Gyotaku, for Fun or for Profit, by Richard Simms, CrappieNOW Editor

A White Crappie was caught and painted with Sumi ink, then delicately pressed onto Kozo paper to transfer the ink. Following the drying process, Sumi ink was applied to enhance the fish’s lifelike appearance. The artwork is securely affixed to a heavy deckled edge watercolor paper through dry mounting.

Gyotaku, for Fun or for Profit

by Richard Simms, CrappieNOW Editor

Are all fisherman liars, or do only liars fish?

It is an oft repeated phrase about fishermen and their occasional tendency to exaggerate the truth. And, as legend has it, it is not just a modern-day characteristic, but a common fishing trait from long ago—a trait that may have been what led to a unique art form.

Gyotaku is a traditional Japanese art form that started back in the 1800s. Of course, there was no digital photography or even cameras for that matter. Therefore, when fishermen began bragging about the size of the fish they caught, there was no way to verify their claims about the size of their catch.

That is until fishermen began using gyotaku to record the size and species of their daily fish catches. The word comes from the Japanese words gyo which means “fish” and taku which means “rubbing.”

Nowadays, gyotaku has gone from documenting the size of an angler’s catch to an art form —an art form carried on by CrappieNOW Creative Director Matt Mullikin—the man who does the graphic arts and magazine layout for this very website. He says it is a passion inspired by another CrappieNOW writer.

“For me, it all started after reading an article by you and Scott MacKenthun,” said Mullikin. “With a degree in fine arts, I always knew that my love for painting, drawing, and the outdoors—especially hunting and fishing—would make this a perfect path for me.”

So where did Mullikin go to learn and hone the craft?

He shared that, “After countless hours of watching YouTube videos, as well as reading and learning about the process, I dived in to teach myself the technique as a self-taught artist.”

Mullikin has adeptly refined his skills to the point he is selling some of his work.

“This is my first year selling my gyotaku artwork,” he said. “I have entered art competitions and have set up booths in a few art shows this year.” Mullikin shared that, “The process can be time-intensive and costly, but I am passionate about turning a hobby into a full-fledged profession. As the saying goes, ‘we have to learn to walk before we can run.”

Mullikin uses the traditional gyotaku approach. The fish (or other subject) is painted. Then a dampened piece of rice paper, silk or other fabric is placed over the fish and hand rubbed to transfer the ink creating the print.

“In the beginning, I tried to paint the fish with acrylic paints, then I would lay the rice paper on it and rub the fish,” said Mullikin. “The images were not very good, and I would spend more time going back and adding all the details after the paint dried. As with most art forms, it is essential to discover the techniques that resonate with and work for you.

“I have stacks of old prints that will never get used, except maybe to help me light my charcoal grill,” he added with a grin.

Mullikin has branched out, using his art form on things other than fish.

“I guess it is only gyotaku if you print a fish,” he said. “Other than that, it would be considered a nature print. Having grown up hunting and fishing, I find it challenging to print other things in nature.

“In trying to make the print as accurate as possible, I always take a photo of the subject before I do anything to it so I have a source to go back to for color or other details,” he said.

Mullikin has some basic advice for anyone interested in trying out the art form, which is often used – as MacKenthun did – for educational purposes for youngsters.

“First, know your fish,” said Mullikin. “Rub and study the shape and details before you cover them all up with ink. In the beginning my biggest mistake was adding or using too much ink. Many of the works were way too dark and had no detail. After the ink or paint is added, it is important to go back and tap on the fish with a paper towel or sponge. This smooths out the brush strokes and takes away excess paint or ink.

“Before placing your final paper on the fish, I recommend testing a small section on a paper towel. This allows you to check if there’s too much ink or if any areas are still wet, helping you avoid wasting paper and money. It also gives you a chance to correct any issues before committing to the final print.

“If, however, you are printing on cloth, you have to add more ink or paint than you do with paper because it gets absorbed into the material.”

“The eyes of fish are very gelatin-like and do not transfer the ink properly. I always go in after the print has dried and add the eye. And finally, always use pins and small pieces of Styrofoam to hold the fins open so you can make a better print.”

Mullikin says if you are just doing this for fun, you can always find materials and supplies from Walmart, Micheals, or Hobby Lobby. He adds, however, “If you want to find better supplies with more choices, you can use Blick Art Supplies, Blue Heron Art Supplies, and Mulberry Paper Store.

Here are some of Matt’s works beyond his usual fish prints

MacKenthun and his daughters have done their gyotaku on live fish – what he refers to as “paint & release.” Mullikin says it is much harder to get quality prints with live fish, but for the hobbyist it is certainly a fun alternative.

Mullikin encourages others to give it a try. Whether as a hobby or with professional ambitions, gyotaku offers a unique way to share your love of fishing with others.

Capt. Richard Simms is the Editor of CrappieNOW magazine as well as owner of Scenic City Fishing Charters. He is a former game warden for the Tennessee Wildlife Resources Agency before becoming a photographer and PR guy for TWRA. That lead to a 30-year career as a broadcast journalist and freelance outdoor writer. You can follow Capt. Simms on Facebook.