Star. This place is a yoga studio and an atelier of artwork. The owner of this studio is Yogini and an artist. 星。 この場所はヨガスタジオでもあり、アートワークアトリエにもなります。 このスタジオのオーナーはヨギーニであり、アーティスト。
I have a lot of things I want to write, but take a break first, not in chronological order. 書きたいことは溜まっていますが、 時系列ではなく、先に休憩を。
A dictionary recommended by her. The typefaces of various old books have been collected. 彼女の推薦辞書。 様々な古い書物の書体が採取されています。
Take a look at her portfolio. Graphic design that looks at the mind and body adjusted by yoga. I was sleepy at the end of yoga. And during the last resting pose, I experienced a mysterious sleep. According to the teacher, it is proof that I was completely weakened. I felt like I was sleeping and awake. It was a sleep with clear thoughts. It was a feeling I had never experienced before, so I wanted to record it.
The photos this time were taken with an iPhone. I had a single-lens reflex camera, but I didn’t put it out. 今回の写真はiPhoneで撮影。 一眼カメラを持っていたのに出すこともなく。
Facebook informed me that I met her four years ago. It was just this season. In addition, I visited this atelier at this time of 2019. I feel like I’ve been connected to the present since three years ago.
This is 3 years ago. There are many driftwoods and dried plants in her atelier. At that time, it was difficult to relax. これは3年前。 彼女のアトリエには流木やドライになった植物がたくさんあるのです。 あの頃は、力を抜くのが難しかったなぁ。Whenever I go to her, I go to this restaurant with her. I am satisfied with the delicious meal that uses plenty of fresh ingredients. 彼女を訪ねると、いつも一緒にこのレストランへ。 新鮮な食材がふんだんに使われた美味しい食事、毎回満たされます。
I want to be a bookbinder in town. I am thinking of receiving an order to manufacture a book that is not suitable for mass production. I would like to receive an order for repairing books that are not cultural properties. I want to sell notebooks and make custom-made books. I’m very happy if you think that a town with a bookbinder is nice. I’ve been rushing until now, but it was an event that made me feel that I needed to get a little tidy toward my goal. Because there is no limit to bookbinding. What the world needs is not perfect binding. It is important to have good binding that is affordable and easy to use on a daily basis. Do not you think so?
What is a book ? Spell the letter. Binding paper. It will be in the form of a book. The book we are looking for. What kind of book is it ?
The text in the frontispiece of “Tsuduru”‘s first issue. Fontworks‘s Kafu pen-style font is used. The word “tsuduru” has both meanings of writing sentences in a row and sewing paper for binding. It’s a word for making books. That is the origin of my shop name and the name of my publication. The design and DTP is creative works Grouper ( Yoko Futagami ) .
I wonder. Why do people want visual elements? Long before the word Mingei was born, we have been patterning earthenware. Not only the building, clothes and tableware, but also the serving of food is enjoyed by the eyes. What we are looking for is not only beauty, but also various kinds of pleasures such as coolness, cuteness, relaxation, and stimulation. In other words, we need more than just usability.
In my last blog, I mainly talked about concept setting and didn’t talk much about design. This time I would like to talk about the visual issue, design.
“Tsuduru” is a booklet that I edit and publish. I started making it for the purpose of popularizing a project that triggered the bookbinding. But when it comes to creating, “what is a book?” I was faced with the question. I can’t make it without answering this question. So I decided to put that question into shape. Since then, I have been publishing with the attitude of making books that I really want to make.
The first three book designs from Yoko Futagami. An image of calligraphy in the pink colored part. フタガミヨーコ氏からの最初の表紙デザイン3案。 ピンクに色付けされた部分にカリグラフィーが入るイメージ。
The cover of Volume 1 of “Tsuduru” expresses the etymology of the Chinese character 綴. The basic meaning is to connect disjointed things together. That is design A. It is the Chinese character of the radical that represents the thread. So, it has a special meaning of connecting with a thread. Plan B is a design that expresses the meaning of connecting with threads. In addition, the sound of Tsuduru’s “Tsudu” has the same roots as the Tsuduku’s( following , continue ) “Tsudu”. Both are words that describe disjointed things stick together and do not separate. From that meaning, design C represents the everyday life that continues.
All three were designed to express the etymology. But, all three have completely different designs. When you find something that suits your heart, it’s easy to decide. I chose design A at a glance. The first edition was 2017. I thought it was great at the time, but now that 2021 is nearing the end, I can finally talk about design. And I still fall in love with this design.
There were two conditions in the design of this book. One is to use handwritten calligraphy (not printing). The second is Japanese binding. The text inside is written vertically, so it is a book design with right binding. The binding thread pattern of the bookbinding is also considered as part of the design. Matching the content, binding, and design is also an issue of “Tsudurru”.
Encounter with Yoko Futagami from this book. From planning to publishing, she made zine “Irohani”. フタガミヨーコ氏と出会うきっかけになった一冊。 企画から出版まで彼女が作ったniche na zine 『いろはに』。
I was looking for a designer to make a booklet for the purpose of popularizing a project. I found her zine in my favorite bookstore. The name of the bookstore is taramu books & cafe. It’s a good bookstore, so I recommend checking it out. The owner introduced her to me. First of all, I was attracted to the design of the cover of this zine. A title logo that is not an existing font. Block pattern of watercolors. I felt that the color and the atmosphere of the typeface were in harmony.
“Irohani” frontispiece. The content is also very good. 『いろはに』の口絵。 表紙デザインはさることながら、内容もとても良かったのです。
The content of “Irohani” consisted mainly of interviews with local radio stations and electric companies. This issue is in the winter of 2016. It was the year when the electricity retail market was completely liberalized in Japan. And the opening of radio stations in this area is also in 2016. She interviewed herself about current affairs at the time and wrote an article carefully. The project I planned was aimed at supporting the reconstruction of the Kumamoto earthquake, so I asked her to interview the project. I thought her zine was good for making the project widely known. But unfortunately, this zine was the final volume. So, it was “Tsuduru” that she and I started together.
Advertisement for Kumamoto earthquake reconstruction support project, Nishiharamura fusuma arts & crafts project. This is described in Volume 1 of “Tsuduru”. Yoko Futagami is redesigning the advertisement I was making. Easy to read and well-balanced. This kind of sensibility is the ability of people who work in design. 熊本地震復興支援プロジェクト、西原村ふすまアート＆クラフト プロジェクトの広告。 これは『綴る』vol.1に載せています。 私が作っていたものを、フタガミヨーコ氏がデザインしなおしてくれました。 それにより、読みやすく、バランスも整いました。 こういった感性が、デザインを生業にしている人の能力だと思います。
In the final issue of “Irohani,” Yoko Futagami wrote an article about what she was really interested in and designed it as she wanted. The medium of zine clearly expresses the person who created it. I fell in love with the design and content. This is probably because our philosophies and sensibilities are in agreement with each other. Therefore, the communication in the production of “Tsuduru” was very good. Next time, I would like to talk about a typesetting.
The morning of the second day of the event. イベント2日目の朝。
I haven’t blogged for a while. Because I managed the event and my bookbinding. The events name is Tsunagu marché. The event beginning was made by Craft tsunagu owner. she runs a craft store named Tunagu, she called out four of us. The first event holed last year December. At that time, we were restricted our actions. We only wanted a place to the action.
This is my booth at first event. I prepared a lot of Christmas cards of calligraphy for season. My calligraphy friend helped me. She wrote many cards for me. I just wanted show many people calligraphy. However, I couldn’t write a calligraphy card because I was busy binding. 最初のイベントの時の私のブースの様子。 季節に合わせてカリグラフィーのクリスマスカードをたくさん用意しました。 これらはカリグラフィー仲間の力によるもの。 私のためにたくさんのカードを書いてくれたのです。 手書きアルファベットを知ってもらおうと考えてはいましたが、 私は製本だけで精一杯、とてもカリグラフィーカードまで書く余裕がありませんでした。
Tsunagu means connecting what is separated. She named her shop Tsunagu. Because she wanted be connector to maker and user. And she connected us by this event. The frist Tsunagu marché had no time until hold. Anyway, let’s do it !! So we challenged. That time, I one more challenged. It’s flier design.
The first Tsunagu marché flier. The front. I used an application called Affinity Publisher. 1回目のツナグマルシェフライヤー。表。 使用したのはAffinityのPublisherというアプリケーションです。 This is the back. こちらは裏面。
Then, I will want to tell you why I had challenged flier design. Because, I started making books and had more opportunities to work with designers. I have an ambition to use calligraphy in my designs. Before that, I didn’t know if the design was good or bad… To do that, I first needed to know the design. Opportunity came around there. I got chance design Tsunagu marché flier. Designing a flier has taught me a lot. This is the record.
Tsunagu marché second flier. The front. ツナグマルシェ2回目のフライヤー。表。This is the back. その裏面。
Did I grow up by comparing the two. The first flier design helped me with the good photos taken by the members. If we use the work of the same member as the last time for this event image, we can’t use it because it seems to be the event of that maker. For that reason, the second flier design needed a photo shoot. What is needed here is image shooting. At this time, I learned that there are two types of advertising photos, image photos and product photos. (The story will be off, so I’ll talk about photos next time) Even if we ask a cameraman, we have to clarify the image of the event. No, shooting is also necessary, but styling is also necessary. I finally realized that everything was underpowered.
Cafe Nagykovácsi cookies. The black band on this wrap is the basis of the design. Nagykovácsi is a small town in Hungary. It is also a wonderful communication to ask the owner about the origin of the store name. カフェ ナギコバスキのクッキー。 包装の黒い帯がデザインの素になりました。 ナギコバスキはハンガリーの小さな町の名前です。 店名の由来を店主に聞くのも素敵なコミュニケーション。
Now, I have no choice but to do my best !! All we have to do is clarify and share the event image. Tsunagu marché is a joint management of five members. Actually, the first meeting with each other was at the time of the first event. Only Craft Tsunagu knew everyone. We had to spend a lot of time in a meeting to put together the opinions of the five people.
Jiji printing of silk screen printing shop. I went to see how the members are opening stores. The signboard is an antique clay tablet. It is painted with Kakishibu and printed on silk screen. シルクスクリーンの小さな印刷屋、jiji printing。 メンバーの出店の様子を見に行きました。 看板は骨董の粘土板だそう。 柿渋を塗り、シルクスクリーンで印刷してあります。
I would like to record how I faced the concept. The concept, which is also important in making works. The first, reconsidered the concept of the event. If the event get continue, needs reliable concept. Assuming that the event will continue as the members change, I wanted to decide on a concept that would not change easily and would apply to many people.
I also went to the riverbank looking for a place to shoot. A glass of Crafts Tsunagu. Blown glass was what inspired her to open the store. 撮影場所を探しに河原へ出かけたり。 これはクラフトつなぐのグラス。 吹きガラスがお店をひらくきっかけになった工芸品。
The reason why the members change is related to our lifestyle. There are tasks in life that should be prioritized over our own activities, such as childbirth, childcare and long-term care. Some of them may be working while working for a company. They are very important, and what you want to do is also very important.
Members gathered with the keyword of handicrafts. Bon Voyage hand dyed yarn. Ayutthaya, my favorite color yarn. She does not sell knitted products, but dyed yarn. 手仕事を鍵に声をかけられたメンバーたち。 手染め毛糸作家 Bon Voyage hand dyed yarn. アユタヤという私の好きな色の毛糸。 編んだ製品を販売しているのではなく、染めた毛糸を販売しています。
Wouldn’t it be happy if you could find something worthwhile in a life without a fixed purpose? We wanted to keep up with what we finally found and wanted to do. For example, you can’t participate this time, but you can participate in the next event, or you can enjoy yourself as a customer even if you can’t open the next store. I wish I had a place to regain my original self. Isn’t everyone looking for a place of activity ? Just as we were looking for a place of activity as Tsunagu marché beginning. Then, I decided on the concept of connecting with my true self.
It’ me. Not all handicrafts were good. I searched for something in common so that I could respect each individuality. What kind of handicraft event is it? That is the character. これは私。 手仕事であればなんでもよかったわけではありません。 それぞれの個性を尊重できるように、共通するものを探しました。 どういう手仕事のイベントなのか？という性格の部分です。
Happily, this was accepted by other members. I was blessed with wonderful members and I should be grateful Actually, I didn’t make it based on a clear concept, but I saw it while searching for a flyer design. So, I think it came from all the members, not the concept I thought of alone. I felt that the invisible things were taking shape. The idea and shape are the same. It looks like the exact opposite, but it’s really one. I think this is the biggest realization I got when I was in charge of design.
Gallery Kashizuku at the venue. The owner of this gallery is a metal artist. She is a secret member of Tsunagu marché. 会場のギャラリー・カシズク。 このギャラリーのオーナーは彫金作家なのです。 ツナグマルシェの内緒のメンバー。
It was to bring the concept of the event to design. I learned that a good designer has a great ability to grasp the concept. I thought I knew it in my head (idea), but the fact that it comes with a real feeling is something that I can experience because I have a physical body (shape).
This is Tomoko Komatsu’s kintsugi work. こちらは小松知子氏の金継ぎ作品。
I started writing in English because I wanted to tell my friend’s artists about Kintsugi. But I am struggling to tell you. The material of lacquer and Kintsugi were deeper than I had imagined. Tomoko Komatsu and her classroom “Naosu, Tsukuru.” taught me about it.
This is also Tomoko Komatsu’s kintsugi work. こちらも小松知子氏の金継ぎ。
Before talking about the Kintsugi class “Naosu, Tsukuru.”, I would like to tell you about the situation of my Kintsugi. You should get a glimpse of what Kintsugi actually does. Later in this blog, you’ll find sites where you can buy Kintsugi tools, materials, and her Kintsugi works. If you want it quickly, skip the first half.
This is the third round of Kintsugi. The third time repair is the glassware. A thing that was split in half and a crack. Handmade glass and industrial glass. Two different properties glassware. The repair process and the materials used are also different.
This is the first time. Repairing small chips. This is the photo the last stage. The left side of the three places is after polishing the finish. You can see that the way it shines is different from the other two places. Use sea bream teeth to brush. On the plate is the tool made by the teacher. Komatsu sometimes holds workshops to make tools. Tool making is very attractive to artists and craftsmen.
This is the time to finish the second round. It was a crack repair. I wanted to make the line as delicate as possible. So I worked very carefully. Repair it so that it fits in the original shape. However, it does not hide the scars. Kintsugi is designed to harmonize it.
The introduction has become longer. Today, I would like to talk about the Kintsugi class I am learning “Naosu, Tsukuru”. “Naosu, Tsukuru” is a Japanese word that means to”repair, create.”. Kintsugi is newly created by repairing it. For that reason, owner Tomoko Komatsu says that repairs come first and creation comes later. And moreover here you can learn about work using lacquer other than Kintsugi.
For example this is Raden. It’s a decoration with shell. I am taking pictures of the work of other students. Starting with creating a design, laying the foundation and copying the design. Everything is delicate work.
This is a technique called “Makie” that draws a picture with lacquer and decorates it with precious metal powder. It is decorated on a plate for sweets in the tea ceremony. In this way, Komatsu’s class accepts lacquer crafts other than Kintsugi.
A color sample of lacquer made by Komatsu. Lacquer can be used not only as an adhesive but also as a paint. 小松氏が作っている漆の色見本。 漆は糊料だけでなく塗料にもなります。These are pictures of using a special tool for lacquer crafts. これらは漆芸専用の道具を使っている様子の写真です。
Moreover, I would like to introduce a company called “Taketobo” to my friends. There, Japanese craft products are introduced in English and sold outside Japan. And, Goen is a sales site operated by Taketobo. You can also buy the tools and materials needed for kintsugi, as well as the works that Komatsu has kintsugi. There is also a detailed explanation about Komatsu and Kintsugi on the site.
To my dear overseas friends who love Japan. When the time comes when we can come and go, and you want to experience Japanese lacquer crafts and Kintsugi, remember the Kintsugi class “Naosu, Tsukuru.”, Tomoko Komatsu, and “Taketonbo”. It will surely inspire your creation.
Seinan gakuin university museum. This is the entrance. The building with impressive red bricks and ivy. 西南学院大学博物館入り口。赤レンガと蔦が印象的。
I went to Seinan gakuin university museum to learn Manuscript Studies I want to know accurate information. Because I found the wrong information in a bookbinding magazine. 写本学を学びに西南学院大学博物館へ行きました。 製本の雑誌で間違った情報を見つけてしまい、正確な情報が欲しいと思ったのです。
I took an extension course at the university museum. This is the text. I was happy to got souvenir postcards. 大学付属博物館の公開講座を受講してきました。 これはそのテキスト。 お土産にポストカードをいただいて嬉しかったです。The hall where lectures are held. Red bricks are used in the building. 講義が行われるホール。 建物の中に赤レンガが使われています。 Seinangakuin university museum. It was built in 1921. 西南学院博物館。 1921年建造。
This time it was an introduction, but it was very a fulfilling lecture. Unfortunately, the content about the shape of the letters was skipped. I wanted to know most it. It was so good the lecture of a illumination. I can expect on next time. Here are some books about manuscripts. 今回は概論だけでしたが、非常に充実した内容でした。 残念なことに、書体に関する内容は飛ばされてしまいました。 一番それが知りたかったのです。 写本装飾に関する部分がとてもよかったです。 次回に期待が持てます。 写本に関する本をいくつかご紹介します。
I bought two pictorial records this time. Contains sacred images of 19th century Mexico and Philippines. All most of manuscript is Bible. I must know Christianity. 今回、図録を2冊買いました。 19世紀のメキシコとフィリピンの聖画像まで集録されています。 写本の多くは聖書なので、キリスト教について知る必要があります。 [Historical Scripts: From Classical Times to the Renaissance] Written by Stan Knight Translate by Toshiyuki Takamiya This book is all monochrome. But it is good to have the whole pages and enlarged photos. The content focuses on the shape of the letter. 『西洋書体の歴史 古典時代からルネサンスへ』 著 スタン・ナイト 翻訳 高宮 利行 この本は全てモノクロですが、一頁の全体と拡大写真が載っているところが良いです。 書体の形に注目した内容になっています。 [THE ART & HISTORY OF Calligraphy] Written by Patricia Lovett This edition published in 2020 by The British Library This book has the best information. It’s all page colors. Explains how to make manuscripts, materials, tools, and how to write letters. Moreover, it covers everything from papyrus codex to contemporary calligraphy works. It’s a great book!! 『書道の芸術と歴史』 著 パトリシア・ラヴェット 2020年 英国図書館 発行 この本は最も良い情報が載っています。 全ページカラー。 写本の作り方、原材料、道具、文字の書き方まで解説されています。 さらに、パピルスのコデックスから現代アートカリグラフィー作品まで網羅しているのです。 素晴らしい良書！！
This is a room for the tea ceremony at “Ashiyagama no Sato” in Fukuoka Prefecture. Tea ceremony tools are on display. こちらは福岡県の“芦屋釜の里”の茶室。 茶道具が展示されています。
I went to “Ashiyagama no Sato” in Onga-gun, Fukuoka prefecture. To see an independent exhibition of an imoji. An “imoji” is a craftsman who casts with molten iron. “Ashiyagama no Sato is studying and making kettles used in the tea ceremony and temple bells. 福岡県遠賀郡にある “芦屋釜の里” へ行ってきました。 ある鋳物師（いもじ）の独立展を観るためにです。 鋳物師とは溶かした鉄で鋳造する職人のことです。 芦屋釜の里では茶釜や梵鐘を作ったり、研究したりしています。
Yousuke Higuchi, an imoji. He will independent this spring. 鋳物師の樋口陽介氏。この春に独立されます。
I’d really like to tell about Ashiyagama teakettles, but I don’t have enough knowledge yet. I will tell you after studying more about it. This time, I will tell about “hyougu”, Hanging scrolls, folding screens, sliding doors, etc. 芦屋釜についてお話ししたいのはやまやまなのですが、まだ知識が足りません。 もっと学んでからお伝えしたいと思います。 今回は、“表具”、つまり掛軸、屏風、襖についてです。
I quote from a pamphlet. “The Ashiyagama originated in this town and was greatly renowned for its excellence as a utensil for the tea ceremony. The aim of Ashiyagama no Sato is to preserve its history, promote the revival of the Ashiyagama and tea culture and provide a peaceful environment and gathering place.” You can drink matcha here. The History Museum is across the street. I had no time, I couldn’t drink tea and to see history museum. I will visit again. パンフレットからの引用です。 “芦屋釜はこの地で育まれ茶の湯 釜の名品として名を馳せました。 当園は、その歴史にふれ、芦屋釜の復興や茶の湯文化の振興をはかるとともに、 多くの人々が集うやすらぎの場所となることをめざしています。” ここでは抹茶がいただけます。通りの向かいは歴史民俗資料館です。 私は時間が足りず、抹茶はいただけなかったし、歴史民俗資料館も見れず。また行こうと思います。 This is “furosaki-byoubu” . It’s placed behind the tea ceremony tools. これが風炉先屏風です。 茶道具の後ろに置かれています。
At one time, there was not a bookbinder as Europe in Japan. Instead of the bookbinder, there is the “hyougusi”. The hyougusi is a professional in paper and glue. Actually, I am weak in paste work. That is why, I’m interested in paste(glue) work. Then I arrived at the hyougusi. かつて、日本にはヨーロッパのような製本職人はいませんでした。 製本職人の代わりに、表具師がいます。 表具師は紙と糊の専門家です。 実をいうと、私は糊付け作業が苦手なのです。 そういう理由から糊付け作業に興味をもち、表具師に行きつきました。
It’s a tea room called “Ginputei” Japanese calligraphy sing. Read form right to left. 茶室 吟風亭。和書の名札。右から左に読みます。Inside Ginputei. A hanging scroll is hang in “tokonoma”. 吟風亭内。 床の間には掛軸。Japanese paper is stuck on the wall. 壁に貼られているのは和紙。This is a sliding door made of wood and paper, “shouji”. The sunlight is transparent. 木と紙でできた引き戸、障子。 陽の光が透けます。
Calligraphy is displayed in Japanese tea room. What if you want to decorate Western calligraphy? How should I make it a hanging scroll. I’m thinking about that. 日本の茶室では書が掛けられています。 もし西洋カリグラフィーを飾るなら？ どのように掛軸にしたらいいのだろう？ そんなことを考えています。
This is a “jibukuro”. It has a sliding paper door. Because the area is small, it is a beautiful blue that accents the interior. 地袋。紙の引き戸がついている。 面積が狭いので、内装のアクセントになるような綺麗な青でした。Wave pattern. Is it because the sea is near here? 波の模様。ここは海が近いからでしょうか？It’s “fusuma”. Pine leaf pattern.It also expresses the broken leaves. これは襖。松葉模様。葉の折れも表現されています。Silver on a white background. Since the area is large, it probably uses inconspicuous colors. 白地に銀色。面積が広いので目立たない色使いをしているのでしょう。
The paper used for fusuma is called “Karakami”. There seems to be a “hyougusi” who makes this paper. Use pigments and glue. （Glue here too!!） 襖に使われている紙を唐紙と言います。 唐紙を作る表具師もいるようです。 これは顔料と膠を使います。 （ここでも糊が!!）
This hanging scroll is like a picture of a willow. この掛軸は柳の絵のようです。
Not only calligraphy but also Japanese paintings are used as hanging scrolls. The world of Japanese paper and glue seems to be deep. I will continue to study. I will keep a record here each time. 書だけでなく日本画も掛軸に用いられます。 日本の紙と糊の世界は深いようです。 勉強し続け、その都度記録をここに残すつもりです。
Wisteria was in full bloom this time. It seems that you can enjoy seasonal flowers here. 今回は藤が見頃でした。 季節ごとの花が楽しめるようです。
Japanese clay wall of Old city hall in Yame. Just made it. Outside. 旧八女郡役所の土壁。 塗りたての状態。外側。
I ‘ll talk about soil glue. Japanese clay wall is made by soil glue. It is made base by wood and bamboo. Put the clay on both the inside and outside the base. Made using abundant resources in the area, and old wall clay can reused. 土の接着剤の話をしましょう。 日本の土壁は土の接着剤でできています。 木と竹で基礎を作り、その基礎の内側と外側の両方から土を塗ります。 その地域で豊富に手に入る資源が使われ、古い壁土は再利用が可能です。
Inside. 壁の内側。The wood part is used straw for gluing. It’s used local resources and reused old clay of this wall. 木の部分は接着に藁を使います。 地元の資源を使い、この壁の古い土も再利用。
There are many types of clay walls. “shikkui”(漆喰しっくい) is one of them. It’s white plaster. Do you know Mr. Shuhei Hasado? He is a famous plasterer in Japan. If you are a calligrapher, you’ll be interested in his work. Because he has written the title of a TV drama on clay wall. I think the clay wall has great potential. 土壁にはたくさんの種類があり、漆喰はその一つ。 白壁です。 挟土秀平氏をご存知ですか？ 日本の有名な左官職人です。 カリグラファーであれば、彼の作品は非常に興味深いものでしょう。 テレビドラマの題字を土壁に書いたことがあるからです。 私は土壁には素晴らしい可能性があると思っています。
The same building entrance is “shikkui”(漆喰) wall. The impression is completely different even on the clay wall. 同じ建物の入り口は漆喰塗りです。 土壁でも全く違った印象になります。The texture of “shikkui”. 漆喰の質感。
There is two reason I think clay wall is good. One is don’t making industrial waste. Another reason is that we use resources carefully. Mr. Komiya shunpei（小宮春平）taught me biodiversity. He knows a lot of about especially Ariake Sea. Endemic species lives in the Chikugo River, which flows into the Ariake Sea. There were a lot of endemic species in the river and sea the past. They are become the endangered species now. “Ariakehimeshirauo” (Neosalanx reganius、有明姫白魚) , a fish that lives in the Chikugo River, is becoming extinct because of the lack of sand in the river. The sand was spawner ground for the fish. We took all the sand to mix it with the cement used to build the building. Faster than the river stores sand… And the cement is become a waste, can’t reuse. Don’t get me wrong, I like cement buildings. I think it looks good. I am not asking for a ban on the use of chemical glue or cement. If everyone becomes a naturalist now, natural resources will be depleted. On the contrary, planting many plants of only one type at a time is environmentally damaging. Making big changes at once will have a big impact, to balance. We are also affected. Think about protecting our lives. We should think impact of our actions.
Liquor shop “Asahiya”(朝日屋酒店). Asahiya that also manages this building. They chose clay walls to cherish the nature and the atmosphere of the building. 朝日屋酒店はこの建物の管理もしている。 彼らは自然と建物の雰囲気に配慮して土壁を採用した。
It’s making “Okyuuto（おきゅうと）”. Okyuuto is Fukuoka local dish. It’s made by boiling seaweed. おきゅうとを作っているところ。 おきゅうとは福岡の郷土料理。 おきゅうと草を煮て作ります。
As you know, the glue is using the action that liquid solidify. The restoration of cultural asset uses “funori”. It’s a glue made by boiling seaweed like “okyuuto” A seaweed glue adhesion power weaker than flour paste. Seaweed glue has high solubility in water. It takes time so solidify and can be easily dissolved in water even after solidification. These property fit for restoration of cultural asset. ご存知の通り、接着剤は液体の固化する作用を利用したものです。 文化財の修復には “ふのり” が使われます。 ふのりは “おきゅうと” のように海藻を煮て作ります。 海藻から作られた糊は小麦粉から作られたものより接着力が弱いのです。 また水によく溶けます。 固まるまでの時間が長く、固まった後も水に簡単に溶けます。 これらの特性が文化財の修復には適しています。
It’s boiling seaweed “okyuutosou”(おきゅうと草) Both seaweed glue and paste are harmless to people as they can be taten. おきゅうと草を煮ていることろ。 海藻の糊もでんぷん糊も食用できるほど人体に無害。My marbled paper text book. This page is water solution recipe. This book uses carrageenan. マーブル紙の作り方について書かれた本。 水溶液の配合のページ。 この本ではカラギーナンを使う。
Joining things is not the only work of glue. Making marbled paper uses carrageenan; glue of seaweed. Float the paint on a solution of carrageenan in water. 物の接合だけが糊の使い道ではありません。 マーブル紙を作るのにはカラギーナン、海藻の糊を使います。 カラギーナンの水溶液に絵の具を浮かべるのです。
It’s “tororoaoi”(Abelmoschus manihot 黄蜀葵). Take glue from root. 黄蜀葵（トロロアオイ）。 根から糊を取ります。
Handmade paper making in Japan uses “tororoaoi”(黄蜀葵). Glue has function that prevents paper fiber settling in water. When the paper completely dry, the glue will not work. This can not do chemical glue. Japanese bookbinding uses Japanese paper made of natural glue for protect the work. Because the remaining cultural asset prove the safety of the glue. 日本の紙漉きには黄蜀葵（トロロアオイ）が使われます。 紙の繊維が水に沈まないようにするための糊です。 紙が完全に乾くと、糊の作用は消えます。 これは化学合成糊にはできません。 日本の表装では、作品の保護のために天然糊で漉かれた和紙が用いられます。 現存する文化財が糊の安全性を証明しているからです。
Tororoaoi glue is called “neri”. One kind of okra. 黄蜀葵の糊はネリと呼ばれる。 オクラの一種です。
I use chemical glue for bookbinding now. All bookbinding text book says biding method uses chemical glue. I wash the brush I used for the chemical glue. I drain waste water finished making marbled paper. We know it is no good. I’m looking for a better binding method and material. So that we can continue to make books. 今、私は化学合成糊を使って製本しています。 どの製本の教科書にも化学合成糊を使う方法しか紹介されていません。 化学合成糊に使った筆を洗い、 マーブル紙作りに使った水溶液を流すわけです。 良くないことだとわかっています。 より良い製本の方法や原材料を探しているところです。 これからも本作りをしていくためにも。
It is making of “sabi”. “sabi” is glue and filling for “kintsugi” 錆（さび）を作っているところ。 錆は金継ぎの接着剤であり、充填材です。
I’ll want to tell about “urushi”. Urushi is a traditional material of Japan. It have been using the East Asia as well as Japan. It is resin of urushi tree. The traditional “kintsugi” is used glue of urushi. I have an interesting in urushi, the reason is glue!! Glue is indispensable for bookbinding.
My book with missing pages. The glue didn’t work. 落丁本。糊が効かなくなっている。
We use many kind of glue in the life. For example, glue is made from skin and bone of animals. Paste is made from starch by plants. A building wall paster is made from ground. Synthetic glue, and more more…
These are my usually using glues for bookbinding. From the left PVAC, PVAL, and paste. 私が通常製本に使っている糊。 左から酢酸ビニル樹脂、ポリビニルアルコール、でんぷん糊。
Urushi is different from any glue I have ever used. Liquid urushi can be mixed with both water and oil. But neither water nor oil can’t melt solidified urushi, moisture is needed to harden urushi.
My cracked cup. I glued crack with sabi, urushi glue. ひびの入ったカップを錆（漆の接着剤）を塗ったところ。
I don’t want to use not safe glue for tableware. Urushi is a safe natural glue. Solid urushi can withstand acidity, alkali, heat, and alcohol. (But be careful using, break out in a rash from liquid urushi.) The best things of all “urushi” is beautiful. It is shiny, hard but soft and has a unique textre.
Before putting on the metal, the stage of the base red urushi. Kintsugi has many steps. 金属粉を蒔く前、下地の赤漆の段階。 金継ぎにはいくつもの工程がある。
There is also a kintsugi that is finished only with urushi without using metal. As above, urushi is very interesting material. Do you understand a little reason why I want to talk about kintsugi? ( Oh! I’m sorry, I mistaken. Could I tell you reason why I want talk about kintsugi? )
These are bamboo frames of lantern. The frame is made by bamboo craftsman. The lantern paste Japanese paper on this bamboo frame. 竹でできた燈籠の骨組みは、竹細工職人によって作られています。 この竹枠に和紙を貼ります。
Yame is a traditional craft town near my home. I have been friends with the craftspeople in Yame. They are looking eagerly for each of specialized knowledge. Read books, go to museums, learn from the work of one’s predecessors, and move their own hands. It is same that a calligrapher learn from a lot of scripts.
A Japanese handmade paper of my order. It is made drop water to just made paper, and dry it. The handmade paper workshop usually does not accept a private order. 私が注文した手漉き和紙です。 漉きあげたばかりの紙に水を落とし、乾燥させて作る落水紙。 この工房では通常、個人的なオーダーは受け付けていません。
I often use Yame handmade paper for bookbinding. But the paper does not suit a metal pen. Because a metal pen catch on paper fiber. That is the reason I don’t use Japanese handmade paper for calligraphy. If you use a metal pen, you need to process the paper. As you know, you can use a brush on the paper. It is very important that the chemistry between the pen and the paper, isn’t it?
It is a very thin paper for mounting. 表装用の非常に薄い和紙。
Have you ever seen a Japanese hanging scroll? Yame handmade paper is used for mounting of hanging scroll. It is a foundation of Japanese painting and Japanese calligraphy. Handmade paper for mounting is requested to very hight level quality. And the quality must always be keeping. Just craftsmanship.
A paper thread. 紙の糸。
On the other hand, this workshop challenges a reproduction to lost technique. A paper thread is a one of them. They repeated experiments again and again by only a few referring. It is so creative. I think so. But they said ” We are not creator. We are craftspeople.” Because, it is not their original technique, it is an existing technology. They are humility. But, they take pride in being craftspeople. What is creation? How do you think?
