to today’s era of entertainment is apparent in the otaku subculture, where anime and manga became a reigning influence in the youth of post-modern Japan. Japan’s observed infantilism was the root of many subject matter and content for today’s anime and manga, such as Sanrio’s “Hello Kitty.” This overly exaggerated yet simplified character is categorized by the term “kawaii” referring to “cuteness” in Japanese popular culture. Not many people can comprehend that “kawaii” was a direct response to the post-war events such as the United States’ occupation after Japan’s defeat and the hardships that ensued in the wake of Japan’s recovery from the atomic bombings (Hedge 28-31).

The essay draws connections between the art of Hokusai to today’s popular mangas such as “Death Note” and “Sailor Moon.” The legacy of ukiyo-e prints contributed to what we see today in animes and mangas. The flat colors, simple values (shadow and light), black outlines that form the shapes, subject matter, content, and flattened planarity are both shared between the prints and mangas. Even the production Japan has forged a unique artistic experience burdened with its unstable, seemingly haphazard history in today’s modern society (Hedge 28-31).

Figure 7: Takashi Murakami standing in front of one of his "Daruma" paintings, inspired by the Eccentric painters of the Edo period, emphasizing the isometric planarity and flat, bold colors. Narr, Sam. Takashi Murakami. 2011. Painting. Blogger. Web. 14 Nov 2011. .

         The history spearheaded by the developments of ukiyo-e prints can be compared to the tumultuous waves of Hokusai’s woodblock prints. In figure one’s depiction of the human struggle against the forces of Mother Nature, it reveals the sensibilities of Japanese societies at that moment in time. Though in times of desperation and conflicts, Mt. Fuji still peers through the endangered villagers battling the natural villain that has been a part of Japanese history for thousands of years. From the echoes of time initialized in the beginning of the Tokugawa shogunate to the rebirth of ukiyo-e during modern Japan, lies a legacy of a unique Japanese aesthetic and artisanship resonated from the chaotic history the nation endured. The woodblock prints in it became historical impressions, as it transformed Japanese society. The unique and enigmatic nature of ukiyo-e has inspired many Western artists in their own body of works. Its rich history contributed to our contemporary culture, even outside of Japan. Despite its ongoing ups and downs, the ukiyo-e prints’ exclusive ride alongside Japanese history made it a strong artistic contribution towards global humanity.

Works Cited

Hebdige, Dick. “Flat Boy vs. Skinny Boy: Takashi Murakami and the Batle for “Japan”.” ÓMURAKAMI. Ed. Paul Schimmel. Rizzoli International Publications, 2008. 14-51. Print. I have had this anthology of art essays related to Takashi Murakami and his body of work in my collection for years. It includes a number of essays that add explanation of his “Superflat” theory. It was derived from the influences of the Eccentric painters of the Edo period and the Japanese aesthetics of flat, bold colors and flat perspective lack of values suggesting shading and lighting. Gives insight in the precursors of modern managa existing in Japan and many other Western nations.

Hirano, Chie. "THE TRAINING OF UKIYO-E ARTISTS, CARVERS, AND PRINTERS AND THE TECHNIQUE OF MAKING PRINTS (from Kiyonaga, A Study of his Life and works)." The Encyclopedia of Woodblock Printmaking. The Encyclopedia of Woodblock Printmaking/James Mundie, n.d. Web. 12 Nov 2011. . I came across this page in the search for the traditional woodblock printing process. This website provides a wealth of credible information extracted from numerous, cited literature on the subject matter. In contrast to the other sources that illustrates the ukiyo-e creation process, this is a much more detailed literature and will prove very useful for my research.

Kleiner, Fred. Gardner's Art Through the Ages: A Global History. 13th ed. Boston: Thomson Wadsworth, 2009. Print. This is a textbook I have had in my possession for several years from my art history courses. This book provides short descriptions on hundreds of artists from around the world and different periods of time. It gives detailed insight from an art historical perspective, and more specifically the subject of ukiyo-e. It gives insight on the history, culture at the time, and the process of creating a woodblock print. This source is extremely credible and has been peer reviewed. The information provided will help me strengthen my thesis statement, origins, history, and the woodblock print process.

Koyama-Richard, Brigitte. One Thousand Years of Manga. 1st ed. Flammarion: Flammarion, 2007. Print. This book has been in my collection for years and has assisted me in my research in the otaku culture of Japan and the history of manga, reaching its origins several hundred years. The information provided gives insight on specific artists of ukiyo-e, events that occurred in the Edo period, and its purpose. With this coming from a credible source, I can add strength to the history of ukiyo-e and connect this art form to Japanese history with an economical, cultural, and political perspective. With this advantage, my research will be more focused on Japanese history, not Japanese art history.

Munro, Majella. Masterclass: Understanding Shunga: A Guide to Japanese Erotic Art. 1st ed. London: MacHo Ltd, 2008. Print. This book has been in my collection for years and supplemented research on personal academic and artistic endeavors. Though the book is about the origins of “shunga” (erotic woodblock prints), it still provides insight on Japanese history during the Edo period to the Meiji period and the ukiyo-e process. Detailed analysis of the effects of Tokugawa rule in relation to ukiyo-e is also well presented in this source.

Sakata, Shane. "Ukiyo-e – Woodblock Prints ." The Nihon Sun: Japan's Online Culture & Travel Magazine. Wordpress, 02 Sep 2009. Web. 12 Nov. 2011. . This source was acquired through a search on Google on the history of ukiyo-e. This blog website covers articles on experiences with culture and travel in Japan. This article will be particularly useful because it provides information on the different types of woodblock print and illustrates specific positions in the woodblock printing process.

Schirokauer, Conrad, David Lurie, and Suzanne Gay. A Brief History of Japanese Civilization. 2nd ed. Boston: Thomson Wadsworth, 2006. Print. This is a textbook from my Japanese History course that offers a variety of information that contributes towards the historical perspective of my research essay. It provides credible strength to multi-faced histories surrounding the time of the ukiyo-e birth till the decline in the Meiji period.

Schultz, Anna. "On the essence of things; the floating world of Katsushika Hokusai (1760-1849)." Berlin Art Link. Berlin Art Link, 11 Aug 2011. Web. 12 Nov 2011. . This brief article was found on Google while searching for a quote illustrating the term “floating world.” Though this source mostly talks about the artist Katsushika Hokusai (1760-1849), an important quote from one of Asai Ryoi’s literary works titled “Ukiyo Monogatari” (“Tales of the Floating World,” c. 1661) helps in the understanding of the concept behind the “floating world.”

Wanczura, Dieter. "Ukiyo-e." Artelino. Artelino GMBH, 2009. Web. 12 Nov 2011. . I stumbled upon this source on Google in a search for information regarding the timeline of ukiyo-e history. This website is actually a family-owned business located in Germany to serve as an online art auction, particularly woodblock prints. Though established only in 2001, they became a credible business by having success in their sales and participation with over 800 online auctions. The buyers are art buyers, professional art dealers, and artists. This article they have composed is filled with information regarding ukiyo-e from a Japanese art historical perspective. It addresses history from the Edo period to “The Sosaku Hanga Movement.” This source will supplement the historical portion of this research.

Reminisce: Downtown Block Party 2011

In an effort to build a better web presence for my art business, I searched my name under Google (don't we all out of curiosity's sake lol?). Among common searches about my previous solo show at The Mix in Tacoma, WA called CMYK, I came across my credits (and my partner's) on the Downtown Block Party page. Though it is nothing spectaculer to post about, I wanted to look back at that experience. We helped out on the painting of the street mural on wooden plywood so the community can paint and contribute to the overall mural. It was a great idea and very engaging (community-wise, which was what the Downtown Block Party was all about). It was a fun experience and already excited for next year's downtown Block Party. The Mix provided the beer garden (a wonderful gay-friendly bar in downtown Tacoma). I painted many children's faces with acrylic paint. Anything from flowers to smiley faces to animals. Overall, it was very refreshing to see the community get together and support the arts and local businesses.

http://www.dtownttownneighbors.com/

Downtown Tacoma Block Party scene

Downtown Tacoma Block Party: Me drawing with chalk on the concrete. Great times!

Downtown Tacoma Block Party: My live painting booth.

Transforming Tollefson Plaza | Tacoma Weekly

My team (representing Tacoma Community College) has won the art competition for painting a "mystery item" (which was benches). Look for an iridescent bench! It's quite lovely :).

Transforming Tollefson Plaza | Tacoma Weekly

Eccentricity: The Realm Between the Normal and the Crazy

For the past several years I have toyed with utopian/dystopian settings, fictitious characters that is beyond understanding, numerous bold colors, and the manga-inspired aesthetic in my works of art. I never thought of how to describe my creations until people started asking me. What do I say and what do you think (www.julianpena.com)?

This is what I end up scrounging for in my head: “It is neither representational nor abstract nor non-objective…” In an effort to not sound like I don’t know what I’m doing, I push my academic research further. I often spend time reviewing millions of books on color theory, Japanese art history, manga, other artists’ works, and art-related online content. In between full time day job and school, I paint to hone my techniques. Ultimately, I end up with something absolute that is brought to life from my very own mind. It is already understood that I am still an art student trying to make a name for him and discover who I really am as an artist. It isn’t until recently I have discovered a much clearer way to describe my work: eccentric.

Another sold work where I combined landscape and studied where the eye should move along the plane. I added a slight sense of humor with the cranes dancing and flying in the air. Unrealistic rainbows frame Mt. Fuji.

In Japanese art history beyond the 17^th century to today, the art become more commonly “eccentric.” Many of these online sources derive information from literary works of a great art historian by the name of Nobuo Tsuji. He wrote two books: “The Lineage of Eccentricity” and “The Categories of Eccentricity.” This concept of “eccentricity” inspired many artists such as Takashi Murakami (one of my favorite artists). These books described certain artists like Ito Jakuchu, Katsushika Hokusai, and Kano Sensetsu (all of which are very important to Japanese art history). Being classified as “eccentric” basically means to utilize techniques that are not orthodox or “Westernized” (from the Japanese perspective). 

Murakami talks about the presence of a single planarity in his "Superflat" essay and the movement of where the viewer's eyes go.

Here’s what Wikipedia has to say about “eccentricity”

http://en.wikipedia.org/wiki/Eccentricity_%28behavior%29

I’ve never been so confident about my figure drawing skills, yet I am confident with other aspects like color theory and aesthetics/design. Takashi Murakami founded his “Superflat” art movement based off of this information. I am not trying to follow that movement, but instead trying to develop my own by the time I get my Masters in Fine Arts. Though the similarities are present, I plan to survey more connections between Western and Eastern attitudes. So for the next person that asks me what type of art I create, I tell them “eccentric.” In the future I will develop more on this idea and post them along the way. 

People have told me that this reminds them of the Japanese version of Mona Lisa.

From Start to Finish: A Life of a Painting (John the Baptist)

Here is an overview of the start to finish process of painting John the Baptist (Seize the Day). I have submitted this to the Northwest Biennial 2011 (crossing fingers).

After I prep the canvas mounted on hardboard, I sand the surface in several grits and begin drawing the composition.

Pencil drawing, using the original study/sketch as a reference.

Check out my little lamb (symbolizing Jesus...remember my intentions are not to glorify rteligious figures. Just an important reference to art history).

BBAAAAAA!

 Since I'm trying to create a patina look in the background, I paint that first. I block in the appropriate color in 5 layers, waiting to dry in between. I ultimately use 4 colors, 5 layers each.

It takes a lot of elbow grease to practice such technique.

I associate specific colored borders for each color layers, creating a unique line of multiple colors after the sanding has been done.

To get some work out of the way, I block in colors on the bottom since it needed several layers due to the transparency of the pthalo green.

I begin sanding from grit 600, then up. It takes personal experience to know which grit to start from and how long you must sand before each transition. This technique has been inspired to me by Takashi Murakami, who has borrowed this idea from Nihonga (japanese painting) techniques.

Here's what it looks like after I sand through many different layers of color. This is why I love acrylics, so versatile!

Once I have reached the desired effects of the sanding and oscillating hues, I begin painting in the rest of the painting. Keeping in mind of certin transparent pigments, some blocked in colors may take several layers.

I always block in colors first before I add any type of borders.

I love anime art. I try to incorporate that in fine arts.

The completed painting.

The rest relies on basic painting techniques. I utilize gold leaf gilding techniques that reflects Japanese art techniques and religious art history. I place a lot of research into my subject matter as well. I believe anyone can make a great painting if you can put your heart, knowledge, blood, sweat, and soul into it. Think about all the formal elements of art and the compositional balance.

Past Experience With Art: Ouch My Eye

Written on 02/02/2010

Have you ever been to a place where they have a dead squid in the middle of the table where people drawing a large sheets of paper? At Ouch My Eye, you are bound to see many unusual things like a dead squid. It was an open work session night when my friends and I went. It is where art is displayed, coffee and cocktails are served, people are socializing, a musical artist playing live music, and a whole lot of drawing. That is just one of many events held at Ouch My Eye, which includes exhibits, fashion shows, social events, and live music.

I had the opportunity to not only hang out with my friends and let my creative juices flowing, but to also mingle with strangers for the sole purpose of viewing their art and getting to know this fun place some more. It was January 23^rd 2010 when we drove the long distance to Seattle to meet our friends there. It wasn’t what I expected to be (in a good sense). This is a great place to fuel your creative energy, and I regret not finding this establishment sooner.

         Ouch My Eye is a small cartel of creatives dedicated to supporting the Seattle community through the creation and exhibition of the visual arts (finely put by Ouch My Eye themselves). Ouch My Eye has outlasted many traditional non-profit organizations and art galleries, being an unorthodox model of a self funded non-profit gallery. Part of their model is to stay focused on the core mission of the creative community and going out of their way to seek out artists whose work is guided by a passion to create regardless of education, affiliation, or accomplishment. They normally choose work based on curatorial themes and open calls, but for that night they invite patrons and artists alike to bring their work and/or work on their artwork.

         I had the opportunity to speak to John, the owner of Ouch My Eye to ask a few questions. His philosophy with this non-profit organization is to promote an ever changing creative community. In my personal experience I easily see a thriving creative and social energy flooding in this gallery. The way it was set up that night was art being presented and displayed on the walls, barista serving coffee to the side, bartending serving drinks in the back, a drummer performing live on a stage platform Trent Moorman of “Head Like a Kite” playing that night), a working artist painting a large-scale piece, and tables and chairs placed so artists can sit and be creative which includes different stimuli in different places.

         As excited I was about being there, I had to approach someone and talk about this more. I came across a woman by the name of “Blue Sky” and asked her what’s so interesting about this place? She simply replied, “the squid.” I asked her what does she like most? She saids, “watching other talented artists work.” Simple enough, I understood the shared excitement. She had some great works of art of nude models. I was surrounded by talented artists, including Robert Hardgrave, who was painting live on a large-scale panel.

         Three of his smaller artworks were being displayed at the gallery. I noticed a very unique style of paint, abstract, and collage. With his GOLDEN paint by his side, he paints throughout the night. I asked him what he thinks about when he is painting this? He replied, “Everything!!!” He told me the techniques he likes to incorporate is calligraphy. The best time period of art history he claims is the early 20’s. On the side I asked some random, irrelevant questions. Such as his favorite color: orange. Also his favorite music: Heavy Metal. What a fantastic place to meet new, and interesting people that share the same artistic interests.

         The art displayed on the walls of Ouch My Eye were amazing. From line drawings of what looked like a piece of crinkled up foil to Robert hardgrave’s unusual and colorful paintings, it helps with the visual experience for anyone. My favorite would be the eye paintings on what seems to be plastic sheets. Random sculptures sit in random places. I would like to contribute art there someday.

         It was a unique and vibrant experience. A great atmosphere and culture. This event peaked my interest, to where I will definitely be visiting Ouch My Eye much more often. I plan on going back there very soon so I can see what else it has to offer. Hopefully in the future when I progress in my academic art studies and transfer to the university of Washington’s School of Art, I can have the opportunity to pursue an internship there. Whatever your interests are, I highly recommend Ouch My Eye. It is where you can feel the importance of the creative community and visual arts. You would be allowed a chance to experience and satisfy different senses. If I haven’t convinced you enough then check out OuchMyEye.com. I believe currently they are working on a new site, one of few that is keeping them busy at the moment. One of the things are a dungeon workshop, which I’m intrigued to learn more about it. Until then, check out their site and sign up for e-mail updates to be on top of upcoming events. Trust me it will be worth your time.

Dreaming About Kids Throwing Exploding Paper Bags

Had the weirdest dream last night. We (several of my friends from my personal life) we're at some large-scale exhibition, like a world's fair, and we witnessed some guy running in distress with tattered clothes. He fell in the train tracks and collapsed. We went after him but it was too late, and some old lady gave a disturbing vision that I need to do that same thing with Brian the next day. I turn around and realize I'm separated from the group. Things got more quiet and these kids wearing different shades of red and oranges started appearing. It started to get kinda creepy and weird things started happening. I kept seeing really malicious things like clowns with knives and stuff. People started trying to escape and we were being under attack. I tried looking for everybody but had no luck. So I started grabbing whatever I can as weapons to defend myself. I beat my way through the exit outside, which seemed more quiet. I stepped out and found more kids dressed in hoodies. This time, they were throwing paper bags. When it hit the ground they blew up, like a grenade. I ran off as those kids were chasing me. Their numbers grew increasingly and it became to be overwhelming. At one point they caught me and stuffed a whole bunch of paper bag grenades in my shirt. I thought I was gonna be a goner, but one of the kids got close to me so I grabbed him and started running towards the group of kids. As I was running I pulled out the bombs and placed them in the kid's hoodie. Then I threw him and blew the whole group up. I walked off and found the group in a different location, with a feeling of one person missing. THEN I WOKE UP!

What's This Era's Aesthetic Identity?

What a great thing to paint something that has ruled our current generation through personal and familial entertainment: video games. Our popular culture of today is a big contrast to a few decades ago. Pixel art has already appeared on music albums, magazines, and etc. It is a unique style in today's standards compared to aesthetic style of the retro 1980's or the psychedelic style of the 60s. How can one identify the style of our current era of mass media and global entertainment?

Through the Looking Glass

For centuries mirrors have provided us with a perspective that is not possible without it. Light from the angle of the mirror reflects back to our eyes, leaving our perception and judgment all up to the seer. We look in the mirror and see ourselves and what is behind us. We scrutinize our own appearance, whether it is positive or negative. The mirror brings us ever so closer to our own perception of soul and substance. Anything on the surface of the mirror is a reflection of the physical truth, out of reach from the normal naked eye. What's included in some of my next body of work will provide more than what our everyday mirrors do. Taking the aesthetics of the mirrors and adding images to it will provide us with a different type of perception while reflecting on Japanese traditional use of gold leaf in the backgrounds. Stay tuned for whats to come :).