Written on February 13, 1990 [Permalink]

February 9

Spoke to Ann Hughes in Kobe (her letter came in yesterday), and she asked for a sample set. Richard Sams called and confirmed that he will be coming over next Sunday.

At last! Started the carving on Koko Tenno [2-1]. Didn't get a lot done, but at least the second year is now on the way. Quite difficult to get a good edge on the knives this morning. This seems to be one of the first skills that starts to go, when I 'take a break' from carving.

February 10

In the morning, gathered up the last odd scraps of paper for a small run of Semi Maru [1-4]. I have no acceptable copies left, and will obviously need some very soon. There's only enough paper for 20 copies. Worked a bit on the carving in the afternoon, and then printed the sumi in the evening.

Looking at my little list of responses from Jean's column now shows 11 contacts, 6 of whom have ordered last year's sets, and 5 of whom have subscribed to the coming year's work. Four have yet to reply after seeing the samples. Nice going!

February 11

Richard Sams came over today (a mere two and a half hours later than we had arranged). He asked a million questions about the print business, it seems with the idea of buying here and selling back in England. He is looking for stuff to buy, and I gave him a list of names and addresses of places where I thought he might be able to pick up stuff. He didn't discuss taking my work, and I didn't bring it up either. I don't really think it's suitable for what he has in mind. What is more iteresting to me is his mention of the friend in England who is 'keeping an eye out' for a copy of the Shunsho book. Whether this will actually happen or not, remains to be seen.

Printed the colours on the Semi Maru. Late in the afternoon, package arrived from Yamaguchi-san - 112 sheets, just in time!

February 12

A bookkeeping day, packing 32 prints, replenishing my stock of labels and stock letters, and preparing a 'thank you' package for Jean Pearce, etc. In the afternoon, still another letter came in response to Jean's column (why would they wait nearly two weeks?). I got no answer when I called.

Prepared a deck of 52 sheets for a run of Oeno Chisato [1-6], and printed the sumi in the evening.

Seki-san called, and asked if I could hurry up and get him the '10 of each' that he needs for the Mitsukoshi show. I arranged to take them over on Wednesday morning, before English class.

When I mailed out the Dainagon Kinto [1-10] copies the other day, I enclosed a little note asking if they wanted to continue for another year. The first reply came in today, from Mr. Ishikawa, who added that he intended to continue to 100. He has been consistently encouraging and supportive, and I hope that sometime we'll have some spare time to go over and see him (he invites us every time that he calls).

February 13

Printed the colours on the Chisato copies, and ended up spoiling four of them (wlll I ever have a 100% run?). This printing is now really getting to be fun. There's no frustration or tension left, and it's simply pleasant work. I play music (got to get some more CD's!), relax, and generally enjoy myself. This is not to say there are no problems, and I'm still far from being even competent at making consistently smooth impressions, of just the right colour, but I'm getting closer all the time.

In the evening, wrapped up the stuff for the Mitsukoshi show (10 each, plus one set), ready to take to Seki-san in the morning.

At about 8:30 in the evening, a call came in from a Mr. Kubo, who is a freelance journalist. He says that he has arranged for a three page colour spread in 'Weekly Jiji', a nationally distributed magazine, and wants to come over as soon as possible to do the story. We arranged to do the interview on Thursday afternoon, between morning and evening English classes. This sounds good! He read about me in 'Foto' magazine last year.