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Behind The Mask // The Void Oni

It’s been just over a year since my last blog update, but this doesn’t mean for a second that I’ve stalled in terms of my creative output. Much has changed. I’m now working full time to enable me the funds to pour into my artwork. I’m no longer taking commissions in the traditional sense. I’m painting what I want to paint, instead of scrabbling about trying to find freelance work. Gainful employment has given me the freedom to experiment without the pressure of deadlines and the compromises that come with working to a brief and struggling to pay my way. This is also the reason my blog posts have become scarce.

There are a few big projects coming together at the moment, but one in particular that’s now finally complete and worthy of a write up is my mask. It’s difficult to know where to start with this project as it represents the culmination of a lifetime of work and creative development, but I’ve always been fascinated by masks.

We all wear masks in some sense, projecting characteristics we find agreeable when faced with the myriad of situations life throws at us. Masks have been used for ritual and ceremonial purposes for millennia, to take on anthropomorphic forms, for war, to give us protection or power. I’m not about to expound the history of masks, needless to say, they are an intrinsic manifestation of the human psyche and I wanted my own.

I’m no stranger to the casting and mould making process, having worked in a gnome factory at the tender age of 16, casting and airbrushing characters from The Wind In The Willows and Alice In Wonderland. It’s without doubt the strangest job I’ve ever had! My mum also works with special effects make up, so the materials for casting with plaster and silicone have been readily available for years. We’d often talked about me getting a cast done of my face and attempting some sculpted features to produce in silicone. I’d played around with some clay on a cast of her face, and was keen to attempt something for myself. So, one afternoon I began what was to become one of the most challenging projects of my life, a physical embodiment of the character I’ve been developing for the last two years; The Void Oni.

I use the term Oni loosely to mean demon, as in Japanese folklore the Oni often represents a demon, or devil. The word itself means to conceal, and often describes invisible spirits that were the supposed malevolent cause of disasters, disease and unpleasant events. For me, the Oni was my alter ego, the invisible force that coerces me to create, and something I intended to use to conceal my face when lurking in the shadows painting.

I wanted the mask to fit perfectly, so I first needed a cast of my face. The face casting process is pretty simple. My face was covered in Vaseline to stop the mould sticking, especially on things such as my eyebrows and lashes. A thin layer of silicone was applied to my face to catch all the details, followed by a thicker layer to reinforce the mould. A layer of plaster bandages was then dipped in water and used to create a shell for the silicone.

The first attempt was a bit of an experiment, as is often the case, and having poured plaster into the mould and being left to set for a few hours, I revealed some form of Quasimodo version of my face. Whilst hilarious, it wasn’t something I could use. The second attempt fared much better.

 

I then wrapped the cast of my face in cling film and started to work clay onto the plaster cast. I used two different densities of non drying plasteline clay to sculpt the mask, beginning with a medium clay to provide strength, followed by a soft clay for the smoother facial features as it was easier to work the contours by hand. Working with the softer clay was a nightmare at times because the slightest knocks meant a lot of tidying up. Finer details like the teeth were worked in the harder clay as I could achieve a much sharper finish using a scalpel. I decided to create the horns and the large pointy teeth separately to make the mask easier to remove from the mould. This would also allow me some customisation options at a later date if I decided to make more than one. I spent a good amount of time trying to make the mask symmetrical and attain the finish I wanted. Any imperfections in the clay at this stage would transfer to the cast, so it was imperative to keep it as clean as possible.

Once I was happy, it was time to start thinking about the casting process. Whilst I knew how to cast, the materials have now developed considerably, so I went for a chat with the people at Bentley Advanced Materials to discuss my options and the process I had planned. They were extremely helpful! Based on a discussion with one of their representatives, it was decided that I should paint the clay with an acrylic paint to seal the mask and prevent any possible chemical reactions between the clay and the silicone.  The silicone comes as a two part system, mixing an A and B in a pot to begin the chemical process. After pouring the silicone and waiting for it to cure, I brushed on a layer of Sonite Wax to prevent it sticking, then reinforced the mould with a plasti-paste cover. Again, a two part system that formed a plastic shell for the mould to sit in. Once the plasti-paste shell was cured, I removed the plaster cast of my face from the rear of the mask and made some slight adjustments to the clay before repeating the process on the back.

 

Once cured, I slowly pulled the mould apart and began to remove the clay from inside, a testy procedure as I would have to destroy the clay sculpture to reveal the success or failure of the process. There were no second attempts. I would only know how well the mould had turned out once I’d cast the mask in resin, which was the next stage.

After cleaning the mould in soapy water and coating the inside of the mould with an easy release spray, I was now ready to cast. The time frames involved with the curing process made casting in resin a little hectic. This was to be the culmination of many hours work, I had limited resin to work with and would only be able to pour twice. Working with a smooth-cast onyx slow curing resin, I mixed the two parts and poured the resin into the mould. The resin leaked quite a bit from a few places, which led to some frantic cleaning operations! I made a complete mess of my mums kitchen, and there’s still resin stuck to the slabs of concrete in the garden. The wait was excruciating! After about an hour, I tentatively pulled the mask from the mould, trying not to damage it so it would be possible to attempt a second pour. I was happy enough with the front, but the back was a little distorted, so I repeated the process. The second mask was perfect! I could now relax a little. It had been a long night …

Void One - Resin Mask Test

The mask was nowhere near the finish I was looking for, so I used an epoxy putty to smooth out the imperfections. My only regret at this point was that I went for a white epoxy putty initially, meaning if the mask was knocked you’d see a white mark under the final paint work. [I managed to source a black epoxy putty eventually, and this was a minor issue in the grand scheme of things.] Many hours were spent sanding down the mask with a super fine sand paper! For some reason, I decided to make life just that little bit more difficult by adding LED lights to the rear of the mask in an attempt to light up the inside of my hoodie when being worn. I wanted to do an urban exploration photo shoot at some point wearing my merchandise and thought this would move the mask away from the more traditional look to something more futuristic and in keeping with my style. This brought problems of its own, however, as it became clear that I wouldn’t be able to store the batteries for the lights inside the mask without a very uncomfortable fit. It was at this point that I decided to add neck armour, in keeping with many of the samurai mempo masks I’d seen whilst researching. The mask would become modular, with the batteries stored in the neck armour plates connected by a small power port on the bottom of the mask by my chin.

 

Channels were carved around the edges of the underside of the mask using a dremel. I then soldered and installed the LED lights, securing them with the black epoxy putty. Attaching the cables to the tiny power port was very fiddly. The connections were extremely close together, which meant lots of time spent making sure none of the soldering short circuited. It was imperative to get this right, as once the LED’s were embedded within the mask, it would be impossible to correct without some severe surgery. The process of installing the LED’s was without doubt the most time consuming part of the whole process, but I was now ready to attach the teeth and sculpt the gums. I was really looking forward to this part of the process, as it felt like I was finally getting somewhere.

 

I drilled holes into the mouth area and back of the teeth so that I could push epoxy putty through the holes and into the cavities in the teeth as a means to better secure them to the mask. The epoxy putty came through to the rear of the mask, where another layer of putty was used to fill the mouth and tidy up any rough areas. I finally sculpted the gums, which also helped to fix the teeth into position.

Once the LED’s had been installed and the teeth had been fixed, the mask was ready for painting. I used a matt black spray paint and applied a good few layers to both sides of the mask whilst covering the LED’s with some carefully shaped pieces of blue tack. The mask was repeatedly sanded between layers to remove any minute imperfections, then I applied generous layers of matt lacquer to achieve the final finish, or so I thought! A hair had somehow managed to land on top of the lacquer, and as I attempted to remove it, I left a blemish that needed to be reworked. I was vexed! The lacquer had also pooled around the nose area and peeled away the paint from the mask. It couldn’t have happened in a worse place. I had to wait until the lacquer was dry before I could proceed, which was absolute torture. Once dry, I spent about 5 hours sanding and prepping those areas again before I could repeat the painting process.

For painting the mouth and horns I decided to use Citadel Miniatures paints as their colour range is exceptional. I’d just been gifted a pretty extensive set, and I was well accustomed to working with them from my early dabbles with Warhammer. The grimy bone colours were perfect for the look I was trying to achieve and would hopefully contrast nicely with the matt black face. Lastly, I decided to stencil my logo onto the rear side of the mask in the position of the ‘third eye’.

 

It was at this point, in between waiting for layers of paint and lacquer to dry, that I began work on the neck pieces. For the sake of time I opted against making another mould and decided to render the two pieces in epoxy putty. I cut out the basic shape in paper as a template, then flattened out the putty and cut it to size. I have a climbing helmet I’m planning to use to make a full samurai kabuto for the next mask project which I used to create a gentle curve in the pieces by placing the flat putty across the centre front of the helmet. Using the helmet as a template also meant I could easily replicate the same curve for the second piece of amour. It was important to utilise as much ‘dead time’ as possible as I was working towards a rough deadline for a forthcoming exhibition in a few months. It basically takes a day for the putty to cure and I found it best to leave the lacquer for the same period of time. Hence, whilst waiting for one, I would work on the other from now on.

 

Once the lacquer had finally taken and I was happy with the finish, it was time to begin sewing together the straps that would secure the mask to my head. This was by no means easy, as the mask had to be fully adjustable and this necessitated the use of sliders and clips that would fasten at the back of my head. Experimenting with different techniques demonstrated that the mask could be easily damaged via the attachments on the straps. I didn’t want to fix anything directly to the mask as the points at which the fixings would need attaching were on the thinnest part of the mask. The last thing I wanted after all this work was to have the mask snap in half, so I’d opted to drill holes either side of the eyes and in the centre top of the forehead for stability, then to find some way of tying the mask to my face.

I’ve been renovating my katana for another project and came across a Japanese silk ito chord used traditionally to tie Samurai armour together, also used for the Sageo and Tsuka wrappings on Japanese swords. This type of chord was an obvious choice for my mask as it gave it a more authentic feel. The chord would also be used to tie the neck pieces together through a series of holes, following from similar designs I had seen whilst researching the project.

I opted for components for tactical webbing [commonly used by the military and on sports bags etc] for the basic layout of the straps, both for strength and style. The plan was to thread the chord through the holes I’d drilled in the mask, then tie them with a butterfly knot leaving two pieces of chord hanging from each knot. I sewed plastic sliders to the ends of lengths of tactical webbing, then threaded the chords through the sliders, sewing the chord to the webbing to create a banded solid strap. I realise it’s difficult to follow this part, and I didn’t really take enough photographs to show the exact process. Just know that it was a pain in the arse and took bloody ages!

I considered using black and red chord initially as it looked incredible, but in the end I had to go with black as it was easier to work with, more flexible, and much easier to thread. Using the coloured chord would mean drilling larger holes into the mask and this was impossible due to the channels at the back through which the cables for the LED’s were embedded. This though, is one thing I regret not spending more time thinking about in the planning stages, as it would have been nice to incorporate some flashes of colour into the straps. Ultimately though, this was a ninja mask, and black would work just fine.

 

To give the face a bit more character, I decided to add some evil pointy grey eyebrows. I wanted it to look like some kind of evil shogun from one of Kurosawa’s samurai flicks. I layered up and glued together a few pieces of cut out fake moustache hair to give the eyebrows some volume. I probably trimmed them back a little more than I should have, as they looked a little too neat, but being bushy meant the hair fell out much more easily, and by the time I’d arrived to this point, I was willing to allow myself a few compromises. I gently dry brushed the hair with grey acrylic paint, then glued them into position. I used the two part epoxy glue to set them in place, but was worried that this could ruin the finish if they didn’t fix to the surface of the mask properly, or that I might fix them unevenly and destroy months of work. This became an overarching theme with this project. I’d simply spent so much time on it, that every step needed to be carefully managed in terms of meaningful progression and potential damage limitation in the event of an accident. If anything, working on this mask has taught me a level of patience I thought I was incapable of. It was better to solve as many problems in advance as I could foresee and to wait until I was fully confident to proceed, rather than rush in and damage the piece.  It was at this stage that the mask itself was now finally complete!! However, this was not the end of the project …

Void One - Finished Oni Mask

With my mind now firmly focused on the forthcoming group exhibition with the Distorted Minds, it became imperative to display the mask properly. There was no point hanging it from the wall, as nobody would see the LED’s, and I’d spent too much time installing them to then have them hidden. My solution was initially to suspend the mask strapped to a human skull with the spine hanging from it, but I went for something simpler, as many of the materials I wanted to use could only be sourced from China and I had less than a month at this point to finish everything. So, I decided to make a wooden trophy style plinth that would display the skull with the mask attached, including 5 spinal vertebrae. Easy, right?

I managed to locate an anatomically correct skull that had a removable skull cap and jaw from a medical supplies website based in the UK. I specifically chose this piece because the teeth had a slightly glossy finish compared to the rest of the skull and this made it look extremely realistic. Next, I sourced a model spine that broke apart into the top five spinal vertebrae and discs, held together by 4mm threaded bar through it’s core.

Void One - Skull

By this point I only had two days until the exhibition and I was well on my way to having consumed two full jars of coffee. All of my paintings had been framed and the plinth was the only piece left to finish.

After screwing a wooden plate to the inside of the skull and fixing the first vertebrae to the base of the skull with epoxy glue and a couple of screws, I then fed a length of 4mm threaded bar through the holes that ran though the core of the vertebrae into the skull and fixed it to the wooden plate, securing at both ends with some nuts and washers. Next, I glued the skull cap back into place, and once dry, began to remove the casting lines in the plastic and sanded down the skull to make it look like a single piece. I masked off the teeth, then painted the skull, jaw and 4 other vertebrae with a slightly off white acrylic spray paint. I now had a skull on a stick!

 

For the plinth, I built up 2 layers of MDF with the bottom piece 2cm square larger to form a small stepped pyramid. I then cut some beveled strips of wood to create a swept design on the base. I nearly killed myself several times during this process using my new mitre saw, as when cutting the thin beveled strips they would often ping around my studio at extremely high velocity. Genuinely terrifying! Needless to say, I wore goggles, and a hat, a couple of hoodies, gloves … safety first!

I spent a very long time working out how best to cut a 3 sided pyramid using the mitre saw. Mostly trial and error, and an incredible amount of saw dust scattered about my studio. I tried and failed more times than I can remember to produce a perfect tetrahedron, only to realise it would be too large to work with anyway. So instead, I cut pieces of MDF to have a 60 degree x 60 degree angle to create one step of a 3 sided pyramid, then placed  a smaller piece on top, trimming the excess with the saw to smooth out the surfaces. After gluing the pyramid to the base, I applied a few layers of PVA to areas where there were gaps between the wood, then proceeded to sand down the surface till the top layer of PVA was removed. This meant areas such as the corners didn’t have any unsightly holes and made the steps in the plinth look like they were part of a single piece of wood.

Once painted, I drilled a hole through the centre of the pyramid which would support both the threaded bar with the skull on, and a brass tube I had wet and dry sanded to an almost golden finish to hide the threaded bar from sight.  I then fixed the column in position, gluing a washer over the hole for extra detail.

Void One - Skull Plinth

Finally, I threaded the last 4 vertebrae onto the bar at the base of the skull with rubber discs separating the vertebrae, then fixed them with a washer and nut. I cut the bar to be just long enough to fit through the height of the plinth, held in place by more washers and a nut on the underside of the stand.

 

With that, the project was actually finished! It was a pretty surreal experience, as I’ve never put so much time or effort into a project before. Whilst an extremely challenging undertaking, I could not be happier with the result, but it wasn’t until placing the completed mask on the display stand at the exhibition that I was able to see all the components together and fully appreciate the piece as a whole.

 

On reflection, one of the most challenging aspects of this project was trying to source the materials I needed at various stages. It’s not that they were difficult to find, but rather that I struggled to discover the names of the materials I was attempting to purchase. From threaded bar to epoxy putties, webbing sliders to cervical vertebrae, my google search history read like a mad mans catalogue of chemicals, metal work and bizarre human anatomy.

This project was an absolute roller coaster of emotions, from ecstatic highs to infuriating bouts of self deprecation. Evolving well beyond the boundaries of what I’d initially conceived, this mask has tested me in every way imaginable. A quick thank you must be said to my poor mum for putting up with me during the casting stages and allowing me to destroy her kitchen.

Plans are now afoot for the urban exploration photo shoot, incorporating my renovated katana, and I’m also beginning to work on the second mask and helmet. For more pics of the exhibition, check out my portfolio from the links above.

Void One_

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Shadow Work // Rise Of The Oniwaban Elite Ninja Death Squad

It’s fair to say I’ve been sitting on this project for what feels like an eternity! I’ve dropped a couple of hints via some of my other blog posts, but it’s finally been unleashed. Many moons ago I was commissioned by Shamanic Technology to produce some album artwork for a project he was working on. I had already previously worked with him via my exploits with UK Glitch Hop and had released one of his tracks on Beta Test Record‘s debut vinyl ‘Chemical Coercion’, so it was nice to produce something for him in return. There was no real brief per-se, but the title of the album was ‘Shadow Work’, and as such, my mind was immediately drawn to Ninja. Evidently, I am that predictable, but it was a no brainer as far as I was concerned!

I like to extensively research my subject matter, especially if I have an excuse to sit and watch low rate ninja films & documentaries! As I trawled through Japanese history, I came across a fascinating tale of the Oniwaban, or garden keepers, an elite group of undercover agents established by the 8th Tokugawa shogun, Tokugawa Yoshimune (1684–1751). I loved the idea of these ninja hiding in plain sight whilst guarding the Shogun, and so I decided to take the oni, or demon, mask from my samurai character and adapt it for this project.

I had been asked to produce an image that would cover the inlay of a CD sleeve which is 12 x 24cm. Due to the awkward shape of the image, I decided to produce a short comic that would show the Oniwaban executing his duties in a storyboard of crimson! I’m a big fan of hiding details within my work that may often be overlooked. As such, I thought it would be a nice touch to incorporate a short haiku, each cell representing one line of a three line stanza.

It took me a good week to finalise the haiku and accompanying imagery. Once the idea had properly set in my mind, I went to work on the first, largest of the three, and what would become the most challenging drawing I have produced to date. This cell was to represent the Oniwaban lurking in the shadows awaiting the opportunity to enact his swift, merciless reckoning.

I had originally intended to go with my usual process of producing an outline, then colouring it, either by hand or on Photoshop, but this time I wanted to challenge myself and attempt to dot shade and keep the drawing black on white. I don’t know why I do it to myself, but I seem to always add these extra obstacles during projects for other people, when time is a factor, and in situations where there is little room for error. It took me weeks of dot shading to produce the first image!!

Void One - Shinobi Oniwaban 3

It was good to see a black and white drawing to completion and it’s something I’m trying to do much more of late. I really want to enter Secret Walls at some point, so working in black on white is something I’m keen to master, if not within a much shorter time frame! Having said that, I recently performed some live drawing at what was The Bulls Head pub in Moseley, Birmingham, for Canvas. I recklessly decided to try drawing this character live and was surprised by the result. It still took me a good 4 / 5 hours to complete, but being in a packed bar is hardly helpful when trying to be productive!  I wish I’d added some details in the background, but all things considered, I count this as a win. I’ve had to add my name as this image was cropped for Instagram and I can’t find the original. Incidentally, I’m now on Instagram! Just search for voidoneuk.

Void One - Shinobi Oniwaban Live at Canvas

Anyway, we digress. I decided to edit the the main cell in Photoshop by changing the spiked hand claws to look a little more brutal and to make the oni mask red so it looked more demonic. I used speed lines to accentuate the face, like a kind of halo, and added some glow to the moon. For some reason I had given the character massive gums, so I decided to clear this up too.

Void One - Shinobi Oniwaban Master

I realised there was no way I could produce the other two images in the style of the first cell as I’d still be producing the artwork now, so I adopted a more familiar technique for the final two cells and just stuck to simple outlines and colouring on Photoshop. One cell was to represent the Oniwaban murking his prey, unseen apart from a trail full of blood splats. The final cell would represent the victims soul transcending this world and returning to the infinite void, staring into the abyss that is death. I had originally intended the victims head to be flying off with blood pissing into a vortex to hell, but it proved a little difficult to realise and was apparently too gory, so I kept it simple and stuck with a spiral. It was a really nice compliment that one of the tracks was renamed ‘Return To The Void’ in homage to the artwork.

I’m loving the noire feel to the work and the contrast between the black & white with the red blood splatters is really effective at creating movement in the images. Something I’ve also learned, especially in creating comic style imagery, is the use of speed lines. Really simple to create, speed lines almost instantly make the image jump out of the page and are great for filling up backgrounds, especially for action scenes. In the end, I took out the majority of them whilst I was experimenting, but I fully realise their potential for the future.

Void One - Shadow Work Final Small

So, the final work, including the haiku [Click on the image to enlarge]. It’s odd looking at the image now, as I can see so many ways that I would improve it. It would have been nice to keep the smoke emanating eerily from the blade, and also to have maybe worked more on the flowers to be perhaps falling from a cherry blossom tree, or something of that ilk. It was really challenging to fit everything in such an awkward space, but it just means I’ll have to revisit this piece to incorporate all the crazy ideas I came up with. Having said that, I’m really pleased with how this turned out! This project has both given me a new character to explore in the future, and also shown me a glimpse of the possibilities that may be achieved through dot shading.

That’s only my contribution to this project, but there is so much more to be found over at Shamanic Technology’s Indiegogo campaign page!! As well as a double LP of some seriously fresh neuro inspired Electronica, there are also the artistic stylings of fellow Brummie Cujo Cussler, plus Mantis Mash, “Hare” Krishna Malla, Sponge & Ben Leonard. The campaign only has a few days left to run, so please check out the links below and help materialise this epic collaboration.

Shamanic Technology – Shadow Work Indiegogo Campaign

Void One_

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Bulmers & Big Noise // Summer Jams & Samurai Graffiti // Lessons In Freehand Painting

Another busy few months recently, so I haven’t had too much time to post updates on my projects. I’ll be steadily updating this site once the summer’s quietened down, so expect a torrent of new work! In the meantime, here’s a run down of a few things I’ve been working on and some of the processes I’ve put myself through towards being able to paint more of my work freehand. I’ve levelled up a few times during the course of the last few commissions, by no means where I see myself needing to be, but it’s fulfilling to see some real progression after all these years. I’ve got the paint bug back in a big way and I’m really looking forward to throwing up some of the designs I’ve been working on recently! So, where to start …

The first notable step forward came after receiving a commission for Bulmers at The Junction pub in Harrow, London. I’d wondered into a small gallery in Moseley, Birmingham, and got talking to the artist [Ian Muir]. I mentioned that I did some artwork myself and he said he was looking for someone to do a photo-realistic commission, but I politely refused as it’s wasn’t something I considered myself able to do. I gave him a link to this site and thought nothing of it. A week or so later I received a phone call asking if I wanted the commission. I had a gig coming up in London for the UK Glitch Hop Awards in Finsbury Park that week, so it seemed fateful.

Harrow.shed.panel
Bulmers Live Colourful – Draft Artwork

Initially, I was terrified about the prospect of painting the image I was given, but I’ve been trying to push myself out of my comfort zone recently, and from past experience, it’s at times like this that I make huge leaps forward in both skill and confidence. They’d given me a rough idea of what they wanted, I was ok to play around with the background a little, so long as there was a photo-realistic style bottle as the main focus of the piece. I’ve never painted anything like this, it’s my first professional painting commission, plus it was in a public space again where it would be seen, often. I was super nervous about taking this on, but the money was good, and sometimes you just have to jump and hope that you land well.

I had no choice but to go freehand for the background and the block coloured areas of the bottle, then to stencil in some of the text details. I figured no matter how bad my freehand work was, so long as the bottle proportions were ok, the stencils would sharpen up the image. This painting was a real challenge for me, but I’ve realised that so long as I spend a bit of time breaking down how I’m going to put things together, I don’t really struggle any more. I work best when I’m feeling confident, and this confidence often comes from planning ahead, so I now develop what I call retreat points. I plan for a point at which I can abandon the painting where both myself and the client will be happy. Anything past this point I consider to be extra detail and tidying up, a process that can be as long as a piece of string. In this case, I knew I only had to make the letters on the bottle stand out and I would be fine.

The only real problem I had was that the surface I had to paint was uneven and caused a few issues creating straight lines. Also, on the upstrokes I kept hitting my index finder which was really painful. I got around this by painting into the side of a piece of card to straighten up my lines in some places. It’s a technique I use quite a bit now, both for touching up and for creating super thin lines and details. Even though I had used some stencils for the text, due to the surface I ended up having to paint a fair bit of the detail by hand with a paintbrush and with some Posca’s. Obviously it’ not a carbon copy of the image I was given, but it was never going to be. For my first commission of this kind, I’m pretty pleased with it.

The next notable painting I did was for Big Noise Festival in London working with The Big Issue Foundation, where I was commissioned to paint a giant Kaishaku piece live at the event. I also played a Glitch Hop set later in the evening alongside a host of other incredible artists and acts. At this point I guess it’s a good time to explain a little more about why I’m painting samurai heads.

Void One - Kaishaku 2
2014 © Void One – Kaishaku 2

This first Kaishaku piece originated from my design for City Of Colours last September. I’m fascinated by the concept of honour, what it means to live honourably, and the similarities in perception that different warrior cultures have about respect. In Japanese culture, a Kaishakunin is an appointed executioner, or second, whose duty it is to behead a samurai who has committed seppuku, or ritualised suicide. Samurai would be given the opportunity to commit seppuku to preserve their honour if they had been considered to have disgraced themselves or in circumstances where defeat was certain. The role played by the Kaishakunin is known as Kaishaku.  During battle, samurai would also collect the heads of their slain enemies as trophies and as a means to prove who they had killed so that they could reap the rewards of their victories from their lord.

This idea is still not yet a fully formed concept in my mind. What started out as a random scribbling in a sketchbook is slowly becoming something much bigger and I’m loving exploring this idea. For now though, it’s like having a word on the tip of your tongue, you know what you are trying to say, but lack the words to fully describe it. As such, I’m not going to explicate the idea fully here as I want to wait until I have a larger body of work to underpin the concept before I go into too much detail. Moving into my new studio means I can now think about painting the series of images I have planned at a decent size with a view to trying for an exhibition early next year. Ultimately, I’m going to sever the heads of my enemies through my art. Some will be given an honourable death, others will face my Shinobi Oniwaban…

Whilst I still used a couple of stencils for this painting, much of the work was undertaken freehand. I’m feeling loads more confident with my scale, proportion and line work these days, though I find that there’s a bit of an internal struggle going on between the graffiti and street artist in me. As a graffer and a bit of a purest, I find myself demanding I paint everything freehand, yet the street artist in me is a bit more liberal and considers it of no concern how an image is thrown up, so long as the final image is a good representation of the original concept. I think I’m resigned to still using stencils as and when the circumstances dictate it, but moving toward a more loose freehand style is something I’m determined to master.

Both this piece and the Bulmers commission are the biggest paintings I’ve ever undertaken and it’s taught me to be a little more free with my lines and has meant a much more pleasurable experience painting. I’m so used to making every line perfectly straight and precise from working with pen and paper that in many ways it has held me back. Painting big means you need to stand back more, and the kind of attention to detail my OCD’s require isn’t necessary at these scales. Below is a little video of the event where I make a little cameo at the beginning, but it really doesn’t reflect how epic this party was! So many good people lurking about showcasing their various talents for a very worthy cause. Respect to everyone involved! #tbnf15

Now that I’ve painted this character a few times it is becoming much easier, so I decided when I was asked to paint for City Of Colours at the Bromsgrove Summer Jam, that I would take a risk and go fully freehand. Like I said, it’s something I consider both challenging for myself and makes painting feel much more free. This wasn’t the only obstacle for the day though. I find it difficult to paint an image within a restricted space as it becomes much more difficult to get the scale right. For this event I would be painting the side of a skate ramp and this meant I would only be able to paint a small section of the face. I decided to make things a little easier for myself by photoshopping the samurai onto the image I’d been sent of the ramp I was going to paint. In this way I’d find it much easier to get the scale right. Well, that was the plan anyway!

What I learned from this experiment in freehand, was that getting the first outline correct before you start painting is critical. It’s worth spending extra time getting this right in the first place and taking your time, rather than rushing into the painting because people are watching and you feel you need to be making progress quickly. Almost every painting I’ve done over the last year has been in a live environment and at times the pressure of feeling like I’m being watched can cause me to panic and start making mistakes. What I find really helps in this respect is to listen to some music! It’s easy to escape into my own world listening to some beats and it definitely helps the painting flow, it’s loads more fun this way too. Somehow listening to old school Hip Hop albums and painting pictures just feels right! Admittedly I couldn’t paint as much of the face as I wanted onto the ramp, but I think it still came out well. I had to make the face a little bigger in the end as the ramp was much smaller than I had expected and I’m still working on getting those elusive thin lines. One detail that annoyed me was missing out part of the helmet, but the rain on the day meant we kept stopping and starting for hours, so I’m going to forgive myself this time as I doubt anyone else would have noticed.

This blog post is about documenting my first attempts at freestyle painting since my early 20’s. In that respect, it wouldn’t be right if I didn’t try out some graffiti. I’ve decided I don’t just want to do characters, I want to try to incorporate some of my old graffiti designs into my work somehow. So, as a little practice I hooked up with a few friends for a paint in Digbeth, Birmingham. This is the final piece of the jigsaw for me. If I can start to competently throw this piece up, I can start to hit some of the more complex designs I’ve been working on recently. The plan is to create bio-mechanoid samurai graffiti on a huge scale, where the abstract letter forms become part of the character. I’m still a long way off where I see this all going, but with each painting I’m pushing myself and learning fast with every outing.

2015 © Void One
2015 © Void One – Infinite Void

I tried to keep this piece quite simple as I didn’t want to go crazy on the first attempt. The lines are fairly clean, but I’ll be looking to include a bunch of robot elements, like pipes and vents etc, to add more detail. One thing I know I definitely need to work on is my use of colours and how to fill in my letters, but I think adding the mech parts will sort that out. Like I say, there’s still a long way to go, but having a destination in mind has pushed me forward in leaps and bounds this past 10 months. There are so many more projects I want to talk about, but that’s for another time.

Void One_