While colour printing in Japan dates to the 1640s, early ukiyo-e prints used only black ink.
 Colour was sometimes added by hand, using a red lead ink in tan-e prints, or later in a pink safflower ink in beni-e prints.
 Colour printing arrived in books in the 1720s and in single-sheet prints in the 1740s, with a different block and printing for each colour.
 Early colours were limited to pink and green; techniques expanded over the following two decades to allow up to five colours.
 The mid-1760s brought full-colour nishiki-e prints made from ten or more woodblocks.
 To keep the blocks for each colour aligned correctly registration marks called kentō were placed on one corner and an adjacent side.

Printers first used natural colour dyes made from mineral or vegetable sources.
 The dyes had a translucent quality that allowed a variety of colours to be mixed from primary red, blue, and yellow pigments.
 In the 18th century, Prussian blue became popular, and was particularly prominent in the landscapes of Hokusai and Hiroshige, as was bokashi, where the printer produced gradations of colour or the blending of one colour into another.
 Cheaper and more consistent synthetic aniline dyes arrived from the West in 1864.
 The colours were harsher and brighter than traditional pigments.
 The Meiji government promoted their use as part of broader policies of Westernization.
While colour printing in Japan dates to the 1640s, early ukiyo-e prints used only black ink.  Colour was sometimes added by hand, using a red lead ink in tan-e prints, or later in a pink safflower ink in beni-e prints.  Colour printing arrived in books in the 1720s and in single-sheet prints in the 1740s, with a different block and printing for each colour.  Early colours were limited to pink and green; techniques expanded over the following two decades to allow up to five colours.  The mid-1760s brought full-colour nishiki-e prints made from ten or more woodblocks.  To keep the blocks for each colour aligned correctly registration marks called kentō were placed on one corner and an adjacent side.
Printers first used natural colour dyes made from mineral or vegetable sources.  The dyes had a translucent quality that allowed a variety of colours to be mixed from primary red, blue, and yellow pigments.  In the 18th century, Prussian blue became popular, and was particularly prominent in the landscapes of Hokusai and Hiroshige, as was bokashi, where the printer produced gradations of colour or the blending of one colour into another.  Cheaper and more consistent synthetic aniline dyes arrived from the West in 1864.  The colours were harsher and brighter than traditional pigments.  The Meiji government promoted their use as part of broader policies of Westernization.
Ukiyo-e