Our store has been protecting the store for 100 years since its founding, starting with the first Tamaru Annosuke in Kyoto from the beginning of Taisho. At the time of its founding, we were trading as a general store, but since then we have been doing business as a specialty store in downtown Kyoto by narrowing down the commercial materials to seal, as a step toward the rise of insignia demand.
At the time of the second generation Tamaru Isamu, he contributed to the cultural development of Kyoto by donating the amount of money to The Yasaka Shrine and Gion Festival's Kikusui ho, and he also carved a caricature of "Eyeball's Ma-chan 2nd Generation Onoe Matsunosuke" into rubber to the children's opponents in the neighborhood. While the times were taisho, photography was still not widely used in general, it seemed to have been so popular that it was able to carve the first movie star Onoe Matsunosuke's "Hanko" in Japan and take it home from early morning.
This was the origin of our "Kyofufu Stamp".
The base of our commitment to the Kyoto Ufu-fu stamp is our shop, and this stamp is a stamp made by "Hankoya". This can be said to be designed and manufactured based on the basic technology used in stamp manufacturing to sculpt "letters".
Specifically, when we think about the pattern of a new stamp, we do not think from the point of view of "drawing", but rather construct the pattern from the viewpoint of "combining lines" like a Chinese character. This point leads to a lot of commitment only in our store, and makes a difference in the final finish.
Our stamp design is made with particular attention to the quality of the line. More than 3,000 kinds of Kyo-Fufu stamps are mostly designs written down by our store.
The reason why I stick to writing down so far is that the final product is not an illustration but a "fun". It is necessary to construct the line assuming this end point because it is not finally seen, but "pushed".
Therefore, when i write down a new one, of course, I pay attention to the quality of the design itself, but in addition to that, I make it with particular attention to the point of "well-balanced" and "draw using the line type suitable for the stamp" in the established frame.
These are directly linked to the "beauty of the line" in the finished stamp. As a result, customers have praised the fine lines of The Tamaru Inbo. Please try it once by all means.
In our history, we have received feedback from our customers about what kind of points we are having when customers actually press stamps, and we have incorporated them into manufacturing.
Especially as many voices,
"The ink is blurred and the mark is not beautiful"
"My hand hurts when I hold it down, so I get tired if I push a lot."
Ink sticks to unnecessary parts such as rubber frames.
Therefore, we have given the following measures about such trouble in our store.
Because it becomes the foundation part of the stamp production of our store, I cannot describe it in detail, but stick to the irregularity of the rubber surface and make it. I think that ink sticking is good by this, and it is possible to stamp it with a light force. Please give it a try. We believe that this uneven technology is the part where the technology that has carved thousands and tens of thousands of seals is alive as "Hankoya".
When stamping, in the case of a square tree, the corner part will bite into the hand by all means. In our store to prevent this, i cut the four corner corner of the handle part beforehand. It's a sober point, but i think you'll notice that the push comfort is quite different when you try it. *By the way, in fact, each employee is cutting them by hand. Therefore, the shape is slightly different one by one not exactly the same.
Do you have any experience of "i've attached a part that has nothing to do with stamp design" when i press a stamp? In order to prevent this, i cut the unnecessary part on the stamp design beforehand in our store. As a result, ink sticks only to the part that is really needed, and it is not able to push it neatly. To tell the truth, i cut this one by one by hand.
As I mentioned above, we dare to leave the manual process in the manufacturing process of "Hanko" in this period. To be honest, if you are pursuing only efficiency, it is possible to quickly make large quantities using machines in the whole process. On the other hand, there will be parts that we lose and give up in various aspects such as quality and design. If you are involved in traditional crafts, art and art, and even education, you will understand the evils of this efficiency and uniformity.
When manufacturing is a living, there is always a time when we will have to review the manufacturing method.
At times like this, we always try to get back to the question of origin.
"Who is this product and how is it used? 」
As a result of taking this question straight, we have adopted a method in which human hands are intervened in the manufacturing process and the product remains handmade.
This is because there are many people who understand the merits of things that are made one by one. As long as there are people who are able to find the value of analogue, we would like to meet your expectations so that we can keep the core technology and pass it on to the next era, while keeping the core of the area in accordance with the times.
Taku Tamaru, The Fifth Generation, Inbo Tamaru
