Ukiyo-e artists often made both prints and paintings; some specialized in one or the other.
 In contrast with previous traditions, ukiyo-e painters favoured bright, sharp colours, and often delineated contours with sumi ink, an effect similar to the linework in prints.
 Unrestricted by the technical limitations of printing, a wider range of techniques, pigments, and surfaces were available to the painter.
 Artists painted with pigments made from mineral or organic substances, such as safflower, ground shells, lead, and cinnabar, and later synthetic dyes imported from the West such as Paris green and Prussian blue.
 Silk or paper  kakemono hanging scrolls, makimono handscrolls, or byōbu folding screens were the most common surfaces.
Ukiyo-e artists often made both prints and paintings; some specialized in one or the other.  In contrast with previous traditions, ukiyo-e painters favoured bright, sharp colours, and often delineated contours with sumi ink, an effect similar to the linework in prints.  Unrestricted by the technical limitations of printing, a wider range of techniques, pigments, and surfaces were available to the painter.  Artists painted with pigments made from mineral or organic substances, such as safflower, ground shells, lead, and cinnabar, and later synthetic dyes imported from the West such as Paris green and Prussian blue.  Silk or paper  kakemono hanging scrolls, makimono handscrolls, or byōbu folding screens were the most common surfaces.
Ukiyo-e