Doi Hanga collaboration : Part 8

[@theresedignard7445]

Thanks for sharing the knowledge. Love these prints. You know your level of skill is very advanced when you are entrusted with the old blocks of another Master.

[@Yggdrasilincarnate]

Another lovely video - I always find them both very relaxing and informative to watch. Interestingly, I never noticed you were left-handed until you mentioned it in this vid, can't believe I didn't pick up on that before.

[@esramirezart]

Another wonderful video, thank you for sharing.

[@unknownoriginals]

Love the work, David. Eagerly awaiting the next installment. I previously had no knowledge of this art form until I stumbled upon your channel, now I've watched all of your videos! Looking forward to owning one of your prints. All the best :)

[@pb8247]

Incredible video, always so informative and interesting. Thank you for taking the time to put it together!

[@TheFiller]

David Bull. I love your NHK Journeys in Japan. Really good stuff! Keep up the good work!!!

[@Bomoney34]

Awesome video as always. I don't have any artistic talent but watching your videos makes me wish I did. Even if I can't do these types of things I really enjoy watching those who can. The woodblock printing process is very interesting and fun to watch!

[@GlassesnMouthplates]

The fireworks sequences went from "Oh my, they're so pretty." to "Dayumn, these are so impressive." to "Whoever engineered those fireworks are genius." to "OMG!! THE GODS COMING FOR US!!"

[@Stadtpark90]

That!

[@bretthunt8624]

I am enthralled by you videos. I am fascinated by your passion for the art. I am also fascinated by the tools. I did a bit of research on the barens. Do you tie your own? Do you make your own? Are they "vintage" or newer? Would you do a video about the baren, and the pigment brushes? This whole process is fascinating. I am going to save up for one of your prints. I love the passion that you bring in these informative videos. Thank you! ~ Brett

[@express375]

Really look forward to seeing your videos.Entertaining on many levels.

[@MrFennicus]

Have you thought of selling the test runs and other lesser quality prints maybe in a bigger bundles? I would certainly be interested.

[@chrischung7575]

Ditto!

[@matthewsawczyn6592]

Plus there are honestly probably only like... a _dozen_ test prints? Maybe 20... I can't imagine "high volume" of test prints

[@alexwillis7980]

Insane fireworks

[@petthemama]

David, I enjoy each and every video you put out! There is a characteristic of your speech which sometimes accompanies the ends of your sentences, for example in this video at the 04:07 mark. Is this something you picked up from the Japanese language? I thought it was unique and was just wondering, no offense intended!

[@seseragistudio]

Plenty of people have commented on this mannerism over the years on these videos. It's the Japanese phrase 'ano ...'. I guess it's kind of like an ' er ...' in English ... just filling a bit of space in a phrase. I have really tried to shake it off, sometimes sitting down to do a video and just before I hit the record button telling myself, "You will _not_ use 'ano ...'" Doesn't seem to make any difference ... :-(

[@thebrokenbone]

hi, i subscribed not long ago and i want to thank you very much for sharing your work. i have a question if you have the time to answer, have you ever been afraid a print job (excuse me if the terminology is wrong) is beyond your skills and if so how do you cope with the feeling? . thanks again. regards. pete

[@seseragistudio]

This would need a *book* to answer properly, but there is maybe a simple answer too. After I finished the ten-year project to make prints of the old Hyakunin Isshu poets series back in 1999, I needed to find a project that would push me to develop a lot of carving/printing skills that I didn’t yet have. So I came up with the idea of making a collection of 50 prints (10 a year for 5 years); each design was selected with one thought in mind - giving me a chance to explore a technical printmaking point that I hadn’t yet encountered. In other words, every single print of the set was ‘beyond my skills’, in a manner of speaking. I guess it kind of sounds pretentious to describe it that way, but anyway … that’s what I did. The project was my ‘Surimono Albums’: woodblock.com/surimono/index.html

[@thebrokenbone]

thank you for your answer david. i`ll check the link right now. and it doesn´t sound pretentious it`s just some kind of peaceful self confidence that i find uncommon and hope i get sometime. it`s an inspiration to me. thanks. pete

[@Millennial_Mike]

Is the whole process completed using one block?

[@charleshaughtry]

When dealing with old color blocks, how do you know the color to use? (or is that always at the printer's discretion?)

[@seseragistudio]

We refer to old copies of the original prints. Sites like ukiyo-e.org have tons of images, and we hunt around until we find what seems to be a clear good well-printed old one to use for reference.

[@alanfredericks926]

Hi Dave, Is there much risk of marking the page with the yellow umbrellas again when you are doing the orange clothing impression? I noticed you only rubbed the areas directly above the orange pigment sections, but the paper still is resting on the yellow areas.

[@seseragistudio]

There is never any pigment left on the surface of the wood, so getting a yellow mark is not a problem. What could be a problem is an *indentation* from those umbrellas, so I have to be very careful not to rub in the wrong places ...

[@serrielu8025]

Stayed for the fireworks

[@samatteb1]

Mr. Thank You so much for sharing ! The first black color - is it sumi ink ? Is it possible to use sumi ink in woodblock printing and how ? Thank You again

[@seseragistudio]

Yes, we use sumi 'ink' for printing the black outlines on most of our prints. Please browse in the 'Library' section of my woodblock.com website for more information ...

[@samatteb1]

+David Bull thank you for reply , Mr. Bull

[@Hagg3049]

You mention size a bit at the beginning of the video. What is the largest print that you realistically think could be done? Is there a size beyond which printing is no longer feasible for whatever reason?

[@seseragistudio]

In the western printmaking scene, size is no problem; you just have to google ‘printmaking steamroller’ to see some large-scale stuff. But they use oil-based inks, which allow plenty of time to ‘fool around’ before taking an impression. In the Japanese tradition, it’s water-based, which makes it much more difficult to scale up. It’s been done in the past, and there have been some pretty large prints made, but the larger you go, the less accurate and less ‘clean and clear’ the impressions get. It’s not something we here at Mokuhankan are going to chase at all ...

[@gato712]

Hi I’m not sure if you read your KZbin comments but here I go. I’ve been wanting to buy one or two of your prints but when I google it I see that you only sale by subscription and it’s in yen. if you or anyone that reads this comment can point me in the right detection that would really be appreciated. Thank you.

[@seseragistudio]

I _do_ read comments ... at least whenever I can! As for the shopping, we have many many individual prints available, and our online shopping system allows people to select from a group of major currencies. Please start with this page: mokuhankan.com/catalogue/thumbnails.php?search_key=general

[@thlee3]

Youve probably answered this but what is your favorite step in the woodblock printing process

[@calvinnelson570]

Is there a place to purchase your prints online?

[@seseragistudio]

Apologies for the tardy reply ... our prints are available at mokuhankan.com ... Thanks!