It was at this banquet that it is believed the artist first announced his new art name, "Utamaro". Per custom, he distributed a specially made print for the occasion, in which, before a screen bearing the names of his guests, is a self-portrait of Utamaro making a deep bow. Utamaro's first work for Tsutaya appeared in a publication dated as 1783: "The Fantastic Travels of a Playboy in the Land of Giants", a "" picture book created in collaboration with his friend Shimizu Enjū, a writer. In the book, Tsutaya described the pair as making their debuts. At some point in the mid-1780s, probably 1783, he went to live with Tsutaya Jūzaburō. It is estimated that he lived there for approximately five years. He seems to have become a principal artist for the Tsutaya firm. Evidence of his prints for the next few years is sporadic, as he mostly produced illustrations for books of "kyōka" ("crazy verse"), a parody of the classical "waka" form. None of his work produced during the period 1790–1792 has survived. In about 1791 Utamaro gave up designing prints for books and concentrated on making single portraits of women displayed in half-length, rather than the prints of women in groups favoured by other ukiyo-e artists. In 1793 he achieved recognition as an artist, and his semi-exclusive arrangement with the publisher Tsutaya Jūzaburō ended. Utamaro then went on to produce several series of well-known works, all featuring women of the Yoshiwara district. Over the years, he also created a number of volumes of animal, insect, and nature studies and "shunga", or erotica. Shunga prints were quite acceptable in Japanese culture, not associated with a negative concept of pornography as found in western cultures, but considered rather as a natural aspect of human behavior and circulated among all levels of Japanese society. Tsutaya Jūzaburō died in 1797, and Utamaro thereafter lived in Kyūemon-chō, then Bakuro-chō, and finally near the Benkei Bridge. Utamaro was apparently very upset by the loss of his long-time friend and supporter. Some commentators feel that after this event, his work never reached the heights previously attained. A law went into effect in 1790 requiring prints to bear a censor's seal of approval to be sold.