The standard size of *ukiyo-e 浮世絵 prints. Print sizes are given in the traditional measures based on the number of pieces of paper cut from the old standard sheet sizes. Although because the standard varied somewhat, this can be a handy way of referring to prints. The change in the size of hangata generally corresponds with the development of ukiyo-e. The first, typical standard size of ukiyo-e prints in the 1680's sumizuri-e 墨摺絵 was called the yoko-ōban 横大判 (wide, large format; see *ōban 大判) which was as big as two pages of an open book. When ukiyo-e was established as a single print *ichimai-e 一枚絵 around 1700, the standard size became bigger and was called *ōōban 大々判 (extra-large format), which was made by adding a small strip to a full sheet of *minogami 美濃紙, and in this way many examples of dynamic *tan-e 丹絵 prints were produced. For the more gentle *beni-e 紅絵, *urushi-e 漆絵, and *benizuri-e 紅摺絵 prints popular from the 1710s to 1740s, a smaller format called *hosoban 細判 (narrow format), one-third vertically cut sheet of a minogami sheet was preferred. Another popular format in the same period was the extremely long *hashira-e 柱絵 format (pillar painting), that was hung on a pillar, and was made of 1/2 to 1/4 horizontally cut sheet of a *takenaga bōsho 丈長奉書 sheet. The first standard-size paper used for full-color woodblock prints *nishiki-e 錦絵, said to have been created in 1764, was the *chūban 中判 (medium format), a quarter sheet of a piece *ōbōsho 大奉書 paper. The standard size for nishiki-e after 1780 was the ōban (large format, also called ōnishiki 大錦), a vertically cut, half sheet of ōbōsho. The *aiban 間判 (intermediate format, also called ai-nishiki 間錦) was a vertically cut half piece of *kobōsho 小奉書 and was also frequently used for nishiki-e. In addition, the *shikishiban 色紙判 (poem-card format, also called kakuban 角判), 1/6 sheet of an ōbousho sheet, and the *chōban 長判 (long format, also called naga-e 長絵), a horizontally cut half sheet of an ōbousho, were used for *surimono 摺物.