“Motawi extracts the essence of my design and focuses on that.”—Yoshiko Yamamoto

Some collaborations just feel destined—like ink meeting paper or glaze settling into carved clay. That’s exactly what happened when woodblock print artist Yoshiko Yamamoto connected with Motawi Tileworks. Her serene, nature-inspired designs, shaped by both Japanese tradition and American landscapes, found a powerful new expression in ceramic tile.

I had the pleasure of interviewing Yoshiko over a Zoom call from her home studio in Kamakura, Japan. As we chatted, a small bird fluttered into the frame and landed gently on her shoulder. "That’s Wabi," she said with a smile, referring to her pet rice finch, named for the Japanese concept of wabi-sabi—an appreciation for imperfection and impermanence. It felt like a perfect symbol for the kind of quiet beauty that defines her work.

We talked about her artistic journey, her connection with Nawal Motawi, and the joy of seeing her work interpreted in tile.

A Love of Prints, Books, and William Morris

"I grew up in Japan and used to visit an old book district where block prints were sold," Yoshiko recalled. "I didn’t realize it at the time, but I was already collecting reproduction prints as a teenager."

Later, in Berkeley, California, she became immersed in the Arts and Crafts revival of the 1990s. "Handcrafts were very much appreciated in Berkeley," she said. "While I was studying there, I started writing about the Arts and Crafts movement for my thesis."

That intellectual curiosity turned practical when she and her husband Bruce, then editor of American Bungalow magazine, decided to produce their own publication in the spirit of William Morris. "He was the idea guy, and I was the doer," she laughed. "We learned letterpress printing so we could publish something with substance, not just pretty pictures."

As Yoshiko grew tired of printing only text, she started creating images to accompany the articles. "Somehow, those prints became more popular than the magazine itself.

Financially too, they were more successful," she said. "That’s when I decided to really focus on my own prints."

The Grove Park Spark

Yoshiko met Nawal Motawi at the Grove Park Inn Arts & Crafts Conference in the late '90s. "We were in different rooms, but I loved their tile and kept going to their booth. They came to mine, too," she remembered.

"I think I was just buying one of their tiles when someone said, 'This would make a great tile,' pointing to my artwork. Eventually, they approached me and said they wanted to turn my designs into tile. I said, 'Wonderful!'"

 Pictured: Yoshiko, Nawal Motawi, and Dard Hunter III—"A perfect trio from when we were young!" Yoshiko says. (Dard Hunter Studios handles Yoshiko's stateside distribution now that she's back in Japan.)

From Paper to Clay

Seeing her artwork transformed into ceramic tile for the first time was powerful. "Motawi's team really understands how to simplify a design without losing its essence," she said. "They made it stronger. Honestly, I'm kind of jealous. My prints are on paper—they can burn. But tile? Tile lasts. It's like my work has been immortalized."

Yoshiko now lives in Kamakura, Japan, but she brought several Motawi tiles with her. "They’re everywhere in my studio. One of the chickadee tiles is by the entrance, and there’s a landscape tile from Montana de Oro. I even have a red cardinal tile in the bathroom," she said. "I love how they live with me."

Sketchbooks, Camping, and Coastal Light

Yoshiko’s prints often begin in the wild—from sketches made on family camping trips.
"When our kids were small, we used to travel up and down the West Coast for art shows. Afterward, we’d go camping for a couple days," she said. "I'd sketch while they played. It was a good rhythm for a few years."

"I can't just take a photo and turn it into a print," she explained. "I need to sketch, even a little scribble, to really remember the feeling of a place."

Her favorite locations? "Mount Rainier. Carmel. Big Sur. There's something about that California light—those golden hills and poppies—that stays with me."

Where Cultures Meet

Yoshiko’s work blends Japanese aesthetics with the Arts and Crafts tradition.

"It's almost like part of my genetic makeup. I just can't shake it off," she said. "Arts and Crafts was influenced by Japanese design to begin with, so there's a continuation there."

Since relocating to Japan, her style has subtly shifted. "My newer work has a little finer linework, with more muted colors—to suit the Japanese audience. Their sensibility is different. It’s like I’m living in two creative worlds."

She's also begun collaborating with Japanese master printers and carvers. "These artisans have been doing this for 60 years. I still make the master prints, but now they help reproduce them. It allows for even more technical precision."

From Carving to Tile

When developing a new print, Yoshiko starts with a pencil sketch and color study. "Then I trace it onto a block and start carving. Sometimes the design changes as I go—I see better ways to balance black and white, space and form," she said.

Once the main block is carved, she transfers the image to three or four other blocks for each color layer. The result is a richly layered composition that feels alive.

That movement is something the Motawi glazers capture beautifully. "Windswept Cypress was one they glazed recently," she said. "Watching the glaze flow into the design... it almost looks like painting."

Imagining What’s Next

Asked if there's a print she’d love to see as a tile, Yoshiko lit up. "Waterlilies," she said, referencing her triptych that features koi swimming among lotus blossoms. "Even just a portion of it would make a beautiful tile. The koi, the lotus... there's so much possibility."

She’d also love to explore a new collection. "I think a series of native plants or herbs would be wonderful. Something delicate. Though I know the glaze can be tricky with fine lines."

A Collaboration Rooted in Respect

Yoshiko values the give-and-take of the collaboration. "Sometimes I suggest more color. Sometimes they come back and say, 'Actually, it works better this way.' We go back and forth. And it's always respectful."

She doesn’t take for granted how rare it is to find a team that "gets it." "There’s a trust there—that they know how to make something sing in tile."

A Community That Endures

After nearly three decades in the Arts and Crafts community, Yoshiko finds comfort in its continuity. "So many of us met at Grove Park. Some have gone on to other things, but it's nice to see familiar faces still doing the work. It feels like a strong, quiet friendship."

She now visits the U.S. a couple times a year, often for exhibitions. "Next time, I’d love to visit Ann Arbor and do an artist talk with Nawal. That would be an honor."

We agree.

Yoshiko Yamamoto’s tiles with Motawi are available through select retailers and online in our store. To learn more about her work, visit the Arts & Crafts Press.