Design
The design of the netsuke is probably the most important stage in its making as everything that follows is to fulfil what is set out here. When designing a piece, I initially spend time doing small rough sketches exploring the idea before working up a model in plasticine or wax. As netsuke is carved on all surfaces the model helps to perceive how each aspect of the design is relating to another.

Roughing Out the Form
Once the design is sufficiently resolved the next stage is to select a suitable material and begin roughing out the design from the block. This is done with saws and rasps. As netsuke design is always about closed form (so that nothing is protruding) it is important to consider the overall abstract shape at this stage.

Roughly defining the Details
Next the details begin to be defined using rasps, gouges and scrapers. These days nearly all contemporary carvers use rotary grinders to some extent at this stage of the carving however over using it leads to poor quality carving.

Refining
The finer carving is done using specially designed long handled scrapers that come in many shapes to allow access to almost any recessed area. Occasionally it is necessary to design and make a new tool to access a particular area.

Detailing and Polishing
The next stage of the process involves both polishing and engraving the fine details such as textures and hairlines into the surface. Various
techniques are used here, for example, cutting the surface with a hooked shaped scraper or tapping the surface with a bevelled pointed tool. The finer polishing is done after the engraving work.

Colouring
Often a netsuke is stained with natural dyes made from things like alder cones or walnut husk. A range of other dyes are also used. This adds a depth to the look of the piece but needs to be done carefully as it can also destroy the feel of the work if not done well and sensitively. There are two different ways dyes are used to enhance the netsuke. One is to add an overall colour to the piece as is usually done to darken and warm the tone of boxwood. The other is to add a patina to give contrast to the surface to bring out the detail.

Inlays
After colouring the inlay work is done for any small details such as dark eyeballs that would work well in a contrasting material. This is fiddly work and can be very time consuming.

Finishing
If the work is carved from wood it is burnished to close the surface and give it a more polished appearance. The dying process tends to open the cells of the wood making it look dull so burnishing brings it back to life. Finally, the piece is sealed, usually with wax which is again polished to bring the final sheen to the surface.

Over the years I have been fortunate to have had my work exhibited in and added to  some of the world’s most important museum and private collections. They include: the British Museum, the Museum of Fine Art Boston, the Los Angeles County Museum and the Tokyo National Museum.

Below are a selection of those works.