UNDERDRAWINGS:
The artist produced the hanshita-e (underdrawing). It was then submitted to the censor of a government official. CARVING THE SUMl-INK BLOCK: The hanshita-e was pasted face down on a block of cherry wood, which was carefully carved so that the lines of the drawing were left in relief. The kentou (guide marks ) were carved in relief on the block (and on all subsequent blocks).

INDICATING THE COLORS:
The ink block next went to the printer, who placed on it with Japanese minogamipaper, and rubbed the paper with a baren (a pressing pad) to make an ink proof, generally ten or more such proofs. The artist indicated on them by vermillion the colors for which the various color blocks were to be carved.

CARVING THE COLOR BLOCKS:
The color-blook carvers pasted each on a separate block and carved them in relief.

PRINTINGS:
The printer prepared the sheets of printing paper called housho (paper mulberry) by sizing and then moistening them. He pressed the paper down and rubbed it with his baren. Then the color blocks were employed in succession to produce the print.