The woodcuts were printed black on white, but with age the paper has turned to a toasted beige, due to acid content, and the ink is a warm black. Although the raw scans look soft at this scale, the thumbnails are a fair representation of the original woodcuts. Bumping up the contrast and brightness to approach black and white, such as Dover's fine reprints of nineteenth century woodcuts, would restore the initial look of the woodcuts, but they would still lack the drama that is possible and that Moran's water colors and oils have. By working in RGB, LAB,and CMYK, duotone, tritone, and quadtones, using masks, applying a wide variety of photo-editing tools (curves, levels, color balance, hue and saturation), and a fair amount of hand work reconstructing lines and cleaning up spaces, we were able to give the woodcuts new life without the artificiality so often associated with hand tinting. Each reprint is about 300% larger than the original wood cut. We could have gone larger, but the new tones would have been more obvious and we felt that this was the optimal size for this project.