This extremely simple method is very easy to learn, and only a little practice is necessary for the production of good results. The process requires neither brush nor pencil, an ordinary cotton stump, even in the hands of a beginner, being made to accomplish results that many artists have tried for years to produce by means of the older and more generally known methods requiring the brush and oils.

The ease with which it is possible to evenly blend one color with another is the secret of this process. Overlapping of colors does no harm, as the last one applied is very easily removed, and where the color is not satisfactory it can be taken off and another applied. As a matter of fact, a limitless number of alterations can be made without any harm being done to the print. But, of all the alluring features, that of permanency stands paramount. This cannot be questioned, for oil is employed as the solvent of the coloring pigments.

The instruction has been prepared so each step follows in logical sequence. Every line should be studied with greatest care, for by so doing the very first print will be an acceptable specimen; while the following ones should be as quickly and successfully completed.

Outfit Necessary. - An ordinary hard wood knitting-needle, pointed at both ends, and about 12 inches long; a small package of absorbent cotton; an artist's slab or an ordinary dinner plate; a small, soft linen rag; two India rubber erasers - one hard and one soft; a pen-knife; a flat paint brush (Badger hair); about five cents' worth of turpentine, five cents' worth of white gelatin, five cents' worth of pumice stone powder, and five cents' worth of glycerine.

Oil Colors Required

One tube each of crimson or rose madder, raw sienna, burnt sienna, ivory black, vermillion, Naples or chrome yellow, yellow ochre, Prussian blue and cobalt blue. This latter color is not necessary for your first experiments, but for the finest work it is recommended.