When the stone thus has been painted red, it must be permitted to dry thoroughly. When it is dry, a strong impression of the design is made on sized but well-dampened paper with a printing-color rather soft than firm. Before the paper has a chance to dry and thus to shrink, the red stone is placed in the press and the impression is laid on it face down. Use moderate pressure. The drawing will transfer itself to the red surface, but the paper will stick. Wet it with weak aquafortis till it is completely softened and permits itself to be removed. Care must be taken not to spoil the drawing by violent wiping and rubbing. This method is easier if a special transfer paper is used. Coat well-sized, very clean paper with a thin paste of starch such as laundresses use for stiffening linen. This paper must not be dampened very much, because then it will not take the impression well. It also is removed from the tone plate by washing with weak aquafortis and it yields very easily, because the paste lets go of the color readily. When the design has been transferred to the tone plate, take good iron instruments and remove the wax surface wherever the high lights are desired. As the stone is ground rough, the scraping will produce only small specks at first, because the instrument will touch only the relief points. The more the scraping proceeds, the deeper it will go, till at last one reaches the bottom of the coating and thus obtains a white light. Experts can so manipulate the tint plates that the lights will be graduated from the softest to the most glaring. As soon as the lights are drawn in, the margins of the drawing are scraped the same way. Then the plate is treated to several washings of pretty strong aquafortis, about twenty parts of water to one part of aquafortis. After coating with gum, it is ready for printing. The most important requisite for this printing is a good arrangement that will insure an exact register of the second impression with the first, that the lights may appear exactly where they belong. To achieve this, the practice used to be to draw two register marks on the stone holding the original design, which were transferred to the tint plate with the rest of the design. When the first impression was made, the printed paper was cut away exactly at the marked points, and laid accurately, on the tone plate, being guided by the two marks there. This was effective, but it had the fault that the paper had to be trimmed off carefully for each impression and that the slightest inaccuracy spoiled the register. However, it is very useful for printing proofs.