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In the five years between the release of these first ''nishiki-e'' and his death, Harunobu produced hundreds of works, his unique style showing a marked departure from those of earlier artists. He remains today one of the most famous of all ''ukiyo-e'' artists not solely for his innovation, but for his charming and elegant style. In addition to the multitude of innovative elements which ''nishiki-e'' techniques allowed, his works are chiefly distinguished by the thin and slight build and young faces of his figures. While most earlier ''bijinga'' focused on the allure and sensuality of experienced courtesans, ostensibly full-grown women, Harunobu's ''bijinga'' really appealed to the delicate beauty of girlhood. The places and situations represented in his prints also displayed a more everyday, more real, world than many of the prints which came before. Two of his most famous prints, one of a young lady walking past a Shinto shrine, one of the girl [[Kasamori Osen]] serving tea at a small outdoor shop, serve as good examples of this real-world aesthetic. He very rarely, if ever, produced actor prints.

In the five years between the release of these first ''nishiki-e'' and his death, Harunobu produced hundreds of works, his unique style showing a marked departure from those of earlier artists. He remains today one of the most famous of all ''ukiyo-e'' artists not solely for his innovation, but for his charming and elegant style. In addition to the multitude of innovative elements which ''nishiki-e'' techniques allowed, his works are chiefly distinguished by the thin and slight build and young faces of his figures. While most earlier ''bijinga'' focused on the allure and sensuality of experienced courtesans, ostensibly full-grown women, Harunobu's ''bijinga'' really appealed to the delicate beauty of girlhood. The places and situations represented in his prints also displayed a more everyday, more real, world than many of the prints which came before. Two of his most famous prints, one of a young lady walking past a Shinto shrine, one of the girl [[Kasamori Osen]] serving tea at a small outdoor shop, serve as good examples of this real-world aesthetic. He very rarely, if ever, produced actor prints.

Harunobu was followed by a number of disciples and others influenced by his work. Suzuki Harushige, who would later become a master of ''[[ranga]]'' (Western-style painting) under the name [[Shiba Kokan|Shiba Kôkan]] (1747-1818), forged Harunobu's style for several years after the master's death. [[Ippitsusai Buncho|Ippitsusai Bunchô]] (fl.c. 1765-1792) and [[Isoda Koryusai|Isoda Kôryûsai]] (fl.c. 1760s-1780s) were among other notable followers of Harunobu at this time.

Harunobu was followed by a number of disciples and others influenced by his work. Suzuki Harushige, who would later become a master of ''[[ranga]]'' (Western-style painting) under the name [[Shiba Kokan|Shiba Kôkan]] ([[1747]]-[[1818]]), forged Harunobu's style for several years after the master's death. [[Ippitsusai Buncho|Ippitsusai Bunchô]] (d. [[1791]]) and [[Isoda Koryusai|Isoda Kôryûsai]] (fl.c. 1760s-1780s) were among other notable followers of Harunobu at this time.

Another major innovator, roughly contemporary with Harunobu, was [[Katsukawa Shunsho|Katsukawa Shunshô]] (1726-1793) the student of [[Miyagawa Shunsui]] (fl.c. 1740s-1760s), son of Miyagawa Chôshun mentioned earlier, and founder of the [[Katsukawa school]].

Another major innovator, roughly contemporary with Harunobu, was [[Katsukawa Shunsho|Katsukawa Shunshô]] (1726-1793) the student of [[Miyagawa Shunsui]] (fl.c. 1740s-1760s), son of Miyagawa Chôshun mentioned earlier, and founder of the [[Katsukawa school]].