View of Yoyogi

A second Yoyogi composition, indicating that Maeda treated the district as more than a one-off subject. Returning to the same place across multiple designs was a [sosaku-hanga](/glossary/sosaku-hanga) habit that mirrored painters' working practice more closely than the publisher-driven series structure of [shin-hanga](/glossary/shin-hanga). Each impression could investigate a different element: a light condition, a framing, or an aspect of the built environment that the prior design had not foregrounded. By the period when Maeda was working in Yoyogi, the area was already transitioning from its prewar character toward the dense urban fabric that surrounds Yoyogi Park today. As mokuhanga, the print would have been pulled by hand using a [baren](/glossary/baren) on dampened washi, with each color block registered to the [kento](/glossary/kento) marks cut into the wooden block edges — the same physical process used since the Edo [nishiki-e](/glossary/nishiki-e) period, retained intact in twentieth-century creative-print practice.