Doi Hanga collaboration : Part 9

[@GlassesnMouthplates]

My jaw drops when Ayumi printed and revealed the snowy details of the mountain.

[@nickmckee3865]

L

[@suzisaintjames]

Please, please make a Doi Hanga playlist so I can keep up with the additional collaborations... I think bringing these old blocks back into production is a wonderful thing. Not only for the family, but for the art of block printing's sake. I'm waiting to see what you are going to do with the post card collections you mentioned in video #8 of this series. ❤🌅🌵

[@GGAllmond]

Very nice! I also find it really impressive when people talk to each other in two languages at the same time, as in 18:00 in here. Super cool.

[@seseragistudio]

That's fun, isn't it. She can basically understand what I say, but can't easily express her reply in English in a smooth manner. And I do mine in English so that I don't have to put too many subtitles in the video ..

[@miniwaern]

@robert retka I bet she rocks at other things though, right? ;)

[@thomaswieland9712]

Watching your videos feels like sending my mind on vacation. Love it. Thank you!

[@anasalimon]

I've been binge watching these videos and suddenly I just want to fly to Japan and visit this shop so muuchh (it all started with this art assignment in college and wow Im addicted)

[@JoePani1]

It's always worth waiting for. Best quality and quality content.

[@PetrikNZ]

Thank you for another great update. You make something so complex look so simple. Great to see it's all still going strong.

[@vladm9384]

I love the series. I work with adobe illustrator. It follow the same principles as this ancient technique. It makes me appreciate the manual aspect of it even more.

[@unbelievablesuccess]

Thanks for sharing your great work! I look forward to coming home tonight and watching your video.

[@mparis130]

So glad to see another video from you. What a beautiful print. As always, your hard work is appreciated, all the way from across the globe!

[@ChaseKolpath]

Dave, we love these videos! Keep up the good work!

[@samatteb1]

He is ALIVE !!! Good to see You Mr. Bull Was worried about You.. no videos for such a long time

[@carlolsen]

Thanks for sharing the work your studio is doing! You are all so talented (and have such steady hands--I'm jealous). I've recently moved from digital art and pen and ink to linocut prints + watercolor, and these videos are an inspiration.

[@AndreiBadoiu]

Always so happy to see you and the staff are doing well! Keep smiling and keep sharing!

[@dangerdave616]

Thank you for your video, David.

[@Pegar]

I love the videos you make and greatly appreciate the art and the craftsmanship being shared to a wider audience. Would it be possible for you to make (or direct your audience to) a video or a blog post about what a beginner would need to get in order to get started making very basic, primitive woodblock prints as a hobby? I am not familiar with the japanese craftsmanship culture and as such hope that it is not in any way offensive to ask you how one could get started doing something as an untrained hobbyist that you yourself do as a respected professional. This question is also directed to the viewers at large; if you know of any resources, please share them. This would be greatly appreciated. Thank you David for making these videos and spending you valuable time to cataloging and sharing this beatiful art.

[@seseragistudio]

Well ... a few years back I did try to address this situation for people, and wrote this: mokuhankan.com/catalogue/0057.php

[@Pegar]

I had not noticed this book on your website before. Seems to cover what I was looking for. I will put purchasing it into consideration if I decide to pursue this art in the future. Thank you for your reply.

[@obvionaoe]

I love your work Dave!

[@Drakub]

I love your videos, Dave. I've been really enjoying your A Story A Week website too!

[@mauriciolacruz]

Amazing! I love those designs and the color gradation on them.

[@mathiasmaranhao]

She's very cute and dedicated. Great work.

[@kuronaMermaid]

Great video, David! Love your work.

[@aaron2709]

Great video Dave. Thank you.

[@mokuhanga1]

03:15 Very little research on this, however, appears Hasui studies were unsigned and paintings postdating the prints were signed and sold by the artist.

[@jesuispepelepew7574]

O.O I'd like to 30 minutes of this.... Awesome video, man!

[@brothyr]

do you have a video on how the tools are made? Those tiny brushes, the round tool she uses on the back, etc.

[@3arendel]

Beautiful result! Loved the video

[@davepelvin130]

I love seeing the printers and you interacting with her…. Can you tell me, are these printers highly skilled at their craft? Are they pre-trained before you hire them… I’m trying to understand how unique their skill is… it’s so far removed from skills I see in modern Canadian culture…. It seems they are artists in their own right!! Amazing video!

[@CasperLCat]

Hasui always has such a feeling of serenity. I have 3 excellent giclee reproductions on my bedroom wall, the first thing I see every AM. And his compositions are deceptive in their simplicity-I never get bored studying them over and over. A true master. Would love to acquire actual prints - but a little too $$ for me. Are you considering repro versions ?

[@miniwaern]

Haha awesome video señor Bull, I love the lol-part in the end too

[@RikerLovesWorf]

Great video~!

[@Typesticker1860]

I was wondering the total number of blocks that were used for the print? I see that some sides had multiple colors which were cleverly planned to use the most surface area possible, one of the really attractive things about the Hasui prints in my own collection. As always Ayumi-san makes difficult printing look so easy. Congratulations to you both for a beautiful image.

[@seseragistudio]

I think it was four pieces, using both sides of course. (The blocks have gone back, so I don't have them here for inspection ...)

[@skibsted123]

Where did you learn this technique and art style? And are there an art school for this specific art style?

[@kay486]

always lovely to see new videos from you! I was just curious, do the prints still get trimmed to have uniform border around?

[@seseragistudio]

I think we'll be trimming these, although perhaps 1/3 of the batch will end up with the natural edge on the left side (somewhat narrower than what you see in the sample I held in this video ...)

[@HarryRutherford]

I love watching your videos and seeing how much effort you put into getting everything right. Obviously your great passion is Japanese printing, but I was just curious whether there are any western printers or print traditions that you find particularly interesting?

[@seseragistudio]

I know very little about such things … I seem to be a bit of a one-track guy in this field! There is perhaps one thing to mention - which on occasion has led to (friendly) disagreement when talking about such things with western printmaking friends - for me, printmaking is not ‘political’. I have no interest at all in using prints for ‘social comment’. There is of course a _vast_ tradition of political printmaking in the west, but such things are of no interest to me. I am not any kind of activist; for me, woodblock prints are decorative objects, pure and simple.

[@HarryRutherford]

Lord knows, we all need more beautiful things in our lives.

[@thebrokenbone]

hello david, i`m late to watch the video. and as always i`m left with more than i can process. i hope you can sort things out so you can go back to your workstation. by chance i was listening to a piece of classical (western) music that seemed to fit the work the lady was doing. that was a bonus. thank you very much for sharing, not having the actual piece, this is the best next thing. pete

[@dCash117]

Do you ever use gold or silver pigments?

[@roaldeuller]

A question: the printer applies the ink to the block, and then uses a brush to distribute it evenly. I could see two different sized brushes, one large and on small, but I couldn't tell if there are different brushes for each color of ink, or is the same brush washed between colors and reused?

[@seseragistudio]

Always a different brush for a different colour, and we have them in a selection of sizes. The idea is to use the largest brush possible for any given area. That gives it a 'reservoir' of colour, so that you don't start from scratch trying to load it for each impression.

[@Stadtpark90]

Assuming I would buy one and hang it on the wall in a glass “frame” / behind glass, would I be damaging the embossed names of the printer and the shop etc? How do you preserve it while still showing it? Different question: how many prints do you usually make in one batch? Sometimes you speak of limited editions, but isn’t in fact each batch a limited edition of its own in a way? The quality of the paper could change, or the quality of the pigments, or the printer get’s more experienced, or has a bad day or a good day: what I’m getting at: this stuff is handmade - no two prints will ever be the same, no matter how alike they are. What would be considered a normal batch size? What would you even consider the same batch? Just coming from the same woodblock seems too crude for what I wish to ask: what’s the usual and the maximum amount of distinguishing you would do between prints of the same motive? The same woodblock? An uninterrupted production run? Must the colors be only mixed once? Or the sheets be from the same stack of moisturing? Or the print be from one “sitting”? I mean: What once was just the printing business that mass-produced things like Christmas cards in the thousands, becomes more than a craft, once it becomes collectible - it starts to be art. (- The whole idea of Pop-Art was intended to make fun of this or play with the idea I think.) - What is your stance? Since you want to preserve the art of making these things, you’d probably wanted to see enough prints made and sold to keep it viable as a business and a craft, so you probably don’t want to see it go towards too few sheets, but you probably don’t want it to be an “industry” again either? Keeping it a bit “exclusive” also adds to its allure?

[@zanobi]

Where do all the Doi Hanga prints go after you guys restore them?

[@seseragistudio]

The prints we make from their blocks are of course for sale in our shop (and online). We pay the Doi people a 'block royalty' for the use of the blocks, which are returned to them after we're done each batch.

[@zanobi]

David Bull I Found them on the Mokuhan site. I've been following your channel for a long time. I had forgotten there was another online shop separate from Ukiyoe Heros.

[@Insignifant]

maybe another dummy-question, sorry. I keep noticing that after printing you and the printers commonly turn the paper around and lay it on the block to view the result. isn't there the danger of spoling the back in a way that shines through?

[@henrykincaid6821]

hans mustermann presumably given the amount of work it takes to move the pigment from the block to the paper with the baren, it would take a similar amount of pressure for the rear of the paper, if not more because a lot of the pigment has already left the block. Ultimately, I'm not sure. I'd assume they're aware of where and how much pigment is being moved around

[@andreasbraess3759]

but was question I ask me also add to fact this blocks even old pigment on it that not transfer to the paper also by other than wood say would aft use cleaned so good, that look like hade never color one it. :)

[@lolledopke]

would you be interested in doing a Q&A video?

[@seseragistudio]

That's an interesting idea ... ask for questions/suggestions at the end of one of these, and make the next one with the responses ...

[@mikedonald8742]

Probably put the ask for questions as a short bit in the start, since not everyone may watch the entire video.

[@mathiasmaranhao]

David. Raise your prices. Monetize your youtube videos. Get a crowdsourcing program to help you somehow.