(1989) This was my first appearance on TV here in Japan, back in December of 1989. NHK's news editors seemed to think that after I had finished the first 8 of the 100 prints in the Hyakunin Isshu series, this was 'newsworthy' enough to include in the Evening News one day! (3 minutes ... about 3.8Mb)
The 'Woodblock Shimbun' has a full selection of TV programs on file. Videos available include some of David's news appearances, complete feature programs, and some short documentaries on his work. The files are in QuickTime format, and can be easily viewed with your browser.
Program listings are on the Index page ...
A Traditional Woodblock Printer
Surrounded by carving tools, brushes and bowls of
pigment, he spends hours absorbed in the exacting work that has
become both a passion and a ten-year project. A Canadian who moved to Tokyo in 1986, David Bull
has made an extensive effort to learn and practice woodblock
printmaking as it was mastered in Edo-era Japan. He is currently
producing a series of woodblock prints using designs by the famous
Ukiyo-e artist Katsukawa Shunsho. The theme is the 100 poets of old
Japan (Hyakunin Isshu) and in four years he has completed 40 of them.
He expects to finish the collection in 1998. (1992)
Woodblock Prints in a Different Light
"Let me ask you a silly question: Have you ever seen a woodblock print before?" ukiyo-e printmaker David Bull asked me. "Of course you have. But do you know how to look at a woodblock print?" He held a postcard-sized print under the fluorescent light in his cluttered kitchen. "Is that a woodblock print, or is it printed by a machine, or is it a photograph? (1999)
13 Another Lucky Number
David Bull is as insistent as he is stubborn. No sooner has he sat me down beside his workbench (the only warm room in the house), with younger daughter Fumi (16) creating a Web page on the computer on top of the "kotatsu," than he is demanding how much I know about "hanga" (woodblock prints). "Hanga were never made to be framed and hung on walls," he states. "Premodern Japan had no such tradition. Prints were objects, not images, to be looked at in natural light. The best way for the art of the craftsman to be appreciated is in your hands, at a window." (2002)