The technique for printing texts and images was generally similar. The obvious differences were the volume produced when working with texts (many pages for a single work), and the complexity of multiple colors in some images. Images in books were almost always in monochrome (black ink only), and for a time art prints were likewise monochrome or done in only two or three colors.

Hokkei (1780 - 1850) 

Totoya Hokkei (魚屋 北渓, 1780–1850) was a Japanese artist best known for his prints in the ukiyo-e style. Hokkei was one of Hokusai's first and best-known students and worked in a variety of styles and genres and produced a large body of work in prints, book illustrations, and paintings. His work also appeared under the art names Aiogazono (葵園), Aoigaoka (葵岡) and Kyōsai (拱斎).

Born Iwakubo Tatsuyuki (岩窪 辰行) in 1780 in Edo (modern Tokyo), Hokkei was at first a fishmonger before studying with Kanō Yōsen'in Korenobu (ja), the head of the Kobikichō branch of the Kanō school of painting. Later he became one of ukiyo-e artist Hokusai's first students.

Hokkei's earliest known work appeared about 1800 as illustrations for books of kyōka comic waka poetry, lecentious sharebon novels, and hanashibon storybooks. During his peak period in the 1820s and 1830s he produced a large number of prints and book illustration.

Hokkei died in 1850 at age 70. He is buried in Ryūhōji temple in Aoyama. Throughout his life he also used the given names Hatsugorō (初五郎), and Kin'emon (金市右衛門), and the art names Aiogazono (葵園), Aoigaoka (葵岡) and Kyōsai (拱斎).^[1] Amongst Hokkei's students are known the names Yashima Gakutei, Nishimoto Keisetsu (西本渓雪), Keiri (渓里), Keiyu (渓由), Keigetsu (渓月), Keishō (渓松), Keisei (渓栖), and Keirin (渓林).

Hokkei's work is light and simple, and shows the influence of his master Hokusai: the Famous Places from Various Provinces series appeared shortly after Hokusai's popular Thirty-six Views of Mount Fuji. Hokkei was an individualistic and versatile artist who made use of a variety of approaches and worked in styles varying from those remiscent of early ukiyo-e artist Hishikawa Moronobu to Western-tinged methods and subjects.

In the 1820s and 1830s Hokkei was a prolific illustrator of surimono prints, of which he made at least eight hundred; and of books, of which he illustrated about a hundred, including erotica and a book of sketches called Hokkei Manga (北渓漫画) in the manner of the Hokusai Manga.

Hokkei (1780 - 18

50) 

The text or image was first drawn onto thin washi (Japanese paper), then glued face-down onto a plank of close-grained wood, usually cherry. An incision was made along both sides of each line or area. Wood was then chiseled away, based on the drawing outlines. The block was inked using a brush or brushes. A flat hand-held tool called a baren was used to press the paper against the inked woodblock to apply the ink to the paper. The traditional baren is made in three parts, it consists of an inner core made from bamboo leaves twisted into a rope of varying thicknesses, the nodules thus created are what ultimately applies the pressure to the print. This coil is contained in a disk called an "ategawa" made from layers of very thin paper which is glued together and wrapped in a dampened bamboo leaf, the ends of which are then tied to create a handle. Modern printmakers have adapted this tool, and today barens are made of aluminum with ball bearings to apply the pressure are used; as well as less expensive plastic versions. Although the first prints were simply one-color, with additional colors applied by hand, the development of two registration marks carved into the blocks called "kento" were added. The sheet of washi to be printed is placed in the kento, then lowered onto the woodblock. This was especially helpful with the introduction of multiple colors that had to be applied with precision over previous ink layers.