The retoucher should have access to an air brush and should provide himself with a jar of photo white or blanc d'argent and a color box containing indian red, crimson lake, yellow ocher, lampblack, and ultramarine--colors with which he can duplicate those shown in any photograph. He should also have the best grade of red sable brushes, ranging in size from No. 3 to No. 8, a stack of porcelain saucers, and a jar of oxgall. By mixing the colors to match exactly the shades of a photograph and using a red sable brush he can strengthen details, "spot out" flaws, and remove imperfections, except those in skies or other large, flat areas, for which he must use an air brush. The air brush has become a necessary adjunct to a retoucher's outfit. Smooth, even gradations of flat tones can not be successfully applied to photographs without it, and it is therefore indispensable, especially for retouching skies and covering other large areas. Before retouching a photograph the draftsman should mix in a saucer a tint that will match the color of the part that is to be retouched and should try this tint and note its effect after it has dried and change it, if necessary, until it matches the color exactly. If he is to retouch a number of photographs that have the same local color he may with advantage make up enough of the tint for the entire lot, thoroughly mixing it and seeing that it is not too thin. In making this tint he should use only pigments of the best grade, and if he finds that the Chinese or other white he is using does not photograph well, or that it does not hold its color, he should discard it at once and use another brand. Photographs that are to be retouched should be large enough to permit sufficient reduction to soften the effects of retouching. In order to eliminate the lines of junction between two or more photographs that are joined together to form a panorama some adjustment or fitting of details by retouching is generally required before the group is rephotographed to obtain a new print of the whole on one piece of paper. As it is often desirable to increase the width of such an illustration the photographer should be instructed to print the photograph on a strip of paper that is wider than the negative, so that, if necessary, the retouching may be carried above or below the new print to add depth to the illustration. Panoramas may also be drawn from photographs with either pen or brush in the manner described on pages 68-69. PART III. PROCESSES OF REPRODUCING ILLUSTRATIONS. METHODS EMPLOYED. The preliminary work in producing illustrations includes the preparation, from originals submitted by authors, of drawings and other kinds of "copy" in such a way that the copy can be reproduced in multiple by printing.