TITLE Evening Snow at the Bridge PROMPT An ambient scene composed as an original Japanese woodblock print (ukiyo-e / shin-hanga manner: flat colour areas, fine keyblock outlines, bokashi gradation in the sky, visible woodgrain in large flats) that is quietly alive: snow falls, a river moves, a figure with an umbrella crosses a wooden bridge, lanterns come on at dusk. A new composition, not a reproduction of any existing print. Concept: a print that breathes. Mood: hushed, tender, deep winter stillness. Palette: snow-sky grey-blue #DCE3E6, indigo (Prussian-blue ink) #2E4057 for water, night sky top and outlines, cinnabar red #A63A2B for the small accents (a torii-less shrine gate post, the umbrella, the seals), snow white-paper #F6F3EA, and muted slate #6F8696 for distant layers. Light page: the snowy paper tone dominates; the sky darkens to indigo only at the very top by a bokashi gradient. Composition (Canvas 2D or SVG; vertical "ōban" portrait proportion on phones, wider landscape diptych on desktop, shown as two sheets hung edge to edge with a hairline seam): foreground: a snow-laden pine branch entering from the upper left and a bank with reeds poking through snow; middle: an arched wooden bridge on timber piles crossing a river in a long diagonal, its railing topped with snow; three or four thatched and tiled houses on the far bank with deep snow on their roofs, a small shrine lantern, bare willows; background: a soft range of hills and a single mountain as flat grey silhouettes fading into the snow sky. The river is a flat indigo shape with pale wave lines drawn in the woodblock manner and snow-covered boats moored at posts. A print margin surrounds the image, with a vertical title cartouche in the upper right (a red-bordered rectangle with the English title set vertically in small capitals, one letter per line, in two short columns: "EVENING SNOW" / "AT THE BRIDGE") and two artist seals in cinnabar (invented, geometric). Print craft: keyblock lines in dark indigo with slightly varying width (not uniform vector strokes: jitter the offsets or draw as thin filled shapes); flat colour fills with subtle woodgrain (long wavy parallel streaks at low opacity) and paper fibre texture; bokashi: smooth hand-wiped gradients at the top of the sky and along the water's edge; a tiny misregistration between colour and line in places; snow rendered as unprinted paper. Life: snow falls in three depth layers (large slow soft flakes in front, small faster ones behind), drawn as round off-white dots with no blur, drifting with gentle wind; snow accumulates imperceptibly on the bridge rail and slides off a roof once in a while with a soft puff; a figure in a straw cape under a red umbrella crosses the bridge slowly from right to left (a simple, elegant walk cycle of a flat silhouette with bobbing umbrella), occasionally followed by a second traveller with a lantern or a dog; the river's wave lines shift slowly; smoke rises from one chimney as a thin curling line; a pair of crows crosses the sky rarely. Interaction: the pointer/finger is the wind: moving left or right leans the snowfall and makes the willow branches and the walker's cape respond; a click/tap on the pine branch dislodges its snow load, which falls in a clump and bursts; clicking a house lights its window. Time of day follows the viewer's real clock in four moods (morning pale, afternoon grey, dusk with lit lanterns and warmer windows, night with deep indigo sky and bright snow), and a small round control drawn like a seal cycles them manually: the bokashi sky re-inks with a slow wipe and lanterns glow (warm #F2C078 used only for lantern and window light): the signature moment is dusk falling over the print: the sky gradation deepening from the top, windows and lanterns lighting one by one, their glow reflected as short strokes in the river, while the snow keeps falling. Typography: minimal: the vertical cartouche title "EVENING SNOW AT THE BRIDGE"; in the lower margin, tiny tracked small caps: series title "Twelve Views of a Quiet Province · No. 7" and a discreet hint "the wind follows you". Optional sound toggle (off by default) drawn as a small seal: very soft wind and the creak of snow underfoot when the walker passes. Reduced motion: sparse slow snowfall, the walker stands still mid-bridge, no wipes. Entrance: the print is "pulled": colour blocks appear in the order a printer would lay them (sky, water, greys, red, then the keyblock lines) over about 2.5 seconds. DESCRIPTION A single woodblock print hangs on a pale wall and quietly lives. An arched timber bridge runs in a long diagonal from a snowbank and its reeds to a far shore of thatched and tiled houses, a stone lantern and two cinnabar gate posts, under one snow-capped mountain that dissolves into the sky. Everything is cut as a printer would cut it: flat colour blocks with woodgrain showing through, hand-wiped bokashi at the top of the sky and along the water's edge, dark indigo keyblock lines whose width breathes, colour sitting a hair out of register, and snow that is simply unprinted paper. On arrival the sheet is pulled block by block (sky, water, greys, red, key lines), the cartouche settles and the two artist seals are stamped last. Then snow falls in three depths, wave lines drift down the river, a figure in a straw cape under a red umbrella crosses the bridge with a dog or a lantern-bearer behind, chimney smoke curls, crows pass now and then, a roof sheds its load. The hour follows the viewer's clock; pressing the round seal re-inks the sky from the top down, and at dusk the windows and lanterns come on one after another, their light laid on the river as short warm strokes. On phones the scene recomposes as a tall oban sheet; on wide screens it is a diptych. VISUAL TECHNIQUES - Canvas 2D scene cut into separate "blocks" (sky, water, greys, red, keyblock) that are composited with small per-block offsets for visible misregistration - Keyblock lines drawn as thin filled shapes with noise-modulated width, wandering path and tapered ends rather than uniform strokes - Procedural woodgrain (long wavy parallel streaks bending around knots) applied as a pattern inside every printed flat; snow areas left as bare paper - Bokashi gradation built from a tiny per-column sky strip, so the hand-wiped edge is slightly uneven and can be re-inked with a soft top-down wipe - Layered edge washes along shorelines for the darker band at the water's edge and blue shadow on snow - Occlusion by carving: every opaque shape erases the key and red blocks beneath it, like cutting away wood - Two full compositions (portrait oban and landscape diptych) generated from one set of parametric drawing routines - Three-depth snowfall of flat off-white dots, the farthest layer passing behind houses and bridge - Walker, lantern traveller, dog and crows as flat silhouettes with simple walk and wing cycles; the walker passes behind the near bridge rail, which is cut on its own block - Pine bough on its own block, rotated on a damped spring; each snow load is a separate sprite that can fall and burst - A single multiply overprint for the hour, with lamplight (the only warm ink) and its river reflections drawn afterwards - Paper fibre overlay across sheet and margins, SVG turbulence filters for the worn cinnabar seals - Entrance choreography in printing order, with the cartouche and seals stamped at the end - Optional synthesised sound: filtered-noise wind that follows the gusts and soft snow creaks on each footstep INTERACTION MODEL Moving the pointer or dragging a finger left or right is the wind: the snowfall leans, the willow branches swing, the walker's cape and umbrella tilt, the smoke bends, and a strong gust blows the gathered snow off the bridge rail (the left and right arrow keys do the same). Clicking or tapping the pine bough drops its snow, which falls in clumps and bursts while the bough springs up and slowly loads again. Clicking a house lights or darkens its window. The round cinnabar seal in the lower margin steps through morning, afternoon, dusk and night (the print otherwise follows the real clock): the sky is re-inked by a slow wipe from the top, and at dusk and night the shrine lantern, windows and hanging lamp light one by one with reflections on the river. The square seal beside it turns the wind and footstep sound on or off; sound is off until pressed. Pine and houses are also reachable by keyboard focus. With reduced motion the snowfall is sparse and slow, the walker stands mid-bridge, and changes of hour happen without the wipe or entrance sequence.