There is always a moment before creating a woodblock print when the image is still only an idea.
Part 1 of this new woodblock series begins not with tools — but with looking, selecting, and drawing. Before a single cut is made into the Shina plywood, I spend time finding the right bonsai image, studying its structure, and translating it into line.
This first step determines everything that follows.
The subject for this series is the Ota Azalea, a Satsuki azalea with elegant movement and delicate flowering structure.
Azaleas are different from pines or junipers. Their branching is lighter. Their energy is softer. The flowers carry visual weight that must be balanced by trunk movement and negative space.
When choosing the reference image, I look for:
- Clear trunk movement
- Strong root flare (nebari)
- Layered branch structure
- Negative space that will translate well into relief carving
A woodblock print depends on design clarity. Every line must matter.
Before drawing on the block, I create a preliminary sketch.
This is where interpretation begins.
In the sketch phase, I:
- Simplify complex branching
- Emphasize rhythm and movement
- Reduce visual noise
- Strengthen silhouette
Unlike painting, woodblock printing demands commitment. Once carved, there is no going back. The drawing must already understand what will be removed and what will remain.
This is where engineering discipline meets artistic intuition — something that has informed much of my studio practice over the years.
Transferring the Image to the Woodblock
Once satisfied with the preliminary drawing, I transfer the design directly onto the Shina plywood.
I begin in graphite to establish placement and proportion. Then I reinforce the final lines using a Sharpie marker. This darkens the areas that will remain raised and helps clarify what will be carved away in Part 2.
At this stage, the image feels complete — but it is only potential.
The drawing on the block is both fragile and powerful. It holds the entire future of the print within it.
Why This Stage Matters
Many people think carving is the most important part of relief printing.
It isn’t.
The design stage is everything.
A strong woodblock print begins with:
- Clear line hierarchy
- Thoughtful negative space
- Balanced composition
- Understanding how ink will sit on the surface
This careful beginning reflects how I approach bonsai as well — shaping, removing, refining, always thinking ahead to what the tree (or image) will become.
What Comes Next
In Part 2, I begin carving the Ota Azalea block — establishing line weight, depth, and the relief structure that will ultimately transfer the ink to the paper.
The transformation from drawing to carved surface is where the real commitment begins.
If you’re interested in the full process, you can watch Part 1 on my YouTube channel and follow along as the image evolves from idea to print.
Continuing the Exploration
Much of my woodblock discipline grew out of earlier drawing studies. If you’re interested in how I approach structure before surface, you may enjoy reading Drawing the Basic Conceptual Layout of exciting Bonsai Artwork, where I explore how careful drawing establishes the foundation for layered work.
If you would like to explore available artwork, prints, and current series, you can visit my main site at ReekersArt.com
And for those who would like to support my studio practice more directly, I share deeper process insights and behind-the-scenes work with members on https://www.patreon.com/c/ronreekers
At 68, I find myself appreciating beginnings more than ever.
The act of drawing onto the woodblock feels quiet, deliberate, and deeply connected to years of discipline — in engineering, in bonsai, and in painting.
Before the destruction of carving…
There is the stillness of drawing.
And that stillness matters.
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Stay tuned for Part 2: Carving the Ota Azalea Woodblock.
