[The Ultimate Ukiyo-e Guide] A Uniquely Japanese Art Form Admired by Van Gogh—Step Into the World of Ukiyo-e

The hanmoto was responsible for planning, producing, and selling ukiyo-e prints. In the 2025 NHK Taiga drama “Berabou,” the main character is a hanmoto. The series depicts the life of Tsutaya Jūzaburō, also known as “Tsutajū,” who released hit after hit during the Edo period.

A hanmoto was essentially a publisher in today’s terms. Even now, the term hanmoto is sometimes used to refer to a publishing house, and Edo-period hanmoto played a similar role. They also acted like producers.
After deciding on a project, the hanmoto oversaw everything: selecting the artist, carver, and printer; meetings and coordination; production; raising and managing the necessary funds; and sales. The more successful a hanmoto was, the more likely they were to attract top artists, carvers, and printers. Some even kept artists, carvers, and printers on retainer. To bring popular, sellable ukiyo-e to the market, a hanmoto needed a keen sense for the era and demand, as well as the financial power to nurture new talent.

The person who decided the composition and drew the image was the artist. It’s said there were over 300 ukiyo-e artists, but only around 20 remain widely famous today.
Suzuki Harunobu, the originator of multicolor printing and a master of bijin-ga (pictures of beautiful women); Torii Kiyonaga; Kitagawa Utamaro, a bijin-ga expert discovered by Tsutaya Jūzaburō; Tōshūsai Sharaku, known for yakusha-e (actor prints) depicting kabuki actors; Katsushika Hokusai, who produced more than 30,000 works before his death at age 89 and is internationally known for Thirty-six Views of Mount Fuji; and Utagawa Hiroshige, who portrayed everyday life and the changing seasons, are considered the “Six Great Artists.”

The carver pasted the artist’s finished drawing (hanshita-e) onto the woodblock and carved it using chisels and other tools. After carving the key block for black ink printing, the artist specified the colors. Following those instructions, the carver then carved the color blocks.

The printer received the key block and color blocks carved by the carver, then printed them in order onto paper to complete the ukiyo-e print.
Once a proof print was made, the artist checked it. If adjustments were needed, it was also the printer’s job to make corrections.

The publisher comes up with a marketable idea and commissions the artist to create the artwork. Once the details are agreed on, production begins.

Based on the publisher’s plan, the artist draws a draft in black ink only. They sketch while refining the overall composition, and the draft must reflect the publisher’s intentions. Once the draft is complete, it’s transferred onto another thin sheet of paper, ink lines are added, and areas meant to be solid black are filled in with ink.

First, the carver creates the block for ink printing. Yamazakura (Japanese cherry wood) is used for the block. Since the block is printed from many times, it needs to be hard enough not to wear down—but not so hard that it becomes impossible to carve. Yamazakura is said to have the ideal balance. The draft is pasted face-down onto the block, then carved using knives and chisels. The resulting ink print is shown to the artist, who specifies the colors.
Next, the carver creates separate color blocks based on the artist’s color instructions. Because the print is made by layering multiple colors, misalignment would ruin the image. To help the printer align the paper accurately, registration marks called kentō are also carved.

First, the key block (the main block) is printed in black. Then the color blocks are layered from lighter colors to darker ones.
For the first printing of a new work, the artist is also present. The artist checks the result and instructs the carver on carving corrections and the printer on color adjustments until the print is finished. Incidentally, a first printing run of a new work is said to be 200 copies.

Once completed, the publisher sells the prints. If a work sold well, additional print runs were sometimes made.

The first block is called the key block, used to print the black outlines of the image. Using a brush, spread black pigment (sumi ink) mainly over the raised areas of the block.

If you miss any spots, those areas will print faintly or not at all, so make sure to spread the pigment thoroughly. After that, add just a small amount of paste to the center.

Next, use a dense-bristled brush to blend the paste in.
A quick pass is enough. Spreading the paste helps the pigment adhere better.

Next comes the printing step—an especially nerve-wracking moment. On the block, you’ll find carved notches at the lower-left corner and along the left edge. These are called kentō registration marks.

If the washi shifts when you layer multiple colors, the ukiyo-e won’t come out properly. That’s why you use the kentō marks as guides to align the paper. We also learned that kentō is the origin of Japanese expressions like kentōhazure and kentōchigai (meaning “off the mark” or “incorrect”). To print ukiyo-e successfully, the key is to avoid being “off the mark” by carefully aligning the washi to the kentō.

Washi has a smoother side and a rougher side, so print with the smoother side facing down. Place the paper only on the two kentō marks at the lower-left corner and left edge—don’t lower the paper fully yet. Press firmly on the kentō points with your thumb and index finger. Carefully, so it doesn’t shift! Once it’s secure, lower the paper. At this point, do not press down on the paper with your hand. Hold the baren firmly with your index through little finger, bend slightly at the knees, and rub the baren across the paper as if pressing down. The slight squat helps you put your body weight into the baren. You need that much pressure while rubbing.

Rub repeatedly in a circular motion. This takes quite a bit of strength. If you don’t rub firmly enough, the print won’t transfer well and you’ll get faded areas. To avoid that, rub strongly and repeatedly. After rubbing for a while, don’t peel the paper off all at once—lift it slightly to check whether it printed properly. At this moment too, don’t release your thumb and index finger holding the paper at the kentō! If it looks good, you can remove the paper. If any parts are faint, rub that area again with the baren. That completes the key block step.

How did it turn out? It looks like it printed pretty cleanly. Even at this stage, it feels like a big accomplishment—but the image won’t be finished until you repeat this three more times. And from here on, you also have to make sure the pattern doesn’t misalign. With a bit of nervousness, we moved on to the next step.

Next, you print the orange color. Orange is used for the sign and parts of the kimono pattern and obi. The steps are the same as for the key block: spread the orange pigment over the block.

Then drop a small amount of paste near the center of the image and quickly spread it with a brush. Align the paper to the kentō marks and press firmly with your thumb and index finger. After gently setting the paper down, bend slightly again and rub while applying pressure with the baren as if using your body weight. So—how did it go?

...The kimono pattern shifted a little. Looks like we were “off the mark.”
Still, the sign that says “Hōzenji Yokocho” came out pretty well.

Next, you print the red layer. Let’s keep going with the same method. Red is used for the lanterns, parts of the kimono pattern, and the obi. Spread the pigment, add paste, and blend it with the brush. The moment you place the paper using the kentō marks might be the most nerve-wracking of all. This time, were we able to stay “on the mark”?

Hmm...
The kimono is still slightly misaligned. But the overall feel is coming together, so let’s call it a win.

Now it’s finally time for the last color: green.
The roof tiles and stone pavement are expressed in green. The steps are the same, but since it’s the final layer, we put in extra effort.

Oh! Setting aside whether the fine details turned out perfectly, it has a nice atmosphere. It feels charming and full of character. Not bad, I think. And with that—it’s complete!!

What I realized after trying it myself is that aligning the pattern is incredibly difficult. The ukiyo-e on display doesn’t look like it was printed over and over in multiple colors using several blocks—it almost looks like it was drawn and painted by hand. The displayed prints have no smudging or misalignment at all. It really made me understand just how advanced the craftsmanship was. Experiencing it firsthand helped me appreciate that precision, so if you visit the Kamigata Ukiyo-e Museum, I highly recommend trying the experience as well.
On the day I visited, travelers from Germany were also there. They watched me printing and said they really wanted to try it too—so they joined on the spot. That day happened to have an opening, but this experience is actually very popular and reservations fill up quickly since they’re taken on a first-come, first-served basis. If you want to try it, be sure to reserve before you visit.
Reservations can be made up to three days before your preferred date, via the website.

In the Beginner Course, you can try three-color printing. The design features kumadori makeup from “Kagekiyo” and “Benkei,” two of kabuki’s famous signature roles.
Kumadori refers to kabuki makeup, and the finer the lines and the stronger the eyes appear, the more it conveys a superhero-like character. Try finishing it boldly to bring out that powerful gaze.

The Advanced Course challenges you with more advanced techniques. It uses four colors and expresses the stone pavement of Hōzenji Temple with a gradient.
You’ll also do a second printing on the kabuki beckoning cat, the symbolic figure on the museum’s exterior. By using advanced techniques like gradients and double printing, you can create a more three-dimensional final piece.