Introduction

Welcome to the 'Surimono Albums' series of woodblock prints, or 'welcome back' to those who collected one of the previous albums ...

Response from collectors of the last couple of albums has been very gratifying, and it seems that my sometimes off-beat choice of artists/subjects for prints to make for these albums is mostly meeting with approval. I have another interesting set of ten planned for this album, and I hope you enjoy seeing them one-by-one as they arrive ... This album will follow the example set by the previous two, and will contain a mix of designs balanced by artist, type and season. Let me repeat the following notes I printed in the previous albums about caring for and enjoying your new prints - they are too important to overlook!

Viewing your prints

Although these prints look just fine when viewed by normal light, it is possible to greatly increase the visual effect by viewing them under horizontal illumination. Place the album flat on a low table, positioned just in front of a north-facing window, or perhaps a closed shoji screen. Turn off all overhead room lights, and view the prints by only this soft light. When looked at this way, a woodblock print becomes a three-dimensional object, and the embossments in the paper that were created by the pressure of my baren are readily visible. They are much more beautiful when seen in the proper light - please try it!

Caring for your prints

Generally it is advisable to try and touch the print surface as little as possible, as natural oils in your hands will lead to stains and soiling if the prints are repeatedly handled. Of course, some handling is unavoidable, but minimizing it will keep your prints looking beautiful for a great many years. Your prints are in a folder made from acid-free paper, and they should be quite safe stored inside this. At least once a year though - autumn or winter is best - please ensure that each folder is opened to the air for a time, to ensure that no dampness is building up.

Thank you again for your interest in my work. I think you will find collecting these prints to be a rewarding experience.

Credits

• All the prints in this year's album were printed on 'Echizen Hosho Washi' from Mr. Ichibei Iwano of Otaki Village in Fukui Prefecture, Japan.
• My little 'essays' were elegantly translated into Japanese by Ms. Sadako Ishizaki.
• The folders holding the prints were handmade one-by-one by my neighbour Mrs. Hitomi Ichikawa.
• Album covers and slipcases handmade by Mr. & Mrs. Masataka Toda, of the Kogado Company.
• Cover calligraphy by Mrs. Hiroko Kubota.
• The calligraphy on print #8 is by Mrs. Yuko Tauchi.
• The prints in this album were reproduced from originals in my own collection, except as noted here:
  • #1, 8, 9: From a reference book illustration ...
  • #3: From the collection of Mr. Thomas Crossland, USA
  • #7: From the collection of Mr. Julio Rodriguez, USA