Drawing 3, 19.2 X 27.3 cm.

Tametomo on Hamashima island, by Hokusai and a pupil.
Published in Chinsetsu yumihari zuki, vol. 1, pp. 15B – 16A, in 1807. 

 Changes from drawing to print:

• The standing figure to the right of the print has been moved to the right, no doubt to avoid having the hat overlapping the frame of the print. This shifting of the figure has carried with it a portion of the background from the right hand side, in particular, the rocks on the edge of the path at bottom right.
• The text has been moved towards the top of the print, leading to an adjustment of its surroundings, and in particular, the boat which has been moved lower to leave more space.
• The line of rocks starting from the boat and going up towards the inner margin has been noticeably reworked.
• The strong forceful lines at the margin on the top left-hand corner, drawn in an almost kanô style have not been kept in the print. Some because they would have gone over the edge of the frame and the inner ones because they have been made much lighter.
• Many pine needles at bottom centre and right have not been kept in the print.

Artist's shorthand:

• The tree at top left.
• The branch coming out of the vase on the deer’s back.
• The tree on the left of the child.
• The pine needles at bottom centre and right.

This drawing shows noticeable differences compared to the others. It looks generally confused, overloaded and lacks drama. The composition is also surprising. It seems to be made up of two half drawings, placed back to back. The posture of the two main figures, stubbornly looking away from the subject reinforces this strange impression.
Strong magnification enables us to make a clear distinction between the lines used for Tametomo and those for the figure standing further to the right: Tametomo’s face was clearly drawn by Hokusai; the lines of the clothes are in the flowing style which he uses for preliminary sketches. The calligraphy is also clearly by Hokusai and probably also the child on the deer. The figure standing furthest to the right has hesitant lines and the eyes are imperfectly drawn. It is clearly not Hokusai’s hand. 
We are tempted to imagine that Hokusai and a pupil each drew one of the central characters. Hokusai’s cursory line indicates that this is a preliminary and clearly unpretentious sketch. Hokusai then finished the drawing, adding the scenery around it. This theory explains the many differences between this drawing and the other shita-e in this collection: the difference in the quality of line between the figures, the flowing lines for the main characters of a shita-e, the lack of anticipation of the positioning within the page where one of the central characters finds itself squeezed against the central margin.