Introduction of artisans: Menu ----------------------------- Introduction ----------------------------- Introduction "Clothing" Kyo yuzen silk dyeing / Masahiro Ikeuchi Nishijin textile / Takahisa Tamura Kyo yuzen silk dyeing / Ryotaro Hika Kyo Yuzen silk dyeing / Tomoko Fujii Flower arrangement / Michihisa Watanabe ----------------------------- Introduction "Eating and Drinking" Japanese dishes / Takeshi Shinmura Rice / Takashi Hashimoto Sake / Yoshihiro Higashino ----------------------------- Introduction "Living" Synthetic resin / Shigemi Inari Kiyomizu-ware / Hirokazu Kato Woodblock printing / Yuko Harada Jidaigire / Taro Matsumura Folding fans / Takahito Mizukami

As a printer, I print woodblock prints using the following processes: applying dosa sizing (combination of alum, animal glue and water) to paper, cutting the paper, wetting it, preparing colors, printing, and drying the printed works. At my studio we usually supply finished prints to hanmoto (publishers). However, we also market our original works at our shop and online shop. We also supply them to wholesalers.

I began learning woodblock prints from my present master during my college days. Shortly before graduation, my master asked me to enter the profession. I did not give much thought to the traditional apprentice system of the woodblock printing industry. I decided to enter the profession simply because I love the art and I respect my master.

I am always doing my work in the earnest wish that customers will love my woodblock prints, as well as other products of our shop, Takezasa-do. For me, improving printing techniques is simply a means of fulfilling my greater goal: creating more woodblock print fans. Accordingly, in addition to improving my skill, I place equal priority on identifying customer demand, so as to produce works that customers will treasure. While inheriting the time-honored printing technology, I am developing various activities in and outside the studio. In doing so, I discover the infinite potential in this profession. To further develop our cultural business, however, I must learn more about printing and continue my daily operation of printing processes.

I first learned woodblock printing in my elementary school art classes. I found it very interesting to produce two-dimensional images by carving woodblocks. I was also impressed to find that printed works have diverse expressions, often created by chance. This childhood experience, I believe, led me to my present profession.

I am always doing my work in the earnest wish that customers will love my woodblock prints, as well as other products of our shop, Takezasa-do. For me, improving printing techniques is simply a means of fulfilling my greater goal: creating more woodblock print fans. Accordingly, in addition to improving my skill, I place equal priority on identifying customer demand, so as to produce works that customers will treasure. While inheriting the time-honored printing technology, I am developing various activities in and outside the studio. In doing so, I discover the infinite potential in this profession. To further develop our cultural business, however, I must learn more about printing and continue my daily operation of printing processes.

Since many customers of our shop seek an authentic Japanese atmosphere, I am working to create a desirable atmosphere by displaying appropriate products. My woodblock printing class pupils sometimes give me seasonal sweets and tell me the customs of Kyoto. In this way, I am learning Kyoto residents' lifestyles while fostering my identity as a successor of Kyoto's traditional industry.

I hope to improve my skills, develop the present business of Takezasa-do, meet many people and please them with my works. Above all, I hope to help create many enthusiastic fans of woodblock prints.
I have confidence in the potential of woodblock printing and Kyoto's traditional cultures and industries. In taking advantage of these time-honored assets, I hope to develop the woodblock print business.