Deranged Kid (Hosai Baido, 1968-1912), Fireman of Tokyo (Kunichika Toyohara, 1868-1912), Dragon Tattoo (Kunisada Utagawa, 1786-1865), 108 Heroes of Suikoden - Tattooed Zhang Shun (Kunisada Utagawa,1786-1865), The Most Popular Actors in Edo, Their Portraits and Their Voices - Tattooed kabuki actor (Kunisada Utagawa 1786-1865), Zhang Shun, the White Streak in the Waves (Kunisada Utagawa,1827-30).
Printmaking and Tattoos
For assignment four the it asks that you consider objects that are symbolic of important to you or capture what is important to you. Although it may seem superficial to some, my tattoos are very important to my sense of self. My tattoos identify me. Without clothes, my hair, jewellery etc, I still look like me when I look in the mirror. I need to consider how I may include my tattoos within my self portrait and wanted to explore other artists who have done so.Â
There is a long history of crossover between printmaking and tattooing. In the above Japanese woodcuts from the Edo and Meiji period, the characters pictured are adorned with tattoos. The two mediums developed side by side as the woodblock printing exposed more people to images of tattooed heroes causing tattooing to increase in popularity. Woodblock artists and tattooists were often affiliated with each other some printmakers becoming tattooists themselves as there were shared methods and tools between the two practices.  The terms for traditional Japanese tattooing include Horimono (彫り物, 彫物) which means the carving of images and Irezumi (入れ墨) insetting of ink. The term ‘Horishi’ is used for both tattoo artists and woodblock printers and translates to ‘carvers’.
Traditional woodblock printing tools (Bull, n.d.)
Kyumonryu Shishin (Tsukioka Yoshitoshi 1868) Woodcut print depicting 18th Century Tattooing technique called ‘tebori’ wherein a set of needles is attached to a bamboo rod is rhythmically tapped into the skin depositing ink.Â
Traditional tattooing (Western and Eastern) uses strong line work and contrast. This is not only a stylistic choice but a practical one as bold lines help give form to colour which is more likely to fade. This aesthetic transfers well to reduction printing and many contemporary tattoo artists have explored the medium.Â
Alex Binnie
Alex Binnie is renown tattoo industry and an essential part of the history of the UK tattoo scene opening the first fully custom studio, Into You in 1993. Binnie’s specialism is blackwork which is characterised by strong bold line work with traditional subjects and and patterns from ancient tattooing practices (Samoan, Maori, Tibetan, Japanese, Filipino, Thai, Taiwanese, Polynesian and Indian).
This understanding of positive and negative, black line, can be seen within his detailed woodcut prints. His is especially skilled at depicting tattooed skin, the tattoos appearing as part of the skin rather than sitting on top like a sticker. This is achieved by creating texture on the skin, rather than clearing the whole area so that it is bright white, creating a greater depth of tone. Should I wish to depict my tattoos in a realistic way this is technique would be something to bear in mind.Â
Mark Jelliman
Jelliman has a distinct style and his Japanese influenced tattoos resemble conventional printmaking techniques, in particular the the use of parallel lines to depict tone and curved form.Â
Jelliman’s linoprints are very similar to his tattooing although more symmetrical and uniform in shape (geometric shapes don’t work very well on the body as they wrap and warp). Within his printing he uses denser areas of black but continues with the parallel lines. I think his prints are beautiful and I really enjoy them however the techniques aren't suitable for depicting my own tattoos as they are high colour traditional and illustrative in design.
Martha Smith
Smith’s tattooing style is much finer than the previous two artists. Within her bolder outline (good for tattoo longevity) she uses delicate dotwork to create  depth. This would be extremely difficult to replicate this with carving into lino or wood but perhaps it could be achieved with etching with a fine tool.Â
Unlike her tattoos Smith’s printing is bolder and uses stronger contrast. The addition of colour in the design of the tattooed woman is an interesting approach, the colour moving outside of the linework and even outside of the figure itself. The female torso print uses a similar technique to the portraits to Alex Binnie, using a range of fine lines to add additional depth of tone.Â
Sue Van Gageldonk
Van Gageldonk tattoos have a very print-like quality with high contrast and a good balance of black and white. Whereas the other artists I’ve looked at tend to keep their printmaking and tattoo work separate, Gageldonk uses one medium to influence the other, tattooing images that she created initially for prints adjusting them only slightly.Â
The links between the two mediums are longstanding and nuanced. Don Ed Hardy, known for his development of modern tattooing initially studied and worked a printmaker. I want to consider the relationship between the two and how I can incorporate it into my work. I'm unsure about how to depict my own tattoos within my self portrait and I need to explore the best way to do so.Â
References
Alexbinnie.com. n.d. Alex Binnie. [online] Available at: <http://www.alexbinnie.com> [Accessed 25 August 2021].
Bull, D., n.d. Encyclopedia of Woodblock Printmaking : Yoshida - Japanese Woodblock Printing : Chapter II : Part II. [online] Woodblock.com. Available at: <http://www.woodblock.com/encyclopedia/entries/011_07/chap_2b.html> [Accessed 20 August 2021].
Egenolf Gallery Japanese Prints. 2021. Egenolf Gallery Japanese Prints. [online] Available at: <https://egenolfgallery.com/> [Accessed 20 August 2021].
En.wikipedia.org. n.d. Irezumi. [online] Available at: <https://en.wikipedia.org/wiki/Irezumi> [Accessed 20 August 2021].
Etsy. n.d. Sue Van Gageldonk Etsy Shop. [online] Available at: <https://www.etsy.com/shop/suevangageldonk> [Accessed 24 August 2021].
Horisumi.com. n.d. [online] Available at: <https://www.horisumi.com/tebori/> [Accessed 20 August 2021].
Howerton, R., 2017. The Art of Tebori — Creating Traditional Japanese Tattoos the Old Way. [online] Tattoodo. Available at: <https://www.tattoodo.com/articles/the-art-of-tebori-creating-traditional-japanese-tattoos-the-old-way-13410> [Accessed 20 August 2021].
Iamfy.co. n.d. Martha Smith Tattoo Shopfy. [online] Available at: <https://www.iamfy.co/shop/martha-smith-tattoo> [Accessed 24 August 2021].
Japan House (Los Angeles). n.d. The Process of Woodblock Printing. [online] Available at: <https://www.japanhousela.com/exhibitions/nature-supernature/process-of-woodblock-printing/> [Accessed 20 August 2021].
Jelliman, M., n.d. [online] Marktattooist.com. Available at: <https://www.marktattooist.com/> [Accessed 24 August 2021].
Jelliman, M., n.d. Mark Tattooist. [online] Instagram.com. Available at: <https://www.instagram.com/marktattooist> [Accessed 24 August 2021].
Museum of Fine Arts Boston. n.d. Object Number 260017, Woodblock Print. [online] Available at: <https://collections.mfa.org/objects/260017/> [Accessed 20 August 2021].
Smith, M., 2021. [online] Martha Smith Tattoo. Available at: <https://www.instagram.com/marthasmithtattoo/> [Accessed 24 August 2021].
Van Gageldonk, S., n.d. Sue Van Gageldonk. [online] Instagram.com. Available at: <https://www.instagram.com/suevangageldonk/> [Accessed 24 August 2021].
Von Huban, L., 2019. "Inserting Ink": the Hidden Ties Between Japanese Woodblock Prints and Traditional Tattoos. [online] Revere Auctions. Available at: <https://www.revereauctions.com/2019/03/22/inserting-ink-the-hidden-ties-between-japanese-woodblock-prints-and-traditional-tattoos/> [Accessed 20 August 2021].
Wanczura, D., 2004. Heroes of the Suikoden. [online] Artelino.com. Available at: <https://www.artelino.com/articles/heroes_suikoden.asp> [Accessed 20 August 2021].
















