and Sydney Lee who taught classes in colour woodcuts in the Japanese style. Lethaby had had to overcome opposition to Johnston's calligraphy classes, and, along with most artists at the time, saw wood engraving simply as the reproductive medium that it had been until then. He vetoed the introduction of the new style of wood engraving into the curriculum. When he left in 1911 Rooke was able introduce a class in lettering and wood engraving in 1912, and a class in wood engraving and poster design in 1913. In 1914 Rooke became head of the School of Book Production, a post that he held until 1946. He was an important member of a group whose ideas set the tone of the formative years of the Central School. This was a time of cross fertilisation where extraordinary people came together and barriers between crafts and skills were broken down. Lethaby was the editor of a series of books: the Artistic Crafts Series of Technical Handbooks, and Rooke drew illustrations and diagrams for three of them - Bookbinding, and the care of books (1901) by Douglas Cockerell, Writing and Illuminating, and Lettering (1906) by Johnston and Hand-loom Weaving (1910) by Luther Hooper. These became standard works on their subject, and, along with the other handbooks in the series, ran into many editions. His influence as a teacher Rooke reacted against the reproductive wood engravings of the nineteenth century, where the drawing, the creative impetus of the artist, and the engraving, carried out by a skilled craftsman, were separate. He said: There is only one way of getting a thoroughly satisfactory engraving: the designer and the engraver must be one and the same person. He went on to apply the principles that he had learned from Johnston to wood engraving: Form should be expressed with tools which answer the helm with much sensitiveness. He collaborated with J. H. Mason, who had made his reputation at the Doves Press. Mason was the head of Printing, and the two worked together on marrying text, type and illustration. Rooke was able to recommend his pupils, notably Vivien Gribble, as illustrators of books produced at the school. His was a major influence in reviving the practice of wood engraving in the twentieth century. Among his students were Mabel Annesley, John Farleigh, Robert Gibbings, Vivien Gribble, Muriel Jackson, Clare Leighton, Margaret Pilkington, Herry Perry, Monica Poole. Less well