Feel the luxury of simplicity at “Satoumi Residence”.

Oarai Town, located in the center of the coastline of Ibaraki Prefecture, overlooking the Pacific Ocean, is a port town known for Oarai Beach, which has been selected as one of the “100 Best Shore Sceneries of Japan” for its wonderful seaside scenery. In the middle of the Meiji period (1868-1912), the town was a place for “tio-touji,” a type of sea bathing for medical treatment, and was lively with inns built by people coming from Tokyo and other places to stay at. The inn that stands along the Oarai coast is “Rikai-tei Kinparo Hontei.
The “Satoumi House” was first opened in 1888 by Tousuke Ishii, who was engaged in the river steam business (water transportation) between Mito and Oarai, as “Kinnamaro,” a recreational inn where people could enjoy a therapeutic sea bath in a bath filled with seawater regardless of the season. The inn was reborn as “Rikaitei” in order to recreate the charm of “a recreational inn where one can deeply enjoy the taste of the sea,” which was once the goal of “Kinnamaro. The distance from the inn to the beach is approximately 30 meters. It is a wonder that the inn’s guests feel nostalgic and calm as they listen to the rhythm of the waves in the sea breeze in front of the ocean.

A place to stay that makes you want to come back again.

Nothing glamorous is placed in the inn. The inn is designed to be barefoot so that guests can feel as if they have returned to their own countryside or vacation home, valuing simplicity and coziness. All of the eight rooms are oceanfront, and not only are the views spectacular, but the rustic warmth of the wooden furniture and solid wood in every room is comfortable and calming, making you feel as if you want to stay there forever. There is nothing special about the inn, but the simplicity and rustic atmosphere created by “Satoumi Residence,” as if it were your own special time and place, creates a “place you will want to come back to.

The cuisine at the inn is also centered on dishes that offer a taste of “everyday life by the sea. The kitchen at “Satoumi House” is said to be very busy as it goes to a nearby fishmonger and vegetable market every day to stock up, and starts processing the ingredients in the afternoon. Meals served in a room with a view of the Oarai coast and the warmth of wood create a special yet cozy dining experience unique to “Satoumi Residence. The view of the sea can also be enjoyed in the baths, of which there are two types: a “wooden bath” and a “stone bath. Both baths use spring water from Mt. Oarai, the source of the sacred water of Oarai Isomae Shrine, which has a history of more than 1,000 years. The “wooden bath” has a relaxing space for guests to use after taking a bath, or to quench their thirst with a cup of herbal tea or juice while enjoying the view of the sea from the roof balcony.

Near the inn, there are spots to enjoy each of the four seasons. We recommend a visit to Hitachi-Kaihin Park, where nemophilas bloom in spring and kochias cover the entire area in autumn, and to the beach and aquarium in summer. If you visit the inn in winter, you can stay in your room and enjoy the fantastic atmosphere of the “air storm,” which is said to be seen on cold mornings. The inn offers both the pleasure of going out and the coziness that makes you want to go home as soon as possible.

NIHONMONO – 「にほん」の「ほんも…

地域に根付いたお稲荷さん「笠間稲荷神社」／茨城県笠間市 – NIHONMONO お稲荷さんとして親しまれる神社。 茨城県笠間市にある笠間稲荷神社は創建が651年と伝わり、約1360年の歴史を

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Herb facility with farm and laboratory

At Simota Farm in Toride City, Ibaraki Prefecture, more than 100 kinds of herbs and a variety of vegetables are grown in a vast field of about 8 hectares. From familiar herbs such as mint, rosemary, thyme, and basil to rare herbs that are only used in certain Italian and French dishes, all are growing lush and healthy. President Masuo Shimota’s influence on Japanese agriculture and cuisine has been quite significant.
I started growing herbs about 50 years ago. I took a plane ticket to England to study agriculture, but I arrived in France. I took the wrong one because I didn’t understand the side letters at all. I went to France with an English dictionary (laughs). But when I went to France by mistake, I had a salad with a lot of herbs, and it was so delicious. I decided to grow them in Japan. Indeed, the herb tea we enjoyed while listening to President Shimoda’s story was very fresh, easy to drink, and truly delicious.

At first, the strong-smelling herb was not considered by the market, but gradually the company began to receive orders directly from chefs at famous hotels, and the rumor spread among chefs. Even now, we get a lot of chefs coming to us,” he said. There is even a famous French chef who comes here often. People ask me to make this or that, so I have more and more varieties. Some of the herbs are used only once a year in sauces.
Mr. Shimota, who is very passionate about research, once sent a letter to a famous British herb breeder, asking him to teach him how to cultivate herbs. I sent him a letter out of the blue, but he replied out of the blue and asked me to come visit him in a week (laughs). I was panicked because it came out of the blue. I went with my mother, who was wearing a kimono, to a very big place. Over the next 20 years, the Count taught me many things.

An indispensable figure in Japanese herbal

President Shimoda also insists on safe, pesticide-free and chemical-free cultivation. He believes that evidence is important to properly understand the composition of the vegetables he grows and to stabilize their taste, so he has built a laboratory on the premises that is comparable to those used by major corporations. He is also constantly researching soil and fertilizers, and gladly accepts requests from neighboring farmers to analyze their soil and crops. Many of the herbs that can now be found in supermarkets were originally produced at Simota Farm and have since spread throughout Japan. For more than 20 years, the farm has also accepted students from Indonesia to teach them about agriculture, and actively holds study sessions with neighboring farmers, generously sharing the knowledge and techniques that Shimota Farm has developed over the years. In 2015, he was awarded the Order of Merit with Green and White Ribbon in recognition of his previous achievements. President Shimota, a dynamic and dynamic man with an Ibaraki dialect, is an “unknown great man” who is indispensable to the development of Japanese cuisine.

NIHONMONO – 「にほん」の「ほんも…

いちごと笑顔をつくる「ストロベリーフィールズ」／茨城県下妻町 – NIHONMONO 地平線に沈む夕日、太陽の恵みで育ついちご。 茨城県下妻町の平野に広がるビニールハウス。全国でも珍しく、地平線に

NIHONMONO – 「にほん」の「ほんも…

作ったいちごを最後まで見届ける「ハートフルファーム 土の香」／茨城県水戸市 – NIHONMONO おいしいいちごの見分け方。 パティシエの鎧塚俊彦さんが絶賛したいちご“土の香（とのか）”を生産しているのが、こ

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Yuki-tsumugi representing Ibaraki

After the cocoons are boiled for about an hour, skilled workers carefully form silk floss in tubs. Sild thread is carefully pulled from the floss. This traditional method is still being used to create Yuki-tsumugi in Yuki, located in the western part of Ibaraki prefecture. Yuki-tsumugi is a traditional craft from Ibaraki and is also a registered UNESCO intangible cultural heritage.
“We use our saliva to weave the thin threads together. The protein in saliva allows us to bundle the thin fiber together to form the thread.”
Hajime Mori is one of the craftsperson who carry on the tradition of Yuki-tsumugi. The atelier is equipped with a “jibata”, or weaving machine, and a stand used to dye the thread before its woven.
Yuki-tsumugi uses a method where the thread is dyed before it’s woven. There is careful calculation involved in creating the flowers, plants, and other designs by weaving the dyed thread vertically and horizontally.
Portions of the thread are covered with cotton thread to allow the original color to remain during the dye process, and used to create the final design.
The dyed thread are beautiful even before they are woven, and Nakata commented that “displaying the thread would be attractive.”

The quality of Yuki-tsumugi is recognized around the world and has been used for collaborations with renowned brands to create suits and fabric. We spoke with Yoriyuki Okusawa, the 5th generation of Okujun, the weaver which has carried on the traditions of Yuki-tsumugi since its establishment in 1907.
“The characteristic of Yuki-tsumugi is that the thread is hand-pulled from the silk floss and woven with a `jibata` weaver. The `jibata` is low to the ground compared to other weavers, requiring the weaver to use the entire body. The unique shape is said to be the inspiration for the folk tale `the crane’s gratitude`. It can take up to 5 months for 1 sheet of fabric because there are more than 40 steps involved including pulling the thread from the floss. Complicated designs can take a few years.”

Museum telling the story of Yuki-tsumugi

Pulling thin fiber from a large floss of silk and threading them by hand. The daunting task of making thread can take up to three months.
“The cocoon protects the silkworm. It doesn’t allow ultraviolet rays through, maintains a comfortable level of humidity, and even has anti-bacterial properties. This is incorporated in the Yuki-tsumugi, allowing for the comfort when you adorn it.” (president Okusawa)
The dyeing process is also painstaking. Tying cotton string to the silk thread to create a pattern. Bunching several millimeters of thread together and adjusting the cotton thread to achieve the desired pattern. The knots must all be the same tightness. On some days, Mr. Mori repeats this process more than 2000 times in a single day. Yuki-tsumugi is light and graceful, a result of the many painstaking hours of labor. It must be delightful to be enveloped in a kimono made from this very special fabric. It is sure to be a top candidate when Nakata has a new kimono made.

Okujun is involved in planning, designing and selling Yuki-tsumugi as a wholesaler. In 2006, a museum was opened on the property housing documents that relay the technology and history of Yuki-tsumugi. Okujun is also involved in developing new products such as scarves and small products in addition to the traditional kimono. There is also a store selling Yuki-tsumugi items and a workshop where visitors can experience the craft. It is a comprehensive cultural facility that passes on the significance of Yuki-tsumugi.

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“Iinuma Chestnut” ; the first chestnut brand in Japan

Ibaraki is the top chestnut producing prefecture in Japan in terms of production and land. Nakata expressed his surprise when he picked up one of the Iinuma Chestnuts grown in Shimoiinuma.
“Are chestnuts supposed to be this big?”
His surprise is understandable. Iinuma Chestnuts, which are grown in Shimoiinuma region located in the central portion of Ibaraki prefecture, can grow to more than 4cm in diameter. The round, plump chestnuts are packed tightly, making them weigh more than most chestnuts as well.

“Iinuma Chestnuts” is not a variety of chestnuts, but a brand name given to chestnuts grown and shipped by the Shimoiinuma Chestnut Growers Coop.
There are more than 100 varieties of chestnuts around the world. Iinuma Chestnuts are of the “ishizuchi” variety and are grown using technology that was carefully perfected over 50 years.
In order to set them apart, Iinuma Chestnuts are a premium brand that are shipped at a different timing from other brands.
In 2017, “Iinuma Chestnuts” the first chestnut variety to receive GI certification, making them an officially recognized regional brand with more than 25 years of history.
At the Tokyo market, they are also recognized as “top quality chestnuts”, bringing double the market value of other chestnuts. It is a supreme brand that is recognized by other chestnut growers.
“Most chestnuts have 3 pieces in every burr, but there is only a single piece in Iinuma Chestnuts. So the piece is round overall with no flat surfaces.” (Naoto Higashizaki, Shimoiinuma Chestnut Growers Coop)
This method of growing only one piece in each burr is unique to Shimoiinuma, and the specially developed technology is a well kept secret only known to 11 growers. The chestnut are harvested in a special manner as well.

【tender：Shimoiinuma Chestnut Growers Coop】

Sweetness like sweets

“The chestnut naturally falls out from the burr when they become ripe, allowing us to avoid having to harvest the burr. Since there’s only 1 piece each, it’s easy to harvest, even though we harvest about 50 tons all together (laughing).” (Mr. Higashizaki)
The most popular way to enjoy them is to boil them.
Scooping out a piece of steaming chestnut with a spoon, the chestnut has a sweetness that is sophisticated.
It’s like taking a bite of a chestnut snack.
“I ate a lot of chestnuts when I lived in Italy, but none were this big and the flavor was cruder.” (Nakata)

【tender：Shimoiinuma Chestnut Growers Coop】

Iinuma Chestnuts are shipped in late October to mid-November, later than the standard chestnuts. This is because the chestnuts are washed after they are harvested, and only the carefully selected pieces are stored in cold storage covered in sawdust for 14 to 20 days. This allows the chestnut to sweeten without drying or rotting. They are then removed from storage, dried and go through the second selection process. The chestnut must go through a third selection process, this time by other members of the coop, before they are graded and shipped.
“It’s difficult to grow large chestnuts, especially because they’re affected by the climate. But the more we put it, the more we get back. We hope to export the chestnuts abroad someday, but first, we want to maintain the highest quality of the most supreme brand of chestnuts in Japan, so that more people will recognize the Iinuma Chestnut name.” (Mr. Higashizaki)
For those who have only eaten Mont Blanc chestnut cakes from a bakery, you should definitely try the Iinuma Chestnuts. The delicious taste is sure to change your overall image of chestnuts.

【tender：Shimoiinuma Chestnut Growers Coop】

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Domestic lacquer that can be collected only once in 10 years

“We tap lacquer for only 1 year after allowing the tree to grow for 10 years. The tree is then cut down. This process is called ‘koroshi kaki (killing tap)’ and is essential in collecting the highest quality of lacquer. In other countries, they tap for up to 3 years, but in Japan, we only tap for 1 year and do our best to collect the very best quality lacquer.” We spoke with Mr. Yuzo Tobita, master lacquer tapper who was been a lacquer tapper for 66 years, earning him the Yellow Ribbon Medal.
“Lacquer tapping” is the process of tapping the sap that is used for lacquer in Japanese lacquer art and woodcraft.
The word “tapping” comes from the metal tool that is used to scrape the trunk of the tree.

Lacquer is highly resistant to bacteria and sturdy, making it ideal for craftwork, as well as architecture and daily items. Japanese lacquer work has a great reputation overseas, not only as a coating but as a design. Because the technique is so intricate, lacquer work is sometimes referred to as “japan”, a sign that it is symbolic of Japanese craftsmanship. Daigo city in Ibaraki prefecture is known for its abundance of nature. It is also known for top quality lacquer. Ibaraki ranks second in lacquer production, and the bulk is from Daigo city. There are about 10,000 lacquer trees in the city where Mr. Tobita and fellow members of the Daigo Lacquer Preservation Group continue their efforts to preserve the culture.

Can’t waste even a drop

We visited an area with about 2000 lacquer trees. Only about 200 of these trees are tapped each year. Nakata follows Mr. Tobita’s instructions to try tapping using a tool shaped like a knife, specifically used for lacquer tapping to make scratches on the trunk. The sap that slowly seeps out from the trunk is collected in a container. “It’s taking quite a while for it to seep out.” (Nakata)
“We only get about one milk bottle of lacquer per tree each year. We can’t waste even a drop. In the summer, which is the peak season, the lacquer almost drips, but in the fall to winter months, it only seeps out. The quality is different depending on when you tap, as is how its used. That’s why you have to spend the entire year to collect it.” (Mr. Tobita)

Only a small amount can be collected at one time, so it must take quite a while to collect enough to fill a whole bottle. “If you try to force it out, debris can get mixed in, so you have to be patient. The trick is to make a small scratch and collect a small amount of sap, then slowly make the scratch bigger.” (Mr. Tobita)
There was a pile of used lacquer wood. Lacquer trees are grown for 10 years to collect a small amount of sap. The view of the used trees is a reminder of just how valuable lacquer is. Domestic lacquer is considered very precious and are used mainly to refurbish national treasures such as Nikko Toshogu Temple. Most of the lacquer sold in Japan is from China. It will be difficult for Japanese traditional culture to continue if domestic lacquer is no longer available, so there is great hope for successors to follow in Mr. Tobita’s footsteps. There are also great expectations for the Lacquer Preservation Group which continues to oversee the planting and tapping of the lacquer trees.

“We tap lacquer for only 1 year after allowing the tree to grow for 10 years. The tree is then cut down. This process is called ‘koroshi kaki (killing tap)’ and is essential in collecting the highest quality of lacquer. In other countries, they tap for up to 3 years, but in Japan, we only tap for 1 year and do our best to collect the very best quality lacquer.” We spoke with Mr. Yuzo Tobita, master lacquer tapper who was been a lacquer tapper for 66 years, earning him the Yellow Ribbon Medal. “Lacquer tapping” is the process of tapping the sap that is used for lacquer in Japanese lacquer art and woodcraft. The word “tapping” comes from the metal tool that is used to scrape the trunk of the tree.

Lacquer is highly resistant to bacteria and sturdy, making it ideal for craftwork, as well as architecture and daily items. Japanese lacquer work has a great reputation overseas, not only as a coating but as a design. Because the technique is so intricate, lacquer work is sometimes referred to as “japan”, a sign that it is symbolic of Japanese craftsmanship. Daigo city in Ibaraki prefecture is known for its abundance of nature. It is also known for top quality lacquer. Ibaraki ranks second in lacquer production, and the bulk is from Daigo city. There are about 10,000 lacquer trees in the city where Mr. Tobita and fellow members of the Daigo Lacquer Preservation Group continue their efforts to preserve the culture.

We visited an area with about 2000 lacquer trees. Only about 200 of these trees are tapped each year. Nakata follows Mr. Tobita’s instructions to try tapping using a tool shaped like a knife, specifically used for lacquer tapping to make scratches on the trunk. The sap that slowly seeps out from the trunk is collected in a container. “It’s taking quite a while for it to seep out.” (Nakata) “We only get about one milk bottle of lacquer per tree each year. We can’t waste even a drop. In the summer, which is the peak season, the lacquer almost drips, but in the fall to winter months, it only seeps out. The quality is different depending on when you tap, as is how its used. That’s why you have to spend the entire year to collect it.” (Mr. Tobita)

Only a small amount can be collected at one time, so it must take quite a while to collect enough to fill a whole bottle. “If you try to force it out, debris can get mixed in, so you have to be patient. The trick is to make a small scratch and collect a small amount of sap, then slowly make the scratch bigger.” (Mr. Tobita) There was a pile of used lacquer wood. Lacquer trees are grown for 10 years to collect a small amount of sap. The view of the used trees is a reminder of just how valuable lacquer is. Domestic lacquer is considered very precious and are used mainly to refurbish national treasures such as Nikko Toshogu Temple. Most of the lacquer sold in Japan is from China. It will be difficult for Japanese traditional culture to continue if domestic lacquer is no longer available, so there is great hope for successors to follow in Mr. Tobita’s footsteps. There are also great expectations for the Lacquer Preservation Group which continues to oversee the planting and tapping of the lacquer trees.

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Pottery culture that has continued in Kasama since the Edo period

The Kasama region of Ibaraki Prefecture had an abundance of high-quality raw materials suitable for pottery, and from the middle of the Edo period (1603-1868), many artisans began to gather to establish official kilns and create a pottery town where daily necessities were made.
The tradition is still carried on today in the city of Kasama, which has been renamed Kasama City. There is the Ibaraki Prefectural Museum of Ceramic Art, the first museum of ceramic art in eastern Japan, and the Ibaraki Prefectural Kasama College of Ceramic Art, where visitors can learn pottery making, and there are many pottery galleries in the city.

There will also be a ceramic fire festival in Kasama

The “Kasama Pottery Festival (Himatsuri),” held every year during Golden Week, attracts about 500,000 visitors during the festival, with over 200 potters and ceramic studios selling their works, as well as food booths and concerts to enjoy.
What sets Kasama apart from other production centers is that there is no easily recognizable characteristic of “this is Kasama-yaki” in terms of its form and painting. Many young people who aspired to become potters gathered in the area, which gave birth to a free style, and they create their own works using clay and glazes from all over Japan. This freedom is what attracts the attention of many enthusiasts as “the character of Kasama-yaki.

Making female-friendly Kasama-yaki

Ceramic artist Makiko Suzuki was one of those who were attracted to Kasama pottery and came to this town.
Her aunt, who used to be an art teacher, started a pottery class after she retired, which inspired her to become a ceramic artist around 2003. After learning basic techniques, he taught himself how to make pottery and started his own brand in 2006. Suzuki says that what is important to her when making pottery is that it should be “women-friendly.
The weight should be light enough for a woman to stack and carry, stackable so that they do not look bulky when stored on a shelf, and designed to blend in with the interior design even when stacked randomly. The vases should stand beautifully and can be used as flower vases, and they should make food look bright and color-matching enjoyable.
The beautiful turquoise blue pieces, which were inspired by the late 20th century British-based potter Lucy Lee, not only have a modern and delicate atmosphere, but are also highly functional as everyday beauty, and have a very large female fan base.

A place full of smiles with Kasama-yaki

He rents an old private house in Kasama City and has a studio on the premises. A ceramist’s workshop is usually tense and tense, but here, the air is relaxed and easygoing. Mr. Suzuki says that when he begins work on a piece, he makes it a point to take some time to relax. I think that if I make something with a smile on my face, people will use it comfortably in their daily lives,” she says. Suzuki’s works, which are popular in select stores, are named “La Maison de Vent. The meaning of the name is “a house where the wind lives. The fresh breeze blowing in Kasama and her smiling face create gentle and beautiful vessels.

Introducing Kasama-yaki in video as well.

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Beautiful turquoise blue

The city of Kasama in Ibaraki Prefecture has long been a region where pottery has flourished. The city has a prefectural college of ceramics and an art museum specializing in ceramics, and because of the emphasis on training and instruction, many young people who aspire to become potters still gather here today. Ms. Makiko Suzuki is another artist who moved to Kasama and continues to make ceramics. Her beautiful turquoise blue pieces, inspired by British potter Lucy Lee, are made from a woman’s point of view, with an emphasis on practicality, for example, to be easily placed on a shelf.

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Ogawa yeast and M-310 yeast

Yeast is indispensable in making ”sake”. Among the many types of yeast used in brewing ”sake”, is an yeast known as the ”Ogawa yeast (Association #10 yeast) ” which is widely used by breweries in eastern Japan. This yeast was developed by Merishurui Co., Ltd. with its factory located in Mito, Ibaraki Prefecture. It was in 1952 when Dr. Chikara Ogawa, the company’s vice president and researcher, succeeded in separating and cultivating this yeast from the mash collected from ”sake” breweries across north eastern Japan. It fermented well in the cold northern climate, had little sourness, and was characterized by its splendid aroma. For many years the yeast was used for brewing high class ”sake” such as ”ginjoshu”. It created and supported a generation of Japanese ”sake” .

”Daiginjoshu” made with the M-310 yeast.

The yeast that Nakata got to see is the ”M-310 yeast”, an improved version of the yeast developed from the Ogawa yeast. The number 310 comes from word play that makes the number read as Mito. The characteristic fruity aroma is stronger with the M-310 and even less sour. All ”ginjoshu” brewed at Meirishurui Co., Ltd. now use the M-310 yeast. On the day Nakata visited, the chief brewer master Kumagai who belonged to the Nambu Toji group, showed him the ”Daiginjoshu” tank.
”Does the fermentation time change when you change the yeast? ” saked Nakata. ”By all means. With the M-310 yeast, fermentation is slow. So it can take from several days to even 10 days more. The ”daiginjoshu” made from Yamada Nishiki rice and this yeast is said to have a rich aroma and clean smooth taste. ”Any brewery would prefer to use the local yeast for brewing. So in Ibaraki, it is the widespread custom to use yeast from Ibaraki. ” says Master Kumagai. To express regional characteristics through brewing, that may be an ultimate joy for ”sake” lovers.

Another face of the company ”Hyakunen Umeshu” (Century Plum Wine)

Meirishurui Co., Ltd. makes a variety of alcoholic beverages including, ”sake”, ”shochu”, cooking wine, fruit liquor, and beer.
Among them, ”Hyakunen Umeshu” (Century Plum Wine) is a popular product that is known as the company’s second face.
It won first prize in a national contest at the Tenman Tenjin Plum Wine Contest held at Osaka Tenmangu shrine. The plums were matured in the liquor and finished with brandy and honey. It is characterised by the very smooth and mild taste. We got to taste the canned variety which coupled the ”Hyakunen Umeshu” with mild soda.”It’s very good. I can taste the flavor of the plums firmly. It has a good degree of sharpness to the taste, probably from the brandy content. ” said Nakata. Meirshurui Co., Ltd. has been putting stress on fruit liqueurs, and Nakata and president Kato exchanged ideas like plum wine that can be served at an celebratory occasion in place of Champagne as they spoke.
Plum wine is for enjoying the sweetness and the firm taste of the plums. Product development continues at Meirishurui Co.,Ltd. aiming to create a plum wine loved by all.

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Pottery that uses neither a potter’s wheel nor hand crafting to create

When you think of pottery, you either think of a potter’s wheel, or a gradual process, shaping with fingers. But Onuki whom we visited, makes his work using a totally different technique.

His technique is called ”tatara zukuri” . He takes plates of clay cut into size, and forms his works by ”pasting” the parts together. In other words if he was to make a rectangular flower pot, he basically assembles the pot by cementing the 5 pieces of clay together to form the left and right, front and back, and the bottom parts together.

Building in accordance to the plan

When Nakata asked why Ounki adopted this technique, he answered ”My original background is graphic design. That’s why this technique feels natural to me. ”
Using a wheel or hand-twist technique will change the shape of the clay material as work proceeds. But by using the ”tatara zukuri” technique, he is able to utilize the flat shape and maintain the basic shape of his work as he works, and that’s appealing to his style. What’s more, Onuki always makes a design drawing. Then he makes a model of the work using paper. Using the paper as a pattern, he cuts the clay, and puts them together to shape.
”Do you always make paper patterns?” asked Nakata. ”Yes. If you work this all in your head, the resulting shape may turn out to be something totally different from what you imagined.” If the resulting form is not what he imagined to be, the work has to be done all over again. That’s why he tests his designs with paper before he starts work in actual clay.

From designer to potter

The reason Onuki turned to pottery from graphic design is because he ”wanted to do work that remains in material form”. He mainly worked on advertising design in his graphic designer days. ”Advertisements are there to advertise products. So the role of ads end rather quickly. I wanted to make something that lasts for a long time into the future.

His talents as a designer appears not just in the form of his work, but also in the decorative painting.
He takes the plants and flowers of the season into the design of the work and paints the decorations himself. The combination of colors, positioning, the subjects, are all thought out to form a harmony in the single work.

From commercial design to pottery. In spite of the change in the method of expression, I felt that within Onuki’s work is his strong passion for art and creation.

The post Work that remain as material shapes “Hiroyuki Onuki, Potter” first appeared on NIHONMONO.

Calculated patterns

Nothing is more characteristic of Mr.Michitaka Fukuno’s work than the ”akaekasuri” patterns. The unique warmth created by the uniquely simple and pleasant lines and patterns is synonymous with Fukuno’s work. Fukuno received training in Kutani as a government sponsored trainee, and it shows in his painting skills where he draws well calculated patterns. The soft colors will lead you to believe that all the painting was done in single overglaze at first, but in actuality, most of the patterns painted are the result of combination of over glaze and underglaze paintings. The shadow like colors that appear in the background against the light colors add depth to his work. This subtle color is impossible to achieve without knowing and calculating each and every element of pottery, like the characteristics of clay, how the works come out from the oven, and about paints.

Using warp and weft

Fukuno learned from Haruhiko Ito, a master of ”Kasama yaki” pottery. What characterizes his work is the use of cloth patterns. Before the work is put into the oven, wet cloth is pressed against the pot and the texture of the pattern of the cloth is copied on the surface of the work. So learning from his master, Fukuno decided to make use of that technique. ”I wanted to draw patterns so I’m thinking of utilizing the patterns of cloth to come up with something new.” The master created works that utilzed the patterns of textiles to enhance his paintings of plants and trees. Now Fukuno is making a new challenge for new works with his own patterns.

”You see, I am thinking of painting a very faint color that is almost not even a color. I want to make something like a pattern of colorless colors. ” I could feel the persistence that he has towards patterns from the conversation, which also seem to seep through his works.

Not being lazy

Nakata was allowed to work hands on to paint cups in the factory. Nakata’s muffler was chosen as the sample pattern and he started drawing lines on the cup. Then we chose colors. We were assuming he would choose 4 colors as in the muffler itself, but Fukuno said today we will work the a graduation of just two colors instead.

Then we mixed paints. He took out a balance scale. His mixing work was extremely exact. He never let go until the exact amount was measured. Looking at how he worked, Nakata commented ”You are so exact, so detailed” time and time again. Yet Fukuno was reluctant to admit that. ”Oh do you think so?” was his modest answer. a slight difference in the mixture can cause subtle differences in tone. The fine details made up the difference in Fukuno’s works.

Nakata took his time to draw gray patterns on the cup. When he was done, Fukuno guaranteed that he thinks this will bake up just fine. With the encouraging words, we asked him to do the calcination process. Feeling the patterns and the colors, we realized we had touched upon another charm of pottery.

The post Wares that makes you feel the color and “kasurimon” patterns　”Michitaka Fukuno, Potter” first appeared on NIHONMONO.