Your first uploads to your channel, (was it 3 upload?) which showed in lovely detail; your journey from Britain. How the UK, not quite unlike they do here in the USA, during our middle school years, (grade 6-8) in 8th grade we go for a couple days to a special class which adresses the careers out there, how much they make yearly and what they do. We're expected to pick one during the last day and they look at out grade point average, and then we got a report back to see how likely they believe our desired career chosen alines with the grades. In the end our report tells us if we're on the right path, and a percentage of likely hood out path (grade wise) matches, then they include what careers our grades show at that moment the careers are heading towards. Anyway, like you said, the path the UK said that you can do didn't match your ever changing desires. That resinated with me. Also, I'd always loved Japan 🇯🇵, it's beauty and ideals, especially culture in painting and craftsmanship. I'd seen block painting works, who hadn't by now, but never had a clue into their making. Essentially, I watched your uploads and was so enamored by the documentary like way you presented the videos. Your skill, during that apprenticeship, (are you still an apprentice to your master?) I was going to say, I was so excited that I youtubed more and found Dave's site. Fell in love with his story and then one day saw you working for him. I was so shocked, like wtf AWESOME! SO THANK YOU SO MUCH FOR PLAYING OUT YOUR JOURNEY ON RUclips, or simply with the world. And also introducing your colorist, she is absolutely AMAZING
Very weird seeing a right-hander carving, after seeing Dave-san carving lefty for years. But it's great hearing your thought processes, and seeing the mistakes and the recovery, with the tuition from your sensei. Thanks for sharing your journey of development as a carver, much appreciated!
Hi Taran-san Loved seeing how you and Dave's method and tools are different, but both can achieve beautiful woodblock prints doing what works best for yourselves! That is going to be a lot work and gorgeous print! 💙
Thank You Ginko Hanga...I greatly appreciate your determination, craftsmanship, careful consideration to precisely render your wood block as perfectly as possible. Again, 2 big thumbs up watching your skillful practice, THANK YOU !!! This has been a very enjoyable/learning process watching you work and explain how your efforts produce their results. Very Well Done!!! I have spent my working life (50+ years) working as a hands-on manual/tooling machinist. My work is not so different to what I see you achieving in your work. I to have a side interest in woodcarving and watching you make your cuts impresses me. I have also slowly watched my machinist trade over the years go from hands on, sketch on paper to enterally hands off. CNC, AI, CAD have taken away the positive thought process, mental & emotional determination of hands-on skill. Watching you work I am thinking how a CNC with its precise high speed micro solid carbide cutters could produce what you are doing in days/weeks? of careful determination to just minutes. The precision of a CNC could produce all of your blocks in one day and each block would be perfect. Far more perfect than the human eye could detect. PLEASE do not misunderstand me. This is not what I would like or want to see in your work, but this is what has happened to me in my work. Modern machinery is eliminating hands on craftsmanship, and it almost brings me to tears when I see the manual tools unused and scrapped. In my retired home shop, I worship and practice hands on work BUT I know that whatever I make at home manually could be so easily taken away from me in the serious economic business world. I understand that what you are doing is continuing a beautiful trade in its original way. You are protecting the skill and I applaud all you do! I am also looking at the looming horizon of AI technology holding my breath with a tear in my eye!!! ...... TM
I’ve been meaning to reply to you for a while sorry it took so long! I really appreciate you words and I think about what you are talking about a lot. As of right now there is something that machines can’t capture but I can see that they will at some point. There is something to be said about the consumer climate aswell tho. People like yourself appreciate that things are were made by hand, especially true within the arts. I think there will always be a place for high level craftspeople, which simply means I need to get really freaking good! And get good at sharing the process and the love of making these things. There have been many waves like this in mokuhanga alone, and it has survived this far. Just imagine how all the craftspeople felt with the introduction of the printing press. Disastrous! This is all to say that I’m going to push on regardless of the fear that AI and technology are coming to take all of our jobs, and find a way to keep this relevant and alive. Because it’s all I want to do and I think that there are enough people who buy these things not only for the images but because you can see the hands of all the different people who bring them to life. And I think that’s a pretty special feeling that a machine can’t approach, to stories told by hands. As for machining I watched a 30 something min video recently of Adam savage marching some small component in a project. Those skills still have a place, just needs a little aim readjustment. Happy milling friend and Thanks again!
Thank you for talking through your analysis and process! Color separations for woodblock are tough, and a complex print like this is particularly challenging. I really enjoyed hearing you work through this. It's a beautiful print, and and a beautiful job of it. Magic indeed.
Really appreciate you taking the time to share in such depth - I learn so much from watching you. I’d love to see how exactly you hold the clearing knives - especially the Aisuki’s after you described how you have cut them down as they way you hold them allows for much more control than I have… Do you cut down the Hangi-to as well? I have seen two schools of thought and so far haven’t been able to bring myself to cut down any of my knives yet…
Another amazing and inspiring video of your and your wonderful printer's talents. Light bulb moment for me, you are working with David Bull (I didn't realise until this video). I have always admired his dedication to the revival and continuation of the wonderful world of mokuhanga. You are doing a great job of continuing that dedication in following your far from negligible talents. Thank you.
Thank you again Simon I’m glad you’re enjoying the videos. Part three has a wrap up interview with Dave about the project which I’m assuming you will enjoy😊
This is excellent, I really like the style you have presented your learning process can see and get a good sense of allot of time and effort condensed showing a meditative search for a humble perfection. I really got allot out of watching, learning and feel I understand much more about the art than I would expect from a RUclips video. You are a great teacher Thank you
Can you give me details of the drawing tool that allows you to mark parallel lines using a pen? Also, I notice you have a lot of blade showing in your hangi-to, what width of blade do you prefer, and do you have a favourite maker for your hangi-to? Two super videos so thank you for the hours of editing as well as all your carving.
The tool was just a new ruler I saw online and was testing but is not the traditional tool for that job. Traditionally a very small compass like a little claw with 2 spikes. I have been struggling to find one think I need to get one special made in the future. Each carver has their own preference with the amount of blade showing. I think I fall somewhere in the middle of that range. I’ve seen carvers much further each way. The ballades are 4mm standard (ill check when I’m at home and edit if I’m wrong haha). Thank you for watching im glad you enjoyed them.
While that was certainly common practice, it was mainly due to the paper they used for the transfers. Gampi In the olden days was only really only got in the very thin sheets so doing it the way I did in the video, placing it in pre cut registration was impossible. Nowadays most carvers use awazeshi gampi which is gampi on a thick backing for transfers. Because it’s more sturdy it can be placed in registration and is a lot easier and less delicate to place. So this is common practice nowadays. I have done it both ways, and I can attest that the way I did it in the video for me at least is a much safer way to paste colour transfers. But that being said if both are done correctly no one way is superior. Give it a go both ways and I think you would probably preferred the pre carved registration method.
@@GinkoHanga In ye olden days of shinhanga they used an early form of offset printing to reproduce hanshita-e. Original hanshita and some of the offsets survive today in private collections. Early Goyo, Hasui, Yoshida pasted down offset prints with registration marks. My method is based on this: I print on a nonstretch tissue paper, apparently intended for lanterns, backed to thicker card. It's glued down with mucilage. 99% of the snowflakes on oban-sized prints line up with this method.
Here you talk about the thin and thick gampi (ruclips.net/video/VzWsXKip4EQ/видео.html). Could you tell what are the lb or GSM (or the measure used over there) on these papers, thin and thick you use? Thanks for your videos, son-san 😁✌
im not sure what the weight is on the ganpi in standard. traditional Japanese paper thickness is counted on a monme scale. not sure the derivation i believe its just a counter. Japanese has unique counting names for all sorts of shapes and objects, and i think its similar to these, i.e. 1-pon, 2-hon [for cylindrical abjects], 1-mae, 2-mae [for flat things like paper]). 5 monme and 5 monme are frequently the thicknesses we use for transferring images (3 being thinner and 5 thicker). also i think maybe confusing me with chon san, I'm the other carver , Taran 😅
Very weird seeing a right-hander carving, after seeing Dave-san carving lefty for years. But it's great hearing your thought processes, and seeing the mistakes and the recovery, with the tuition from your sensei. Thanks for sharing your journey of development as a carver, much appreciated!
Your first uploads to your channel, (was it 3 upload?) which showed in lovely detail; your journey from Britain. How the UK, not quite unlike they do here in the USA, during our middle school years, (grade 6-8) in 8th grade we go for a couple days to a special class which adresses the careers out there, how much they make yearly and what they do. We're expected to pick one during the last day and they look at out grade point average, and then we got a report back to see how likely they believe our desired career chosen alines with the grades. In the end our report tells us if we're on the right path, and a percentage of likely hood out path (grade wise) matches, then they include what careers our grades show at that moment the careers are heading towards.
Anyway, like you said, the path the UK said that you can do didn't match your ever changing desires. That resinated with me. Also, I'd always loved Japan 🇯🇵, it's beauty and ideals, especially culture in painting and craftsmanship.
I'd seen block painting works, who hadn't by now, but never had a clue into their making. Essentially, I watched your uploads and was so enamored by the documentary like way you presented the videos. Your skill, during that apprenticeship, (are you still an apprentice to your master?)
I was going to say, I was so excited that I youtubed more and found Dave's site. Fell in love with his story and then one day saw you working for him. I was so shocked, like wtf AWESOME!
SO THANK YOU SO MUCH FOR PLAYING OUT YOUR JOURNEY ON RUclips, or simply with the world. And also introducing your colorist, she is absolutely AMAZING
Can't even imagine the amount of work it takes to produce and edit these videos. Great job !!!
Thank you, yeah the next one will be shorter hopefully haha
Fantastic video and beautiful work.
Really appreciate it @dpmakestuff. Some gripes but it’s a process this RUclips thing haha
Your content and work is amazing. Thanks for sharing
Thank you chompers!
Very weird seeing a right-hander carving, after seeing Dave-san carving lefty for years. But it's great hearing your thought processes, and seeing the mistakes and the recovery, with the tuition from your sensei. Thanks for sharing your journey of development as a carver, much appreciated!
Thank you I’m glad to be putting more information on mokuhanga out there, share the things I’ve learnt during my apprenticeship with interested people
very lovely video, thank you for sharing
Looking forward to watching this one! Thanks!
Absolutely beautiful work. 😀💖
Hi Taran-san
Loved seeing how you and Dave's method and tools are different, but both can achieve beautiful woodblock prints doing what works best for yourselves! That is going to be a lot work and gorgeous print! 💙
The ideas are the same just slightly different approaches on some things. Thanks for your interest
Congrats on 1K subs!
Thank you! I hadn’t noticed I crossed over. Now to 10x that number hahaha
Beautiful!
So insightful to see you carve these blocks, thanks for sharing this series with the world. Greetings from a fellow aspiring woodcut enthousiast
My pleasure! Good luck with your carving !
Thank You Ginko Hanga...I greatly appreciate your determination, craftsmanship, careful consideration to precisely render your wood block as perfectly as possible. Again, 2 big thumbs up watching your skillful practice, THANK YOU !!! This has been a very enjoyable/learning process watching you work and explain how your efforts produce their results. Very Well Done!!!
I have spent my working life (50+ years) working as a hands-on manual/tooling machinist. My work is not so different to what I see you achieving in your work. I to have a side interest in woodcarving and watching you make your cuts impresses me. I have also slowly watched my machinist trade over the years go from hands on, sketch on paper to enterally hands off. CNC, AI, CAD have taken away the positive thought process, mental & emotional determination of hands-on skill. Watching you work I am thinking how a CNC with its precise high speed micro solid carbide cutters could produce what you are doing in days/weeks? of careful determination to just minutes. The precision of a CNC could produce all of your blocks in one day and each block would be perfect. Far more perfect than the human eye could detect. PLEASE do not misunderstand me. This is not what I would like or want to see in your work, but this is what has happened to me in my work. Modern machinery is eliminating hands on craftsmanship, and it almost brings me to tears when I see the manual tools unused and scrapped. In my retired home shop, I worship and practice hands on work BUT I know that whatever I make at home manually could be so easily taken away from me in the serious economic business world.
I understand that what you are doing is continuing a beautiful trade in its original way. You are protecting the skill and I applaud all you do! I am also looking at the looming horizon of AI technology holding my breath with a tear in my eye!!! ...... TM
I’ve been meaning to reply to you for a while sorry it took so long! I really appreciate you words and I think about what you are talking about a lot. As of right now there is something that machines can’t capture but I can see that they will at some point. There is something to be said about the consumer climate aswell tho. People like yourself appreciate that things are were made by hand, especially true within the arts.
I think there will always be a place for high level craftspeople, which simply means I need to get really freaking good! And get good at sharing the process and the love of making these things. There have been many waves like this in mokuhanga alone, and it has survived this far. Just imagine how all the craftspeople felt with the introduction of the printing press. Disastrous!
This is all to say that I’m going to push on regardless of the fear that AI and technology are coming to take all of our jobs, and find a way to keep this relevant and alive. Because it’s all I want to do and I think that there are enough people who buy these things not only for the images but because you can see the hands of all the different people who bring them to life. And I think that’s a pretty special feeling that a machine can’t approach, to stories told by hands. As for machining I watched a 30 something min video recently of Adam savage marching some small component in a project. Those skills still have a place, just needs a little aim readjustment. Happy milling friend and Thanks again!
Wooot!
Thank you for the experience you shared. Inspirational for my wood block work.
Great work Taran! Looking forward to see this print in real life! *opens wallet*
You and me both! I’m really happy that people are on board with this print, it was a killer to bring to life haha
Thank you for talking through your analysis and process! Color separations for woodblock are tough, and a complex print like this is particularly challenging. I really enjoyed hearing you work through this. It's a beautiful print, and and a beautiful job of it. Magic indeed.
Thank you vividkp, a little long and overly detailed for the average viewer maybe but I know you understand the struggle with colours
Wonderful work. Such dedication!
Thank you very much!
Lovely work!
Really appreciate you taking the time to share in such depth - I learn so much from watching you. I’d love to see how exactly you hold the clearing knives - especially the Aisuki’s after you described how you have cut them down as they way you hold them allows for much more control than I have… Do you cut down the Hangi-to as well? I have seen two schools of thought and so far haven’t been able to bring myself to cut down any of my knives yet…
Great deep dive! It's great to see all the work that goes into planning the blocks as you go.
Glad you enjoyed it, usually these things are a little more straightforward but Shin-hanga is very demanding haha
Many thx. for the upload ...nice to see your process/methods and results ... cheers,
Thank you, I’m glad you enjoyed it!
Color separation is really hard!! Loved to see the process explained.
Great planties collection, btw 👌
Watching you work is such a treat - and following your thought process/techniques is a goldmine. Thank you so much for sharing
Another amazing and inspiring video of your and your wonderful printer's talents. Light bulb moment for me, you are working with David Bull (I didn't realise until this video). I have always admired his dedication to the revival and continuation of the wonderful world of mokuhanga. You are doing a great job of continuing that dedication in following your far from negligible talents. Thank you.
Thank you again Simon I’m glad you’re enjoying the videos. Part three has a wrap up interview with Dave about the project which I’m assuming you will enjoy😊
wonderful video! and very excited about the final print! Keep on this amazing work :)
Extraordinary work! Thank you so much for sharing.
Thank you, It’s been fun !
A masterful and wonderful video. Keep up the great work! The version of this print Dave showed me in Mokuhankan in June looked incredible!!
Thank you! The test prints were looking nice but I’m very excited to see it in its final form. I guess we wait and see now !
This is excellent, I really like the style you have presented your learning process can see and get a good sense of allot of time and effort condensed showing a meditative search for a humble perfection.
I really got allot out of watching, learning and feel I understand much more about the art than I would expect from a RUclips video.
You are a great teacher
Thank you
Can you give me details of the drawing tool that allows you to mark parallel lines using a pen? Also, I notice you have a lot of blade showing in your hangi-to, what width of blade do you prefer, and do you have a favourite maker for your hangi-to? Two super videos so thank you for the hours of editing as well as all your carving.
The tool was just a new ruler I saw online and was testing but is not the traditional tool for that job. Traditionally a very small compass like a little claw with 2 spikes. I have been struggling to find one think I need to get one special made in the future.
Each carver has their own preference with the amount of blade showing. I think I fall somewhere in the middle of that range. I’ve seen carvers much further each way. The ballades are 4mm standard (ill check when I’m at home and edit if I’m wrong haha).
Thank you for watching im glad you enjoyed them.
Excelente congratulations
Thank you! Cheers!
Beautiful work. The one puzzle for me is why not paste down registration marks on the transfer sheet, as Yoshida certainly did?
While that was certainly common practice, it was mainly due to the paper they used for the transfers. Gampi In the olden days was only really only got in the very thin sheets so doing it the way I did in the video, placing it in pre cut registration was impossible. Nowadays most carvers use awazeshi gampi which is gampi on a thick backing for transfers. Because it’s more sturdy it can be placed in registration and is a lot easier and less delicate to place. So this is common practice nowadays. I have done it both ways, and I can attest that the way I did it in the video for me at least is a much safer way to paste colour transfers. But that being said if both are done correctly no one way is superior. Give it a go both ways and I think you would probably preferred the pre carved registration method.
Thank you for elaborating - I too prefer to put my Kento’s first the use those to align the transfer sheets, whether I trace or paste down.
@@GinkoHanga In ye olden days of shinhanga they used an early form of offset printing to reproduce hanshita-e. Original hanshita and some of the offsets survive today in private collections. Early Goyo, Hasui, Yoshida pasted down offset prints with registration marks. My method is based on this: I print on a nonstretch tissue paper, apparently intended for lanterns, backed to thicker card. It's glued down with mucilage. 99% of the snowflakes on oban-sized prints line up with this method.
Here you talk about the thin and thick gampi (ruclips.net/video/VzWsXKip4EQ/видео.html). Could you tell what are the lb or GSM (or the measure used over there) on these papers, thin and thick you use? Thanks for your videos, son-san 😁✌
im not sure what the weight is on the ganpi in standard. traditional Japanese paper thickness is counted on a monme scale. not sure the derivation i believe its just a counter. Japanese has unique counting names for all sorts of shapes and objects, and i think its similar to these, i.e. 1-pon, 2-hon [for cylindrical abjects], 1-mae, 2-mae [for flat things like paper]). 5 monme and 5 monme are frequently the thicknesses we use for transferring images (3 being thinner and 5 thicker).
also i think maybe confusing me with chon san, I'm the other carver , Taran 😅
Very weird seeing a right-hander carving, after seeing Dave-san carving lefty for years. But it's great hearing your thought processes, and seeing the mistakes and the recovery, with the tuition from your sensei. Thanks for sharing your journey of development as a carver, much appreciated!