The second chapter of my Ota Azalea video series has now been released, and this is where the process really comes to life: carving the woodblock itself. In this companion article, I want to take you deeper into the methods, tools, and artistic decisions shown in “How to Carve a Bonsai Woodblock | Ota Azalea Part 2.”
If you’ve been following along, you already know this series is about more than bonsai—it’s about translating a living form into a work of art through printmaking.
If you haven’t seen Part 1, I strongly recommend starting there, where I walk through selecting and designing the image:
https://www.reekersart.com/finding-a-strong-bonsai-image-for-exciting-energized-woodblock/
From Drawing to Carving: Moving into Commitment
In Part 1, I focused on developing the drawing—working through composition, refining the trunk and branch movement, and carefully considering negative space.
In Part 2, that freedom begins to narrow.
Once I start carving, the image is no longer fluid—it becomes fixed in wood.
Every cut matters. Every decision is permanent.
That’s one of the things I love most about woodblock printing. It demands focus, patience, and trust in the process.
My Approach to Carving the Woodblock
I use traditional relief carving techniques, working directly into the wood grain to define the image. The goal is not just to copy the drawing, but to interpret it—allowing the carving itself to bring energy into the piece.
As I carve, I focus on several key elements:
- Trunk movement to express age and character
- Branch taper to maintain elegance and proportion
- Foliage masses to create rhythm and balance
- Negative space to open up the composition
- Surface texture to give life to the printed image
There’s also an important shift that happens here. I’m no longer just drawing a bonsai—I’m sculpting light and shadow that will later be revealed through the printmaking process.
Why I Translate Bonsai into Woodblock Prints
Bonsai has always felt like sculpture to me—living, evolving, shaped over time. Through woodblock printmaking, I’m able to reinterpret that form in a completely different medium.
The Ota Azalea was chosen for its graceful movement and strong silhouette. It has a natural rhythm that translates beautifully into line and shape.
During carving, I simplify the image—reducing it to its essential structure. What remains is movement, balance, and a sense of presence.
Creating the Artist Proof
At the end of this stage, I create an artist proof. This is a critical part of the process.
The proof allows me to see the image as a print for the first time—how the lines read, how the composition holds together, and where adjustments are needed.
Often, I’ll go back and carve more after seeing the proof. Areas may need to be opened up, strengthened, or refined.
This back-and-forth between carving and printing is where the piece really develops.
What’s Coming Next
In the next part of the series, I’ll begin exploring more experimental territory—creating unique printed backgrounds that will eventually interact with the carved image.
This is where the work starts to move beyond traditional printmaking and into mixed media.
Watch the Full Video
You can watch Part 2 here:
https://youtu.be/N699k18rAbY
Final Thoughts
For me, carving is where intention becomes reality.
A drawing can always be changed—but once a cut is made, it becomes part of the final piece. That tension is what makes the process so engaging.
Through this series, I’m not just creating a bonsai image—I’m building a body of work that reflects time, patience, and the act of making by hand.
If you’d like to support this work and get deeper insight into my studio practice, you can visit my Patreon here:
https://www.patreon.com/ronreekers
Thank you for following along—I appreciate your support.