Yuko Harada, Sixth-generation master printer of Takezasa-do
Interviewed by Aki Miyashita
Photographs by Mariko Taya, Takezasa-do
Takezasa-do, a woodblock printing studio-cum-store, established as Takenaka Mokuhan in the Meiji period, occupies a machiya, a traditional wooden townhouse, located in a narrow alleyway of Kyoto. Takezasa-doʼs products include traditional handcrafted woodblock prints called mokuhanga, custom wrapping papers for well-established stores, cute stationery and knick-knacks, as well as works of art. The colors and textures of these products have a warmth to them, owing to the hand-printing techniques.
Traditional woodblock printing in Japan, known as ukiyo-e, is an art form where labor is divided among the eshi (painter), the horishi (carver), and the surishi (printer). The eshi creates the original drawing for the print, the horishi carves out the drawing on blocks of wood, and the surishi prints the carved woodblock on paper. As each of these steps requires specialized techniques, the respective artisans work collaboratively to produce a work of art.
Yuko Harada is the sixth-generation master printer of Takenaka Mokuhan. Originally from Kagoshima prefecture, Yuko majored in fine arts at a university of education in Kyoto. At one point in her adult life, she recalled how she had once tried her hand at printmaking in elementary school, using a baren (disc-shaped rubbing pad), and she had a sudden urge to try it again. This is how it all began.
Yuko recalls, “I remember it being quite fun, and it was just a casual decision to take up printmaking as part of my practical training at university. When I went to an art supply store, I didnʼt know what tools and materials to buy. I looked up printmakers in a phone book I found in the store and spotted ʻTakenaka Mokuhan.ʼ When I called them, the person on the other end of the phone said, ʻwell, why donʼt you just come over and try it once?ʼ That was the man who later became my master, the fifth-generation master printer of Takenaka Mokuhan, Kenji Takenaka.”
That was how Yuko started participating in the woodblock printing classes held at Takezasa-do. At the time, it was merely a pastime, an extension of her interest in drawing and painting.
“When the time came for me to start job hunting, everyone else around me sought teaching positions, but I wasnʼt quite sure what kind of career I wanted to pursue. That was when my master asked me, ʻdo you want to work at our place?ʼ I wasnʼt a craft major so I didnʼt even think that that could be a possibility, but instantly I thought, Iʼll go for it!”
Shortly after Yuko joined Takezasa-do, her master casually handed her an assignment. “Doing is more important than practicing. You just have to get used to it,” was his piece of advice.
“The first assignment I got was to print a wrapping paper order for a well-established company. Needless to say, every printed sheet had to turn out the same. I printed 1,200 sheets and half of them were unusable. When my printing techniques were not good enough or every time I hit a wall, my master would offer a helping hand. Learning from my mistakes over the years has really kept me going. You just have to let your body acquire the skills. Repeat the process over and over, and suddenly you get it. Even now, when I try a technique Iʼve never tried before, thatʼs how I make it my own. When I use different types of paper, the whole feel changes. Some types of paper absorb the color easily, while others allow the paint to saturate or blur…each attempt is a challenge. If a customer brings in a particular kind of paper they want us to use, I canʼt mess up too many times. There are deadlines too, of course, and so with every order, I feel tense, but motivated,” Yuko explains.
While the work is intense, Yuko has managed to gain experience and hone her skills, which has resulted in a wide range of work. As a woodblock printer, she now creates many works with original designs. The cover design and illustrations of the popular Kyoto Techo (published by Mitsumura Suiko Shoin), a cultural agenda and schedule book that carries information on Kyoto, is one of her signature works to date. The book has been published annually for over a decade, and related merchandise like book covers and money envelopes has also been produced.
“Itʼs a joy making woodblock prints, which is a different kind of joy from drawing pictures. I have to figure out how to print the lines that have been carved on the wood. Certain impressions emerge by serendipity. When the carving and the printing go well, you get an image that is far better than the original drawing. Thatʼs the most fascinating aspect of this art.”
Prints are versatile in the sense that they can be used as items for decor, but also for utility, depending on how they are designed. This is what drives Yuko to pursue further techniques without losing interest. Recognized for her talent, Yuko was appointed the sixth-generation master printer by her master at the age of 26.
“I think the fact that my master was such an interesting person gave me the determination to pursue this path. He is the kind of person who never ceases to explore the craft, studies the history, and seeks new challenges. Itʼs reassuring to have a master leading the way, who continues to learn the craft tirelessly. When I succeeded his name, he told me that what I have inherited doesnʼt need to be passed on by blood ties only. Those words have meant a lot to me. Of course, I feel the pressure of being a master printer, but I want to further my skills as an individual responsible for passing on the tradition to the next generation,” she explains.
Yuko is the mother of four children. Taking maternity leaves in between, she has managed to continue her work as a printer, including her uninterrupted work for the annual Kyoto Techo. She says, “when I was younger, I worked around the clock, but now there are times when I have to stop and set aside time for my family. That has worked for the better. In the past, Iʼve gotten sick from working too hard, but now Iʼm able to manage with a good work-life balance.”
Something new she would like to try is katazome, which is a traditional Japanese textile-dyeing process that utilizes stencils to print patterns onto kimono and obi sashes. She says, “I think there are commonalities between woodblock printing and katazome. I might find techniques that I can apply to woodblock printing.”
Yuko lets curiosity guide her way. Thatʼs been her way of creating since she was a student. Now, with her wealth of experience, there are certain things she can acquire from new challenges. The years she has trod as a printer and an artist are sure to enrich her life further.
Yuko Harada
Sixth-generation master printer of Takenaka Mokuhan. Yuko trained under the fifth-generation master printer, Kenji Takenaka, and fourth-generation master printer, Seihachi Takenaka. She has also established herself as an individual printer and a product designer, creating a wide variety of work. Takezada-do has a store adjacent to its printing studio where stationery, general goods and artworks can be purchased.
Takezasa-do 737 Shinkamanzacho, Shimogyo-ku, Kyoto city
Tel: +81-75-353-8585
Website: takezasa.co.jp