18.5 x 17.5 in. Abstract: black background, black, natural, red, with yellow, gold and orange lines. An fascinating abstract print, showing an image of a Japanese warrior, energetically charging toward an unseen foe. Black background, figure as open space, black line, red, with yellow, gold and orange lines. This is a profile of fierce energy. The lines within the figure seem to spin around and collide. The dripped yellow and black lines echo Japanese pottery or Jackson Pollock. Yoshida Hodaka is a third generation Yoshida family artist, brother of Toshi.
Front cover illustration: Beacons fill the sky over Tiananmen Square, serving as arrows indicating "The Great Leap Forward" in the production of grain, steel, and machinery. Large bins of grain from a bumper harvest are seen to the left, while new factory chimneys rise on the right.
The Colorado College yearbook, published 1900-2007, was known as The Pikes Peak Nugget from 1900-1941 and The Nugget or Colorado College Nugget afterward. Year on cover differs from title page in some years.
Woodcut on paper, 23 1/8 x 17 inches. Masaji Yoshida, one of the great masters of the Creative Print school and unrelated to the Yoshida family of New Print (Shin-hanga) artists, had yet another way of exposing the artifice of art. He printed planks of wood nearly 'as is', only shaping them slightly to suggest natural forms. Masaji did not go as far as Koshiro Onchi (1891-1955) or Gen Yamaguchi (1896-1976), who ended up using drift-wood and other 'found objects' in their attempts to show how woodblocks are printed from wood, but his method is in line with the second of the two great directions of development in the Creative print movement identified by Jenkins as "the trend towards full abstraction and non-objectivity". There are two shades of green in Moss #3. One is more intense and appears in the lowest part of the composition to the left. A larger light green area follows above, punctuated by two brown squares. Then, there is a long, unprinted section of white paper. A last small light green section ends the composition. The areas of green are all rounded. Thus, the composition suggests a series of moss-covered hillocks dotted with rocks and bordering a white path. Moss gardens such as that at the famous "Moss Temple" of Saiho-ji are often composed of such rounded hillocks, have white pebble paths, and large square brown rocks. According to Statler, Masaji, who was born in Wakayama, took Hiratsuka Unichi's (1895-1997) class on Modern Japanese print-making while studying art at the Tokyo School of Fine Arts. In 1942, Masaji was drafted into the Japanese army, sent to China, and served there until he was wounded and became a prisoner of war. He was not repatriated until March of 1946, when he returned to Japan and, according to Statler, took up residence in what had been one of the tearooms of Tokyo School of Fine Arts. Masaji says that he burned wood in an open fire on the floor there to keep warm.
Woodblock Print, 10.25 x 7.5 inches. A 1958 cityscape of the well-known Ginza shopping area in Tokyo, with cars and a streetcar in the dark gray foreground and with a horizon of skyscrapers against a pink sky. Dawn might also suggest Tokyo's amazing recovery 13 years after the end of the Second World War. The style Toshi used - straight horizontal, vertical and wavy lines - is unique to this print. It would have made an attractive New Year's gift for American buyers of Yoshida family prints. Many American soldiers were still stationed in Japan at that time, and many of them visited the Yoshida Studio, bought prints, and began collections that still remain intact at the present time.