It is far better to have a printing-frame that is so fixed that it will never shift its position in the slightest degree. To this is fastened a little movable frame that has two steel needles whose position is adjustable at will. Lubricate the leather inside with wax and lay a sheet of white paper on it. See that the tint plate is so fastened in the press that it cannot stir out of place. Make an impression and take care especially that the two register marks print off well. Now set the needles in the little frame so that they will be exactly over these two marks. If, then, an impression of the design is laid on so that the two guiding-marks on it come exactly under the two needles, it will, of course, register perfectly. Of course the little frame must be so adjusted that it can be folded back out of the way before each impression, and the printing-frame must hold the sheets of paper so that they cannot move. To color the tint plate, use a firm varnish tinted with umber, or any other color that will give the desired effect. New rollers are best, insuring a fine, even, unspotted tone. (3) In rough-grinding the stones, it is difficult to prevent scratches and furrows caused by the coarse sand. No design of value should be made on such a stone, but if one is used, the defects should be touched up with chemical ink and a fine brush, as crayon will hardly do it. (4) As the delicate places in crayon work are not durable, etching having the property of reducing the light portions and darkening the darker ones, I tried the method of drawing the lighter portions on a separate stone in rather stronger manner and printing from it with paler ink. The success was so great that I hope in time to produce true masterpieces with the aid of skilled artists, and here call attention to it in advance. (5) After learning how to make a second impression over a first one, it is not difficult to pass on to printing with several stones and from that going on to color-printing. In the early days of my invention I tried color-printing with a crayon plate and had the best success by using stencils such as are used by the painters of cards. On oiled stiff paper I made as many impressions of a design as there were to be colors. Then all that was to be red was cut out from one stencil, green from another, and so forth. Then the stone was wetted, the stencil laid on it and the uncovered parts of the stones inked-in with the right color. After all the colors had been applied, I made the impression, which generally looked neat enough, but still resembled a sketchy drawing rather than a painting, because no color except black, zinc red, and dark blue permitted itself to be printed strongly enough. But by using several stones, each of which can be designed and treated according to the necessities of color, impressions can be made that resemble the English colored copper prints very closely, especially if the crayon and pen or brush methods are united.