I'm looking forward to seeing much more of your interesting work in the future. I wish you made more copies of your prints, because I find it frustrating that more people are not able to enjoy owning one, but you and I have had that 'argument' before, and I do understand your point of view, even if I don't 'buy' it.

I claim no 'credit' at all for the work you have produced, but it is very satisfying indeed to see that some of the various seeds that I have scattered around have - in your case - fallen on very fertile ground, and have helped (even just a little bit) in the creation of such interesting and beautiful work. But very few indeed press on with this to the extent that you have, with your very intense and detailed activities. A very few of them then go on and make 'another' one. Many people give it a try and make 'a' print. and you are one of the best examples! You've got it bad too, obviously! You say 'infectious enthusiasm', and I think that's an appropriate phrase - because I do see other people becoming 'infected' with this bug. Wood, water, paper, pigment, paste, and simple carving and rubbing implements are all that is needed to make a print. Japanese woodblock printmaking, moku (wood) hanga (print), is distinguished from other printmaking techniques by the simplicity of material involved in its creation. Perhaps one day we'll meet in person.Īnnie, thank you very much for the kind comments, (and for helping bring more people to watch the program). The Process How a woodblock print is made. Congratulations to David on this wonderful NHK portrait of his life and work. In many ways David is a bridge between this exquisite but declining Japanese art form and artists in the West who are deeply interested in learning it.

Whether by facilitating contact between western artists and Japanese suppliers via the Baren Mall, where one can buy supplies directly from Japan, or producing an e-book called Your First Print, a 'highly practical and focussed guidebook that will take you - step by step - completely through the process of creating your first print,' David conducts all these activities on top of the hours and hours he spends producing his own superb and finely crafted work. I believe it's this enthusiasm that gives David the energy to reach out over and over again to other printmakers around the world to share what he knows. Notice it when you watch the video above - David Bull loves Japanese woodblock and he has a deep desire to preserve this ancient craft in the midst of a rapid decline in trained printers and carvers and the accompanying decline in suppliers of wood, washi and tools. In addition to technology, the other ingredient that makes my relationship with this printmaker on the other side of the world possible is David's own infectious enthusiasm.

Arcanine moku hanga