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diff --git a/43557-8.txt b/43557-8.txt deleted file mode 100644 index 986d252..0000000 --- a/43557-8.txt +++ /dev/null @@ -1,4141 +0,0 @@ -Project Gutenberg's A Handbook of Illustration, by A. Horsley Hinton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: A Handbook of Illustration - -Author: A. Horsley Hinton - -Release Date: August 25, 2013 [EBook #43557] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A HANDBOOK OF ILLUSTRATION *** - - - - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -[Illustration: FROM THE ORIGINAL PAINTING BY R.C. MINOR. N.Y. -PHOTOGRAVURE CO. - -_Evening_] - - - - - - A HANDBOOK OF - ILLUSTRATION - - BY - - A. HORSLEY HINTON - - [Illustration] - - WITH REPRODUCTIONS - FROM - PHOTOGRAMS - AND SKETCHES - BY THE AUTHOR - AND OTHER ARTISTS - - NEW YORK, U.S.A. - G. GENNERT, 24 and 26 EAST THIRTEENTH ST. - - LONDON, ENG. - DAWBARN & WARD, LIMITED - - - - -CONTENTS. - - - CHAPTER I.--INTRODUCTION.--Primitive illustrations--Art and - illustration--Influence in photography--Illustrations from the - Author's aspect--Some uses of illustration. - - CHAPTER II.--A NEGLECTED FIELD. - - CHAPTER III.--THEORY AND PRINCIPLES OF ILLUSTRATION.--Different kinds - of illustration--Maps or plans--Scientific diagrams--Topographical - views--In fiction--Author and Illustrator--Pictorial or - artistic--Decorative--The "Two things." - - CHAPTER IV.--REPRODUCTION BY HALF-TONE PROCESS.--Processes other than - photo-mechanical--The object of mechanical process--Intaglio, relief, - and separate printing process--Description of half-tone process--The - screen--Printing on the gelatine--Development--Etching--Inherent - disadvantage of the screen--Cutting out lights--Comparative results. - - CHAPTER V.--PREPARATION OF ORIGINALS FOR REPRODUCTION BY - HALF-TONE.--I.--Photograms--The best kind of Photograms for - reproduction--Negative and print--Legitimate hand work--Relieving the - shadows--Helping the high light and shadows--Application of - photograms--"Stopping out"--Backgrounds not essential--Composition and - arrangement--Decorative initials, &c. - - CHAPTER VI.--PREPARATION OF ORIGINALS FOR HALF-TONE. II.--Wash drawings, - oil paintings, pencil and other drawings--Character of wash drawing or - grey surface--Monochrome oil painting--Painting on a photographic - basis--Mixed drawings--Pencil drawings--Coloured sketches for - illustration--Thin reproduction. - - CHAPTER VII.--LINE PROCESS.--Requirements of the process--The processes - described: Gelatine, Albumen, and Bitumen--Copying, printing, - developing, mounting--Description of the copy - negative--Reduction--Diminishing glasses--Pencil marks, - &c.--Non-photographic methods. - - CHAPTER VIII.--METHODS OF LINE REPRODUCTION. I.--Pen-and-ink - drawing--Character of line drawings--"Tone" interpreted into - line--Various styles of line--Suggestion of colour, textures, &c.--The - art of leaving out--What to copy and study--Line shading--Flat - tints--Outlines--Reduction and thickening. - - CHAPTER IX.--MATERIALS FOR SIMPLE LINE DRAWING.--Papers and - cardboards--Inks and fluids--Pens. - - CHAPTER X.--COMPARISON OF LINE PROCESSES.--Some characteristics of each - described, and results in each compared--The roulette. - - CHAPTER XI.--OTHER METHODS FOR LINE REPRODUCTION. The Materials - Required.--Mechanical tints--Their application--"Splatter" work--How - produced--Grained clay surface boards or "scrape" boards--Their use - described--Pencil and chalk drawing for line reproduction. - - CHAPTER XII.--MECHANICAL AIDS TO DRAWING.--Methods of tracing from a - photogram--Drawing on a photogram--Drawing on a "blue" print--Tracing - on transfer paper--Drawing from nature--Conclusion. - - - - -Authors preface - - -Increased use of the =Photographic Reproduction= process and a -prevailing ignorance of their nature and application, made desirable a -simple practical =Handbook of Illustration Methods= - -Such a book it has been my endeavour to produce - - A.H.H. - London November 1894 - -[Illustration: PEN DRAWING. - -(_Original_ 9 x 5-1/8.)] - - - - -A HANDBOOK OF ILLUSTRATION - - - - -CHAPTER I. - -_INTRODUCTION--THE ART OF ILLUSTRATION._ - - -Introduced to this country, in round numbers, some fifty years ago, -Photography has progressed beyond its contemporaries of the present -century. It has obtained a hold upon the people, entering equally into -their work and their amusements; the speed, the reality, the brilliancy -of it fit it peculiarly for the age into which it has been born. It has -survived, and will survive, amidst the decay of other things, because of -its extraordinary adaptability to changing circumstances, its readiness -to meet altering tastes and requirements; versatile in aspect, elastic -in its application. - -Amidst all its adaptations of modern date, in none has it been more -successful than in that to which this book is devoted: that wherein -photography, directly or indirectly, is employed to introduce into our -literature expressions of thought, which are better so conveyed than by -written or printed words. Be the language never so rich in words, or the -writer's power in using them never so great, a clearer and a more -lasting impression may be conveyed, even to the cultivated, and -certainly to the popular mind, by the arrangement of lines and markings -in such form as may be felt to actually represent the objects, and -indicate the relative position and size of other objects or parts of the -same. - -This may be said to be the primary and normal function of an -Illustration. Throughout the pages of this book, and to whatever extent -the student may practise the methods herein described, it may be well to -keep very clearly in mind the legitimate function of an illustration, -namely: to describe, to portray, and to do this _chiefly_ as an -auxiliary to written language. - -To such a kind belongs the rude scratchings of the primæval man, whose -limited powers of speech forbade his adequately describing the forms of -those creatures whose pursuit meant life, whose disregard would mean -death, and of such kind were the hieroglyphics of the East. Nay, who -shall say that the very forms of letters themselves are not the outcome -of early effort to convey to the eye of another what might otherwise -only have been imperfectly communicated through other senses: a means to -an end; a servant, a tool, in the hands of him who would wield it. - -But in the beginning there was a making of drawings and designs which -had another purpose. The gourd, or rough clay vessel, was graved and -marked with devices and forms suggested by the curves and shapes in -Nature, but this was merely for decoration; to please the eye, and not -to serve any purpose but to give pleasure. A means to an end in this -sense perhaps, but note that the end was in the commencement of it, and -went no further after completion; it gave pleasure to the beholder and -no more, and nothing more was intended or asked. Thus was Art born--not -to teach, nor to explain, nor to illustrate. - -Nor is this distinction out of place in the present work. The tendency -to-day is too often to make a pretty picture rather than a good -illustration; to sacrifice accuracy to beauty; to strive rather after -the æsthetic pleasure in art, than the truth and fidelity of -illustration. The artist is what he is from the possession of certain -instinctive attributes which he is powerless to teach to another, -whereas the simpler and expressive forms of draughtsmanship _may be -attained by almost all_. From confusing art with illustration we find -a man saying "I cannot do this, or that, because I am no artist," and it -is with a hope of placing in the hands of such, at least to some extent, -a means of graphic expression, that the present book has been -undertaken. - -[Illustration: AN ESSEX LANDSCAPE. - -_Half-tone from oil sketch in monochrome._ (_Original_ 10-1/8 x 6-1/2). -[See p. 51.]] - -Take also such a simple matter as a letter from a friend, and notice how -often words alone fail to convey a correct impression, yet a few lines -of simple form at once present a graphic description. - -Mr. Blackburn gives a capital example of such a case in his "Art of -Illustration." He says: "A newspaper correspondent is in a boat on one -of the Italian lakes, and wishes to describe the scene on a calm summer -day. This is how he proceeds: - -"'We are shut in by mountains,' he says, 'but the blue lake seems as -wide as the sea. On a rocky promontory on the left hand the trees grow -down to the water's edge and the banks are precipitous, indicating the -great depth of this part of the lake. The water is as smooth as glass; -on its surface is one vessel, a heavily laden market boat' (and so on). -There is no need to repeat it all; but when half a column of -word-painting had been written (and well written) the correspondent -failed to present the picture clearly to the eye without these _four_ -explanatory lines (no more) which should of course have been sent with -his letter." - -[Illustration] - -In the same way small sketch plans (no matter how roughly made) are of -great assistance in describing the position of a fire, a murder, or -anything else of public importance; not to mention the value such -descriptive lines often are in private letters. - -Whilst, then, Art and Illustration are distinct, and much of the latter -may be within the reach of many to whom the former is impossible, there -is no reason why either should needlessly offend the canons of the -other. Art--seeking, as it should, to awaken a sense of pleasure in the -beautiful--adheres to truth, in idea if not in fact. Illustration, which -portrays fact truthfully, may yet do so in such manner as shall not -annoy the cultivated and artistic senses; and this is the art of -illustration. - -Here, as in other matters, much depends on a knowledge and exercise of -the mere technique or craftsmanship: the means to be employed, and the -manner of employing them. - -With pen or pencil we might satisfactorily produce such a diagram or -drawing as should _illustrate_ our speech, but the exigencies of such -gigantic institutions of civilisation as books, magazines, and -newspapers, demand that the same illustration shall be presented to -thousands of readers at the same time. In former times the original -drawing was copied by craftsmen on to wood or metal, and then carved so -that a "block," containing the design in relief, might be set up in the -printing press and printed in conjunction with the letterpress type. - -Wonderful skill did the wood-engraver acquire in reproducing the -original and in interpreting the artist's idea; but his work took time, -which had to be paid for, and sometimes the artist found that in passing -through the intermediary wood-engraver, his intention had been wrongly -construed, and even a departure made from the accuracy of his drawing. -Then came Photography, and it was found possible to photograph the -original on to the surface of the block instead of drawing it. It was -next found possible, under given conditions, to substitute for the -engraver a purely mechanical means, whereby the surface of the block was -suitably carved to print with ink the requisite design. - -Thus a photographic and chemical _process_ supplants the hand-work of -the engraver, and a perfect replica of the original, in no way dependent -upon the personal ability of the engraver, is obtained. The same -process, working blindly, produces a facsimile equivalent to the -artist's own drawing; and does so with such speed, and at such small -expense, that for one penny we may purchase to-day a newspaper filled -with exact copies of drawings of events which happened only yesterday. -Thousands of books and papers, the world over, are now replete with -illustrations: the expense of producing which by the older methods would -have made impossible such welcome additions to the printed page. - -Nor does it appear that the gigantic dimensions, and high state of -perfection, which Process illustration has reached, in any way -represents the limit of its possibilities in either respect. It has been -reasonably conjectured that in the near future every newspaper and -periodical publication will be illustrated, and almost each day sees -some advancement, some improvement, in the daily practice of the various -processes of reproduction, so that in writing a book of the present kind -it is difficult to keep the information therein contained fully abreast -of the times. While it is in the hands of the printer some new thing may -be found out, some new application of a method successfully attempted, -which shall make the novelty of yesterday give place to the invention of -to-day. - -The pride of the _littérateur_ may make him feel that the use of -pictures, as an assistance to writing, indicates incapacity or -feebleness on the part of the author. Yet, able as is the description of -such familiar characters as Mr. Pecksniff, Pickwick, Jingle, and others, -how various would have been the idea conjured up by different readers, -were it not for the inimitable drawings of Cruickshank or "Phiz." Were -not Shakespeare's characters intended to be illustrated--not by drawings -perhaps, but by "living pictures"? - -And, finally, out of the simple instruments for illustration there has -been evolved a greater thing. The same means as are employed to -reproduce the draughtsman's drawing, may also reproduce, and place in -the hands of the multitude, reproductions of the works of great master -artists; so that something of the treasures of the Pitti, and the -Louvre, may be seen in English homes to-day. The same simple methods, -used for mere illustration, have been wrestled with by those who -possess art as a birthright from the gods, and through their efforts our -books may now contain pictures (process reproductions) which are full of -fine artistic feeling; not merely illustrating the text, but awakening a -sense of pleasure and exaltation at the representation of nature's -beauties. Decorative pages, ornate with noble designs, brighten a book -like gleaming crystals in a rich but dark mine, and relieve the monotony -of too perfect a symmetry. A chapter heading, a tail piece, a decorated -initial, and here and there a picture page, exert an influence like -sparkling spring and smiling flowers, for joy and sweet refreshment by -the way. - -[Illustration] - - - - -[Illustration] - -CHAPTER II. - -_A NEGLECTED FIELD._ - - -A form of book illustration too much neglected, and one possessing -peculiar advantages, is Margina Illustration. Decorated or illustrated -margins may be associated in idea with the early monastic work, when the -solitude and gloom of the recluse's life was relieved by the little -enjoyment which must have attended the illumination of holy books, but -it is not quite the purely decorative to which I would refer. - -In some modern editions, in which an old style is affected, a wide -margin on the top, bottom, and outer edge of the letterpress is -preserved so wide that ample space might be found to introduce such -trifling illustrations as would be amply sufficient to fix an impression -or suggest to the imagination of the reader ideas which the mere -letterpress might fail to awaken. - -[Illustration: CANTO THE SECOND - - Night wanes--the vapours round the mountains curl'd - Melt into the morn, and Light awakes the world. - Man has another day to swell the past, - And lead him near to little, but his last; - But mighty Nature bounds as from her birth. - The sun is in the heavens and life on earth; - Flowers in the valley, splendour in the beam, - Heath on the gale, and freshness in the stream. - Immortan Man I behold her glory shine, - And cry exulting inly, "They are thine!" - Gaze on, while yet thy gladden'd eye may see, - A morrow comes when they are not for thee; - And Grieve what may above thy sensless bier, - Nor earth Nor sky will yeild a single tear; - Nor cloud shall gather more nor leaf shall fall, - Nor gale breathe forth one sigh for thee, for all; - But creeping things shall revel in their spoil, - And fit thy clay to fertilize the soil. - - 'Tis morn--'tis noon--assembled in the hall, - The gather'd chieftains come to Otho's call; - 'Tis now the promised hour that must proclaim - The life or death of Lara's future fame. - When Ezzlin has charge may here unfold. - -LINE REPRODUCTION FROM PEN SKETCH. - -(_Original 13 x 9 inches._)] - -Too often our illustrations in books are separated from the text to such -a degree that a continuity of idea is all but impossible. We read, -perhaps--"Night wanes--the vapours round the mountains curl'd melt into -morn, and Light awakes the world. Man has another day to swell the -past," &c., &c., &c.; but long before we come to the page which -illustrates this delightfully pictorial passage from one of Lord Byron's -romantic works we read--"'Tis morn--'tis noon--assembled in the hall. -The gathered chieftains come to Otho's call:" and not perhaps until we -have passed the third or fourth stanza, and are trying to picture in our -minds the brilliant assemblage of Spanish chieftains, and the fierce -challenge of the accused Lara terminating with "Demand thy life!" do we -turn over a page and confront a dainty illustration of the opening lines -"Night wanes," &c.--an interruption as undesirable and distracting as -when the lecturer, through some mistake in the arranging of his lantern -slides, sees projected on the screen a photogram of the grim walls of -Newgate Prison, when, with the words "I will now show you a picture of -where some of England's heroes have found a resting-place," he expected -his assistant to put up a slide of Westminster Abbey. It is not always -possible even to get our book illustrations to face the matter which -refers to it, and even if that can be arranged, or the illustration can -actually come into the same page, the act of turning from text to -picture means an interruption and severing the continuous thought. Could -our illustrations appear in the margin, between the lines, mingled with -the letterpress, how smoothly we might _read_ the _illustrations_ along -with the text, and how bright and pleasing would the pages appear! - -I have given a specimen page which may serve to better show the idea. - -We will suppose some book of travel or poetry be set up in type by the -printer, and a proof copy be made up with broad margins under the -direction of the illustrator, who then takes it in hand and decorates -each page as desired; or the pages are pulled as proofs on two or three -kinds of paper, smooth for pen work, rough for crayon, or medium for -wash drawings--what delightful variety might be secured! When the artist -has added his marginal and inter-paragraph illustrations the pages are -photo-reproduced, the complete block including both letterpress and -drawings. - -[Illustration: PENNED BY W.T. WHITEHEAD. - -(_Original_ 15 x 12 _inches._)] - -Of course the illustrations, if confined to the margins, could be -reproduced separately, and set up with the type in the same form. In -the example I have given on page 15, the letterpress was set up by the -printer to occupy a given space, the type used being a clear, bold -letter. This was printed from on two or three kinds of paper, and handed -to me to add the illustrative matter. The proof used was about thirteen -by nine inches, and this was subsequently reproduced by a simple zinco -process to the size here shown. - -Of course the amount of letterpress possible on each page is small if -the illustrating be carried to any great extent. An edition of -Shakespeare's works treated in this fashion would of itself constitute a -small library, but for smaller works, or for single plays or single -poems, many a plain piece of reading might be by such means converted -into a very delightful and beloved book. - -I have often thought that in fiction, when we read that the dainty -little _billet doux_ slipped under the door, written in my lady's -delicate and graceful style; or, the mysterious letter handed to the -hero written in a strange handwriting "ran as follows," how much more -forcible the thing would be if the author had given us a facsimile of -the letter. I never read a letter in a story without feeling it was the -author of the romance, instead of the character in the book, who -composed the letter. Thus an author might, in addition to feature, -figure, and dress, give us a fine suggestion of his _dramatis personæ_ -by showing a little bit of their handwriting. - - - - -CHAPTER III. - -_THE THEORY AND PRINCIPLES OF ILLUSTRATION._ - - -Here it will probably be well to consider the different classes into -which illustrations naturally seem to fall, and this because it is the -common custom to regard the contents of an illustrated book as all -belonging to one. - -Perhaps the simplest and most spontaneous form of illustration is seen -when one is describing a position or locality, and takes pencil and -paper to draw a rough plan showing this or that road, cross-road, -turning, &c. We do this without any forethought, without any artistic -ability, and never for a moment considering that we are fulfilling the -first theoretical function of the illustrator, and we make this -sketch-plan partly because we could not so graphically describe what we -wish in words; and, again, the drawing will produce a more lasting -impression upon the person appealed to, and that without so great an -effort of memory on his part. "Seeing is believing," and to _see_ is -also to _remember_. It is the same with the diagrams which illustrate -the problems of Euclid, a tourist's map, an architect's plan; these are -all illustrations of a diagrammatic kind. - -Only a little higher in the scale are the illustrations in scientific -and physiological books. I say _higher_, because of the difficulties -attaching to the photographing of such objects, and their more complex -forms, which sometimes necessitate their being drawn from the objects at -first hand by one possessing some amount of skill as a draughtsman. But -the intention is to explain the text, added to which is perhaps the -special office of enabling the student to recognise and identify the -particular animal or vegetable structure, or a certain rock formation or -crystal, when found; for which purpose it is of primary importance that -the essential and specific characters of the particular object are -carefully portrayed, and the entire figure be of faultless accuracy. - -This same quality must also be secured in topographical views with which -the book of travels, with its description of far-distant places and -people, is illustrated; it is in this class of drawings that there is -most danger of a desire to make a pretty picture--overwhelming the -purely descriptive or explanatory function. - -The representation of the principal characters in a story, with which it -is the custom to illustrate a novel or work of fiction, has often -appeared to me to be one of the least successful departments of -illustration. Probably this arises from the fact that the artist has no -actual models to work from; he creates, out of the author's description, -imaginary beings, and portrays them accordingly. Therefore, unless -author and artist have been in very close communication, it is as likely -as not that the artist may get a conception of certain characters quite -remote from the author's intention. At least, it must have occurred to -many a reader to find the pictures in a favourite novel often quite fail -to realise the ideal which he had himself formed of the hero or heroine, -of whom, at the very outset, he had conjured up an image and an -environment. - -Somewhat lately the experiment has been made of illustrating fiction -with actual photograms from life, in which case the illustrator must -select with great care individuals answering very exactly to the -descriptions given, and use these as models grouped as required. - -Obviously this method must be confined to such books whose plot is laid -in comparatively recent times and in ordinary scenes of life; for the -difficulties, which are in any case great, assume insurmountable -proportions when one conceives the idea of illustrating by photograms -such books as "Robinson Crusoe," "Pilgrim's Progress," or "Don Quixote." - -[Illustration: PEN DRAWING BY W.T. WHITEHEAD. - -(_Original_ 8 x 5.)] - -The ideal condition would be for the author to illustrate his own -writings, then indeed should we be sure of getting a glimpse of the -character intended; and we can imagine with what care he would fashion -the child of his imagination. - -Failing this, the author should control to a greater extent the work of -the man who is to illustrate his writings, a point far too often -overlooked in the making of a book. - -It will be seen that in this section of illustration the draughtsman -draws upon his imagination, so that, to some extent at least, his art is -_creative_. It must, however, be borne in mind that he is not at liberty -to paint or draw his own unaided imaginings; he is merely interpreting -another's words into a graphic representation; so that, be he never so -fine an artist, his art, like Pegasus in harness, is restrained under -the yoke of the illustrator. - -We may, however, find illustration ascending a step higher towards the -sphere of art proper and creative, and that is in the _edition de luxe_, -in which, with or without printed matter, we have plates which are -pictures in the best sense, and appeal chiefly, or exclusively, to the -æsthetic sense. Also in some dramatic works, in poetry, and in some -prose, there is a much wider scope for the imagination of the artist, -and we have high-class books of a real artistic merit. - -[Illustration: PEN DRAWING BY W.T. WHITEHEAD. - -(_Original_ 8 x 2.)] - -One other notable form of illustration remains, and that is the purely -decorative. This is seen to advantage in the book-plates in which a -device bears the name of the owner and is affixed to each book; to -revive which custom an effort has happily been made of late. In -allegorical figures and scrollwork on title-pages, at heads of chapters, -in borders, in large initial letters, at the termination of a chapter, -or a design interspersed with the type on a page, and in many other -forms beyond the prescribed shape which its position determines, there -is little to restrict the artist. Some examples of designs for -book-plates were recently given in that excellent magazine _The Studio_; -and some interesting and wholly praiseworthy "initials," formed on an -actual photogram, appeared recently in _The Photogram_. These are two -instances out of the many which may be seen on every hand, and in this -connection I have long felt that photograms from nature might be more -largely applied to book illustration or decoration. - -[Illustration] - -Thus I have endeavoured to indicate the principal uses of illustrations. -Now in every work of art, its strength and its success are dependent in -a great measure upon its composition and purpose possessing simplicity -and unity, and I think that it cannot be too deeply impressed upon the -illustrator that singleness of purpose will be a strong contributory to -success. - -If the purpose of the illustration be to explain or to describe, then -let it do that at the sacrifice, if need be, of all else; and if, at the -same time, it be possible to introduce such qualities as will make it -void of offence to the more cultivated eye, so much the better; but the -particular aim and intention must be paramount. In like manner, if the -illustration be for purely ornamental purposes, or purely pictorial, -giving pleasure to the eye and the sense of beauty: then to attempt to -make it fulfil the function of a teacher, to anything more than a -subordinate degree, is to divide, and therefore to weaken, both -capacities. - -An illustration, therefore, should be thought out, designed, and -produced, with a definite and single purpose. - -Speaking of the rise and development of newspaper illustration, in a -lecture delivered before the Society of Arts, in November, 1893, Mr. -Henry Blackburn quoted from a discussion held at the same place in 1875, -when the following conclusion was arrived at: "In the production of -illustrations we have arrived at great proficiency, and from London are -issued the best illustrated newspapers in the world. But our artistic -skill has led us into temptation, and by degrees engendered a habit of -making pictures when we ought to be recording facts. We have thus, -through our cleverness, created a fashion, and a demand from the public, -for something which is often elaborately untrue. - -"Would it, then, be too much to ask those who cater for (and really -create) the public taste, that they should give us one of two things, or -rather _two things_, in our illustrated papers--the real and the ideal. - -"1st. Pictorial records of events in the simplest and truest manner -possible." - -"2nd. Pictures of the highest class that can be printed in a newspaper." - -This, it appears, was said before the mechanical process block was much -used or even known; but what was true in principle in the old -wood-engraving days is as true now that we have new and rapid means of -reproduction. - -Having, in any given case, decided what is the purpose of the -illustration required, it will next be necessary to determine by which -of the methods at our disposal the scheme can best be carried out, both -as regards the method of producing the original, and the method of -reproducing it in print. And this naturally brings us to the subject of -our next chapter. - -[Illustration] - - - - -CHAPTER IV. - -_REPRODUCTION BY HALF-TONE PROCESS._ - - -From the processes with which I propose to engage my reader's attention, -wood and steel engraving, and kindred methods, stand apart. - -Were we dependent upon these alone, not one-thousandth part of the -illustration matter of to-day could ever have been produced, encumbered -as the older methods are with the two things which, in the production of -anything "for the million," are serious drawbacks, namely, time and -expense of production. - -Whilst these older methods undoubtedly possess characteristics which -will always give them a peculiar value, and secure for them immunity -from extermination (and make them, indeed, essential for certain -purposes), there was long ago felt a need for a method of rapid -reproduction unattended with individual artistic skill on the part of -each worker employed, and, above all, free from heavy expense. Such a -need has been more than met by what we now know as the mechanical -processes. I say more than met, because, gradual improvement in the -processes themselves, and an increased knowledge of the particular -requirements of these processes on the part of the draughtsmen or -artists, has resulted in giving us a process which is not only rapid and -cheap, but which produces prints of high quality and merit. - -It will of course be at once apparent that in order to get our -illustration into the printed pages of book or newspaper we must first -transfer the original to a plate, or block, and then so manipulate the -surface that, like a printer's type, it shall take the printing ink in -such manner as shall leave an exact imprint upon the paper, or other -surface, upon which it is pressed. - -The transfer of the original is accomplished by photography. The -preparation of the surface is effected by a chemical or mechanical -process. Correctly defined, these processes are "photo-mechanical," and -such are generally understood by the literally ambiguous title -"process," which is colloquially applied to all such methods. - -It is not the intention of the present book to give instructions whereby -to work the processes, beyond a general outline which shall make the -illustrator acquainted with the method in which his drawing or photogram -is utilised. This knowledge will enable him, to some extent, to adapt -himself and his work to its special requirements. - -Photo-mechanical processes are of two kinds: those by which the image is -_ingraved_, known as _intaglio_, and those in which the image is -produced in _relief_, or _relievo_. In the first of these the result is -more or less similar to an ordinary engraved copper-plate, which, being -wiped after inking, retains the ink in the engraved or indented -portions, and prints accordingly. The intaglio processes are confined to -what is known as Photogravure, or Photo-etching, and modifications -thereof. This will not engage our attention, for, beautiful as are its -results, it is comparatively expensive, and lacks that characteristic of -speed which has made the _relief_ processes so useful. The engraved -plate must be printed _separately_; it cannot be set up with type and -printed as letterpress. At the same time, in order to clear my reader's -mind, and my own course, before proceeding further, mention may be made -of other separate-printing processes, such as Collotype.[1] (also -known under many fancy titles), in which the image is printed on a -machine or press from an inked gelatine surface. These can easily be -distinguished by the image having a perfectly even appearance as though -produced by a water-colour wash, without grain, reticulation, or lines. -Photo-lithography, in which, as the name implies, the picture is -transferred on to stone, from which it is then printed as in ordinary -lithography, may also be mentioned here. - -[Illustration: HALF-TONE FROM PHOTOGRAM; HIGH LIGHTS STRENGTHENED WITH -CHINESE WHITE.] - -Another beautiful process of reproduction is the Woodbury-type, named -after its inventor, Walter B. Woodbury, in which a bichromated gelatine -film is exposed under a negative, and the soluble portions afterwards -removed by hot water. The resulting gelatine relief, which contains a -facsimile picture, is allowed to dry, when it becomes as hard as stone. -It is next forced by hydraulic pressure into a sheet of polished lead, -leaving therein an exact counterpart of its every elevation and -depression. The lead plate (_intaglio_) is next placed in a handpress, -and flowed with a pool of hot gelatinous colour; a piece of paper is -next placed on top and pressure applied, when all surplus colour oozes -from the sides. After a few moments, when the gelatine becomes -sufficiently cool, the paper bearing its delicate gelatine print is -pulled off and dried. - -[Illustration: LINE REPRODUCTION FROM PEN AND INK. - -(_Original 14 x 11 inches._)] - -Beautiful as many of these are, they can only be applied where the -expense attending them and the slower printing is not an objection, and -where letterpress is not required on the same sheet at the same -printing. Printing matter can of course be afterwards introduced, but -this must be by a second operation. - -We have now left for consideration the relief processes, in which the -design to be printed is produced similar in character and appearance to -that of the movable letterpress type used by printers. - -[Illustration: FEEDING THE CHICKENS. - -(_Half-tone from photogram. Original 14 x 11 inches._)] - -These processes are roughly divisible into two sections, "tone" and -"line," to understand which I will refer the reader to the accompanying -illustrations. - -In these the image appears to be respectively composed of _lines_ of -varying strength and proximity in the one, and of _tints_ ranging from -grey to black in the other. If the latter be closely examined, however, -or looked at through a magnifying glass, it will be found that what at -first appears to be a flat even tint is composed of an infinite number -of dots arranged in a reticulated or geometrical pattern. We will now -see how this effect is produced, and what are the especial uses of this -so-called "tone" or "half-tone" process. - -[Illustration: THE HERON HOUSE. - -_Half-tone from photogram._ (_Original 14 x 11 inches._)] - - -HALF-TONE PROCESS. - -As has been already said, it is of course necessary to produce from the -original a printing surface of such a kind as shall take ink and print -an image therefrom. Now it will of course be obvious that with ink and -white paper we can only produce two things--black and white--and that -therefore all the intermediate shades must be produced by a greater or -less number of black dots. The process under consideration, in common -with some others, is based upon the fact that gelatine or albumen -sensitised with bichromate of ammonium or potassium, becomes _insoluble_ -after being acted upon by light. A solution of bitumen in benzole also -forms a light sensitive coating which is frequently used in these -processes. If we were to expose such a sensitive film to light under -(for example) a photographic negative of a figure taken against a light -background and then washed it in a suitable solvent, those parts which -had been protected from light by the opaque portions of the negative, -such as the background, the face, hands, and white portions of the -dress, would dissolve away, leaving the insoluble or light affected -portions standing. - -[Illustration: LINE REPRODUCTION FROM PEN AND INK. - -(_Original 14 x 11 inches._)] - -If we were now to ink these portions, we could print a black image which -would represent the general form of the portrait like the old-fashioned -silhouettes, or shadow pictures; but the "half-tone" process provides -for the breaking up of the solid black image, substituting for it black -dots closer and more numerous where the darker greys are, and less so -where the shading is lighter. A very considerable variation in apparent -tint may thus be effected. - -The actual method is briefly thus:--What is known as a "screen" is first -made by taking a photographic negative of a print from a copper-plate, -on which has been ruled about 120 fine parallel lines to the inch. This -is done with extreme care and exactness, so that the negative gives a -clear transparent copy of the ruled lines of microscopic sharpness. In -many cases the ruled copy is moved round a quarter of a circle during -the exposure, thus resulting in the effect of double ruling, the lines -intersecting each other at right angles. Or two printings may be made -from the copper-plate to produce the same result and the negative then -taken. We shall thus have a negative having the appearance of a very -fine lattice of transparent glass on an opaque ground. - -With this "screen" placed nearly in contact with an ordinary -photographic plate, film to film, we proceed to make a copy negative, in -the camera, of the original picture. This, when developed, will give the -picture _and_ an image of the screen, which has been interposed, -together on one plate. - -If this is now clear to my readers, they will probably at once see what -will result when such a plate is used on a sensitised sheet of zinc or -copper, and the soluble parts of the film washed away as before -suggested. - -The parts of the film made insoluble from exposure to light will be -reticulated all over by minute soluble dots or lines where the image of -the screen has interrupted the light, and more so or less in proportion -to the lightness or deeper shade of the original, and by this means what -would have been unbroken blacks are sprinkled over, so to speak, with -tiny white interstices, the ink when applied remaining on the -alternating projections of undissolved film. - -Suppose the film to have been of bitumen and spread upon a sheet of -zinc, we should have a reticulated image in insoluble bitumen with -interstices of plain zinc. This bitumen forms a protective coating, so -that when immersed in a weak solution of nitric acid the acid only eats -a way into the bare metal. Gradually, and by subsequent acid baths, the -parts covered by the film are left in strong relief, and in a fit -condition to print from. The film which has thus resisted the acid is -then washed away, leaving the zinc relief. - -To carry out the above process many details, which I have not thought it -the office of this book to enter into, will be required. Thus the -solvent used for developing, or, in other words, washing away the -soluble portions of a bitumen film, is turpentine; but water is used in -the case of bichromatised albumen. An acid resisting preparation is -finally applied to the plain zinc relief, and the whole block re-etched -or "re-bitten," so as to strengthen the image; certain precautions, -moreover, are taken to prevent the acid "under etching" the image--and a -great deal more which, of course, would have to be clearly described -were it intended to teach the process of block-making. - -In the variety of half-tone blocks, known as Typogravure, a different -method of breaking up the surface is adopted; no intervening screen is -used, but the surface of the metal has imparted to it a preliminary -roughness or grain, and the image is printed and etched on this rough -surface. These blocks, when carefully printed from, yield exceedingly -nice results, the grain having something of an "aquatint" character, -which appears to be more discriminating than that derived through the -use of the ruled screen. The softness of outline and freedom from -anything like a mechanical texture is well seen in blocks made by this -method. The remarkable difference obtained from the same block by -different printers will at once suggest that a very great deal depends -upon the printing quite irrespective of the quality of the block itself. -Many letterpress printers make a specialty of block-printing, the chief -art being in the "making-ready" and "underlaying," by which terms is -understood the careful adjusting of the block, so that its surface be at -exactly the proper elevation to secure the proper amount of pressure, -neither more nor less, when on the printing machine. Some further -remarks on this subject will be found in Chapter X. - -[Illustration] - -I trust, however, enough has been said to give a general idea to the -uninitiated of how we arrive at the dotted ink print, which we recognise -as a reproduction from a photogram, or wash-drawing, or indeed anything -which is similarly made up of flat tints. - -[Illustration: UNTOUCHED HALF-TONE FROM PHOTOGRAM. - -(_Original 4 x 3._)] - -[Illustration: HALF-TONE FROM PHOTOGRAM--THE BLOCK ENGRAVED ON BY HAND. - -(_Original 4 x 3._)] - -It will, of course, have been understood that the ruled "screen," which -is interposed between the picture to be copied and the plate on which it -is copied, will appear over _the whole_ of the copy negative, whether -the image extend so far or not, so that, in the reproduction, even what -should be blank whites will be covered with the fine black dots or -grain, though more widely separated by little white spaces. - -If the accompanying reproductions be examined, this will be found to be -the case. - -To any one who has given pictorial matters much thought, the -disadvantage of this will be at once apparent. - -[Illustration: ON SLAPTON LEY, SOUTH DEVON. - -_Photogram touched up by hand--block untouched._ - -(_Original 4 x 3._)] - -In black-and-white pictures, white is the highest expression of light, -and yet how far the whitest paper is from sunlight, and how much shorter -the whole gamut of tones, from blackest ink to whitest paper, is when -compared with the scale of Nature, have often been pointed out and are -now generally understood. But our half-tone process makes the range of -tones still shorter by curtailing it at the top of the scale and cutting -off the white: the pervading "tint," or "grain," reducing white to a -light grey, and not even the deepest blacks and intermediate tones are -nicely rendered except by very careful printing. The printing of -half-tone process blocks has received great attention amongst -better-class printers of late, with the result that marked improvement -has taken place, and it is clearly seen that be a half-tone block ever -so well made it is only admirable when special ink and special paper -(notably a fine clay surface paper) are used, and more than ordinary -knowledge and care expended in the machining. - -While the ideal process block is one in which, when the process is -completed, the block is ready for the press (and many process houses -pride themselves upon turning out "untouched" blocks), yet there are few -houses who do not employ some hands who are constantly working with -engraver's tools to "improve" the blocks after the last etching is done. - -Much brilliancy of contrast and effect may be accomplished if the -engraver cut away the grain altogether on that part of the surface of -the block where it should print white; but this must necessarily be done -by men of instinctive taste and good judgment, for immediately hand -carving be admitted the essential character of an _automatic facsimile_ -process is lost. The illustrator or artist will, therefore, unless he -give careful and precise instruction as to what parts are to be cut -away, or can superintend the work himself, feel considerable hesitation -in entrusting such a delicate task to a stranger. One little touch in -the wrong place, one bit of plain white too many, and the harmony of the -whole illustration will be upset; so that many will reasonably prefer a -weak flat print to the uncertainty which must attend the leaving of a -block to a mechanic's mercies. - -In the accompanying three illustrations we have, first, an untouched -"half-tone" block from an ordinary photogram; secondly, a block from -the same original, "fine etched" or with the etching controlled so as to -brighten the effect; and thirdly, a block made from the same photogram -which, in order to compensate for any failings of the process, has been -worked on _by the artist_, strengthening the shadows and brightening the -lights. - -[Illustration] - -This brings us to consider the subject of working on photograms by hand, -and the preparation of illustrations generally, which is dealt with in a -separate chapter. - -[Illustration] - - - - -CHAPTER V. - -_THE PREPARATION OF ORIGINALS FOR REPRODUCTION BY HALF-TONE PROCESS._ - -I. PHOTOGRAMS. - - -It will be understood from the foregoing chapter that in every case -where the original to be reproduced is of such a nature that before a -print in ink can be made the image must be broken up, the reproduction -will have to be effected by means of the half-tone process. - -Of the various kinds of originals thus utilised, probably the two most -common are photograms and wash-drawings. - -The rapidity, comparative ease, and absence of the draughtsman's skill, -with which photograms can now be made, has placed a wonderful power in -the hands of author or illustrator. But a short series of photograms of -some subject of interest with a very little descriptive letterpress will -often form an acceptable contribution to magazine or newspaper, and yet -a thoughtful consideration of such illustrations can hardly fail to -impress any one with the drawbacks and defects of the method. - -Such illustrations too often strike us as dull, misty, grey, and lacking -brilliancy, when compared with black and white reproductions of another -kind. - -This dulness is attributable to a great extent to the gauze-like screen -through which the copy is made, as described in our last chapter. The -bright lights are grained over with fine dots reducing white to grey, -and the soft finely graduated half-tones are often lost altogether. - -In order to counteract these defects, the process worker will often take -upon himself to "doctor" the negative made from the original before -proceeding to make the block, a practice to be condemned because such an -operator is rarely possessed of artistic judgment, and his "touching up" -may often produce a result unexpected and unacceptable to the artist. - -A similar "touching up" may also be effected on the block itself, as -previously suggested, which is only preferable because the artist may -more directly control the engraver's tool by giving definite -instructions. - -As far as possible, however, the block should not be meddled with by any -one, if the originals have been produced in such a manner as to ensure -the best possible effect by the mere mechanical process. - -In making photograms especially for reproduction a clear, bright -negative, with good strong contrasts, should be aimed at. Probably the -kind of negatives which it was customary to strive after in the older -days of wet-plate photography would be the best; but, as wet-plate -photography is hardly practicable for the illustrator of to-day, similar -results with dry-plates should be sought. - -Unhappily, the extreme softness and exquisite gradations of some of the -most modern and artistic work of photographers is thrown away in the -process of reproduction, and little more than a flat, meaningless smudge -is the best the process block can make of it. For this reason our -photograms for illustration should somewhat exaggerate the effect we -wish to reproduce: a matter which has led to the working on photograms -with the brush to heighten the effect, of which I shall have more to say -anon. - -Given the proper kind of negative the next care will be to make such a -photographic print as shall not detract from the qualities secured in -the negative, and shall in every possible way assist the "process." - -Many of the best and most pleasing photograms of our day are printed -upon coarse-grained, rough-surfaced paper, presenting a difficulty to -the reproductive process almost certain to prove disastrous to the -result; for if, whilst being copied, the original is not very skilfully -lighted, the inequalities of the surface reproduce as little lights and -shadows in a very unpleasing manner, and the texture of even a -comparatively smooth paper seems remarkably exaggerated. - -Almost as undesirable will be the very highly enamelled surfaces of some -photographic papers, the surface gloss producing reflections which -interfere with the copying. The best for general use will be the -smoothest platinotype paper, or a not too highly-glazed _white_ -albumenised paper, either of which are obtainable at most chemists and -all photographic dealers. The print should be of a medium depth, not so -dark as to give heavy solid shadows, nor so light as to omit all detail -from the lightest portions. The various manipulations necessary for -"toning" and "fixing" the print should be carried out carefully, -especially avoiding staining or discoloration of the white paper. The -print thus made, when mounted on card, is as far as an ordinary -photogram can go for this purpose. - -It now remains to be seen, bearing in mind what we know of the method by -which it is to be reproduced, what may be done to improve it, never -forgetting, however, that the chief value of a photogram for -illustrative purposes is its unimpeachable fidelity to truth. Additional -hand-work should not violate this truthfulness by the introduction of -any fresh matter, or the painting out of any characteristic detail, -unless, of course, the illustration is merely for pictorial or -decorative purposes. The inscription "From a photogram" usually -possesses a charm over the popular mind, inspiring confidence and -carrying conviction, and if the hand-work be discreetly introduced, only -to improve the effect and counteract the inherent defects of the final -process, the legend may be honestly used. - -In the first place, a photogram in which there are some large very dark -objects, which by reason of their dark colour are disagreeably heavy, -or obtrusive masses of deep shadow, may be made to reproduce better if a -thin transparent wash of blue be applied to such portions. The great -photogenic power of blue is, of course, the reason of this, but until -some experience be gained as to the proper amount of blue required, I -should recommend that a duplicate untouched photogram be sent in as -well, with a few words of explanation and instruction to the process -man. If the photogram be upon a glossy surface paper, a few drops of ox -gall, procurable in bottles from the artists' colourman, will make the -water-colour wash flow readily over the slimy surface. - -For working with a brush upon the photogram, the materials are simple -and few. Our purpose is to strengthen the lights and deepen the darks, -for which purpose Chinese white and two or three water-colours -respectively will be used. - -The surface and general character of a platinotype or matt paper print -will be pleasantest to work on; with an albumenised paper, ox gall will -again be essential. - -If a liberal amount of hand-work is intended, the print had better be a -light one, and it can then be built up to any degree. - -Chinese white, when applied thinly, has a bluish hue, and will -consequently reproduce somewhat lighter than it appears. Therefore to -produce a grey, it will sometimes be better, instead of using thin -Chinese white, to make an admixture of Chinese white and Indian ink, or -some suitable pigment, and apply it as a grey where grey is wanted. Such -portions of the Chinese white which, when dry, appear harsh, may be -softened with a clean almost dry sable brush; or the soft part of the -finger, with little more than its natural moisture, carefully rubbed -over the harsh parts may have the desired effect. By such and any tricks -which may suggest themselves it is advisable to blend the hand-work with -the actual photographic image. - -In applying pigment to the dark parts, to make them darker or sharper, -it will be desirable to match the colour of the photographic print as -nearly as possible. With platinotypes this may easily be done with -Indian ink, with a little blue added according to whether the print is a -warm or cold black. The precise colour of a silver print, whether on -matt or albumenised paper, is not so easy to match, but may be best -accomplished with sepia and cobalt, with a trace of crimson lake; one or -two other colours, such as burnt umber, vandyke brown, sienna, &c., -being kept in reserve for emergencies. Fine-pointed small sable-hair -brushes will be found the best for all purposes. - -[Illustration: "STOPPED OUT" PHOTOGRAM. - -(_Original 6 x 4._)] - -In the process of reproduction the original may be enlarged upon or -reduced. The former is not often attended with happy results, especially -if there is much hand-work, but reduction may to some extent be relied -on to clear away any trifling blemishes, should such exist. I should, -however, lay emphasis upon making the original as perfect as possible; -the "improving" effect of the process is an altogether too uncertain and -unknown factor to be trusted. - -Having thus given particulars as to the preparation of photograms for -reproduction, we may now suggest some various applications thereof. - -There is a great charm about illustrations which possess a spontaneous -and a suggestive character, and in this direction photograms are too -often painfully deficient. On rare occasions only, and in the hands of a -few artistic workers alone, does photography rise above a certain -mechanical and laboured impression, and the rare exceptions are of a -character ill-suited for "half-tone" reproduction. - -For complete whole-page illustrations a photogram has few drawbacks; but -when inserted with letterpress, and required for chapter headings and -odd corners, the fact that the picture occupies the whole space enclosed -within the boundary lines, and includes a great deal of detail which is -not required, makes them less attractive. Their form and style is dull -and monotonous. - -The accompanying illustration will suggest the manner in which I would -recommend photograms to be sometimes employed--especially when the -illustrator does not possess the requisite skill to produce the same -thing with his brush. - -The "Little Gate-keepers" may be taken as an example of what I will call -a "stopped-out" photogram; practically no hand-work has been employed -upon it beyond the "stopping out" of the original negative. The figures -of the children holding open the gate appear in the foreground of a -large negative, a landscape near Dunster Castle; the background is -composed of trees of an unpleasing form, and, beyond the topographical -interest, the bulk of the subject has little to recommend it. - -The method of stopping-out is as follows:--The negative should be placed -in such a position as to secure a strong transmitted light; it may be -fastened to the window, so as to be able to look through it towards the -sky, or may be placed in a retouching desk, as used by photographers, if -very large plates. In my own practice I use an ordinary easel, sitting -to it with my face to the window. On the film side of the negative -carefully draw round the more critical outlines, such as figures, faces, -trees, &c., with a very fine-pointed brush, or a pen, dipped in opaque -black varnish, gradually broadening the line to about a quarter of an -inch. Now on the reverse, or glass side of the negative, paint out with -black varnish all the rest as required; the effect of painting-out on -the reverse side being to give a slightly softer or vignetted effect as -is seen in the ground and gate-posts of the accompanying illustration. - -Where it is desired to carry the vignetted effect to a greater length, -some oil colour, red by preference (which may be thinned with copal -varnish), may be used, and when partially dry the finger may be used as -a dabber to remove just sufficient to admit of the plate printing very -faintly. - -In such a practice as this a little resourcefulness and ingenuity will -stand the operator in good stead, and many modifications and "dodges" -will occur as the work proceeds. Thus, for instance, if the whole of the -painting out be done on the film side, the bare outline of the -background and surroundings may be scratched in with a needle so as to -give a sketchy appearance in the print; such sketched outline may adhere -to the original form or may be entirely invented. Some taste must be -exercised to prevent the elaborate photographic image from appearing -incongruous with the sketched outline. - -In the accompanying "Boy gathering Wortleberries," two children have -been taken out of an unfortunately grouped trio, a badly developed -transparent sky has been converted into a hill in the background, and -some little details of landscape have been painted on to the print. - -A good deal has been said of the modern illustrator shirking or ignoring -backgrounds in his illustrations, yet I am inclined to think that in -such cases as these, and very many others, the background is best only -suggested or omitted altogether. In an illustration which purposes to -tell us some little fact, or is designed to beautify and enliven a page, -we do not want a whole chapter from nature's book, but just such -selected passages which the judgment of the artist illustrator shall -select. - -In utilising photograms in this or any similar manner, it is difficult -to place such methods in the hands of those unlearned in art matters -without a word of caution and advice on the subject of composition and -arrangement; but as it is not within the province of the present work to -instruct my readers in art principles, such remarks must be of the -briefest. - -It will be at once seen that whatever be the arrangement or -"composition" of nature (as photographed), as soon as the illustrator -commences stopping-out certain portions, the form or composition is at -once entirely under his control, and the pleasing effect of the finished -result will very greatly depend upon a nice arrangement of lines. Thus -in my "Little Gate-keepers" the upper outline of the gate forms a -striking line running obliquely upward from left to right, and so, to -counteract this, I have let the ground take an oblique form in an -opposite direction. To have done otherwise and repeated the first-named -line would have given the whole thing a one-sided, running-upwards, -effect. As a general rule (subject, as all such rules must be, to -numerous exceptions), strong oblique lines should converge towards an -imaginary centre some distance outside the picture, with some lesser -opposing lines to form contrast and promote a balance. Neither should -the sketched-in or created background repeat the form of the chief -object. Thus in the "Boy gathering Wortleberries" the figure forms a -vertical line; there are no strong oblique lines, and therefore the -middle distance takes the form of a horizontal line. The summit of the -hill, had it come directly over the boy's head, would have too evidently -repeated his outline, and is therefore placed a little to the right. -These are matters of taste, rather than the obedience to prescribed -rules, but the reader who desires guidance can hardly do better than -read Burnett's "Essays on Art." There are several handbooks to artistic -photography which treat of this subject, such as "Pictorial Effect in -Photography" and "Picture-making by Photography," both by H.P. Robinson; -also "Studies in Photography," by J. Andrews; and many books for the art -student. - -[Illustration: WORKED-UP PHOTOGRAM. - -(_Original 6 x 4._)] - -But, as already said, these are matters of individual taste and artistic -instinct, and although I hope by this little book to make the path easy -for those who have no especial artistic aptitude, yet, in such things as -this, the possessor of such instinctive sense of form is at an -advantage, lacking which the attentive study of other people's work and -some amount of imitation seems to be the only possible substitute. Much -knowledge may be gained from analysing, to this end, illustrations which -greet the eye on nearly every page of current literature. While many -methods of illustration _may_ be learned and practised in a mechanical -manner, the course is beset with difficulties and pitfalls, and, to the -artistically unlearned, the alternative dangers of gross error and sheer -imitation are ever present. Mr. Henry Blackburn has justly said, "The -illustrator's best protection against this tendency, his whole armour -and coat of mail, is to be an artist first and an illustrator -afterwards." Yet men have won battles without armour, and when the -stripling slew the giant it was the latter who wore the coat of mail. -Zeal and patient application will do much. - -In speaking of the application of the photogram to illustrative and -decorative purposes, we can hardly leave the subject without making -reference to the use to which they may be put for decorative initials, -chapter headings, and the like. Some very excellent examples of initials -were given in Mr. Gleeson White's articles on "Photographing the Nude," -published in _The Photogram_, one of which we reproduce (see p. 48). The -subject must be selected so as to harmonise in character and form with -the letter required, and such letter may then be pasted, or painted, on -the original negative, in which case it will print white; or it may be -worked on the photogram with brush and pigment. In only a few cases -would the initial, if represented in deep black, have any other than an -overpowering and heavy effect. The "tail-piece" on page 56 is a further -example which needs little explanation. Photograms cut to certain form, -and arranged suitably, may make a great variety of chapter headings or -tail-pieces. - -In the example here given, the background or distance was painted out on -the negative, and ink lines were drawn around the print before -reproduction. - -In order to ensure a symmetrical and sharp outline, a paper mask may be -attached to the negative, and a scroll design painted on the negative, -details being drawn in ink on the resulting print. - -[Illustration: THE BATTLE OF ALEXANDRIA; 42ND HIGHLANDERS GUARDING -FRENCH PRISONERS. - -_By permission of the proprietors of "The Illustrated London News." -Engraved from a wash drawing in black and white by The Meisenbach Co., -Ltd., West Norwood._] - -[Illustration] - - - - -CHAPTER VI. - -_THE PREPARATION OF ORIGINALS FOR HALF-TONE REPRODUCTION._ - -II. WASH DRAWINGS, OIL PAINTINGS, PENCIL AND OTHER DRAWINGS. - - -Of the remaining methods, whereby originals for reproduction by -half-tone process may be made, much less need be said. The same -principles of avoiding too fine and delicate gradations of tone apply as -when making a simple photogram, and the methods of brush and pencil -appeal almost exclusively to the naturally artistic. - -The wash drawing, which is practically water-colour painting in -monochrome, is the most popular, and, in the hands of those artists who -have applied themselves to illustration for photo-reproduction, some -very wonderful achievements are possible. Avoiding blue, green, red, -orange, or colours approaching thereto, it matters little what colour is -used, but probably black, such as Indian ink, or a good neutral grey or -sepia, is the best to use. In any case, body colour reproduces better -than transparent washes, the delicacy of which are wasted. Hence a -liberal use of Chinese white to lighten the tints is preferable to -making the colour thinner with water. Lamp black and Chinese white work -well together and reproduce excellently. In using Indian ink, or indeed -any colour, successive washes should not be made until each preceding -one is dry, thereby escaping a "messy" effect and securing greater -vigour. - -The brush-work must be bold and strong, and, as was said with regard to -photograms, include as little of the softer half-tones as possible, the -contrasts of light and shade must be accentuated and effect exaggerated -to compensate for the degradation of contrast brought about by the -process. Unless this be remembered, the result can hardly fail to give -anything but a very flat poor copy of the original. The artist should -hold himself under restraint, and instead of blending one tone with -another keep them nicely distinct, limiting himself to some half-dozen -different shades or tones between the extremes of white and black, and -even then some portions of the white may require to be cut away on the -block. - -Many illustrations from wash drawings of to-day are of a daring, -spirited style in which figures are drawn with or without backgrounds, -and when _well_ done they are undeniably attractive, and may be -abundantly met with in such publications as _The Graphic_, _Illustrated -London News_, _Sketch_, _In Town_, _St. Paul's_, and many others. Were -we considering the subject of art in illustrations, comment on this sort -of work not wholly in approbation might be made, but that it is -thoroughly up to date, effective, and in ready demand cannot be denied, -and it should be carefully studied by the student, who will no doubt -profit by the suggestions of technique without necessarily copying or -being unduly influenced by the style. - -Some capital effects may be obtained by making a wash drawing on -grey-tinted paper and putting in the lights with white, an example of -which is here given. Decorative designs done in Chinese white on -dark-brown paper may be successfully produced, but should be made -several times larger than required; the reduction in size usually -improving the effect. - -Painting in oil in monochrome will offer a welcome field for -illustration work to those who are more accustomed to use this medium. -A smooth surface canvas or board should be chosen, however, and the -painting should be smooth, all _strong_ brush marks, especially in the -whites, being omitted or softened out with a badger. In thus softening, -however, care should be exercised not to graduate one tone into another, -but leave everything firm and distinct, the same restriction of tones -being observed as in the other methods referred to previously. In using -oil colours, turpentine must be liberally used, or benzine, as this will -destroy the excessive gloss on the surface, a feature not liked by the -process worker. - -[Illustration: ON THE RIVER ROTHER. - -_Half-tone from Indian-ink wash drawing on grey paper._ (_Original 5-5/8 -x 3-7/8._)] - -Either water colour or oil may be worked upon a photographic basis in -order to save labour or difficulties in drawing. In such cases the -photographic print should be as faint as possible; any photographic -paper may be used for water colour, but smooth platinotype will probably -be the most pleasant. The surfaces to which oil colour may be applied -will be naturally more limited, but ready-sized canvas for printing in -bromide by artificial light is made, and is largely used for oil -painting for the commoner kind of portraits. - -[Illustration: DESIGN--CHINESE WHITE ON ORDINARY BROWN PAPER--HALF-TONE. - -(_Original 7-1/4 x 4-3/4._)] - -It will, however, sometimes be found desirable to economise labour by -using a photogram to paint on, thus saving time in re-drawing and -ensuring accuracy of elaborate details. Moreover, paint may be put upon -a photogram, and much matter that is not required, or which may be -judged as injurious to the pictorial effect, can be omitted. After the -painting is finished, the photographic basis or original will then -require to be removed. - -Almost any photographic print may be prepared to receive oil paint by -giving it a coating of common "size," and drying it _slowly_ by a fire -or otherwise. The painting-on being then proceeded with, and the paint -dry, the _back_ of the print is to be sponged or brushed with the iodine -solution mentioned on page 114. Platinotype paper being already sized -requires no further sizing, and by making a weak under-exposed print the -subsequent reduction or bleaching of the image can be rendered -unnecessary. - -[Illustration: _By permission of the proprietors of "The English -Illustrated Magazine"._ - -_Engraved from pencil sketch by The Meisenbach Co., Ltd., West -Norwood._] - -Many illustrators are fond of making wash drawings and then -strengthening them with pen or pencil. The advantage is not easy to see, -a mixed and indifferent character being usually felt. - -Pencil drawing with a reinforcement of a few ink lines, or pencil by -itself, is a method which appears to me to be deserving of much more -attention and cultivation than it has usually received. - -[Illustration: EVENING AT WEST MERSEA. - -_Half-tone from pencil drawing._ (_Original 4-1/2 x 3-1/2._)] - -Average pencil drawing is inclined to be too weak, and wanting in those -characteristics which have been already pointed out as essential in wash -drawings, but if the drawing be vigorous, and the pencil strokes clean -and distinct, some capital results may be obtained. In order to procure -the grey of pencil work a very fine screen is used, and the printing -carefully attended to, so that pencil sketches are hardly suitable for -the cheaper and more rapid class of printing. The lights should be cut -away on the block. - -The accompanying sketch of a cottage is simply torn from the leaf of a -sketch-book in which it was made without any regard for the requirements -of the process; the strong shadows were slightly reinforced with pen -and ink, and the whole carefully reproduced. - -[Illustration: COTTAGE AT HERONGATE. - -_Half-tone from pencil sketch slightly strengthened with pen and ink._ -(_Original 4-1/2 x 3-1/2._)] - -It seems scarcely necessary to refer to the use of water colour and oil -paintings in colour as illustrations, inasmuch as if produced for -purposes of reproduction, colour would hardly be employed. Occasionally, -however, one may require to make a photogram of a painting for some such -purpose, in doing which it will be best to employ a professed -photographer who is accustomed to copying, and this because the -photographing of coloured objects possesses peculiar difficulties. - -Plates known as "Isochromatic" are used, these having certain dyes mixed -with the sensitive film which makes them more sensitive to the least -active colours, such as reds and yellows, and in addition a stained film -of gelatine or glass is introduced into the lens to further correct the -action of the colours. Special care, too, in lighting the picture to be -copied is requisite, some experts recommending the use of coloured -reflectors. - -If the greens, reds, and yellows are not very pronounced, or the effect -is not greatly dependent upon blue and such hues which by reason of -their great light activity photograph as white, a fair copy photogram -may be produced under ordinary circumstances; but where any doubt -exists, I should recommend that the work be done by an experienced -operator. - -Throughout the foregoing remarks on the half-tone process, it will have -been gathered that its inherent defects constantly stand in the way of -our giving it unqualified approval. A recent writer on the subject, Mr. -C.G. Harper, says of half-tone process that it is "inconstant and for -ever incapable of rendering wash drawings as well as the wood-engraver." - -Be this as it may--and it may not be possible to gainsay it--each day -sees such improvements made in the processes, that even before these -sheets are in my reader's hands circumstances may require a change of -opinion, and prejudices may have given way under the convincing -influences of modern improvements. - -We may now turn our attention to the more direct processes of -reproducing in _line_, in which, more than in any other direction, the -revolution which photography has brought about in the art of -illustration is evident. - -[Illustration] - -[Illustration] - - - - -CHAPTER VII. - -_LINE PROCESS._ - - -The methods of drawing for reproduction by, and in compliance with the -requirements of, a line process, are numerous and varied. They include -pen, pencil, and crayon, and modifications and combinations of all -three. - -The information which I shall give is intended chiefly for such as know -little or nothing of the manner in which such illustrations should be -produced. Having already mastered the primary methods, the more -practised draughtsman, knowing what any special reproduction process -requires, will, to some extent, invent his own methods and often resort -to some "dodge" which may occur to him, thereby producing some -delightful and original result. - -In describing the half-tone process we found the necessity of having an -image in relief of such a character that we could print from it in ink, -hence the intervention of a ruled screen, which broke up the flat even -tints of the original picture into minute dots. Line processes, as the -term implies, are used to reproduce an illustration which, as in a pen -and ink sketch, possesses no flat tints, and requires no screen, the -actual lines being reproduced in relief and printed in facsimile. - -It will, of course, be remembered that a mechanical process block can -only produce in simple black and white: that is, it either reproduces a -line, to print black, or omits it altogether; so that a line drawn in -grey ink, and another in black, would each reproduce exactly the same, -namely black. Whereas in wash drawing we were limited to a few varying -tones, we are now restricted to two--white and black--and, as may be -seen by looking at any good line drawing, various degrees of shade are -produced by a multiplicity of lines in greater or less proximity and of -varying thickness. - -Before proceeding further, I will give an outline of the three principal -processes used for producing drawing in line. These are the swelled -gelatine, the albumen, and the bitumen processes;--other processes exist -but are little practised, and offer no advantages over the above. The -albumen and bitumen methods are processes of etching on zinc and -familiarly known as "zinco" line process; not so the swelled gelatine, -as will be seen from the following description of it. Gelatine of a hard -variety is melted in water with the addition of a small quantity of -sugar and chrome-alum, and is then spread evenly upon a perfectly clean -glass plate. This gelatine film is, when required for use, sensitised by -immersion in a solution of bichromate of potassium, methylated spirits, -and water. The effect of this is to render the film, to some extent, -insoluble where acted upon by light; or, more correctly speaking, -non-absorbent when affected by light. A negative, made from the original -to be reproduced, is placed in contact with the sensitised film and -exposed to light. The film, which it will be remembered is resting upon -a glass plate, is then placed in cold water, with the result that those -parts which have been protected from light absorb water and swell up, -leaving the non-absorbent parts, which represent the image, sunk in. -When this operation has been carried far enough, a plaster of Paris cast -is taken, and from this a wax mould is made, which is practically a -duplicate of the gelatine mould from which the plaster cast was made. -Into the wax mould copper is deposited, precisely as in ordinary -electrotyping, thus giving us a copper relief from a gelatine or wax -mould made direct from the original.[2] This process, while a favourite -with the artist, is not so readily used by the process worker because it -is somewhat expensive, the average cost of a block being from 9d. to 1s. -6d. per inch. But the results are very fine, especially when a drawing -has been made in ignorance or regardless of the requirements of process -reproduction. - -The zinc etching processes, by which the great mass of newspaper blocks -are made, are less regardful of delicacies of execution which the -swelled gelatine often reproduces with astonishing fidelity.[3] - -In the albumen process the sensitive film is composed of egg albumen, -bichromate of ammonium or potassium, and water, which is spread upon a -_zinc_ plate. After exposure to light under the negative, the whole -surface is inked over with transfer ink, and then immersed in cold water -and gently rubbed. The ink will wash away from those portions which have -been protected from light by the opaque portions of the negative, and -will adhere to those affected by light. Thus on a bed of zinc we have an -ink image on a substratum of albumen, the exact copy of the original. -The zinc has now to be etched with acid. - -With bitumen the procedure is somewhat similar. The bitumen is first -treated with ether, which will dissolve out only those constituents -which, not being sensitive to light, are not required. The residue is -dissolved in benzole and spread upon a zinc plate, as with the albumen -process. After exposure to light under the negative, the bitumen film is -washed with turpentine, which takes away all except those portions acted -upon by light. The film is next washed in water and placed in a very -weak solution of nitric acid, which at once attacks those portions of -the zinc unprotected by bitumen. If what now remains of the film be -inked over we shall have, as in the last process, an ink image of the -drawing on a zinc base, and the plate is now ready for etching. - -The etching is performed by successive baths of diluted nitric acid, gum -and powdered resin being applied to the plate after each etching, and -heated so as to run down the sides of the ridges of metal (which at each -successive etching bath are gradually growing deeper) until the "biting" -or etching be considered deep enough. The ink and substratum of albumen -or bitumen are then cleaned off with American potash, and the plate is -finally washed. Rebiting, or still further etching, may be required -before the zinc relief is ready to be mounted on a wood block "type -high" for printing purposes. - -As in the half-tone process, I do not pretend to have given working -instructions, but only such general particulars as may interest the -artist or draughtsman whose work is to be reproduced. For either of -these processes the average cost is 4d. to 6d. per square inch, with a -minimum charge of 5s. for a single block. Each process has its special -uses and applications; the process craftsman (whom nothing delights so -much as a sharp, brilliant line) will usually recommend the bitumen, but -the albumen method will often give a more pleasing result. As a general -rule, if your work is placed in good hands, the particular process to be -used is best left to them to decide, and if a proof be submitted some -little alterations may be suggested which can be carried out by an -engraver. - -In the subsequent pages of this book I shall make little reference to -these processes; enough has been said, and they are no part of the -draughtsman's business, only it will be well to keep in mind throughout -such general particulars as have just been given. - -Little has been said with reference to the negatives used in -reproduction; but as the draughtsman who also possesses some knowledge -of photography may be tempted to copy his work himself, it may be well -to point out that the negative image must be as sharp as it is possible -to get it. The most trifling deviation in focussing, unnoticeable in -ordinary photography, will tell seriously in making a reproduction; -moreover the kind of negative one may have learned to make for ordinary -photographic purposes will not do here. The function of the negative is, -it will be remembered, to protect certain portions of the film from -light, and to freely admit light where the image is, hence the denser -portions of the negative must be very nearly, if not absolutely, opaque, -and the image as nearly transparent as possible; thus giving what -photography proper has taught us to abhor--a black and white print. With -ordinary plates, the required amount of density is not always easy to -get, and special photo-mechanical plates are supplied by Mr. John -Carbutt, of Wayne Junction, Philadelphia, Pa., which give the desired -result. These plates are slow, thickly coated, and capable of giving -great density, all of which are characteristics peculiarly suitable to -the purpose. But in the end the process man will not thank you for -saving him the trouble of making a negative; he is accustomed to make -negatives of a certain kind, and very properly prefers to do this -himself. - -Not the least contributory towards a good reproduction is the power -which reduction from the original places in our hands. When making the -copy negative it is most usual to make it much smaller, or, inversely, -the original drawing is made a good deal larger than it is required to -appear (See Illustration on page 72). A somewhat ragged line of (say) -one-eighth of an inch in width, would, if sufficiently reduced in size, -come out as a fine line no thicker than a hair. Though reduction carried -to such a degree would be impracticable, a drawing twelve inches by nine -inches, reduced to eight by six, will usually be advantageous. Not only -is a certain degree of coarseness and roughness thus removed, but the -lines themselves become smoother and rounder; lines, however, which are -very close together, are apt to close up into a solid mass, both from -the reduction and because lines sometimes have a tendency to thicken in -reproduction--a point to be guarded against when drawing. - -If a drawing be examined through a simple double concave lens, that is -to say the reverse of a magnifying-glass, the effect of reproduction can -be seen, and the result anticipated; such lenses, called "diminishing -glasses," are sold expressly for the purpose. - -The reader need hardly be reminded that everything on the drawing will -be reproduced, except perhaps _blue_ pencil lines, this colour being -photographically white; hence all finger-marks, spots, and stains must -be carefully avoided. No doubt these, and sundry faults in drawing, can -be cut away by the engraver, but an ideal block is one which requires no -such helps to perfection, but which comes from the etcher's hands ready -for use, and to such an ideal even the tyro must work. - -The strong point and chief recommendation of a process block is that it -reproduces in _facsimile_ the draughtsman's original; once introduce -hand-work and it begins to lose this character; moreover expense and -delay in production are incurred, again depriving the mechanical block -of its distinctive and valuable features. - -Sundry elemental methods of getting an image on to zinc for etching -without the intervention of photography may perhaps suggest themselves -to the reader. Thus, for instance, an outline drawing may be made in -transfer ink on transfer paper and at once laid down on the zinc and -etched. A glass plate, coated with a soft opaque substance, may have a -design scratched thereon and be used in place of a negative; but such -methods are crude and limited, and need not be considered here. - -We will now pass to an examination of the various kinds of drawings -suitable for reproduction by relief process blocks, describing as nearly -as possible how they are made and with what materials. - -[Illustration] - - - - -CHAPTER VIII. - -_METHODS OF LINE REPRODUCTION._ - - -To those who have not previously given the matter attention, it will be -a source of some astonishment to find a wide range of tones, that is -varying degrees of light and shade, may be suggested by so simple and -unpromising a means as black lines on a white ground. Perhaps no better -means exists for getting some insight of this than by careful and -persistent study of the line illustrations constantly appearing in the -better class periodicals, such as _The English Illustrated_, _The -Strand_, _Harper's_, _Sketch_, _Black and White_, and many others. In -these we get frequent examples of the work of different men, and shall -soon begin to realise not only the wide possibilities of line work, but -the extremely different styles of various artists; and so long as the -practice is not too long continued, or too much relied on, some -advantageous exercise may be found in carefully copying such examples; -being watchful in so doing that, quite independent of outline, our copy -suggests the same materials, fabrics, &c., as are suggested in the -original, and that this suggestion be arrived at by the same kind of -treatment. - -In this kind of drawing there is obviously no such thing actually as -"tone," everything being black or white, and yet it is possible to -suggest every gradation and most delicate tonal relationships of -colours by this elementary means; the varied textures of objects can -also be most convincingly suggested.[4] - -Probably one of the first things that will strike us, on inspecting many -styles of drawing, is the fact that while some draughtsmen expend -enormous labour in filling the whole design with multitudinous strokes -of the pen, others obtain effect by a very few lines and great expanses -of white paper. A great number of strokes rapidly put in, in the manner -of shading with pencil, and a few bold lines slowly and deliberately -drawn, constitute the two chief differences of style. In the latter, the -principal study is perhaps to know _what to leave out_, and nowhere is -the knowledge and skill of the artist better seen than when the subject -is satisfactorily rendered with the least possible amount of labour, -there being not one unnecessary or superfluous line. Such powerful -sketches, by Mr. Reginald Cleaver, may be seen in _The Daily Graphic_, -and by Mr. Phil May in _The Sketch_. In these drawings a maximum of -effect is attained with a minimum of work, and one feels that every line -is essential and not one can be spared. - -In most cases, for all the purposes of illustration, a black coat need -not be suggested by any more lines of shading than a white gown; but the -artist who so determines may carry his work to a higher standard and, -with greater labour, even succeed in giving a suggestion of colour in -the objects portrayed. But, even in such elaborate work, there should be -no more execution than is essential, and the finished drawing should in -no case make its elaborate execution felt. The thing which must first -impress the spectator is the success of the general effect; never should -there be first awakened a feeling of astonishment at the extraordinary -amount of patience bestowed, or labour expended. If the first remark -called forth is one of admiration for the extraordinary _dexterity_, we -may be pretty sure that the draughtsman has been betrayed into the -commonly besetting sin of over-elaboration, and whatever success has -been attained in the effect rendered it would have been probably better -if produced with less effort. It would have been more forcible if not -overwhelmed, as it were, with so much work. - -[Illustration: DRAWING BY MR. PHIL. MAY. - -_From "English Illustrated Magazine". An example of bold open drawing._] - -Never, then, let the delight which we may feel in making a pretty -"finished" drawing get the better of our judgment when drawing for -reproduction. Remember that "prettiness" comes very near to "pettiness," -and delicacy and fineness are apt to become "niggling" and pedantic; -coarseness is a lesser danger than excessive neatness. - -Much of this, as already suggested, may be more clearly learned from the -careful examination and comparison of good published drawings. - -Imitate, and copy if you like, up to a certain degree, remembering -always that you are thus copying merely _to ascertain by what means -other men express their ideas in line, and not for your own practice_. - -In like manner etchings, engravings, and indeed every kind of print made -up of _lines_, may be studied and, to some extent, copied; but only in -order to familiarise oneself with what lines, and combinations of lines, -may be made to do; but the danger of continuing such a practice cannot -be too much emphasised. Every artist or draughtsman, be he beginner or -expert, must draw for himself and according to his own feelings and -promptings. In every department of art the successful have had their -imitators, and these again their imitators, and at each successive stage -the further one gets from originality, the more trammelled, the more -impotent and hopelessly beyond the possibility of really great work. - -That the drawing is not the end in view, but merely a means to an end -(that end being the reproduction), is a matter to which I shall refer -later on; but it should here be noted, and moreover the student may be -reminded, that every line and every mark which he makes will be -_similarly reproduced_ by the process. When drawing for wood engraving, -the engraver could be instructed to strengthen this or leave out that; -not so the mechanical block, which is to be regarded as normally an -untouched and purely mechanical thing, only to be altered by hand on the -rarest possible occasions, and then only when time and circumstances -permit. This character of indiscriminating _facsimile_ is not to be -considered as a disadvantage in any way; the good draughtsman is -thankful for it, he knows what to reckon upon, and to all it must be an -incentive to do one's best. It is the same difference as between a -mirror and an average photographer's portrait: the mirror may show us -all our faults and yet, if we have any beauty, it does not belie us; -while we know how often the ordinary commercial _carte-de-visite_ is -unreliable. - -In the course of studying various reproductions we shall probably have -become aware that the same things may be very differently rendered by -different hands. Thus trees and foliage in landscape may be represented -by an outline, and a few black patches and dots, or by numerous clearly -drawn parallel lines, or yet again by irregular strokes crossing and -recrossing each other; evidently, then, there is no intention here of -_imitating_ nature. And so, throughout, the aim of the pen draughtsman -is to _suggest_, rather than to portray things exactly as they are. -Lines, scratches, or dots, cannot pretend to imitate leafy foliage; and, -be it noted, the same lines, scratches, or dots, may be similarly -employed, in the same drawing, to suggest something quite different. It -is in this employment of various pen marks, to suggest the composition -of distinct objects, that individuality of style reveals itself; as does -the discreet using of white blanks to express or suggest widely -different things. - -I have presumed throughout these pages that I may be addressing many to -whom the idea of drawing in pen and ink (or other material) for -reproduction, is entirely a new one; hence it will be necessary to -examine the pen strokes which go to make up a complete drawing. Let it -be well understood that many things are possible to the accomplished -artist which must not be attempted by the beginner; later on we may -learn, from our own experience, little freaks and tricks of our own, but -we must first of all content ourselves with simple conscientious work. - -In the following examples of pen and ink shading we have first the kind -of strokes which the pen would make if used rapidly, as in writing, and -without any particular care. In bold sketchy work this sort of handling -may be permissible, but the student should practise shading by such -lines as in No. 2. These are drawn rapidly in succession, the wrist -being rested firmly on the table and the hand quite free, as in rapid -writing. Commence at the top left-hand corner and work downwards; notice -that each stroke is equidistant, parallel, and of the same thickness -throughout its length. Look at this from a little distance and it -appears like a grey, flat, even tint. This simple "shading" should be -tried many times until perfect ease and certainty is acquired, each -stroke of the pen being firm, distinct, and black; each stroke intended -and nothing uncertain about it. - -[Illustration: No. I. No. II. No. III. - -EXAMPLES OF PEN AND INK SHADING. - -_Reduced to about half the size of original._] - -A good exercise will be to draw a square, and practise filling it with a -flat tint consisting of lines either in the same direction, or else of -lines in varying directions, and then with lines crossing each other or -"cross-hatching." - -Having now discovered how a flat tint may be laid down, and how such may -be made uniformly or gradually darker, we may apply such methods to -simple objects as the cube and vase here shown. - -[Illustration: (_Original 1-1/2 x 1-1/4._)] - -By this time we may feel well on the road towards accomplishing any -general subject which we are skilful enough to outline. Of the various -mechanical helps to drawing outline, for those who lack the required -skill, I shall speak hereafter. - -[Illusutration: (_Original 4 x 2-1/4._)] - -It need hardly be pointed out that as there is, in nature, no such thing -as outline: it is purely an arbitrary means of indicating form, and -separating one space from another; whether such spaces be occupied with -shading or not, but especially where there is no shading. - -At first it may perhaps be best to make a clear sharp outline of uniform -thickness; but later we shall find we may often advantageously dispense -entirely with outline, letting the shading only distinguish one object -from another. Notice the absence of outline in the hills in "Near Berry -Head," page 94. - -A little experience will show us that an imperfect outline, and one -which varies in thickness with various objects, will greatly assist in -the attractiveness of our sketches. A too rigid outline, as also a too -close adherence to what has been said about the precision of the shading -strokes, tends to a stiff formal appearance which is not to be desired, -and destroys anything like originality and individuality of style. - -In the accompanying drawing notice these points--the irregularity of -_outline_, in some parts its entire absence, the value of white spaces, -and the suggestive little dots on the white foreground. - -I have already remarked that the drawing is only to be regarded as a -means to an end, and must therefore be made not so as to give -satisfaction in itself, but so as to produce a good mechanical -reproduction. However irksome some artists may feel this working for -process reproduction, it is not accompanied with any great difficulties, -nor are its special requirements so very restricting, if only we -understand what is wanted. - -Two influences, for good or for evil, exist between the original and the -reproduction (two influences to be taken into account, and reckoned with -when we are drawing, so as to produce a definite effect in the -reproduction), and these are reduction and thickening of the lines. - -A diminishing glass, used to examine any drawings, will at once show the -effect of reduction or diminishing, and in rough and rapid drawing this -reduction is depended upon to remove irregularities and coarseness.[5] - -[Illustration: IN HARBOUR. - -_Pen drawing._ (_Original 7 x 6._)] - -It may be taken for granted that nearly every reproduction we see has -been reduced from the original, some more, some less, and while -generally speaking we may say that the effect of reduction is to refine -and soften; the beginner, however, will sometimes be troubled by finding -an increase in the thickness of the lines which is less agreeable, and -is very fickle, and can only to a limited degree be counted upon as to -the result. Hence the need for keeping darkly shaded portions as open as -possible: that is to say, when lines are very close together, or there -is cross-hatching, see that the lines do not needlessly run into each -other, but that the little white interstices are well preserved. Keep -the shading open (the rough net-like effect can be got rid of by -reduction), and remember that not only do some lines thicken up, and so -engulf the intervening white, but in reduction the white spaces reduce -as well as the black lines, and may be reduced into invisibility. - -Some definite rules have sometimes been suggested to guide the process -man as to the amount of reduction best suited for average work; these, -however, like many other rules of the kind, are quite arbitrary. On this -subject Mr. Henry Blackburn says, with an authority based upon the -experience of reducing, to various scales, some thousands of drawings: -"As to the amount of reduction that a drawing will bear in reproduction, -it cannot be sufficiently widely known that in spite of rules laid down -there is no rule about it." - -[Illustration: _Same size as original._] - -In some instances no reduction is required, and the reproduction is so -exact a replica of the original that it can hardly be distinguished, -yet, "On the other hand, the value of reduction for certain styles of -drawing can hardly be over-estimated"; and again, "Every drawing has its -scale, to which it is best reduced." - -The effect of the reduction may be seen in the accompanying three -examples, the first being the same size as the original, and the others -reduced as marked. - -[Illustration: (_Original 4-3/4 x 4-1/4._)] - -Until some experience has been gained in this direction, and apart from -the exigencies of the space the illustration is required to fill, the -process engraver will probably be the best authority for us to consult -as regards the amount of reduction suitable to each individual drawing. -A reduction of one-third is a very usual one, so long as the drawing is -not unusually rough or clumsy. - -Referring to the effect of reduction upon lines laid down to express a -flat tint, Mr. H.R. Robertson gives some interesting notes upon the -number of lines required to be drawn in an inch square to produce an -even grey tint. I do not think too much importance should be attached -to such calculations, as they are likely to embarrass the draughtsman -and make him far too much concerned with the mere mechanism of his work; -still, the matter is an interesting one. He says that from experiment he -finds it will usually require about 108 to 120 lines within an inch to -give to the naked eye the idea of a flat tint or wash, but that about 80 -to an inch is as many as can be drawn to the inch by unaided vision; -eighty lines to the inch gives 120 in 1-1/2 inches, which, if reduced in -reproduction by one-third, will give the requisite number of 120 to the -inch which Mr. Robertson finds desirable. The effect produced, however, -by parallel lines of shading alters considerably when the direction of -the lines alters, and I think it is only necessary for us to glance -through "Academy Notes," or any similar collection of sketches made by -artists who understand the importance of conveying suggestions with -pencil or pen, to assure us that far fewer lines are in many cases quite -capable of giving the idea of an even tint. Such rules and figures are -interesting, and perhaps useful, but they are certainly dangerous if the -student places himself too much in subjection to their influence. - -The beginner in pen drawing is probably destined to meet with severe -disappointments at first from the manner in which the process will -reproduce his work, and the inclination is to blame the process as -unsympathetic, or the process man as incompetent, whereas the fault lies -with the drawing, which is unsuitable through a want of proper regard -for the requirements of process. - -For instance, nothing is commoner with the student than to find such -portions of our drawing as distance, sky, and the more delicate shading -come up heavy and black--quite different to the original, and robbing -such parts of it of all delicacy; or it may be that lines which we -believed to be fine, smooth, flowing lines, reproduce as broken and -irregular. - -[Illustration: THE WILLOW HARVEST. - -(_Original 7 x 14._)] - -The root of both these evils will probably be found in the fact that -in our drawing we have been producing light and distant effects by -_grey_ lines instead of fine black ones. Drawing with the pen -insufficiently charged with ink, or with ink diluted with water, will -give these grey lines; but the line process, recognising nothing but -black and white, either reproduces the grey lines as black, or -reproduces them imperfectly as broken and irregular. Here, then, will be -another matter for the beginner to exercise himself in: namely, the -drawing of good _black_ lines and an avoidance of _grey_ ones. With -drawings made on a fairly large scale, so that every line can be made -firmly and boldly, we are less likely to fall into making grey lines. - -With etchings, in which the image is in intaglio, gradation in the lines -is possible; because, according to the depth of the etched line, a -greater or less amount of ink is contained, and a grey line can be -printed therefrom. And so, for this reason, etchings are misleading if -used as copies or examples from which to draw in pen and ink. - -When the drawing has been first drawn in with pencil and inked over, -every vestige of pencil marks must be carefully removed, otherwise the -process reproduces them, not as soft grey marks, but as black as those -made in ink, and some very unpleasant surprises will be the result. - -[Illustration] - -[Illustration] - - - - -CHAPTER IX. - -_TOOLS AND MATERIALS FOR LINE DRAWING._ - - -To produce a line drawing which shall comprise such characteristics as -have now been enunciated, three essentials will be required: a white -surface, a black fluid, and a suitable instrument to convey the fluid at -will. These we will take _seriatim_, in their conventional -order--Papers, Inks, and Pens. - -The material most largely used for drawing on is probably white Bristol -board, of four-sheet or six-sheet thickness, and this will answer better -than anything else in almost all cases. Some attention should be paid to -the tint of the card, many cardboards having a tendency to turn yellow -with age and exposure. A cardboard of a pure white, or a slight tendency -to a bluish tint, is what we require, a blue card being in photographic -reproduction practically the same as white. Upon the surface of the -cardboard will greatly depend the ease with which we shall get clean -sharp lines. With many cardboards, in which the surface is apparently -smooth, the pen finds irregularities and sometimes obstacles to its -smooth and even progress, catching and "spluttering" over little -particles of hard matter or hair. - -A good Bristol board, such as is procurable at any artists' colourman, -presents no such difficulties, and the making of a fine smooth line -should be quite easy. Messrs. Reynolds and Sons supply various kinds of -boards equally suitable for pen work. The bank note Bristol manufactured -by F.W. Devoe & Co. is also especially adapted to this work. - -The process man will very likely recommend you to use a "clay surface" -board, and no doubt in some instances these have their advantages. On -these clay boards the pen strokes are remarkably clean and crisp, and -have a good deal the appearance of having been produced mechanically -rather than by hand; a very fine line, however, is difficult to produce, -the result being rather like, but in a much less degree, drawing on an -enamelled card on which the ink spreads; at the same time, however, -there will be less liability to make grey lines. A further advantage of -a clay surface is that the surface is easily removable with the blade of -a penknife, so that faults may be scraped or cut away--a feature put to -very important use in boards specially made for scraping, which are -described on p. 96. For large, bold work a clay board is useful, but it -should not be too often used on account of the hard, mechanical -appearance of the drawing. - -Whatman papers, or boards having a surface of Whatman paper, are also -much used, and these are procurable in two surfaces: H.-P., or -"Hot-pressed," the smoothest; and N., or "_Not_ hot-pressed," the -surface of which is sufficiently rough to make it very pleasant to work -on, but not too much so. If using the H.-P., the surface must be wiped -over with a clean wet sponge to remove a certain gloss which the process -of hot-pressing imparts to it. - -There is no particular virtue in any special paper or board beyond -whiteness, evenness, and purity; any paper having these qualities may be -used with success. I should not recommend the beginner to experiment -with too many kinds; he will in the end be probably no nearer -satisfaction than at the outset. Start on ordinary white Bristol and -persevere, attributing failures to your own incompetence rather than to -any fault in the materials. Some of the very best things have been -produced on any scrap of notepaper or other white surface that has been -at hand. - -Of suitable black fluids there are many varieties, and the beginner may -as easily concern himself a great deal too much about inks as about any -other part of the necessary materials. - -Cakes or sticks of dry pigment, or pans and tubes of moist colour, may -be employed, but for general convenience a fluid black will be best. -These are of two kinds: "fixed," which is not removable by water, and -"ordinary"; and it may be well to consider beforehand the work we are -going to do, and use the indelible, or fixed, ink if necessary. - -I mean by this that we may sometimes require to use Chinese white over -our black lines to produce whites, which could not easily be left as -blanks, in which case it will be necessary to use a fixed black, else -the Chinese white would smear and spoil the black. - -The introduction of Chinese white is, however, an exception rather than -the rule, and when the use of an indelible ink is not important, -Stephens' Ebony Stain is admirable. It works easily, and although it -dries with a slight gloss, which is usually a disadvantage, it -reproduces well. It can be immediately thinned when becoming too thick -by the addition of a little water, care being taken not to dilute it -sufficiently to make it grey. It is sold in bottles at sixpence and a -shilling, and is manufactured by the well-known makers of writing ink, -but may be procured from the artists' colourmen. Messrs. Reeves and Sons -have introduced a fluid black, called Artists' Black; this is made both -"indelible" and "not indelible." This has become very popular of late, -and is largely used; the not indelible, with water, making fine greys -for wash drawing. Higgins' American "Waterproof" India Ink is also -extensively used, and has received high commendation. Fixed Indian Ink -is sold in fluid form, and Lampblack and Ivoryblack in tubes and cakes. - -Ordinary writing ink is quite unsuitable; it "runs" when fine lines -cross, and is either too blue or too brown in colour. Common Indian Ink -is also too brown to reproduce well, so that the beginner will do wisely -to use one of the above-named blacks, which are prepared for the -purpose, and so diminish his chances of failure. All are sold in bottles -at sixpence or one shilling. - -Not taking account of eccentricities of accomplished artists, who may -use some special medium to their fancy, and whose very mastership -guarantees their success in whatever medium they may work, a dull -intense black line on a pure white surface is the ideal to be attained. - -It may be mentioned that if for any exceptional purpose the reproduction -is to be printed in coloured ink, the original had better be drawn in a -like colour, always excepting blue or anything approaching thereto. But -brown, green, red, and orange are permissible, and will photograph -correctly. A black drawing, reproduced in brown or other colour, is apt -to give a very different impression, and still more so if a colour be -reproduced in black. - -Chinese white has been referred to, and should certainly always be at -hand. If applied fairly thickly with a fine brush it will efface any -faulty ink marks, and may also be used to introduce lights into shading -which has been worked up too solid. It is also useful for putting in -small lights, as in windows, or longitudinal white streaks on water -which has been shaded in dark. It should be of good quality, and kept -well stoppered in a strong glass or stone bottle. - -With regard to the pen to be used there is more latitude for individual -taste, as what one man can do with a given pen another cannot. The -manufacturers who have given most attention to the requirements of -draughtsmen are J. Gillott and Sons, the well-known makers of pens of -all kinds. Many kinds of Brandauer's and Blanzy Poure and Co.'s pens are -also very good. - -It should not be supposed that a very fine-pointed pen is essential, -for on the contrary a small tool often seems to lead to the making of -small, niggling work. Mr. C.G. Harper finds a well-cut quill pen -delightful for making pen studies, and says "it flies over all -descriptions of paper, rough or smooth, without the least catching of -fibres or spluttering. It is the freest and least trammelling of pens, -and seems almost to draw of its own volition." A glass drawing-pen, such -as is used by mechanical designers, &c., has its uses, but it is only -capable of making a uniformly thick line. - -An assortment of one dozen of Gillott's pens can be obtained for one -shilling, and from these our selection can be made. Brandauer's No. 515 -and No. 342 E.F. are well spoken of, and have the advantage of not -becoming scratchy with use. A flexible pen, capable of making fine as -well as thick strokes, working evenly, and not soon worn out, is what -should be sought, and having found two or three kinds to suit, stick to -them, and make yourself thoroughly master of their capabilities. Should -any difficulty exist in obtaining a special pen, an ordinary "F" writing -nib will not lead you far wrong, while for bold vigorous drawing I -should prefer a gold "J"; it is clear from this that mere fineness of -point is not an essential matter. - -The possibilities of a particular pen are not learnt all at once, it -should be persevered with and understood. It has been recommended that -two or three pens of different character should respectively be used on -different portions of the same drawing. There may be advantages in this, -especially if a drawing contain a very wide variation in quality of its -lines. It may sometimes be that very bold thick work in foreground is -associated with fine delicate work in distance and sky. - -Some artists prefer to use a fine brush instead of a pen. A small sable -brush, having the outside hairs cut away, or a long hair brush known as -"tracer" or "rigger," is capable of making fine lines hardly to be -distinguished from pen strokes. At first they are slow to work with, -but considerable rapidity may be acquired with practice. The lines are -rounder and not so harsh as those made with the pen, and it is said that -an artist who has once accustomed himself to use a brush never goes back -to pens. - -[Illustration: A FIELD PATH. - -_Bitumen process._ (_Original 7-1/2 x 6-1/2_). - - [_See p. 86._] -] - -The foregoing materials and pens are for the production of simple black -line drawings on a white ground, and it is in this direction that I -should advise the student to persevere and cultivate himself. All the -beauty and expressiveness of lines is only realised after long practice; -and, of the many ways of illustrating by line process, it is the best -means of self-education, compared with which all others are flippant and -inconsequent. - -[Illustration: A FIELD PATH. - -_Swelled gelatine._ (_Original 7-1/2 x 6-1/2._) - -[_See p. 86._]] - -Still, with some truth it has been said that it is only by experiment -that we learn to achieve distinction, and so after a while we may -indulge in experiments in other directions, and try our hand at the -various tricks which the ingenious have placed within our reach. These -will be described in Chapter XI. - -[Illustration] - - - - -CHAPTER X. - -_COMPARISON OF PROCESSES._ - - -The method of drawing in line referred to in the two preceding chapters -may be regarded as traditional and of the normal character, and we shall -next take under consideration various other methods of drawing equally -suitable for reproduction by line process. - -In the meantime, we will see how the processes for producing blocks in -relief may be applied and see by a few examples how the results compare. - -With the artist, the Swelled Gelatine process will probably rank as -first favourite, and this because it is less exacting in its -requirements. - -Although only rendering the drawing in black and white, it is certainly -more sympathetic, and does to some extent recognise the weaker -impression of a grey line. By this process many ordinary black and white -drawings, made without any regard for the demands of the process man, -reproduce well, but would be impossible by the cheaper zinc etching; -moreover, it is admirably suited to reproduce drawings in which a -mixture of pen and pencil has been employed, an example of which will be -given later. - -[Illustration: MOONLIGHT. - -_Example of medium tint._ (_Original 4 x 7._)] - -The artist or draughtsman is not, however, usually master of the -situation; the printer and publisher will use the cheaper methods, to -suit which we must adopt, to a certain degree, a conventional manner. If -a drawing be seriously studied, it is often surprising how much of the -feeling of the draughtsman is conveyed to us through the strokes of his -pen or pencil, and it is just this feeling which the Gelatine process -preserves in great measure, but which the commoner methods sift out and -give us a mere mechanical translation. Still, by suiting ourselves to -these more ordinary processes, much may be done to compensate for the -lack of sympathy which they display. - -I have given (pp. 82, 83) two reproductions from the identical drawing, -in order that comparison may be made. - -The Bitumen process is characterised by the crude, sincere, line given, -ignoring many finer lines, and bringing others up black and hard. - -The Albumen process is the one by which probably the greatest number of -blocks are made in this country, and, when carried to a high degree of -perfection, yields some very pleasing results which, though inferior to -swelled Gelatine, are better than the Bitumen. Ordinarily, however, -there is not very much to choose between these two, and a very great -number of examples would have to be examined in order to properly -exhibit the differences. - -The comparison of results by these three processes is a subject which -has given rise to some controversy. The artist, who has also usually -been the author in this matter, has pronounced favourably for the -swelled gelatine; but in this the process expert is in disagreement. -After comparing carefully a variety of results, I am inclined to think -that perhaps too much importance is attached to the supposed advantages -of the swelled gelatine, and two powerful contributories to success are -not sufficiently considered. Swelled gelatine is not used for ordinary -newspaper work, and is charged at a much higher rate; and for this -reason, probably, greater care is taken in the block-making, and, being -used in higher class publications, it is more carefully printed from -than is possible in the vast majority of cases when the cheaper blocks -are used. The use of zinc blocks in cheap, rapidly printed publications -probably prohibits the process having full justice done to it, and we -are apt to judge its possibilities by the examples we too often see. -Cheapness, short time, and rapid printing are factors calculated to -spoil the reputation of any process. If bitumen and albumen could -receive the same amount of care and attention as is customarily bestowed -upon the more expensive swelled gelatine, there seems little reason why -results should not be equal. - -[Illustration: PEN DRAWING. - -_Three different shading media._ (_Original 8 x 5-3/4._)] - -[Illustration: UNTOUCHED LINE BLOCK. - -(_Original 7 x 6._)] - -In considering the application of such various methods, we are brought -to that somewhat singular contest which seems to exist in every sphere -of work wherein art is concerned, it is the disagreement and -misunderstanding which exists between artist and craftsman. - -The enterprising endeavour of the process-block maker is to perfect his -process to produce a clean, bright, faultless piece of technical work; a -process which shall produce from all kinds of originals an equally -brilliant print, so that, when he is called to reproduce a special -effect which the artist may desire, he seems incapable of understanding -as desirable anything which falls short of his own arbitrary standard. -It is as though the artist's colourman said to the painter, you must -varnish all your picture so as to show the full richness and gloss of -the colours, no matter whether the painter reckoned on some degree of -dulness to give a certain effect. - -[Illustration: LINE BLOCK LIGHTENED BY ROULETTE. - -(_Original 7 x 6._)] - -So the material maker will aim at supplying canvas or board of as fine -and smooth a surface as possible, and it is at first difficult to -persuade him that the artist is right in desiring a coarse, rough -surface. The process man and material maker are ever on the side of -polish, brilliancy, and fineness. - -Execution and craft invariably seem to be at war with feeling and art, -and I would strongly caution my reader against being too much concerned -about the relative virtues of various processes, or too much prejudiced -by what others may have to say. Whatever your artist friend may advise -is pretty certain to be discounted by your block-maker; and in course of -time, and after experience, you will probably form your own individual -opinion, which will be at variance with both. - -It is at this stage that more particular mention may be made of the use -of the _roulette_ to correct by hand, on the zinc block, the -misinterpretations of the process. The roulette consists of a -sharp-edged toothed wheel of minute proportions, which is passed -backwards and forwards across lines which have come up too black, thus -breaking such lines into tiny dots, which therefore print greyer. - -It is well to know that such a revision of the block, as first turned -out, is possible, and we shall sometimes be glad to make use of it. -Still, as before pointed out, such hand-work must not be relied upon. - -[Illustration] - -[Illustration] - - - - -CHAPTER XI. - -_OTHER METHODS ADAPTED FOR LINE REPRODUCTION._ - - -When a large space is required to be covered with an even tint, an -immense saving of labour and time may be effected by the use of "Shading -media"; but beyond a mere saving of labour they may, if discreetly used, -be made to produce some very desirable effects. - -[Illustration] - -If applied to the entire surface, the result is very like a half-tone -process block in appearance. This is seen in the illustration on page -85, in which the shading medium has been applied everywhere except in -the few white spots. - -Such an application is particularly useful for evening or twilight -subjects, but it is more usual to employ them locally, especially for -skies. They are also largely used by some artists for figures, in the -manner shown in illustration on page 65, in which the shading is so -effectively used on the waistcoat and hat of the man. - -The pattern of the tint varies greatly, there being more than a dozen -distinct designs, a few examples of which are given on page 91. - -[Illustration: SHADING MEDIUM ON PEN SKETCH VIGNETTE. - -(_Original 5 x 4._)] - -These shading media are introduced on to the zinc block after printing -from the negative (see Chap. VII.), for which purpose transparent sheets -of gelatine, on which the required pattern has been engraved and -previously inked, are used. By pressing these on to the albumen or other -surface of the block, an ink impression is transferred, which -accordingly protects the surface during etching in the same manner as -the rest of the picture. The "shading" need not be restricted to the -blank spaces only, but may be pressed on to any part or the whole of the -block; and there is no reason why two or more different patterns should -not be used in combination on the same subject. The gelatine sheets -being transparent, the process worker can see exactly where to apply -them, and can do so with considerably intricacy. - -In sending to the etchers a drawing in which a shading medium is to be -introduced, the practice is to mark such portions as are to be shaded by -scribbling over with blue pencil; this is at once understood better than -written instructions. It had better be stated whether a dark or light -tint be required; also whether it is to be vignetted or shaded all over. -Vignetting is the most usual, as seen in the accompanying block, page -92. It is usual for the process people to make a slight additional -charge for the introduction of tints; especially if at all complicated. -And, of course, if special experiments in the combination of various -tints be intended, requiring special care, fair consideration must be -made for the additional trouble and labour. - -Like most mechanical aids to drawing, shading media must be adopted with -discretion, and they can at best be considered as a poor substitute for -pure hand-work; they economise time and are useful in an emergency, but -I should certainly caution the beginner against the too frequent use of -them. - -An ingenious method of imparting a certain greyness to some portions of -a drawing is illustrated by the accompanying sketch "Near Berry Head." - -This is known as "Splatter work," and consists of sprinkling minute dots -of the black drawing fluid wherever required. - -The drawing is first executed in the usual way, and all portions which -are not to be "splattered" upon are covered over with pieces of paper -cut to the necessary shape and size. - -A stiff bristle brush is then inked; nothing serving for the purpose -better than an ordinary tooth-brush. Holding the brush in the left hand, -with the bristles downwards, the bristles are to be briskly stroked with -any handy stick of wood; in this manner a spray of tiny dots of ink is -splashed on to the paper beneath. - -[Illustration: NEAR BERRY HEAD. - -_Pen drawing--foreground dotted by "splatter" work._ (_Original 6-1/4 x -5._)] - -Perhaps a finer and more regular spray may be obtained by taking the -brush in the right hand and brushing it over the fine teeth of a comb, -by which means the splashes can be with more certainty directed to a -particular spot. Superfluous ink should be struck off the brush before -sprinkling the drawing, and some portions of the protecting paper masks -can be removed before others if some of the "splattering" be required to -extend further. - -It will be best to use an indelible or fixed ink for this work, as, even -after practice, some ugly splashes are apt to occur, which will have to -be afterwards corrected with Chinese white. Splatter work is more -largely practised in America, and is just one of those tricks which in -dexterous hands is sometimes so peculiarly happy in its results, and yet -so apparently unresponsive in others. - -We now come to consider an important group of drawing methods, known as -"Scratch boards." - -In speaking of white cardboards, reference was made to clay surface -boards, and the possibility of removing any fault by scraping with a -knife. We have now to do with a selection of boards in which the clay -surface and the scraping-out possibilities are carried to the utmost -practical extent, and made use of as a chief method of representation, -not as a means to correct mistakes. These boards are of two principal -kinds: 1st. White, on which are impressed white indented lines, giving -the whole a ribbed appearance; and, 2nd, Black reticulations, or lines -printed at right angles to the impressed grain or ribs. - -Canvas-like reticulations, irregular grain or "Aquatint" dots, and -diagonal or vertical lines, are the most useful patterns (of which there -are many); they may be obtained at F.W. Devoe & C.T. Raynolds Co. and -most of the dealers in materials, and are known as scratch-out, -scrape-out or stipple boards. - -Both boards are of a somewhat similar description, differing only in the -method of producing the pattern. In the white boards the marks are -_impressed_; whereas in the black ones they are _printed_. - -Taking the black patterns first, the grain printed thereon supplies us -with a flat grey tint composed of numerous fine black lines; this for -convenience we will call the _full_ tint. Now if we gently scrape the -clay surface with the sharp point of a knife, moving it _across_ the -black lines, they will be removed from the top of the impressed ridges -which cross at right angles, thus at once converting the _black lines_ -into rows of _black dots_, and giving a lighter tint which we will call -a half-tint. Closely examine the accompanying series of specimens, and -this will be at once recognised. - -[Illustration: -No. I. No. II. -DOTS. HORIZONTAL LINES.] - -[Illustration: -No. III. No. IV. -DIAGONAL LINES. AQUATINT.] - -[Illustration: -THE SCRAPER.] - -EXAMPLES OF BLACK GRAIN "SCRAPE BOARDS." (_Original size._) - -In No. 1 we have a board with parallel ruling, as supplied by the -makers; in No. 2, a few strokes of the knife have converted some of the -lines into dots; in No. 3, the knife has been used more vigorously, -scraping away lines altogether and thus producing plain whites. This, -then, gives us full tint, half-tint, and white. Now if we work with -pencil or pen on the full tint, building up the drawing precisely as if -drawing on plain white card, and then scrape out, as just illustrated, -it will be seen what a wide range of "tones" will be suggested. - -[Illustration: No. I. No. II. No. III.] - -The drawing is to be put in first either with crayon, pencil, or ink, -and the scraping done afterwards; by this means any mistakes can readily -be scratched out; no small consolation to the unpractised. But, on the -other hand, a faulty scratch or scrape cannot be rectified, hence the -greater need for care. - -The manner of handling the knife (an ordinary penknife, or a specially -constructed blade, may be used) differs a good deal in individual -workers, but the safer manner is perhaps to keep the knife well up and -nearly vertical. Avoid outlines, allowing the different degrees of tint -to separate one object from another, as one would do in a wash drawing, -and proceed somewhat in the manner illustrated by the accompanying -figures. - -[Illustration: A MISTY MOONRISE. - -(_Original 4 x 2-1/2._)] - -[Illustration: (_Original 4 x 2-1/2._)] - -One of the difficulties to be guarded against is the too great evidence -of scraping, the knife marks often revealing themselves much more -plainly in the reproduction than in the original, also the too sudden -contrast between the full tint and the scratched half-tint. Notice in -the two accompanying sketches on diagonal grain boards, by Mr. C.J. -Vine, how the full tint, when it meets the half-tint, is broken up by -slight irregular scratches; especially is this seen in the sky of "A -Misty Moonrise." In this sketch, sky, sea, and the sails of the two more -distant boats, are almost entirely made up by the diagonal tint and the -scraped half-tint. Only in the hulls of the boats and the sails of the -nearest boat is pen-work introduced, the lines being drawn diagonally -from right to left, at right angles to the grain of the full tint.[6] - -[Illustration: PEN AND INK ON BLACK LINE SCRAPE BOARD. FIRST STAGE. - -(_Original 5-3/4 x 3._)] - -[Illustration: PEN AND INK ON BLACK LINE SCRAPE BOARD WITH WHITE SCRAPED -OUT. - -(_Original 5-1/2 x 3-1/4._)] - -A more rapid way of obtaining an effect can hardly be imagined than by -these "scraped" boards, and in good hands, or with practice, the -effects obtainable are often very charming. The drawings should, as a -rule, be not greatly larger than the reproduction intended--a reduction -of one-third or one-half being about the best. All the different kinds -of black grain boards are treated in the same manner as above described. - -[Illustration: PENCIL ON VERTICAL GRAIN WHITE SCRAPE BOARD. - -_By C.J. Vine._ (_Original 4 x 3._)] - -Now the use of white grained boards is less a scraping method than pure -line drawing, much of the "line" being almost mechanically produced by -drawing upon the "ribbed" surface with pencil. We know if we place a -piece of paper upon a rough, cloth-covered book and rub a blacklead -pencil over it we get a mottled effect, the blacks and whites of which -are reproductions of the projections and depressions on the book cover; -so if we draw on a ribbed surface clay-board with pen and ink, the ink -follows elevation and depression in one continuous pen stroke. If, -however, we draw with a black pencil, without undue pressure, the pencil -passes from one elevation to another, or from one "rib" to another, and -thus forms a broken or dotted line, which, although in actual colour as -black as an ink line, yet being broken and not solid, will reproduce -lighter or greyer. A number of adjacent pencil lines would therefore -produce a flat tint of dots, very similar to the tint of a "half-tone" -block or a "shading medium," in addition to which, and upon which, ink -lines may be made to produce deeper blacks. On the accompanying -illustration are pencil marks and ink strokes drawn on a piece of -grained white board, the grain or "ribs" being vertical. To the left, a -single detached pencil stroke forming dotted lines; next are adjacent -pencil lines constituting a grained tint, something very like the full -tone of the black-grained blocks before considered, and coarser or finer -in proportion as the pencil is pressed more or less heavily; next we -have some pen and ink lines, the difference of which will at once be -seen; and finally, a mixture of pencil and pen, on which the knife has -subsequently been used to scratch some small lights. This exhausts the -practical possibilities of white grained scrape boards. - -[Illustration] - -The accompanying sketches will show somewhat the kind of things -obtainable. - -[Illustration: PENCIL AND PEN ON VERTICAL LINE WHITE SCRAPE BOARD. - -_By C.J. Vine._ (_Original 4 x 3._)] - -Reduction causes a very marked improvement, and the drawings should be -looked at from time to time whilst in progress with a "diminishing" -glass. An indelible ink should be used, or one that does not penetrate -but rests on the surface: such as ivory-black, lamp-black, or Indian -ink. Instead of pencil, a stick of lithographic chalk will be of -advantage. In the first place, the greyness of pencil is deceptive, and -reproduces blacker than we expect, moreover pencil rubs and smears; not -so lithographic chalk, which does not rub, and is black. The scratching -or scraping must be the final stage of a drawing, as only solid pen -marks can be put on the white board after the grained clay surface has -been removed. - - -DRAWINGS IN PENCIL OR CHALK ON ROUGH PAPERS. - -By the foregoing description of pencil or chalk drawing on ribbed -surfaces, we see how a pencil drawing may be translated by an ordinary -line zinco block, instead of the more expensive half-tone process -described in the earlier chapters. The pencil or crayon point, in -passing over a rough or broken surface, forms a series of dots instead -of a continuous line. The same thing occurs when pencil is used on a -rough surface drawing paper. Such pencillings, being examined, are found -to be lead marks, interspersed with minute interstices of white paper, -the whole giving a sort of grey tint of greater or less intensity. - -For broad sketchy effects such a drawing method is exceedingly valuable; -some very delightful things may be done without the least appearance of -the mechanical. - -[Illustration: SEWARDSTONE MARSHES. - -_Drawing on Conté crayon on rough paper._ (_Original 6 x 4._)] - -As may be readily understood from the accompanying examples, such -drawings are best adapted for purely artistic impressions, and not for -the portrayal of detail. - -Practically any paper may be used which is white, and whose surface is -sufficiently rough; some particular kinds, about to be mentioned, have -proved especially successful under experiment. Any material may be used -to draw with, preference being given to a black substance which will not -smear or rub on being touched. - -A good "B" blacklead pencil has the advantage of being pleasant to -handle, and capable of being used with a sufficiently fine point to -render some details; it has, however, the decided disadvantage of -"rubbing" with a very little touching, and the strokes, although fairly -intense, are not so black as crayon; hence, in reproduction, many -portions which were expected to come out soft and delicate, reproduce -much too black. We have, then, for our selection, Hardmuth's or Conté's -crayons, made in several degrees, and also made into cedar-wood -pencils--a cleaner and more handy form. Neither of these is, -unfortunately, free from the disadvantage of blurring when rubbed, and -will hence require to be fixed before being sent away; the -photo-engraver, in the press of his business, rarely failing to subject -drawings to a severe test. - -Fixing may be best effected by treating the drawing with a solution of -one part pure gum mastic dissolved in seven parts methylated spirit. - -In Lemercier's lithographic crayons we have a drawing medium which gives -as satisfactory results as the Conté or Hardmuth, and does not blur; it -therefore saves the trouble of fixing. Being greasy, they should be used -in a porte-crayon. They are made in three degrees as to hardness, the -No. 1 being the hardest and best suited for drawing the limited amount -of detail which is possible with crayons. - -So long as the drawing is not too heavily worked upon, a surprising -improvement is secured by reducing. A reduction of one-half is not too -much. - -As to the papers to be used, the following may be mentioned as only some -which I have tested, and which others have spoken well of, but there -must be a great many other rough surface materials well worth a trial. - -Of the well-known Whatman papers, both the "Hot-pressed" and "Not," the -latter being, perhaps, preferable. - -A French paper, Allongé, has a very pleasing surface grain, and may be -used on the right or wrong side with different results; the right side -being the rougher, and perhaps the better. - -[Illustration: CRAYON DRAWING ON ALLONGÉ PAPER. - -_Small whites in Chinese white._ (_Original 9 x 6._)] - -Next, we have Lalanne and Michallet or Ingres papers, and some examples -of crayon drawing on these are here given. - -[Illustration: CRAYON ON PYRAMID PAPER NO. 2. - -_Small whites in Chinese white._ (_Original 7 x 6._)] - -The most noticeable feature in these will be the lines, or grain, formed -by the texture of the paper; this grain is apparently more perceptible -when vertical, but if the paper is turned round so that the lines come -into a horizontal position, they are much less discernible in the -finished sketch. - -In many respects the effect of these papers is a good deal similar to -that gained by using the white lined clay-boards; the grain being, -however, less mechanical. In like manner the crayon sketch may be -effectively helped by the addition of pen and ink, or fine brush work. -Scraping out, however, is not within its capabilities; though Chinese -white, if applied fairly solidly, may successfully stop-out small lights -or efface errors. - -[Illustration: CRAYON ON PYRAMID NO. 1. (_Original 9 x 6._)] - -Other papers which may be attempted are Arnold's drawing papers, rough -surface cartridge, various crayon papers, &c. Such houses as Penrose & -Co., Amwell Street, E.C., London, or F.W. Devoe & C.T. Raynolds Co., of -New York, would probably supply patterns and information in this -respect. - -A paper known as Pyramid Grained paper has a granulated surface, -breaking the crayon marks into a succession of dots rather than broken -lines, and often yields very pleasing results; it is made in two varying -degrees, No. 1 having a grain of 15,000 "pyramids" to the square inch, -and No. 2, 9,000. - -For a further variation in effect, a drawing may be executed in crayon -or pencil on a fairly smooth paper previously pressed into close contact -with any rough surface, such as sandpaper or canvas. The unsized side of -a canvas for oil painting, or the cover of a book, will answer the -purpose; openness of work, and the amount of ultimate reduction -desirable, being depended upon and controlled accordingly. - -The following sketches, by Mr. C.J. Vine, on Michallet and Lallane -papers (pp. 111, 113, 115, 117), are pure untouched crayon work, -reproduced by zinc line etching, so that these drawings may be safely -entrusted to this cheapest and least sympathetic process; though there -can be little doubt that the swelled gelatine would render fuller -justice to work of this class. - -[Illustration] - -[Illustration] - - - - -CHAPTER XII. - -_MECHANICAL AIDS TO DRAUGHTSMANSHIP--DRAWING AND SKETCHING FROM NATURE._ - - -The various methods whereby illustrations may be made for reproduction -have now been reviewed, if not exhaustively, at least with sufficient -completeness to enable the reader to start making those actual -experiments in practice without which the most exact description is -useless. - -But thus far, with the exception of such cases in which it is possible -to use a photogram and reproduce it by "half-tone" process, some ability -to draw, some certain amount of native artistry on the part of the -student, has been taken for granted. - -Now, while in wash drawings, crayon, or pencil sketches, "scrape" -boards, and the like, there must be some amount of instinctive artistic -ability, not only to guide the hand in execution but to govern taste, -idea, and selection; yet in simple line drawing with the pen, without -any art knowledge or technical ability, it may be possible to produce a -perfectly reproducible drawing, fulfilling in every way the essential -duty of an illustration. And if this be so, there is no reason why very -many more writers should not illustrate what they have to say, making -matters more intelligible and producing a more lasting impression. - -For the purpose we shall require a photogram to commence with, and here -is a use and an application of photography not always fully realised or -appreciated. A man may be possessed of considerable taste and judgment -in the selecting of a view, or particular aspect of a building, and yet -be utterly lacking in ability to put down on paper correctly what he -sees; that is, he is not a good draughtsman. No particular taste in -selecting a position may be needed, or possessed, and yet it may be -desirable to portray an object, or scene, and it is to such men that the -camera becomes so important as an indirect means to illustration. -Indirect because, as already pointed out, the reproduction of a -photogram by half-tone process (the only way of reproducing a photogram -for type machine printing) is attended with difficulties, and cannot -always be resorted to. The half-tone block is not suitable for the most -rapid printing in newspapers, &c.; its results are not all that could be -wished; it is more expensive and takes longer to make, apart from such -other drawbacks pointed out in an earlier chapter. Therefore it is -desirable to see how we can utilise a photogram so as to produce the -simpler, and often more acceptable, line block from it, and do this by a -more mechanical method than re-drawing, or copying from it. - -Probably the first easy method that will suggest itself will be to make -a tracing from it on tracing paper, and then with carbon paper transfer -it to the desired card, &c. - -There is no objection to such a course, except that it is not always -attended with equal satisfaction. To begin with, a photogram is often so -dark in parts as to prevent our seeing many details through the tracing -paper; also, however careful, if we are tracing a face, the slight -deviation in tracing over the outlines and features, which is almost -unavoidable, and further variations when afterwards transferring, will -often seriously interfere with the likeness--presuming a likeness to be -required. - -[Illustration: STUDY OF TREES. - -_Crayon drawing on Lalanne paper; vertical grain._ (_Original 8 x -4-1/2._)] - -An avoidance of error and saving of time may be effected by making a -fairly pale print and, having "fixed" it, cover the back with the -scribble of a blue pencil or chalk. - -We can now place this down upon the card board or paper to be drawn -upon, and carefully go over everything that is to be drawn with a sharp -hard point, which will leave a blue outline sketch which can then be -inked in, and the blue need not be rubbed out afterwards as it will not -appear in reproduction. - -In the same way the original photogram can be used with a piece of -_blue_ carbon paper instead of chalking the back of the print. No -attempt should be made to draw in all the details of a photogram, but -only such salient points as may be required for illustration. - -Another method is as follows:--Make the photogram in the ordinary way, -but on "plain salted paper," or "Matt silver sensitised paper," which -has been previously prepared by immersion for a short while in a -solution of ammonium chlorate, 100 grains; gelatine, 10 grains; water, -10 ounces. - -The photogram is to be fixed and washed, toning being unnecessary; when -dry it can be drawn upon with a "_fixed_" or _indelible_ black ink, -carefully putting in just what parts are needed and disregarding the -rest of the picture. As soon as the ink is dry, the print is immersed in -a bath of mercury bichlorate and alcohol, when the photogram will -gradually disappear, leaving the black ink lines on plain white paper. -Nothing more is required beyond mounting on card to fit it for -reproduction. Of course corrections can be made and stains, &c., be -removed with Chinese white. Should it be desired to restore the bleached -photogram, it can be done by immersing in a weak solution of soda -hyposulphite. - -The foregoing method is one given by Mr. C.G. Harper in his book -"Drawing for Reproduction"; it appears, however, needlessly elaborate, -and I presume mercury _bichloride_ is intended and not bichlorate. Even -with care the photographic image is sometimes slow to get rid of, and -will often refuse altogether to leave the clear white blank we require. - -[Illustration: ADVANCING TWILIGHT. - -_Crayon drawing on Lalanne paper; horizontal grain._ (_Original 10-1/2 x -6._)] - -A photographic print, however, on either albumenised or "Matt" paper -will certainly disappear utterly if subjected to the following bath, for -which formula I am indebted to Mr. E.J. Wall:-- - - Iodine 1 grain - Iodide of Potassium 10 grains - Cyanide of Potassium 20 " - Water 102 " - -This is a similar solution as is used to remove ink-stains from linen, -&c. - -The print may also be bleached by sponging over with the following -preparation, recommended by W. Ethelbert Henry:-- - - Saturated Solution Iodine in Alcohol 1 part - " " Cyanide of Potassium in Water 2 parts - Water 2 " - -After which the print is to be washed well for a few minutes. - -Of course the reason for using a "fixed" ink in such processes is -obvious. - -Yet another method on similar lines, but even simpler in operation. A -certain photographic printing paper called "Ferro-prussiate" paper -gives, on exposure to light, a _blue_ image, and only requires washing -in water to "fix" or make it permanent. This blue print can now be used -for drawing upon, as in the previous instance, only that the -photographic image, being blue, does not need to be bleached, and will -not interfere with the reproduction of the black lines drawn upon it. - -If for any reason it be desired to get rid of the blue print, this can -be bleached by immersion in water containing a little common washing -soda. - -[Illustration: BEACHY HEAD. - -_Crayon drawing on Michallet paper, right side._ (_Original 8-1/2 x -5-1/2._)] - -Thus from a photogram of even the most elaborate subject an absolutely -correct drawing may be made fit for reproduction without the illustrator -having any knowledge or skill as a draughtsman. - -By placing the unskilled in such a position, photography appears to have -removed the last obstacle to the more frequent use of appropriate -illustration; and the ease with which both pleasing and _accurate_ -outlines can be made should render inexcusable the shamefully untruthful -"sketches" which every day appear in newspaper and magazine. - -The method of drawing on thin transfer paper with transfer ink, and then -placing the drawing direct on to a zinc block, hardly needs to be -referred to here. Such a simple means of placing the image on the zinc -and then etching is necessarily of limited application, neither -reduction nor enlargement is possible, and photography is not employed; -it is merely a mechanical etching of the zinc in all parts not protected -by the ink image, as transferred from the drawing in transfer ink, and -is used for very rapid and imperfect portraits, &c., in the commoner -class of newspaper work. - -And now, whatever be the special characteristics and advantages of the -camera, it is by no means my intention to advocate its use where even -only a moderate amount of native artistic ability exists; and, in all -probability, the possessor of such ability will more frequently prefer -to use his sketch-book than his camera--and this is as it should be. -There is always something of freshness about a first original sketch, be -it in whatsoever medium, a quality which the most careful copy fails to -repeat. - -This brings us to consider whether it would not be well to make our -first impressions or sketches in such a manner that they could be handed -to the process worker right away; and we shall then have to consider -what medium and what materials are suitable for "drawing from life." -Certainly the ordinary pencil sketch, as taken from the pocket -sketch-book, would not do. In the first place such sketches would -rarely be vigorous enough, and whatever vigour they possessed would be -sadly diminished by rubbing and the pressure of the opposite page. - -[Illustration: A SUSSEX LANE. - -_Crayon drawing on Michallet paper, wrong side of paper used._ -(_Original 9 x 4-1/2._)] - -Very few have successfully drawn from life in pen and ink. Some few -well-known caricaturists and figure draughtsmen do so, and attain -success purely through their splendid dash and spirit, but such things -are forbidden the average man with whom the pen drawing is a matter of -delicate care. But there seems no reason why the lithographic crayon on -rough paper should not be thus utilised, and slight "touchings-up" added -afterwards. In this way we might often have ready for immediate -reproduction a sketch containing some of that spontaneous feeling which -is so noticeable when glancing through the pages of an artist's -sketch-book. - -I have noticed in some a very false idea existing with regard to -draughting in a picture with pencil before using the pen and ink. Now I -do not hesitate to say that the careful sketching in of the subject in -pencil is essential to all except the genius, and I am not writing for -the genius, who knows more than I can tell him and can dispense with -what he does not know. There is nothing to be ashamed of in drawing -first in pencil; one might perhaps be able to draw in quite as correctly -with the pen, but the advantage of a pencil outline as a guide is that -it gives more time and leisure thought for carefully considering the pen -work before putting it in. By this course there is less danger of -confused hesitating lines. From the first let the ink lines be clear, -distinct, and black; no "messing about," to quote Mr. Blackburn's -expressive phrase; be decided as to the sort of shading you are going to -put in a certain place and put it there, once for all, and don't touch -it again. Avoid, by constant self-restraint, over-elaboration or too -much laboured detail; let each part of the drawing be _finished_ from -the first, and do not return to it and work on it over and over again. -And the first step to ensuring this precision will be by carefully -pencilling everything, _indicating_ only where shading is to come. When -the pen and ink drawing is completed, carefully erase the pencil marks -with _bread crumbs_; do not use indiarubber, which will be sure to -abrade the surface, and probably break the continuity of the ink lines. - -As we become more conversant with the possibilities of the zinco -process, an intimacy which can only be brought by an experience built up -of experiments and failures, we shall find it possible to sometimes -leave in certain of the pencilling (allowing, of course, for their -coming up as black as ink), but for the beginner such a practice is not -recommended, as it is nearly sure to end in disappointment. - -There are many interesting modifications of recognised means which are -possible to the experienced--especially the production of what may be -termed "mixed drawings," either for reproduction in half-tone or line, -drawings in which in order to produce less ordinary effects, wash, pen, -and pencil are employed combinedly; but, by the time my gentle reader -has reached a stage when he may advisedly attempt such excursions from -the orthodox path, he will have passed beyond the sphere of this book -and will be entitled to that liberty which art permits to its -practitioners. - -In the meantime let me ask the student to repress for a time his more -lofty aspirations, and content himself with patiently learning to -produce--not a charming sketch, a delightful drawing, but--a drawing in -which there is as much of artistic or pictorial merit as is compatible -with the requirements of the process of reproduction. If you are drawing -professedly for reproduction, no blame can attach to you if you "bear in -mind during the production of your drawing the necessity of its making a -good block, with as little sacrifice of artistic quality as may be." - -An exalted position as an art is not necessarily claimed for drawing or -painting for reproduction; but how much of that difficult-to-be-defined -quality which we call "artistic" exists in it, depends not so much upon -the method, the means, or the application, as it does on those who work -at it and their motive. Apart from this, viewed from the lowest aspect, -its utility is beyond question, and at the present time it is an -application of fine art showing the most vitality of any. - -The books devoted to the subject which have already been written, have -perhaps given too much attention to the actual processes of -reproduction--they have not appealed to the illustrator; or else, while -professing to be books of instruction in practice, have dealt rather -with the theory of illustration and the comparison of styles. It seemed -to me there was need for a simple description of methods for the -enlightening of a beginner: an elementary guide; a first step; in short, -a Handbook of illustration. - -[Illustration] - - - - - Higgins' - American - Drawing - Inks - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -(Blacks and Colors) - - The Standard - LIQUID - DRAWING - INKS - of the World - -They are used and endorsed by the leading Illustrators, Schools, -Colleges and Institutes. Three-fourths of the professional draughtsmen -of this country use no other drawing ink. - -The manufacturers have never solicited a single testimonial, yet the -merits of the inks have called forth endorsement from the most famous -and experienced users of drawing inks in various professions, real -masters of their arts. The following are a few commendations: - -JO. PENNELL, the celebrated pen artist of London, Eng.--"There is no ink -equal to it for half a dozen reasons. From the time you open the bottle -until you have put all its contents on paper, you have no reason to find -fault with it." - -A.B. FROST, the famous American illustrator, Convent, N.J., U.S.A.--"I -use a great deal of it, and it is certainly the best." - -E.W. SENIOR, C.E., Sydney, Australia.--"I cannot refrain from letting -you know how I appreciate your 'American Drawing Ink.' It is an article -long been looked for by us professional men. In my opinion, it is far -superior to [_Blank's_] Liquid Indian Ink. I have been using it for -2-1/2 years now, and have during that time and up to the present ceased -to have any other brand in the office--so pleased am I with it." - -T.B. NORGATE, Patent Attorney, Victoria, B.C.--"I have used your inks -for some years and find them first-class." - -JACOB HAUCK, Draughtsman, County Surveyor's Office, Omaha, Neb.--"I have -used hundreds of your 'General Inks,' and became a great admirer of your -unequalled ink." - -The Inks are as follows: BLACKS--Two kinds. Waterproof (insoluble when -dry) and General (soluble). COLORS--Carmine, Scarlet, Vermilion, Brick -Red, Blue, Yellow, Green, Orange, Brown, Indigo, Violet. - -Prices--Small bottles, 25 cents each; half pints, $2 each; pints, $3.75 -each, and quarts, $7 each. - -Users are cautioned to refuse untried and experimental inks, which may -be claimed as being equal to the =Higgins Inks=. =Higgins' American -Drawing Inks= were first introduced in 1880, and have hence _stood the -test of time_ unfailingly. Every bottle is strictly guaranteed from -first to last by the manufacturers. Color cards showing actual inks sent -free. - - * * * * * - -=FOR SALE BY DEALERS THROUGHOUT THE WORLD= - - * * * * * - - =CHAS. M. HIGGINS & CO.=, - - Originators and Manufacturers Inks and Adhesives, - - =168 to 172 Eighth Street, Brooklyn, N.Y., U.S.A.= - - =London Office, 106 Charing Cross Road.= - - - - -THE FOLDING MONTAUK - -IS THE - -"IDEAL" ARTISTS' CAMERA - -[Illustration] - - -It is fitted with a perfect lens for in or outdoor, snapshot or time -exposures, and when examined and tested will show its superiority at -once. - -When fitted with Ross Patent London-Made Lenses they are perfection -itself, and will make perfect snapshots - - "ON A GRAY DAY" - - PRICES FROM $25 TO $150 - - Send for catalogue and full description to the maker - - G. GENNERT, - - 24 and 26 East 13th St. NEW YORK - - - - -PHOTO-CERAMICS - -BY - -W. ETHELBERT HENRY - -AND - -H. SNOWDON WARD - - -Photography applied to the decoration of China, Porcelain, Placques, Art -Pottery and Ceramic and Metallic Surfaces in general. - - ILLUSTRATED...... - - Prices: Paper, 50c.; Cloth, 75c. - - POST PAID, FIVE CENTS EXTRA - - G. GENNERT, PUBLISHER - - 24 & 26 East 13th St. NEW YORK - - - - -Photo Lithography - - * * * * * - -BY GEORGE FRITZ - -VICE-DIRECTOR OF THE COURT AND IMPERIAL STATE PRINTING WORKS AT VIENNA - - * * * * * - -TRANSLATED BY E.J. WALL FELLOW OF THE ROYAL PHOTOGRAPHIC SOCIETY - - * * * * * - -CONTAINING SIX FULL PAGE PLATES BY THE IMPERIAL STATE PRINTING WORKS AT -VIENNA - -This book treats of the preparation of Collodions, etc., for Negative -work, preparation of stones and of Zinc plates and the making of -drawings for Photo-Lithographic work, and includes special detailed -instructions for the various materials used, diagrams illustrating the -best studios and work rooms, etc. - - ILLUSTRATED.... - - Cloth and Gold, $1.50 - - G. GENNERT, PUBLISHER - - 24 & 26 East 13th St. NEW YORK - -[Illustration] - - - - - CHAMPION CARD - AND PAPER CO. - -[Illustration] - - EAST PEPPERELL, MASS. - - MANUFACTURERS OF - -[Illustration] - - SURFACE-COATED - PAPERS .... - PLAIN AND - COATED BLANKS - FOR PRINTERS - & LITHOGRAPHERS - - "THIS BOOK IS PRINTED ON - OUR COATED PAPER" - -[Illustration] - - - - -Hume's - -[Illustration] - -[Illustration] - -CANTILEVER ENLARGING APPARATUS - -In 30 Sizes, Various Patterns. - -[Illustration: - - The - Standard - Pattern -] - -5½ in. Condensers, for 3¼ 4¼ plate, without objective, $35; with -objective, $45. - -8¼ in. Condensers, for 5×7 plate, without objective, $60; with -objective, $80. - -Fine Screw Motion, for use with non-racking lenses. Price for all sizes, -$5. - -Goods Tested Thoroughly and Packed Free - -G. GENNERT - -Sole American Agent - -24 and 26 East 13th St. NEW YORK - - - - -Adams - -[Illustration] - -"BRILLIANT" VIEW FINDERS - -[Illustration] - - -A perfect, bright and distinct image in direct sunlight, or in a room -where objects are hardly discernible on the ground glass. - -STYLE No. 1, FOR REGULAR CAMERAS STYLE No. 2, FOR DETECTIVE CAMERAS - - * * * * * - - - =J.A. LEONARD, - Civil Engineer.= - - NEWBURGH, N.Y., Oct. 2, 1895. - - The "Adams" Finder received this A.M., and I want to thank you for - putting me in the way of getting such a perfect instrument. While - the price seemed high, the results are so far beyond anything that - I deemed possible, that I am more than satisfied. I find that in - the brightest sunlight the Finder gives a beautiful, clear and - brilliant image, without any necessity of shading. - - Very sincerely yours, - - (Signed) J.A. LEONARD. - - * * * * * - -Adams Brilliant Finders - - Style No. 1. Size No. 1, $4.50 Size No. 2, $5.50 Size No. 3, $6.50 - Style No. 2. Size No. 1, 3.50 Size No. 2, 4.50 Size No. 3, 5.50 - -G. GENNERT, Sole Agent - -24 and 26 East 13th Street, NEW YORK THE "GENNERT" - -"UNIVERSAL" - -Hard Rubber Fixing Box - -[Illustration: No. 1.] - -[Illustration: No. 2.] - -The "Gennert" Universal Fixing Box is a decided improvement over the -well-known "Gennert" Hard Rubber Bath. The - - "Gennert" Universal Fixing Box - -is a substantial box with cover, made entirely of hard rubber, and has -the following advantages over all other methods of fixing: It has ridges -on all four sides, thus allowing any size plate to be fitted (see cut -No. 2). The plate stands half an inch above the ridges, allowing the -operator to remove it without touching the film, as the top of the box -above the ridges flares out sufficiently to admit the fingers to reach -the side of the plate. It fixes more plates. The cover prevents dust and -light from entering the box. The hypo is always clean and fresh. All -impurities sink to the bottom and the plate cannot touch them. It saves -plates. No spots possible on your negatives. It saves spotting and -retouching. It saves your temper. - - The "Gennert" Universal Fixing Box - -is made in two sizes: No. 1 allows of twenty 3-1/4×4-1/4, 4-1/4×5-1/2 or -4-1/4×6-1/2, or eleven 6-1/2×8-1/2 plates being fixed at one time: -price, =$4.50=. No. 2 allows of twenty-two 4×5, 5×7 or 5×8, or eleven -8×10 plates being fixed at one time; price, =$5.00=. - -Buy a "Gennert" Universal Fixing Box, made of pure hard rubber, and save -your hypo, plates and temper, by sending an order to your dealer for a -UNIVERSAL. - - -G. GENNERT, Manufacturer - -24-26 East 13th Street NEW YORK - - CARBUTT'S - - Half-Tone Process Plates - Specially made for Photo-Etchers - on Copper, Brass or Zinc, - giving negatives equal if not - Superior to - Wet Collodion Plates. - -[Illustration: JOHN CARBUTT - - MANUFACTURER OF - - Dry Plates, Films - - AND - - PHOTOGRAPHIC SPECIALTIES - WAYNE JUNCTION - PHILADELPHIA. -] - - -PRICE LIST--Plain, Orthochromatic and Strippers - - Sizes. |Per Doz. |Per Doz. |No. of - |Plain |Strippers.|Doz. - |or Ortho.| |in Case. - ----------------+---------+----------+--------- - 3-1/4 × 4-1/4 | $0 45 | $0 70 | 36 - 4 × 5 | 0 65 | 0 90 | 36 - 4-3/4 × 6-1/2 | 1 00 | 1 25 | 24 - 5 × 7 | 1 10 | 1 45 | 24 - 5 × 8 | 1 25 | 1 65 | 24 - 6-1/2 × 8-1/2 | $1 65 | $2 20 | 12 - 8 × 10 | 2 40 | 3 20 | 12 - 10 × 12 | 3 80 | 5 00 | 4 - 11 × 14 | 5 00 | 6 65 | 3 - 14 × 17 | 9 00 | 12 00 | 2 - - -=CARBUTT'S FLUID STRIPPING MEDIUM= - -Which has been arrived at after a series of exhaustive experiments, is -destined to entirely supersede the old gelatine processes. It is -supplied already prepared from the factory. It is applied _cold_, sets -and dries quickly, forming a pellicle negative, _thin, tough and -flexible_, and may be printed from either side. Full particulars for use -accompany each package. Price: Pint bottles, 75c.; quart bottles, $1.35; -per gallon, $5. - - -=Testimonial= - -"We have been in the photo-engraving business over three years. Used -wet-plates for two years, and your process-plates for the last year on -half-tone work. Each lot seemed uniform with the others and worked well. -Have not had a wet-plate bath in the place, even for line work (or -half-tone either), for over a year, and have turned out just as good -half-tone work as can be done, so our customers say. It is as good as we -could ever get with wet plates."--H.... ENG. CO., per G.C.A. - -WRITE TO FACTORY FOR CIRCULARS - -=JOHN CARBUTT,= - -KEYSTONE DRY PLATE AND FILM WORKS - -=Wayne Junction, Philadelphia= - - - - -Winsor & Newton's - -WATERPROOF INDIAN INK - -=With Patent Stopper and Quill Feeder= - - -This new Preparation has been introduced to meet the requirements of -those Artists, Architects and Designers who wish to lay washes of color -over drawings in ink. - -Unlike many so-called "Indelible" Inks, Messrs. Winsor & Newton's -Waterproof Indian ink, after it has dried, will be found absolutely -unaffected by subsequent wetting. The lines of the drawing, from the -thickest to the thinnest, remain undisturbed, and the purity of the most -delicate color-wash is retained in an unsullied condition. - -Finally, it may be mentioned that Messrs. Winsor and Newton's -preparation is made from genuine Indian Ink, and not, as is frequently -the case, from an imitative article. - -Winsor and Newton's Waterproof Ink is made in 21 different colors. -Sample card on application. - -[Illustration] - - WINSOR & NEWTON, Limited - - 88 Fulton Street Rathbone Place - - NEW YORK AND LONDON. - - - - -PROCESS ILLUSTRATION - -PRACTICAL MATERIALS FOR PRACTICAL WORKERS - - * * * * * - - =ANGERER SCRAPER BOARDS= - EIGHT VARIETIES. _Sample Packet, 1s. 6d._ - - =ANGERER LITHOGRAPHIC GRAINED PAPERS= - FOUR VARIETIES. _Sample Packet, 6d._ - - =GILLOT SCRAPER BOARDS= - EIGHT VARIETIES. _Sample Packet, 1s. 2d._ - - =PENROSE'S NEW STIPPLE BOARDS= - _Imitating the Lithographic Hand Stipple_ - TWO KINDS. _Sample Packet, 6d._ - - =GOODALL'S BRISTOL BOARDS= - LITHOGRAPHIC TRANSFER PAPERS - TRACING TRANSFER PAPERS - - =LEMERCIER'S INKS and CRAYONS= - Gillott's Pens. Fine Sable Brushes - - * * * * * - -T Squares, Set Squares. Tracing Points, Ruling Pens, Magnifying and -Diminishing Glasses - - * * * * * - -_All Materials, Tools, Chemicals, and Appliances for every Branch of -Photo-mechanical Reproduction Catalogue, Sixpence, Post-free_ - - * * * * * - -PENROSE & CO. - -_The Photo Process Stores_ - -8a, UPPER BAKER ST., Clerkenwell, LONDON F.W. DEVOE & C.T. RAYNOLDS CO - -F.W. DEVOE & C.T. RAYNOLDS CO - -MANUFACTURERS OF - -=Artists' Materials= - -[Illustration] - -SUPPLIES FOR - - =Oil and Water - Color Painting= - - =Pastel and - Miniature Painting= - - =Charcoal, Crayon and - Lead Pencil Drawing= - - =Etching, Ornamenting - and Designing= - - =Materials for - Tapestry Painting= - - =Pyrography and - China Painting= - -=Materials for Pen and Ink Drawing A Specialty= - - Liquid Inks, Crow Quill Pens, Process Papers, - Roulettes, F.W. Devoe & Co.'s Superior Liquid - Chinese White and Indian Ink, "Pen and Ink - Carton," "Bank Note Bristol," best for Black - and White Work, "Scratch Board," etc., etc. - - * * * * * - -=A Complete Line of Ross's Hand Stipple Process Papers at Wholesale and -Retail= - - * * * * * - - =Fulton and William Streets, New York, - and 176 Randolph Street, Chicago= - - - - -GENNERT - -Hard Rubber - -[Illustration] - -[Illustration] - - -Photographers' DEVELOPING - -and - -FIXING DISHES - -=The Standard of Excellence= - - * * * * * - -=Each Piece Marked= - -"GENNERT" - -=Manufacturer, New York= - - - - - A.B. Fleming & Co. - (LIMITED) - -Scottish Printing Ink Manufactory - -=Caroline Park, EDINBURGH= - - _Warehouse;_ - 15 Whitefriars St., London, E.C. - - _Fine Color Department;_ - 101 Leadenhall St., London, E.C. - -Manufacturers of Every Kind of Black and Colored Inks - -=HALF-TONE PRINTING INKS= - -=IN BLACK AND ART SHADES A SPECIALTY= - -(Any Shade Made to Order) - -=Our Half-Tone Inks will not fill up, do not contain Earth-Colors, and -are permanent= - -=Photochromic Printing in Three Colors= - -THE THREE NEUTRAL COLORS - -(=Red, Blue and Yellow=) - -SPECIALLY PREPARED AND GUARANTEED ABSOLUTELY PERMANENT - -Shades Verified by Lovibond's Patent Tintometer - -=HIGH-CLASS COLLOTYPE INKS= - -OF ALL SHADES =THE "BRIGHTON" CAMERA= - -_Patented 1881-89 and Patent applied for_ - -[Illustration: AS A FRONT FOCUS.] - - -The Brighton is the first desired step forward in view cameras for -several years, and can justly be called perfect, as it has all the -features so highly prized by Artists and View Photographers, and is also -adapted for Studio use of the amateur or artist. - -1st. It is a Front Focus Camera. - -2d. It is a Back Focus Camera as well. - -3d. It has more swing than any other Camera. - -4th. It has a self-centering, rising and falling front. - -5th. It has Rack and Pinion (forward) and slide (backward) movement. - -6th. It has a new front board feature, and an extra large front board. - -7th. It can be used with an extremely short or long focus lens and no -lens is so wide in its angle that it can take in any part of the bed. - -8th. While no Camera is more rigid when the back clamp is set, it can be -taken entirely apart by reversing the tightening lever. - -9th. It has an improvement which allows the bed to be raised without the -screw catching. - -10th. It can be set up and taken down quicker and easier than any -Camera. - -Add to this absolutely perfect workmanship, materials and finish, and -you have the Brighton Camera, the Twentieth Century product. - -[Illustration: AS A BACK FOCUS.] - -PRICE LIST.--Leather Bellows, Double Swing, including one "Xtralite" -Plate Holder and Carrying Case, 5×7, $24.00; 5×8, $26.00; 6-1/2×8-1/2, -$28.00; 8×10, $30.00; 11×14, $40.00; 14×17, $60.00. - - -=G. GENNERT, Manufacturer= - -=24 & 26 East 13th Street, NEW YORK= - -[Illustration] - - - - -ROSS LENSES - -ROSS ZEISS ANASTIGMATS - -ROSS-GOERZ - -DOUBLE ANASTIGMATS - -[Illustration] - -=The Best Photographic Objectives for all purposes. Several series -especially adapted to Reproductions.= - -[Illustration] - -Catalogue on Application to - - -G. GENNERT - -Sole American Agent - -=24 & 26 East 13th Street, NEW YORK= - -[Illustration] - - - - -There are - -WASHING BOXES AND BOXES - - -=That are Supposed to Wash, But Don't Do It= - -[Illustration] - - -The Gennert Universal Washing Box - -[Illustration] - - -WASHES CLEAN AND QUICK - - - No. 1 Holds 22 Plates 3-1/4 × 4-1/4 or 4-1/4 × 6-1/2--11 Plates - 6-1/2 × 8-1/2. Price, $2.00. - - No. 2 Holds 22 Plates 4 × 5, 5 × 7, or 5 × 8--11 Plates 8 × 10. - Price, $2.25. - - -G. GENNERT, Sole Mfr., - -=24 and 26 East 13th St. NEW YORK= - - -"THE NEW YORK PHOTOGRAVURE CO., at 137 West 23d Street, makes perfect -pictures for artistic, scientific and commercial purposes, by special, -inimitable photogravure, photogelatine, and half-tone block processes. -It has a gallery fitted to produce negatives of all sizes up to 24 × 30, -by the best orthochromatic methods. From this department to the packing -room, there is not a phase of any work, however trivial apparently, not -carefully attended with the most zealous supervision." - - =From King's Handbook of New York City= - - * * * * * - - -=Photographs in Colors= - -"Mr. Edwards spoke from the small stage at the end of the exhibition -hall, and after an interesting résumé of the many 'processes' by which -pictures and illustrations are now made with the aid of photography, the -most important of which he explained in lucid and not too technical -phraseology, he approached the most interesting part of his discourse, -the modern method of three-color printing, which has, under the New York -Photogravure Company, reached so high a state of perfection and resulted -in such surprisingly attractive results." - - =From the Mail and Express, New York= - - * * * * * - - -"SUN AND SHADE reproduces, not only the most notable paintings and -portraits, but the best work of amateur and professional photographers. -If it gave nothing but the latter work, it would be deserving of the -most liberal patronage that it receives; but it is an admirable record -of the greatest paintings at the Metropolitan Museum of Art, of living -American players, of portraits of celebrated Americans, of great -American painters, with reproductions of their work, and it is a -monument of the New York Photogravure Co., which is a monument of -artistic New York." - - -FOOTNOTES: - - [1] Our frontispiece, a Collotype by S.B. Bolas and Co., is an - excellent example of this process.] - - [2] The copper deposited by electro-deposition is little more - than a thin skin of metal, which is then backed by a block of type-metal - of the same thickness as the usual letterpress type.] - - [3] See remarks on printing in Chap. X.] - - [4] The term "tone," as used here and elsewhere throughout this - book, is a word universally employed in art to express varying degrees - of lightness and darkness irrespective of colour. The word "shade," as - commonly used and accepted, comes nearest to its meaning, but that shade - refers rather to varying tint of local colour, as when one says "a - beautiful shade of pink." "Shade" is also used to express the reverse of - "light," as "light and shade." Objects in nature, when represented in - correct relationship of lightness and darkness, are said to be in - correct relative tone.] - - [5] Refer to p. 72.] - - [6] Here, with all due deference, I may draw attention to the - unpleasing effect of an illustration of elliptical or "cushion" shape, - especially when mixed with letterpress on a book page, the general - scheme of which is square or rectangular. Unless an irregular shape is - for a special purpose desirable, it will be safer to keep the - illustrations to a rectangular form.] - - - +--------------------------------------------------------------+ - | | - | Transcribers Notes: | - | | - | Fixed various commas and full-stops. | - | P.16. 'astist' changed to 'artist'. | - | P.32. 'ana' changed to 'and'. | - | P.109. 'reveiwed' changed to 'reviewed'. | - | Add: Camera: to 'be be raised', changed to 'be raised'. | - | | - +--------------------------------------------------------------+ - - - - - - - -End of Project Gutenberg's A Handbook of Illustration, by A. Horsley Hinton - -*** END OF THIS PROJECT GUTENBERG EBOOK A HANDBOOK OF ILLUSTRATION *** - -***** This file should be named 43557-8.txt or 43557-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/5/5/43557/ - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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