This monumental print is from his last production period- a remarkably ambitious late career undertaking. Based on a photograph taken of an old wall in Mexico, the print was produced with a zinc etching and woodblock printed color. Hodaka developed the unique photo-based etching technique with a former student who had opened his own print shop in Tokyo where Hodaka carved eight to ten blocks for each wall print, which they used to overlay additional layers of color with multiple printings. Working together using a printing press, the zinc plate was printed with oils, and the woodblocks were printed with watercolor pigments, using the baren in some areas. The enormous sheets of kozo paper (the highest quality hosho paper) were special ordered from a papermaker, Mr. Iwano, who was located in Fukui prefecture. Due to the technical challenges of working in a monumental scale as well as the expense related to the use of kozo, Hodaka's ambitious 'Wall' prints were produced in very limited editions of only 15 numbered impressions.

This monumental print of a wall in Mexico is from a group of six made by Hodaka for a 1992 exhibition held at the Wall Museum in Suwako, in Nagao Prefecture. Fully embracing the show's title, Walls in The Wall, Hodaka based the designs on photographs he had taken of various walls during his travels (a subject of interest to him for many years). In her essay, My Father's Wonderwall, in the catalogue accompanying the 2019 exhibition, Hodaka Yoshida: Walls of Wonder held at the Mitaka City Gallery of Art in 2019, Ayomi Yoshida recounts finding a wall he used in an earlier print during a trip to Mexico with her father in 1995 (his seventh and final visit to the country). Turning a corner and expecting to find something on par with the monolithic image he created, instead there was "a tiny infill within a doorframe," demonstrating that it was only someone with Hodaka's unique "artistic worldview" would have seen the magic of that little house and modestly repaired wall. The prints were made using a new photo-based zinc etching and color woodblock printed technique which Hodaka developed with a former student who had opened his own print shop in Tokyo. The zinc plate was produced from his photograph, and Hodaka carved eight to ten blocks for each print, from which multiple printings would overly the colors. Working together using a printing press, the zinc plate was printed with oils, and the woodblocks were printed with watercolor pigments, using the baren in some areas. The enormous sheets of kozo paper (the highest quality hosho paper) were special ordered from a papermaker, Mr. Iwano, who was located in Fukui Prefecture. Due to the technical challenges of working in a monumental scale as well as the expense related to the use of kozo, Hodaka's ambitious 'Wall' prints were produced in very limited editions of only 15 numbered impressions.

This print is from an ambitious series Hodaka produced based on photographs he had taken of various walls during his travels (a subject of interest to him for many years), in this case a wall around a house in the Kyoto-Nara area where he had spent his honeymoon in 1953. The print was made using a new technique Hodaka developed with a former student who had opened his own print shop in Tokyo. A zinc plate was produced from the photograph, and Hodaka carved eight to ten blocks for each print, from which multiple printings would overly the colors. Working together using a printing press, the zinc plate was printed with oils, and the woodblocks were printed with watercolor pigments, using the baren in some areas. The sheets of kozo paper (the highest quality hosho paper) were special ordered from a papermaker, Mr. Iwano, who was located in Fukui prefecture.

titled, signed, and dated in pencil on the bottom margin, Flowering kale, Fujio Yoshida 1953, with red artist's seal within the composition on the lower right, dated and titled in Japanese on the left margin, sen kyuhyaku goju sannen saku (made in 1953), Habotan, 1953

United in their pursuit of modernism, Chizuko and Hodaka were able to attend a few of the First Thursday Society (Ichimokukai) gatherings held by the leading sosaku hanga printmaker, Onchi Koshiro (1891-1955). Onchi believed that printmaking could be a primary means of creative expression, however, he was not interested in consistently replicating the same image but felt that the process itself was the primary act of creation. The fact that prints by their very nature are an art of multiples was secondary, merely a by-product of creativity. This print demonstrates Chizuko's exploration of the ethos of Onchi's creative process. Against an unchanging background of angled buildings in a cityscape, Chizuko shifted the placement of details such as the abstract layers of string and chain of linked orbs arching over the composition, achieving a slightly different result with every impression.

After Toshi Yoshida became the head of the family in 1950, there was a need to boost sales in order to restore the family's finances which were depleted following the war. In addition to marketing his father's work, in 1951 he produced seventeen print designs in the same traditional style, and he continued his father's practice of holding open houses with print-making demonstrations. In 1953 he embarked on his first (of many) extended trips abroad, visiting some thirty museums and university galleries in the United States, also managing to arrange exhibitions of woodblock prints by Yoshida family artists at the Smithsonian Institution in Washington, as well as The Japan Society in New York. In 1955 he returned with his brother Hodaka to the United States, also visiting Mexico and Cuba. It was during the 1955 trip that Toshi visited the Grand Canyon, an excellent location for viewing the Milky Way.