hief difficulty experienced was in keeping to the exact colour and
quality of the type print, each printer being inclined to vary according
to individual preferences. To counteract this tendency, it is necessary
for one individual to watch and control the others in these respects.

Otherwise the work proceeded easily and made very clear the
possibilities of the craft for the printing of large numbers of prints
for special purposes where the qualities required are not obtainable by
machine printing. Obviously the best results will always be obtained by
the individual printing of his own work by an artist. This can only be
done, however, in comparatively small numbers, yet the blocks are
capable of printing very large quantities without deterioration. The set
of blocks used for the example given here showed very little
deterioration after 4000 impressions had been taken. The key-block was
less worn than any, the pressure being very slight for this block, and
the ink perfectly smooth. The impression of which a reproduction is
given on page 109 was taken after 4000 had been printed from the
key-block. Block No. 2 was much more worn by the gritty nature of the
burnt sienna used in its printing. It would be an easy matter, however,
to replace any particular colour-block that might show signs of wear in
a long course of printing.

Other examples given in the Appendix show qualities and methods of
treatment that are instructive or suggestive.

No. 6 is the key impression of a Japanese print in which an admirable
variety of resource is shown by its design; the character of each kind
of form being rendered by such simple yet so expressive indications. It
is instructive to study the means by which this is done, and to notice
how interior form is sometimes suggested by groups of spots or black
marks of varied shape while the indication of the external form is left
entirely to the shape of the colour-block subsequently to be printed.

Plate XVI is a reproduction of a print by Hiroshige and shows the
suggestive use of the key-block in rendering tree forms. Plates XVII and
XVIII show in greater detail this kind of treatment.

Plates XXIII-XXIV are key-blocks of modern print designs.

APPENDIX

An original print in colour, designed and cut by the author and printed
by hand on Japanese paper, followed by collotype reproductions showing
the separate impressions of the colour blocks used for this print, and
other collotype