primary colours, with the coloured ink coating the areas left in relief. Gascoigne explains that the process required a "master craftsman [to sit] with an original painting in front of him and work out which areas of the image should be printed in which of the available colours to achieve the desired effect." The printer engraved the image to the finer end grain of the woodblock. For more complicated work the carver worked on the end grain of the wood, and with the use of fine hatchings to the wood that were inked separately achieved the look of blended colours. For the children's book market, which had lower profit margins, the printer would use fewer ink colours, which could be optimised by mixing colours such as blue and yellow to create green. The blocks were skillfully carved with extremely fine lines to create stippling and variations in tone. Areas intended to be printed in a solid colour were marked, and then hatching lines of various thickness were carved into the wood so that colours could be overprinted, creating a variety of hues and tones. To create a blend of colours, blocks were hatched horizontally and diagonally to allow applications of multiple colours that resulted in browns, greens and greys. Gascoigne explains that a "blockmaker would know whether to engrave thin white lines (for an almost solid tone), medium white lines (a mid-tone) or crosshatchings (leaving larger or smaller lozenges of colour to achieve sometimes little more than a faint tint when seen at a normal viewing distance)." Overlapping diagonal lines were carved to create dot-like shapes on the surface that took less ink and resulted in paler tones. Thicker hatchings were less expensive and easier to produce, but the result was not as attractive. Books that were to be produced as inexpensively as possible showed less engraving work and colour separation. The chief problem was to maintain correct register so that the design on the block matched the design on the paper. To achieve a precise register small holes were drilled along each block, and the paper was pinned to it. When done correctly, the block's colour registers matched printed paper, although sometimes ink squash is visible along the edges of an illustration. An electroplate was produced for each engraved wood block, inked according to the block, thereby tinting the paper in specified areas. The colour was applied as a