If a little oil of turpentine is now poured on the stone, and the crayon and chemical ink are dissolved and wiped off, the stone can be inked with soft inking-color and wiped again with a woolen rag. Then the design will look as if a black veil were over it, because the lightest parts of it and the half-shadows are not worked out at all. Wet a rag with gum solution and a little phosphoric acid, and hold it in one hand while with a fine scraper you scrape in the lights according to their gradation or grind them in with a fine stone, for instance, a slate pencil. As you scrape wipe over the design with the wet rag; and you will see exactly what you are doing as the various gradations will appear bit by bit. The printing in this as in other aquatint methods is done with soft and thin printing-color, and the paper may be more dampened than in other forms of lithography. The press needs considerable tension and the stones must be thick. VI INTAGLIO CRAYON AND TRACED DESIGNS The difficulty of getting impressions from crayon that shall not differ from the original design on the stone led me to consider the use of the grained style of the copper-plate engravers. A crayon-like design in intaglio would have a greater strength in the dark parts and greater delicacy in the lighter; be more durable and more easily corrected. I saw at once that if I could attain some perfection, it would mean a great step forward in color printing, also. Thus there were originated the following two processes, which no doubt will in time interest artists to a high degree. A stone grained for crayon work is prepared with aquafortis and gum. Then it is cleansed with water and covered with etching-ground when dry, as is prescribed for the etched process. The ground must be laid on so thinly and evenly that the design can be put in easily and that it still will resist the etching. When the stone is cold and the outlines of the design have been traced on it, a scraper of the best steel is used to scrape in the lights and shadows. The scraper touches only the most elevated points of the grained surface at first, and produces larger points only after continued work, just as chemical crayon does. When the whole stone is finished, it is etched as in the etched process and then cleansed and printed in the same way. If the stone is etched a little more strongly in all its gradations, it can afterward be ground down gently with very soft pumice, or, better still, with black slate and a gum solution, once it has been rubbed-in with color. This destroys all roughnesses that may remain from the first manipulations. Parts that have turned out too dark can be lightened by this polishing, and the over-light ones can be improved with the needle.