highlights. Should not be confused with "benizuri-e", below. Urushi-e (漆絵) - a method in which glue was used to thicken the ink, emboldening the image; gold, mica and other substances were often used to enhance the image further. This technique was often used in combination with hand coloring. Urushi-e can also refer to paintings using lacquer instead of paint; lacquer was very rarely if ever used on prints. Benizuri-e (紅摺り絵, "crimson printed pictures") - images printed in two or three colors, usually containing red and green pigments, as well as black ink. This printing technique should not be confused with "beni-e", above. Both "beni-e" and "benizuri-e" are so named for the predominant reddish colorants, derived from dyes of the safflower plant (beni 紅). Nishiki-e (錦絵, "brocade pictures") - a method in which multiple blocks were used for separate portions of the image, allowing a number of colors to be utilized to achieve incredibly complex and detailed images; a separate block would be carved to apply only to the portion of the image designated for a single color. Registration marks called kentō (見当) were used to ensure correspondence between the application of each block. Further developments followed from refinements of technique and trends in taste. For instance: Aizuri-e (藍摺り絵, "indigo printed pictures"), Murasaki-e (紫絵, "purple pictures"), and other styles in which a single color would be used in addition to, or instead of, black ink. These are specialty techniques that grew in popularity in the nineteenth century, though a few examples can be seen earlier. Europe Most early methods of color printing involved several prints, one for each color, although there were various ways of printing two colors together if they were separate. Liturgical and many other kinds of books required rubrics, normally printed in red; these were long done by a separate print run with a red forme for each page. Other methods were used for single leaf prints. The chiaroscuro woodcut was a European method developed in the early 16th century, where to a normal woodcut block with a linear image (the "line block"), one or more colored "tone blocks" printed in different colors would be added. This was the method developed in Germany; in Italy only tone blocks were often used, to create an effect more like a wash drawing. Jacob Christoph Le Blon developed a method using three intaglio plates, usually in mezzotint; these were overprinted to