⚫︎Until woodblock Ukiyo-e completed

The reproduced edition woodblock print Ukiyo-e has the same distinctive vividness and texture that people in the Edo period had. We are explaining how Ukiyo-e is produced and the work that matured skilled craft workers in the modern time who are succeeding the craftsmanship from the Edo period.

The quality has been proven since we started marketing the products with no unsatisfactory returns and claims, and we have many returning customers.

“Carving” is cutting woodblock with matured techniques. This process starts with the procedure deciding how many blocks will be necessary to use after the masters observe the painter’s draft. This process starts with the procedure deciding how many blocks will be necessary to use after the masters observe the painter’s draft

Each reproduction of one reprint edition of woodblock print Ukiyo-e starts the same process: The woodcarver starts carving the wood decoding the picture that the painter worked. Then, the woodprint-rubbing master repeats painting several colors onto the Japanese paper wising the original woodblocks. One integrated teamwork from three masters, such as painters, woodcarvers, and woodprint rubbing masters and a publisher as a producer, created an Ukiyo-e. 

Publisher (Chief producer) painter woodcarver woodprint-rubbing master


  1. Work of the Hori-shi (woodcarver)

“Carving” woodblock with matured techniques. This process starts with the procedure deciding how many blocks will be necessary to use after the woodblock carving masters observe the painter’s draft. “Omohan” is a black and white outline drawing on the woodblock. “Irohan” is representing expressive colors. More than eight woodblocks are used for finishing one product. The print blocks are made of firm old mountain cherry. They are carved with various tools, such as small carving knives and chisels dexterously. “Kewari”, carving the fine lines even the each hair, is a true miracle technique. Please enjoy the matured carving technique that it required at least 10 years to practice and acquire this skill.

*To see the process decoding the original drawing to the carving wood, please see this page.

2. Dexterous work by small carving knives

Incising the both side of the black ink line on the caring wood requires a dexterous technique. The tip of the knife is finer than a sheet of paper: it is said that it takes several years only to mastering how to sharpen the knife prior to acquiring the carving skills.

3. Boldly movement of the chisels

Chisels are used to “Sarai (Clean)” the unwanted parts in one stroke. Masters observes the width of the unwanted part and decide which tool works best.

4. Playing an important role as a carvers finger tip

5. Carving "Omohan"

The carver starts carving “Omohan”, black inked woodblock

6. "Irohan"

Carving “Irohan” following coloring by the painter’s (colors are assigned by the painter)


  1. Work of Suri-shi (woodprint-rubbing master)

“Rubbing” is a coloring process adding lives to the woodblocks that woodcarvers finished their miracle works. The reprinted set uses natural pigment the same as the Edo period and Echizen washi, a special Japanese paper that Japanese human treasure produced.

First, masters rub the major black lines and then repeat painting several colors onto the blocks by one with swerveless control. “Bokashi (Airbrushing)” is a technique using dexterous pressure change for rubbing adjusting the amount of pigments and water. “Karazuri (Mock rubbing)” is a unique technique pressing strongly to create the texture without using any pigments. The vivid woodprint will be completed using various techniques. The unique texture that the modern printing technique does not have is a distinctive fullness of traditional woodblock printing

2. Hake, brush, plays a role of woodprint-rubbing master’s hand

A hake, bush, is used when put colors onto the woodblock and finish up. There are several sizes. Depending on the size and part of the area to paint, master chooses the suitable one. “Airbrushing”, completing the work with very finely touch, both master’s technique and adjusting the pressure of the brush are important.

3. Tokibou, stirrer, set the colors even

Carry the paint on to the carved woodblock

4. Baren, rubbing pad, finishing up the print used by wood-print rubbing masters conveying the painters and carvers feelings

Baren”, rubbing pad helps absorbing the colors on the woodblock to Japanese paper finely. Baren is made of “Ategawa”, disk shaped tens layers of Japanese paper, a helix braided thinly bamboo strings, and a bamboo sheath.

5. Washi, Japanese paper handcrafted by Japanese Human Treasure

The paper that reflects woodcarvers and paper rubbing masters’ technique, we are using Echizen Special Japanese paper, Master Iwano Ichibei, a Japanese human treasure, makes by one. The Japanese paper made of 100% of kozo does not have any mixture, and it has flexibility that enables to strive to the harsh procedures to pressing and printing many times. The paper infuses the pigments’ color, has unique softness and warm texture. 

6. Rubbing procedure

First, rub along with outer line on Omohan.Start rubbing smaller areas first and pale colors next.

  • Rubbing outer lines area

  • Rub the pale beige of the boat

  • The boat is appearing

  • Rub the gray of the boat

  • Having a 3-D appearance on the boat

  • Rub the bright indigo of the waves

  • The waves gains impact

  • Rub navy

  • Impact increasing

  • Rub deeper indigo to create the wave movement

  • The waves gain heaves

  • Rub pale crimson in sky

  • The entire screen gains depth

  • Rub and airbrush the gray

  • Mt. Fuji gains depth

  • Rub deep gray

  • Mt. Fuji gains depth

You will be able to purchase “The Great Wave off Kanagawa” in “Thirty-Six Views of Mt. Fuji” from the following.