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Just doing this on occasion to share the difference in fountain pen ink over time.
Ink: Noodler's General of the Armies on Stillman & Birn, Zeta paper
I spent about an hour playing with milk, ink and oil and that's the best i could get. I need a bigger cup and an eyedropper.
Day 1 of the Inktober Challenge to draw in ink every day of October. This is one continuous line without lifting my pen (except to dip in ink). I started out 'blind' without looking at the paper, and then 'peeked' to be sure I was more or less within the frame. My inspiration was from a photo at Sktchy. I used water soluable ink so the lines could be smudged for shadows.
You would think being tattooed on the knee is one of the most painful places you can get inked. you wouldn't be far wrong, but the upper inner thigh takes the prize.
by Inma, at Haunted Tattoo.
Super5 Frankfurt, premanent ink on Stillman & Birn, Zeta paper.
*Note: you need to shake this ink if using from a container, as the pigments will settle and your colours will not be true.
Pelikan Blue-Black in the Montblanc Agatha Christie; Diamine Oxblood in the Parker Vacumatic Oversize; Rohrer & Klingner Sepia in the MB Oscar Wilde; Montblanc Carlo Collodi in the Conway Stewart Marlborough; R & K Alt-Goldgrun in the Onoto Magna; Pelikan Brilliant Brown in the Faber-Castell Pernambuco; and Aurora Black in the MB 100th Anniversary.
Ink & Dagger Tattoo / Advertisement / 2008 / Various Print & Postcard / Frames Are For Tattoo Photos
Ok, I've decided to switch some stuff up editing wise so I've deleted all of the old ones and here are the new ones! The more I work on this project, the more excited I get about it. I still have some people to shoot but this is the bulk of the series!
An exhibition featuring book arts and printmaking from across New York state. Main Street Arts selected the participating organizations and art centers and they in turn, selected the artists/artwork to be included.
Exhibiting Organizations:
Genesee Center for the Arts & Education (Rochester):
Chris Charles, Kate Fisher, Sue Leopard, Rebecca Lomuto, Geri McCormick, Jeannette McDunnah, Mariah Pfieffer, Laura Wilder
Visual Studies Workshop (Rochester):
Amanda Chestnut, Christine Chin, Francois Deschamps, Rick McKee Hock, Gregory Eddi Jones, Joan Lyons, Nathan Lyons, Scott McCarney, Laura Minor, Nick Marshall, Juliana Muniz, Brian Murphy, Kirby Pilcher, Keith A. Smith, Alicia Taylor
Western New York Book Arts Center (Buffalo):
Peter Sowiski, Barbara Rowe, David McNamara, Richard Kegler, Adele Henderson
Wells Book Arts Center (Aurora):
Richard Kegler, Jenna Rodriguez, selection of student work
Women's Studio Workshop (Kingston):
Antonia Aitken, Jess Atkinson, Alison Byrnes, Wei Jane Chir, Kathy Hettinga, Susan Mills, Toby Millman Sarah Peters, Lizzie Ridout, Libby Scarlett, Rose Smith, Anne Thompson, and Natalia Zapella.
Booklyn (Brooklyn):
Raymond Pettibon, Cristin Sheehan Sullivan, Christine Shields, Artnoose, Kelie Bowman, Candace Hicks, Plus works included by various artists
Kaikoura coastline, January 4, 2013 On our way to Hanmer after satying in Blenheim one night because of our detour, beacuse to road was closed.
The New Zealand Fur Seal is only found on the coasts of New Zealand and it’s sub-Antarctic islands with a few colonies on the south coast of Australia. Unlike true seals they have visible ears and do not have a blubber layer so they have fur for warmth. The fur is in two layers. The outer layer of stiffer hairs is silvery brown when dry with the inner layer of soft water proof fur being reddish brown.
For More Info: www.virtual-kaikoura.com/wildlife/seals/seals.htm
Bio Ink research goes beyond digital and human-centric technologies by exploring the concept of living ink that grows freely, in a creative symbiosis with nature and other organisms. In the research, biological inks comprised of various microorganisms are created in the bio lab. Using this ink, artists can draw and write with a bio pen on the nutrient agar plate and tablet. At the same time, the bio pen data is digitally extracted for creative analysis and use. The artworks are incubated in a controlled environment to allow the living ink to grow. The microscopic organisms are invisible in the beginning, but they gradually multiply and form colonies that are visible to the naked eye, morphing into beautiful patterns beyond our input. Humans and machines can continuously learn from nature in this new ecosystem of creativity.
Credits
Wacom Co., Ltd. (JP), Ars Electronica Futurelab (AT)
Photo: Birgit Cakir