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In fact, Warne wanted a colour design printed using the three-colour process.
Potter was annoyed: 'I will do whatever sort you wish but one ought to know, because it is useless to do anything in fine pen and ink for half-tone process; it cuts up the line, and there would be the tone all over the paper'.
The correspondence between Potter and her editor and friend Norman Warne, provides a fascinating insight into a close and frank working relationship.
Warne had great respect for Potter's extraordinary talents as an illustrator and writer, and encouraged her involvement at every stage of production.
Covers and title pages Potter maintained that a book's cover and title page should be 'strong and distinct', to contrast with the more 'restful' endpapers.
The covers usually depict colour vignettes of the protagonists.
Endpapers Potter preferred plain endpapers, 'to rest the eye between the cover and the contents of the book, like a plain mount for a framed drawing'.
Her father trained as a lawyer, but he never actually practiced. Her mother Helen was skilled at embroidery and watercolors.
Beatrix got to know several influential artists and writers through her parents, including painter John Everett Millais.
In her will, she left much of her land holdings to the National Trust to protect it from development and to preserve it for future generations.
Potter also left behind a mystery—she had written a journal in code.