,illustration3 ,,from ,,the ,,original ,,painting ,,by ,r4,c4 ,,minor4 ,n4,y4 ,,photogravure ,,co4 ,evening ,a ,,handbook ,,of ,,illustration ,,by ,a4 ,,horsley ,,hinton ,illustration ,,with ,,reproductions ,,from ,,photograms ,,and ,,sketches ,,by ,,the ,,author ,,and ,,other ,,artists ,,new ,,york1 ,u4,s4,a4 ,g4 ,,gennert1 #bd and #bf ,,east ,,thirteenth ,,st4 ,,london1 ,,eng4 ,,dawbarn ,,ward1 ,,limited ,,contents4 ,,chapter ,i4--,,introduction4--,primitive illustrations--,art and illustration--,influence in photography--,illustrations from the ,author's aspect--,some uses of illustration4 ,,chapter ,,ii4--,a ,,neglected ,,field4 ,,chapter ,,iii4--,,theory ,,and ,,principles ,,of ,,illustration4--,different kinds of illustration--,maps or plans--,scientific diagrams--,topographical views--,in fiction--,author and ,illustrator--,pictorial or artistic--,decorative--,the ,two things4 ,,chapter ,,iv4--,,reproduction ,,by ,,half-,,tone ,,process4--,processes other than photo-mechanical--,the object of mechanical process--,intaglio1 relief1 and separate printing process--,description of half-tone process--,the screen--,printing on the gelatine--,development--,etching--,inher ent disadvantage of the screen--,cutting out lights--,comparative results4 ,,chapter ,v4--,,preparation ,,of ,,originals ,,for ,,reproduction ,,by ,,half-,,tone4--,i4--,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 initials1 c4 ,,chapter ,,vi4--,,preparation ,,of ,,originals ,,for ,,half-,,tone4 ,,ii4--,wash drawings1 oil paintings1 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 reproduction4 ,,chapter ,,vii4--,,line ,,process4--,requirements of the process--,the processes described3 ,gelatine1 ,albumen1 and ,bitumen--,copying1 printing1 developing1 mounting--,description of the copy negative--,reduction--,diminishing glasses--,pencil marks1 c4--,non-photographic methods4 ,,chapter ,,viii4--,,methods ,,of ,,line ,,reproduction4 ,i4--,pen-and-ink drawing--,character of line drawings--,tone interpreted into line--,various styles of line--,suggestion of colour1 textures1 c4--,the art of leaving out--,what to copy and study--,line shading--,flat tints--,outlines--,reduction and thickening4 ,,chapter ,,ix4--,,materials ,,for ,,simple ,,line ,,drawing4--,papers and cardboards--,inks and fluids--,pens4 ,,chapter ,x4--,,comparison ,,of ,,line ,,processes4--,some characteristics of each described1 and results in each compared--,the roulette4 ,,chapter ,,xi4--,,other ,,methods ,,for ,,line ,,reproduction4 ,the ,materials ,required4--,mechanical tints--,their application--,splatter work--,how produced--,grained clay surface boards or scrape boards--,their use described--,pencil and chalk drawing for line reproduction4 ,,chapter ,,xii4--,,mechanical ,,aids ,,to ,,drawing4--,methods of tracing from a photogram--,drawing on a photogram--,drawing on a blue print--,tracing on transfer paper--,drawing from nature--,conclusion4 ,authors preface ,increased use of the ,photographic ,reproduction process and a prevailing ignorance of their nature and application1 made desirable a simple practical ,handbook of ,illustration ,methods ,such a book it has been my endeavour to produce ,a4,h4,h4 ,london ,november #ahid ,illustration3 ,,pen ,,drawing4 7,original #i x #e-a_/h47 ,a ,,handbook ,,of ,,illustration ,,chapter ,i4 ,,introduction--,,the ,,art ,,of ,,illustration4 ,introduced to this country1 in round numbers1 some fifty years ago1 ,photography has progressed beyond its contemporaries of the present century4 ,it has obtained a hold upon the people1 entering equally into their work and their amusements2 the speed1 the reality1 the brilliancy of it fit it peculiarly for the age into which it has been born4 ,it has survived1 and will survive1 amidst the decay of other things1 because of its extraordinary adaptability to changing circumstances1 its readiness to meet altering tastes and requirements2 versatile in aspect1 elastic in its application4 ,amidst all its adaptations of modern date1 in none has it been more successful than in that to which this book is devoted3 that wherein photography1 directly or indirectly1 is employed to introduce into our literature expressions of thought1 which are better so conveyed than by written or printed words4 ,be the language never so rich in words1 or the writer's power in using them never so great1 a clearer and a more lasting impression may be conveyed1 even to the cultivated1 and certainly to the popular mind1 by the arrangement of lines and markings in such form as may be felt to actually represent the objects1 and indicate the relative position and size of other objects or parts of the same4 ,this may be said to be the primary and normal function of an ,illustration4 ,throughout the pages of this book1 and to whatever extent the student may practise the methods herein described1 it may be well to keep very clearly in mind the legitimate function of an illustration1 namely3 to describe1 to portray1 and to do this chiefly as an auxiliary to written language4 ,to such a kind belongs the rude scratchings of the primval man1 whose limited powers of speech forbade his adequately describing the forms of those creatures whose pursuit meant life1 whose disregard would mean death1 and of such kind were the hieroglyphics of the ,east4 ,nay1 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 senses3 a means to an end2 a servant1 a tool1 in the hands of him who would wield it4 ,but in the beginning there was a making of drawings and designs which had another purpose4 ,the gourd1 or rough clay vessel1 was graved and marked with devices and forms suggested by the curves and shapes in ,nature1 but this was merely for decoration2 to please the eye1 and not to serve any purpose but to give pleasure4 ,a means to an end in this sense perhaps1 but note that the end was in the commencement of it1 and went no further after completion2 it gave pleasure to the beholder and no more1 and nothing more was intended or asked4 ,thus was ,art born--not to teach1 nor to explain1 nor to illustrate4 ,nor is this distinction out of place in the present work4 ,the tendency to-day is too often to make a pretty picture rather than a good illustration2 to sacrifice accuracy to beauty2 to strive rather after the sthetic pleasure in art1 than the truth and fidelity of illustration4 ,the artist is what he is from the possession of certain instinctive attributes which he is powerless to teach to another1 whereas the simpler and expressive forms of draughtsmanship may be attained by almost all4 ,from confusing art with illustration we find a man saying ,i cannot do this1 or that1 because ,i am no artist1 and it is with a hope of placing in the hands of such1 at least to some extent1 a means of graphic expression1 that the present book has been undertaken4 ,illustration3 ,,an ,,essex ,,landscape4 ,half-tone from oil sketch in monochrome4 7,original #aj-a_/h x #f-a_/b74 ,see p4 #ea4 ,take also such a simple matter as a letter from a friend1 and notice how often words alone fail to convey a correct impression1 yet a few lines of simple form at once present a graphic description4 ,mr4 ,blackburn gives a capital example of such a case in his ,art of ,illustration4 ,he says3 ,a newspaper correspondent is in a boat on one of the ,italian lakes1 and wishes to describe the scene on a calm summer day4 ,this is how he proceeds3 ',we are shut in by mountains1' he says1 'but the blue lake seems as wide as the sea4 ,on a rocky promontory on the left hand the trees grow down to the water's edge and the banks are precipitous1 indicating the great depth of this part of the lake4 ,the water is as smooth as glass2 on its surface is one vessel1 a heavily laden market boat' 7and so on74 ,there is no need to repeat it all2 but when half a column of word-painting had been written 7and well written7 the correspondent failed to present the picture clearly to the eye without these four explanatory lines 7no more7 which should of course have been sent with his letter4 ,illustration ,in the same way small sketch plans 7no matter how roughly made7 are of great assistance in describing the position of a fire1 a murder1 or anything else of public importance2 not to mention the value such descriptive lines often are in private letters4 ,whilst1 then1 ,art and ,illustration are distinct1 and much of the latter may be within the reach of many to whom the former is impossible1 there is no reason why either should needlessly offend the canons of the other4 ,art--seeking1 as it should1 to awaken a sense of pleasure in the beautiful--adheres to truth1 in idea if not in fact4 ,illustration1 which portrays fact truthfully1 may yet do so in such manner as shall not annoy the cultivated and artistic senses2 and this is the art of illustration4 ,here1 as in other matters1 much depends on a knowledge and exercise of the mere technique or craftsmanship3 the means to be employed1 and the manner of employing them4 ,with pen or pencil we might satisfactorily produce such a diagram or drawing as should illustrate our speech1 but the exigencies of such gigantic institutions of civilisation as books1 magazines1 and newspapers1 demand that the same illustration shall be presented to thousands of readers at the same time4 ,in former times the original drawing was copied by craftsmen on to wood or metal1 and then carved so that a block1 containing the design in relief1 might be set up in the printing press and printed in conjunction with the letterpress type4 ,wonderful skill did the wood-engraver acquire in reproducing the original and in interpreting the artist's idea2 but his work took time1 which had to be paid for1 and sometimes the artist found that in passing through the intermediary wood-engraver1 his intention had been wrongly construed1 and even a departure made from the accuracy of his drawing4 ,then came ,photography1 and it was found possible to photograph the original on to the surface of the block instead of drawing it4 ,it was next found possible1 under given conditions1 to substitute for the engraver a purely mechanical means1 whereby the surface of the block was suitably carved to print with ink the requisite design4 ,thus a photographic and chemical process supplants the hand-work of the engraver1 and a perfect replica of the original1 in no way dependent upon the personal ability of the engraver1 is obtained4 ,the same process1 working blindly1 produces a facsimile equivalent to the artist's own drawing2 and does so with such speed1 and at such small expense1 that for one penny we may purchase to-day a newspaper filled with exact copies of drawings of events which happened only yesterday4 ,thousands of books and papers1 the world over1 are now replete with illustrations3 the expense of producing which by the older methods would have made impossible such welcome additions to the printed page4 ,nor does it appear that the gigantic dimensions1 and high state of perfection1 which ,process illustration has reached1 in any way represents the limit of its possibilities in either respect4 ,it has been reasonably conjectured that in the near future every newspaper and periodical publication will be illustrated1 and almost each day sees some advancement1 some improvement1 in the daily practice of the various processes of reproduction1 so that in writing a book of the present kind it is difficult to keep the information therein contained fully abreast of the times4 ,while it is in the hands of the printer some new thing may be found out1 some new application of a method successfully attempted1 which shall make the novelty of yesterday give place to the invention of to-day4 ,the pride of the littrateur may make him feel that the use of pictures1 as an assistance to writing1 indicates incapacity or feebleness on the part of the author4 ,yet1 able as is the description of such familiar characters as ,mr4 ,pecksniff1 ,pickwick1 ,jingle1 and others1 how various would have been the idea conjured up by different readers1 were it not for the inimitable drawings of ,cruickshank or ,phiz4 ,were not ,shakespeare's characters intended to be illustrated--not by drawings perhaps1 but by living pictures8 ,and1 finally1 out of the simple instruments for illustration there has been evolved a greater thing4 ,the same means as are employed to reproduce the draughtsman's drawing1 may also reproduce1 and place in the hands of the multitude1 reproductions of the works of great master artists2 so that something of the treasures of the ,pitti1 and the ,louvre1 may be seen in ,english homes to-day4 ,the same simple methods1 used for mere illustration1 have been wrestled with by those who possess art as a birthright from the gods1 and through their efforts our books may now contain pictures 7process reproductions7 which are full of fine artistic feeling2 not merely illustrating the text1 but awakening a sense of pleasure and exaltation at the representation of nature's beauties4 ,decorative pages1 ornate with noble designs1 brighten a book like gleaming crystals in a rich but dark mine1 and relieve the monotony of too perfect a symmetry4 ,a chapter heading1 a tail piece1 a decorated initial1 and here and there a picture page1 exert an influence like sparkling spring and smiling flowers1 for joy and sweet refreshment by the way4 ,illustration ,illustration ,,chapter ,,ii4 ,a ,,neglected ,,field4 ,a form of book illustration too much neglected1 and one possessing peculiar advantages1 is ,margina ,illustration4 ,decorated or illustrated margins may be associated in idea with the early monastic work1 when the solitude and gloom of the recluse's life was relieved by the little enjoyment which must have attended the illumination of holy books1 but it is not quite the purely decorative to which ,i would refer4 ,in some modern editions1 in which an old style is affected1 a wide margin on the top1 bottom1 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 awaken4 ,illustration3 ,,canto ,,the ,,second ,night wanes--the vapours round the mountains curl'd ,melt into the morn1 and ,light awakes the world4 ,man has another day to swell the past1 ,and lead him near to little1 but his last2 ,but mighty ,nature bounds as from her birth4 ,the sun is in the heavens and life on earth2 ,flowers in the valley1 splendour in the beam1 ,heath on the gale1 and freshness in the stream4 ,immortan ,man ,i behold her glory shine1 ,and cry exulting inly1 ,they are thine6 ,gaze on1 while yet thy gladden'd eye may see1 ,a morrow comes when they are not for thee2 ,and ,grieve what may above thy sensless bier1 ,nor earth ,nor sky will yeild a single tear2 ,nor cloud shall gather more nor leaf shall fall1 ,nor gale breathe forth one sigh for thee1 for all2 ,but creeping things shall revel in their spoil1 ,and fit thy clay to fertilize the soil4 ',tis morn--'tis noon--assembled in the hall1 ,the gather'd chieftains come to ,otho's call2 ',tis now the promised hour that must proclaim ,the life or death of ,lara's future fame4 ,when ,ezzlin has charge may here unfold4 ,,line ,,reproduction ,,from ,,pen ,,sketch4 7,original #ac x #i inches47 ,too often our illustrations in books are separated from the text to such a degree that a continuity of idea is all but impossible4 ,we read1 perhaps--,night wanes--the vapours round the mountains curl'd melt into morn1 and ,light awakes the world4 ,man has another day to swell the past1 c41 c41 c42 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 hall4 ,the gathered chieftains come to ,otho's call3 and not perhaps until we have passed the third or fourth stanza1 and are trying to picture in our minds the brilliant assemblage of ,spanish chieftains1 and the fierce challenge of the accused ,lara terminating with ,demand thy life6 do we turn over a page and confront a dainty illustration of the opening lines ,night wanes1 c4--an interruption as undesirable and distracting as when the lecturer1 through some mistake in the arranging of his lantern slides1 sees projected on the screen a photogram of the grim walls of ,newgate ,prison1 when1 with the words ,i will now show you a picture of where some of ,england's heroes have found a resting-place1 he expected his assistant to put up a slide of ,westminster ,abbey4 ,it is not always possible even to get our book illustrations to face the matter which refers to it1 and even if that can be arranged1 or the illustration can actually come into the same page1 the act of turning from text to picture means an interruption and severing the continuous thought4 ,could our illustrations appear in the margin1 between the lines1 mingled with the letterpress1 how smoothly we might read the illustrations along with the text1 and how bright and pleasing would the pages appear6 ,i have given a specimen page which may serve to better show the idea4 ,we will suppose some book of travel or poetry be set up in type by the printer1 and a proof copy be made up with broad margins under the direction of the illustrator1 who then takes it in hand and decorates each page as desired2 or the pages are pulled as proofs on two or three kinds of paper1 smooth for pen work1 rough for crayon1 or medium for wash drawings--what delightful variety might be secured6 ,when the artist has added his marginal and inter-paragraph illustrations the pages are photo-reproduced1 the complete block including both letterpress and drawings4 ,illustration3 ,,penned ,,by ,w4,t4 ,,whitehead4 7,original #ae x #ab inches47 ,of course the illustrations1 if confined to the margins1 could be reproduced separately1 and set up with the type in the same form4 ,in the example ,i have given on page #ae1 the letterpress was set up by the printer to occupy a given space1 the type used being a clear1 bold letter4 ,this was printed from on two or three kinds of paper1 and handed to me to add the illustrative matter4 ,the proof used was about thirteen by nine inches1 and this was subsequently reproduced by a simple zinco process to the size here shown4 ,of course the amount of letterpress possible on each page is small if the illustrating be carried to any great extent4 ,an edition of ,shakespeare's works treated in this fashion would of itself constitute a small library1 but for smaller works1 or for single plays or single poems1 many a plain piece of reading might be by such means converted into a very delightful and beloved book4 ,i have often thought that in fiction1 when we read that the dainty little billet doux slipped under the door1 written in my lady's delicate and graceful style2 or1 the mysterious letter handed to the hero written in a strange handwriting ran as follows1 how much more forcible the thing would be if the author had given us a facsimile of the letter4 ,i never read a letter in a story without feeling it was the author of the romance1 instead of the character in the book1 who composed the letter4 ,thus an author might1 in addition to feature1 figure1 and dress1 give us a fine suggestion of his dramatis person by showing a little bit of their handwriting4 ,,chapter ,,iii4 ,,the ,,theory ,,and ,,principles ,,of ,,illustration4 ,here it will probably be well to consider the different classes into which illustrations naturally seem to fall1 and this because it is the common custom to regard the contents of an illustrated book as all belonging to one4 ,perhaps the simplest and most spontaneous form of illustration is seen when one is describing a position or locality1 and takes pencil and paper to draw a rough plan showing this or that road1 cross-road1 turning1 c4 ,we do this without any forethought1 without any artistic ability1 and never for a moment considering that we are fulfilling the first theoretical function of the illustrator1 and we make this sketch-plan partly because we could not so graphically describe what we wish in words2 and1 again1 the drawing will produce a more lasting impression upon the person appealed to1 and that without so great an effort of memory on his part4 ,seeing is believing1 and to see is also to remember4 ,it is the same with the diagrams which illustrate the problems of ,euclid1 a tourist's map1 an architect's plan2 these are all illustrations of a diagrammatic kind4 ,only a little higher in the scale are the illustrations in scientific and physiological books4 ,i say higher1 because of the difficulties attaching to the photographing of such objects1 and their more complex forms1 which sometimes necessitate their being drawn from the objects at first hand by one possessing some amount of skill as a draughtsman4 ,but the intention is to explain the text1 added to which is perhaps the special office of enabling the student to recognise and identify the particular animal or vegetable structure1 or a certain rock formation or crystal1 when found2 for which purpose it is of primary importance that the essential and specific characters of the particular object are carefully portrayed1 and the entire figure be of faultless accuracy4 ,this same quality must also be secured in topographical views with which the book of travels1 with its description of far-distant places and people1 is illustrated2 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 function4 ,the representation of the principal characters in a story1 with which it is the custom to illustrate a novel or work of fiction1 has often appeared to me to be one of the least successful departments of illustration4 ,probably this arises from the fact that the artist has no actual models to work from2 he creates1 out of the author's description1 imaginary beings1 and portrays them accordingly4 ,therefore1 unless author and artist have been in very close communication1 it is as likely as not that the artist may get a conception of certain characters quite remote from the author's intention4 ,at least1 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 heroine1 of whom1 at the very outset1 he had conjured up an image and an environment4 ,somewhat lately the experiment has been made of illustrating fiction with actual photograms from life1 in which case the illustrator must select with great care individuals answering very exactly to the descriptions given1 and use these as models grouped as required4 ,obviously this method must be confined to such books whose plot is laid in comparatively recent times and in ordinary scenes of life2 for the difficulties1 which are in any case great1 assume insurmountable proportions when one conceives the idea of illustrating by photograms such books as ,robinson ,crusoe1 ,pilgrim's ,progress1 or ,don ,quixote4 ,illustration3 ,,pen ,,drawing ,,by ,w4,t4 ,,whitehead4 7,original #h x #e47 ,the ideal condition would be for the author to illustrate his own writings1 then indeed should we be sure of getting a glimpse of the character intended2 and we can imagine with what care he would fashion the child of his imagination4 ,failing this1 the author should control to a greater extent the work of the man who is to illustrate his writings1 a point far too often overlooked in the making of a book4 ,it will be seen that in this section of illustration the draughtsman draws upon his imagination1 so that1 to some extent at least1 his art is creative4 ,it must1 however1 be borne in mind that he is not at liberty to paint or draw his own unaided imaginings2 he is merely interpreting another's words into a graphic representation2 so that1 be he never so fine an artist1 his art1 like ,pegasus in harness1 is restrained under the yoke of the illustrator4 ,we may1 however1 find illustration ascending a step higher towards the sphere of art proper and creative1 and that is in the edition de luxe1 in which1 with or without printed matter1 we have plates which are pictures in the best sense1 and appeal chiefly1 or exclusively1 to the sthetic sense4 ,also in some dramatic works1 in poetry1 and in some prose1 there is a much wider scope for the imagination of the artist1 and we have high-class books of a real artistic merit4 ,illustration3 ,,pen ,,drawing ,,by ,w4,t4 ,,whitehead4 7,original #h x #b47 ,one other notable form of illustration remains1 and that is the purely decorative4 ,this is seen to advantage in the book-plates in which a device bears the name of the owner and is affixed to each book2 to revive which custom an effort has happily been made of late4 ,in allegorical figures and scrollwork on title-pages1 at heads of chapters1 in borders1 in large initial letters1 at the termination of a chapter1 or a design interspersed with the type on a page1 and in many other forms beyond the prescribed shape which its position determines1 there is little to restrict the artist4 ,some examples of designs for book-plates were recently given in that excellent magazine ,the ,studio2 and some interesting and wholly praiseworthy initials1 formed on an actual photogram1 appeared recently in ,the ,photogram4 ,these are two instances out of the many which may be seen on every hand1 and in this connection ,i have long felt that photograms from nature might be more largely applied to book illustration or decoration4 ,illustration ,thus ,i have endeavoured to indicate the principal uses of illustrations4 ,now in every work of art1 its strength and its success are dependent in a great measure upon its composition and purpose possessing simplicity and unity1 and ,i think that it cannot be too deeply impressed upon the illustrator that singleness of purpose will be a strong contributory to success4 ,if the purpose of the illustration be to explain or to describe1 then let it do that at the sacrifice1 if need be1 of all else2 and if1 at the same time1 it be possible to introduce such qualities as will make it void of offence to the more cultivated eye1 so much the better2 but the particular aim and intention must be paramount4 ,in like manner1 if the illustration be for purely ornamental purposes1 or purely pictorial1 giving pleasure to the eye and the sense of beauty3 then to attempt to make it fulfil the function of a teacher1 to anything more than a subordinate degree1 is to divide1 and therefore to weaken1 both capacities4 ,an illustration1 therefore1 should be thought out1 designed1 and produced1 with a definite and single purpose4 ,speaking of the rise and development of newspaper illustration1 in a lecture delivered before the ,society of ,arts1 in ,november1 #ahic1 ,mr4 ,henry ,blackburn quoted from a discussion held at the same place in #ahge1 when the following conclusion was arrived at3 ,in the production of illustrations we have arrived at great proficiency1 and from ,london are issued the best illustrated newspapers in the world4 ,but our artistic skill has led us into temptation1 and by degrees engendered a habit of making pictures when we ought to be recording facts4 ,we have thus1 through our cleverness1 created a fashion1 and a demand from the public1 for something which is often elaborately untrue4 ,would it1 then1 be too much to ask those who cater for 7and really create7 the public taste1 that they should give us one of two things1 or rather two things1 in our illustrated papers--the real and the ideal4 #ast4 ,pictorial records of events in the simplest and truest manner possible4 #bnd4 ,pictures of the highest class that can be printed in a newspaper4 ,this1 it appears1 was said before the mechanical process block was much used or even known2 but what was true in principle in the old wood-engraving days is as true now that we have new and rapid means of reproduction4 ,having1 in any given case1 decided what is the purpose of the illustration required1 it will next be necessary to determine by which of the methods at our disposal the scheme can best be carried out1 both as regards the method of producing the original1 and the method of reproducing it in print4 ,and this naturally brings us to the subject of our next chapter4 ,illustration ,,chapter ,,iv4 ,,reproduction ,,by ,,half-,,tone ,,process4 ,from the processes with which ,i propose to engage my reader's attention1 wood and steel engraving1 and kindred methods1 stand apart4 ,were we dependent upon these alone1 not one-thousandth part of the illustration matter of to-day could ever have been produced1 encumbered as the older methods are with the two things which1 in the production of anything for the million1 are serious drawbacks1 namely1 time and expense of production4 ,whilst these older methods undoubtedly possess characteristics which will always give them a peculiar value1 and secure for them immunity from extermination 7and make them1 indeed1 essential for certain purposes71 there was long ago felt a need for a method of rapid reproduction unattended with individual artistic skill on the part of each worker employed1 and1 above all1 free from heavy expense4 ,such a need has been more than met by what we now know as the mechanical processes4 ,i say more than met1 because1 gradual improvement in the processes themselves1 and an increased knowledge of the particular requirements of these processes on the part of the draughtsmen or artists1 has resulted in giving us a process which is not only rapid and cheap1 but which produces prints of high quality and merit4 ,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 plate1 or block1 and then so manipulate the surface that1 like a printer's type1 it shall take the printing ink in such manner as shall leave an exact imprint upon the paper1 or other surface1 upon which it is pressed4 ,the transfer of the original is accomplished by photography4 ,the preparation of the surface is effected by a chemical or mechanical process4 ,correctly defined1 these processes are photo-mechanical1 and such are generally understood by the literally ambiguous title process1 which is colloquially applied to all such methods4 ,it is not the intention of the present book to give instructions whereby to work the processes1 beyond a general outline which shall make the illustrator acquainted with the method in which his drawing or photogram is utilised4 ,this knowledge will enable him1 to some extent1 to adapt himself and his work to its special requirements4 ,photo-mechanical processes are of two kinds3 those by which the image is ingraved1 known as intaglio1 and those in which the image is produced in relief1 or relievo4 ,in the first of these the result is more or less similar to an ordinary engraved copper-plate1 which1 being wiped after inking1 retains the ink in the engraved or indented portions1 and prints accordingly4 ,the intaglio processes are confined to what is known as ,photogravure1 or ,photo-etching1 and modifications thereof4 ,this will not engage our attention1 for1 beautiful as are its results1 it is comparatively expensive1 and lacks that characteristic of speed which has made the relief processes so useful4 ,the engraved plate must be printed separately2 it cannot be set up with type and printed as letterpress4 ,at the same time1 in order to clear my reader's mind1 and my own course1 before proceeding further1 mention may be made of other separate-printing processes1 such as ,collotype4#a 7also known under many fancy titles71 in which the image is printed on a machine or press from an inked gelatine surface4 ,these can easily be distinguished by the image having a perfectly even appearance as though produced by a water-colour wash1 without grain1 reticulation1 or lines4 ,photo-lithography1 in which1 as the name implies1 the picture is transferred on to stone1 from which it is then printed as in ordinary lithography1 may also be mentioned here4 ,illustration3 ,,half-,,tone ,,from ,,photogram2 ,,high ,,lights ,,strengthened ,,with ,,chinese ,,white4 ,another beautiful process of reproduction is the ,woodbury-type1 named after its inventor1 ,walter ,b4 ,woodbury1 in which a bichromated gelatine film is exposed under a negative1 and the soluble portions afterwards removed by hot water4 ,the resulting gelatine relief1 which contains a facsimile picture1 is allowed to dry1 when it becomes as hard as stone4 ,it is next forced by hydraulic pressure into a sheet of polished lead1 leaving therein an exact counterpart of its every elevation and depression4 ,the lead plate 7intaglio7 is next placed in a handpress1 and flowed with a pool of hot gelatinous colour2 a piece of paper is next placed on top and pressure applied1 when all surplus colour oozes from the sides4 ,after a few moments1 when the gelatine becomes sufficiently cool1 the paper bearing its delicate gelatine print is pulled off and dried4 ,illustration3 ,,line ,,reproduction ,,from ,,pen ,,and ,,ink4 7,original #ad x #aa inches47 ,beautiful as many of these are1 they can only be applied where the expense attending them and the slower printing is not an objection1 and where letterpress is not required on the same sheet at the same printing4 ,printing matter can of course be afterwards introduced1 but this must be by a second operation4 ,we have now left for consideration the relief processes1 in which the design to be printed is produced similar in character and appearance to that of the movable letterpress type used by printers4 ,illustration3 ,,feeding ,,the ,,chickens4 7,half-tone from photogram4 ,original #ad x #aa inches47 ,these processes are roughly divisible into two sections1 tone and line1 to understand which ,i will refer the reader to the accompanying illustrations4 ,in these the image appears to be respectively composed of lines of varying strength and proximity in the one1 and of tints ranging from grey to black in the other4 ,if the latter be closely examined1 however1 or looked at through a magnifying glass1 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 pattern4 ,we will now see how this effect is produced1 and what are the especial uses of this so-called tone or half-tone process4 ,illustration3 ,,the ,,heron ,,house4 ,half-tone from photogram4 7,original #ad x #aa inches47 ,,half-,,tone ,,process4 ,as has been already said1 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 therefrom4 ,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 dots4 ,the process under consideration1 in common with some others1 is based upon the fact that gelatine or albumen sensitised with bichromate of ammonium or potassium1 becomes insoluble after being acted upon by light4 ,a solution of bitumen in benzole also forms a light sensitive coating which is frequently used in these processes4 ,if we were to expose such a sensitive film to light under 7for example7 a photographic negative of a figure taken against a light background and then washed it in a suitable solvent1 those parts which had been protected from light by the opaque portions of the negative1 such as the background1 the face1 hands1 and white portions of the dress1 would dissolve away1 leaving the insoluble or light affected portions standing4 ,illustration3 ,,line ,,reproduction ,,from ,,pen ,,and ,,ink4 7,original #ad x #aa inches47 ,if we were now to ink these portions1 we could print a black image which would represent the general form of the portrait like the old-fashioned silhouettes1 or shadow pictures2 but the half-tone process provides for the breaking up of the solid black image1 substituting for it black dots closer and more numerous where the darker greys are1 and less so where the shading is lighter4 ,a very considerable variation in apparent tint may thus be effected4 ,the actual method is briefly thus3--,what is known as a screen is first made by taking a photographic negative of a print from a copper-plate1 on which has been ruled about #abj fine parallel lines to the inch4 ,this is done with extreme care and exactness1 so that the negative gives a clear transparent copy of the ruled lines of microscopic sharpness4 ,in many cases the ruled copy is moved round a quarter of a circle during the exposure1 thus resulting in the effect of double ruling1 the lines intersecting each other at right angles4 ,or two printings may be made from the copper-plate to produce the same result and the negative then taken4 ,we shall thus have a negative having the appearance of a very fine lattice of transparent glass on an opaque ground4 ,with this screen placed nearly in contact with an ordinary photographic plate1 film to film1 we proceed to make a copy negative1 in the camera1 of the original picture4 ,this1 when developed1 will give the picture and an image of the screen1 which has been interposed1 together on one plate4 ,if this is now clear to my readers1 they will probably at once see what will result when such a plate is used on a sensitised sheet of zinc or copper1 and the soluble parts of the film washed away as before suggested4 ,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 light1 and more so or less in proportion to the lightness or deeper shade of the original1 and by this means what would have been unbroken blacks are sprinkled over1 so to speak1 with tiny white interstices1 the ink when applied remaining on the alternating projections of undissolved film4 ,suppose the film to have been of bitumen and spread upon a sheet of zinc1 we should have a reticulated image in insoluble bitumen with interstices of plain zinc4 ,this bitumen forms a protective coating1 so that when immersed in a weak solution of nitric acid the acid only eats a way into the bare metal4 ,gradually1 and by subsequent acid baths1 the parts covered by the film are left in strong relief1 and in a fit condition to print from4 ,the film which has thus resisted the acid is then washed away1 leaving the zinc relief4 ,to carry out the above process many details1 which ,i have not thought it the office of this book to enter into1 will be required4 ,thus the solvent used for developing1 or1 in other words1 washing away the soluble portions of a bitumen film1 is turpentine2 but water is used in the case of bichromatised albumen4 ,an acid resisting preparation is finally applied to the plain zinc relief1 and the whole block re-etched or re-bitten1 so as to strengthen the image2 certain precautions1 moreover1 are taken to prevent the acid under etching the image--and a great deal more which1 of course1 would have to be clearly described were it intended to teach the process of block-making4 ,in the variety of half-tone blocks1 known as ,typogravure1 a different method of breaking up the surface is adopted2 no intervening screen is used1 but the surface of the metal has imparted to it a preliminary roughness or grain1 and the image is printed and etched on this rough surface4 ,these blocks1 when carefully printed from1 yield exceedingly nice results1 the grain having something of an aquatint character1 which appears to be more discriminating than that derived through the use of the ruled screen4 ,the softness of outline and freedom from anything like a mechanical texture is well seen in blocks made by this method4 ,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 itself4 ,many letterpress printers make a specialty of block-printing1 the chief art being in the making-ready and underlaying1 by which terms is understood the careful adjusting of the block1 so that its surface be at exactly the proper elevation to secure the proper amount of pressure1 neither more nor less1 when on the printing machine4 ,some further remarks on this subject will be found in ,chapter ,x4 ,illustration ,i trust1 however1 enough has been said to give a general idea to the uninitiated of how we arrive at the dotted ink print1 which we recognise as a reproduction from a photogram1 or wash-drawing1 or indeed anything which is similarly made up of flat tints4 ,illustration3 ,,untouched ,,half-,,tone ,,from ,,photogram4 7,original #d x #c47 ,illustration3 ,,half-,,tone ,,from ,,photogram--,,the ,,block ,,engraved ,,on ,,by ,,hand4 7,original #d x #c47 ,it will1 of course1 have been understood that the ruled screen1 which is interposed between the picture to be copied and the plate on which it is copied1 will appear over the whole of the copy negative1 whether the image extend so far or not1 so that1 in the reproduction1 even what should be blank whites will be covered with the fine black dots or grain1 though more widely separated by little white spaces4 ,if the accompanying reproductions be examined1 this will be found to be the case4 ,to any one who has given pictorial matters much thought1 the disadvantage of this will be at once apparent4 ,illustration3 ,,on ,,slapton ,,ley1 ,,south ,,devon4 ,photogram touched up by hand--block untouched4 7,original #d x #c47 ,in black-and-white pictures1 white is the highest expression of light1 and yet how far the whitest paper is from sunlight1 and how much shorter the whole gamut of tones1 from blackest ink to whitest paper1 is when compared with the scale of ,nature1 have often been pointed out and are now generally understood4 ,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 white3 the pervading tint1 or grain1 reducing white to a light grey1 and not even the deepest blacks and intermediate tones are nicely rendered except by very careful printing4 ,the printing of half-tone process blocks has received great attention amongst better-class printers of late1 with the result that marked improvement has taken place1 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 7notably a fine clay surface paper7 are used1 and more than ordinary knowledge and care expended in the machining4 ,while the ideal process block is one in which1 when the process is completed1 the block is ready for the press 7and many process houses pride themselves upon turning out untouched blocks71 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 done4 ,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 white2 but this must necessarily be done by men of instinctive taste and good judgment1 for immediately hand carving be admitted the essential character of an automatic facsimile process is lost4 ,the illustrator or artist will1 therefore1 unless he give careful and precise instruction as to what parts are to be cut away1 or can superintend the work himself1 feel considerable hesitation in entrusting such a delicate task to a stranger4 ,one little touch in the wrong place1 one bit of plain white too many1 and the harmony of the whole illustration will be upset2 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 mercies4 ,in the accompanying three illustrations we have1 first1 an untouched half-tone block from an ordinary photogram2 secondly1 a block from the same original1 fine etched or with the etching controlled so as to brighten the effect2 and thirdly1 a block made from the same photogram which1 in order to compensate for any failings of the process1 has been worked on by the artist1 strengthening the shadows and brightening the lights4 ,illustration ,this brings us to consider the subject of working on photograms by hand1 and the preparation of illustrations generally1 which is dealt with in a separate chapter4 ,illustration ,,chapter ,v4 ,,the ,,preparation ,,of ,,originals ,,for ,,reproduction ,,by ,,half-,,tone ,,process4 ,i4 ,,photograms4 ,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 up1 the reproduction will have to be effected by means of the half-tone process4 ,of the various kinds of originals thus utilised1 probably the two most common are photograms and wash-drawings4 ,the rapidity1 comparative ease1 and absence of the draughtsman's skill1 with which photograms can now be made1 has placed a wonderful power in the hands of author or illustrator4 ,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 newspaper1 and yet a thoughtful consideration of such illustrations can hardly fail to impress any one with the drawbacks and defects of the method4 ,such illustrations too often strike us as dull1 misty1 grey1 and lacking brilliancy1 when compared with black and white reproductions of another kind4 ,this dulness is attributable to a great extent to the gauze-like screen through which the copy is made1 as described in our last chapter4 ,the bright lights are grained over with fine dots reducing white to grey1 and the soft finely graduated half-tones are often lost altogether4 ,in order to counteract these defects1 the process worker will often take upon himself to doctor the negative made from the original before proceeding to make the block1 a practice to be condemned because such an operator is rarely possessed of artistic judgment1 and his touching up may often produce a result unexpected and unacceptable to the artist4 ,a similar touching up may also be effected on the block itself1 as previously suggested1 which is only preferable because the artist may more directly control the engraver's tool by giving definite instructions4 ,as far as possible1 however1 the block should not be meddled with by any one1 if the originals have been produced in such a manner as to ensure the best possible effect by the mere mechanical process4 ,in making photograms especially for reproduction a clear1 bright negative1 with good strong contrasts1 should be aimed at4 ,probably the kind of negatives which it was customary to strive after in the older days of wet-plate photography would be the best2 but1 as wet-plate photography is hardly practicable for the illustrator of to-day1 similar results with dry-plates should be sought4 ,unhappily1 the extreme softness and exquisite gradations of some of the most modern and artistic work of photographers is thrown away in the process of reproduction1 and little more than a flat1 meaningless smudge is the best the process block can make of it4 ,for this reason our photograms for illustration should somewhat exaggerate the effect we wish to reproduce3 a matter which has led to the working on photograms with the brush to heighten the effect1 of which ,i shall have more to say anon4 ,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 negative1 and shall in every possible way assist the process4 ,many of the best and most pleasing photograms of our day are printed upon coarse-grained1 rough-surfaced paper1 presenting a difficulty to the reproductive process almost certain to prove disastrous to the result2 for if1 whilst being copied1 the original is not very skilfully lighted1 the inequalities of the surface reproduce as little lights and shadows in a very unpleasing manner1 and the texture of even a comparatively smooth paper seems remarkably exaggerated4 ,almost as undesirable will be the very highly enamelled surfaces of some photographic papers1 the surface gloss producing reflections which interfere with the copying4 ,the best for general use will be the smoothest platinotype paper1 or a not too highly-glazed white albumenised paper1 either of which are obtainable at most chemists and all photographic dealers4 ,the print should be of a medium depth1 not so dark as to give heavy solid shadows1 nor so light as to omit all detail from the lightest portions4 ,the various manipulations necessary for toning and fixing the print should be carried out carefully1 especially avoiding staining or discoloration of the white paper4 ,the print thus made1 when mounted on card1 is as far as an ordinary photogram can go for this purpose4 ,it now remains to be seen1 bearing in mind what we know of the method by which it is to be reproduced1 what may be done to improve it1 never forgetting1 however1 that the chief value of a photogram for illustrative purposes is its unimpeachable fidelity to truth4 ,additional hand-work should not violate this truthfulness by the introduction of any fresh matter1 or the painting out of any characteristic detail1 unless1 of course1 the illustration is merely for pictorial or decorative purposes4 ,the inscription ,from a photogram usually possesses a charm over the popular mind1 inspiring confidence and carrying conviction1 and if the hand-work be discreetly introduced1 only to improve the effect and counteract the inherent defects of the final process1 the legend may be honestly used4 ,in the first place1 a photogram in which there are some large very dark objects1 which by reason of their dark colour are disagreeably heavy1 or obtrusive masses of deep shadow1 may be made to reproduce better if a thin transparent wash of blue be applied to such portions4 ,the great photogenic power of blue is1 of course1 the reason of this1 but until some experience be gained as to the proper amount of blue required1 ,i should recommend that a duplicate untouched photogram be sent in as well1 with a few words of explanation and instruction to the process man4 ,if the photogram be upon a glossy surface paper1 a few drops of ox gall1 procurable in bottles from the artists' colourman1 will make the water-colour wash flow readily over the slimy surface4 ,for working with a brush upon the photogram1 the materials are simple and few4 ,our purpose is to strengthen the lights and deepen the darks1 for which purpose ,chinese white and two or three water-colours respectively will be used4 ,the surface and general character of a platinotype or matt paper print will be pleasantest to work on2 with an albumenised paper1 ox gall will again be essential4 ,if a liberal amount of hand-work is intended1 the print had better be a light one1 and it can then be built up to any degree4 ,chinese white1 when applied thinly1 has a bluish hue1 and will consequently reproduce somewhat lighter than it appears4 ,therefore to produce a grey1 it will sometimes be better1 instead of using thin ,chinese white1 to make an admixture of ,chinese white and ,indian ink1 or some suitable pigment1 and apply it as a grey where grey is wanted4 ,such portions of the ,chinese white which1 when dry1 appear harsh1 may be softened with a clean almost dry sable brush2 or the soft part of the finger1 with little more than its natural moisture1 carefully rubbed over the harsh parts may have the desired effect4 ,by such and any tricks which may suggest themselves it is advisable to blend the hand-work with the actual photographic image4 ,in applying pigment to the dark parts1 to make them darker or sharper1 it will be desirable to match the colour of the photographic print as nearly as possible4 ,with platinotypes this may easily be done with ,indian ink1 with a little blue added according to whether the print is a warm or cold black4 ,the precise colour of a silver print1 whether on matt or albumenised paper1 is not so easy to match1 but may be best accomplished with sepia and cobalt1 with a trace of crimson lake2 one or two other colours1 such as burnt umber1 vandyke brown1 sienna1 c41 being kept in reserve for emergencies4 ,fine-pointed small sable-hair brushes will be found the best for all purposes4 ,illustration3 ,,stopped ,,out ,,photogram4 7,original #f x #d47 ,in the process of reproduction the original may be enlarged upon or reduced4 ,the former is not often attended with happy results1 especially if there is much hand-work1 but reduction may to some extent be relied on to clear away any trifling blemishes1 should such exist4 ,i should1 however1 lay emphasis upon making the original as perfect as possible2 the improving effect of the process is an altogether too uncertain and unknown factor to be trusted4 ,having thus given particulars as to the preparation of photograms for reproduction1 we may now suggest some various applications thereof4 ,there is a great charm about illustrations which possess a spontaneous and a suggestive character1 and in this direction photograms are too often painfully deficient4 ,on rare occasions only1 and in the hands of a few artistic workers alone1 does photography rise above a certain mechanical and laboured impression1 and the rare exceptions are of a character ill-suited for half-tone reproduction4 ,for complete whole-page illustrations a photogram has few drawbacks2 but when inserted with letterpress1 and required for chapter headings and odd corners1 the fact that the picture occupies the whole space enclosed within the boundary lines1 and includes a great deal of detail which is not required1 makes them less attractive4 ,their form and style is dull and monotonous4 ,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 brush4 ,the ,little ,gate-keepers may be taken as an example of what ,i will call a stopped-out photogram2 practically no hand-work has been employed upon it beyond the stopping out of the original negative4 ,the figures of the children holding open the gate appear in the foreground of a large negative1 a landscape near ,dunster ,castle2 the background is composed of trees of an unpleasing form1 and1 beyond the topographical interest1 the bulk of the subject has little to recommend it4 ,the method of stopping-out is as follows3--,the negative should be placed in such a position as to secure a strong transmitted light2 it may be fastened to the window1 so as to be able to look through it towards the sky1 or may be placed in a retouching desk1 as used by photographers1 if very large plates4 ,in my own practice ,i use an ordinary easel1 sitting to it with my face to the window4 ,on the film side of the negative carefully draw round the more critical outlines1 such as figures1 faces1 trees1 c41 with a very fine-pointed brush1 or a pen1 dipped in opaque black varnish1 gradually broadening the line to about a quarter of an inch4 ,now on the reverse1 or glass side of the negative1 paint out with black varnish all the rest as required2 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 illustration4 ,where it is desired to carry the vignetted effect to a greater length1 some oil colour1 red by preference 7which may be thinned with copal varnish71 may be used1 and when partially dry the finger may be used as a dabber to remove just sufficient to admit of the plate printing very faintly4 ,in such a practice as this a little resourcefulness and ingenuity will stand the operator in good stead1 and many modifications and dodges will occur as the work proceeds4 ,thus1 for instance1 if the whole of the painting out be done on the film side1 the bare outline of the background and surroundings may be scratched in with a needle so as to give a sketchy appearance in the print2 such sketched outline may adhere to the original form or may be entirely invented4 ,some taste must be exercised to prevent the elaborate photographic image from appearing incongruous with the sketched outline4 ,in the accompanying ,boy gathering ,wortleberries1 two children have been taken out of an unfortunately grouped trio1 a badly developed transparent sky has been converted into a hill in the background1 and some little details of landscape have been painted on to the print4 ,a good deal has been said of the modern illustrator shirking or ignoring backgrounds in his illustrations1 yet ,i am inclined to think that in such cases as these1 and very many others1 the background is best only suggested or omitted altogether4 ,in an illustration which purposes to tell us some little fact1 or is designed to beautify and enliven a page1 we do not want a whole chapter from nature's book1 but just such selected passages which the judgment of the artist illustrator shall select4 ,in utilising photograms in this or any similar manner1 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 arrangement2 but as it is not within the province of the present work to instruct my readers in art principles1 such remarks must be of the briefest4 ,it will be at once seen that whatever be the arrangement or composition of nature 7as photographed71 as soon as the illustrator commences stopping-out certain portions1 the form or composition is at once entirely under his control1 and the pleasing effect of the finished result will very greatly depend upon a nice arrangement of lines4 ,thus in my ,little ,gate-keepers the upper outline of the gate forms a striking line running obliquely upward from left to right1 and so1 to counteract this1 ,i have let the ground take an oblique form in an opposite direction4 ,to have done otherwise and repeated the first-named line would have given the whole thing a one-sided1 running-upwards1 effect4 ,as a general rule 7subject1 as all such rules must be1 to numerous exceptions71 strong oblique lines should converge towards an imaginary centre some distance outside the picture1 with some lesser opposing lines to form contrast and promote a balance4 ,neither should the sketched-in or created background repeat the form of the chief object4 ,thus in the ,boy gathering ,wortleberries the figure forms a vertical line2 there are no strong oblique lines1 and therefore the middle distance takes the form of a horizontal line4 ,the summit of the hill1 had it come directly over the boy's head1 would have too evidently repeated his outline1 and is therefore placed a little to the right4 ,these are matters of taste1 rather than the obedience to prescribed rules1 but the reader who desires guidance can hardly do better than read ,burnett's ,essays on ,art4 ,there are several handbooks to artistic photography which treat of this subject1 such as ,pictorial ,effect in ,photography and ,picture-making by ,photography1 both by ,h4,p4 ,robinson2 also ,studies in ,photography1 by ,j4 ,andrews2 and many books for the art student4 ,illustration3 ,,worked-,,up ,,photogram4 7,original #f x #d47 ,but1 as already said1 these are matters of individual taste and artistic instinct1 and although ,i hope by this little book to make the path easy for those who have no especial artistic aptitude1 yet1 in such things as this1 the possessor of such instinctive sense of form is at an advantage1 lacking which the attentive study of other people's work and some amount of imitation seems to be the only possible substitute4 ,much knowledge may be gained from analysing1 to this end1 illustrations which greet the eye on nearly every page of current literature4 ,while many methods of illustration may be learned and practised in a mechanical manner1 the course is beset with difficulties and pitfalls1 and1 to the artistically unlearned1 the alternative dangers of gross error and sheer imitation are ever present4 ,mr4 ,henry ,blackburn has justly said1 ,the illustrator's best protection against this tendency1 his whole armour and coat of mail1 is to be an artist first and an illustrator afterwards4 ,yet men have won battles without armour1 and when the stripling slew the giant it was the latter who wore the coat of mail4 ,zeal and patient application will do much4 ,in speaking of the application of the photogram to illustrative and decorative purposes1 we can hardly leave the subject without making reference to the use to which they may be put for decorative initials1 chapter headings1 and the like4 ,some very excellent examples of initials were given in ,mr4 ,gleeson ,white's articles on ,photographing the ,nude1 published in ,the ,photogram1 one of which we reproduce 7see p4 #dh74 ,the subject must be selected so as to harmonise in character and form with the letter required1 and such letter may then be pasted1 or painted1 on the original negative1 in which case it will print white2 or it may be worked on the photogram with brush and pigment4 ,in only a few cases would the initial1 if represented in deep black1 have any other than an overpowering and heavy effect4 ,the tail-piece on page #ef is a further example which needs little explanation4 ,photograms cut to certain form1 and arranged suitably1 may make a great variety of chapter headings or tail-pieces4 ,in the example here given1 the background or distance was painted out on the negative1 and ink lines were drawn around the print before reproduction4 ,in order to ensure a symmetrical and sharp outline1 a paper mask may be attached to the negative1 and a scroll design painted on the negative1 details being drawn in ink on the resulting print4 ,illustration3 ,,the ,,battle ,,of ,,alexandria2 #db,,nd ,,highlanders ,,guarding ,,french ,,prisoners4 ,by permission of the proprietors of ,the ,illustrated ,london ,news4 ,engraved from a wash drawing in black and white by ,the ,meisenbach ,co41 ,ltd41 ,west ,norwood4 ,illustration ,,chapter ,,vi4 ,,the ,,preparation ,,of ,,originals ,,for ,,half-,,tone ,,reproduction4 ,,ii4 ,,wash ,,drawings1 ,,oil ,,paintings1 ,,pencil ,,and ,,other ,,drawings4 ,of the remaining methods1 whereby originals for reproduction by half-tone process may be made1 much less need be said4 ,the same principles of avoiding too fine and delicate gradations of tone apply as when making a simple photogram1 and the methods of brush and pencil appeal almost exclusively to the naturally artistic4 ,the wash drawing1 which is practically water-colour painting in monochrome1 is the most popular1 and1 in the hands of those artists who have applied themselves to illustration for photo-reproduction1 some very wonderful achievements are possible4 ,avoiding blue1 green1 red1 orange1 or colours approaching thereto1 it matters little what colour is used1 but probably black1 such as ,indian ink1 or a good neutral grey or sepia1 is the best to use4 ,in any case1 body colour reproduces better than transparent washes1 the delicacy of which are wasted4 ,hence a liberal use of ,chinese white to lighten the tints is preferable to making the colour thinner with water4 ,lamp black and ,chinese white work well together and reproduce excellently4 ,in using ,indian ink1 or indeed any colour1 successive washes should not be made until each preceding one is dry1 thereby escaping a messy effect and securing greater vigour4 ,the brush-work must be bold and strong1 and1 as was said with regard to photograms1 include as little of the softer half-tones as possible1 the contrasts of light and shade must be accentuated and effect exaggerated to compensate for the degradation of contrast brought about by the process4 ,unless this be remembered1 the result can hardly fail to give anything but a very flat poor copy of the original4 ,the artist should hold himself under restraint1 and instead of blending one tone with another keep them nicely distinct1 limiting himself to some half-dozen different shades or tones between the extremes of white and black1 and even then some portions of the white may require to be cut away on the block4 ,many illustrations from wash drawings of to-day are of a daring1 spirited style in which figures are drawn with or without backgrounds1 and when well done they are undeniably attractive1 and may be abundantly met with in such publications as ,the ,graphic1 ,illustrated ,london ,news1 ,sketch1 ,in ,town1 ,st4 ,paul's1 and many others4 ,were we considering the subject of art in illustrations1 comment on this sort of work not wholly in approbation might be made1 but that it is thoroughly up to date1 effective1 and in ready demand cannot be denied1 and it should be carefully studied by the student1 who will no doubt profit by the suggestions of technique without necessarily copying or being unduly influenced by the style4 ,some capital effects may be obtained by making a wash drawing on grey-tinted paper and putting in the lights with white1 an example of which is here given4 ,decorative designs done in ,chinese white on dark-brown paper may be successfully produced1 but should be made several times larger than required2 the reduction in size usually improving the effect4 ,painting in oil in monochrome will offer a welcome field for illustration work to those who are more accustomed to use this medium4 ,a smooth surface canvas or board should be chosen1 however1 and the painting should be smooth1 all strong brush marks1 especially in the whites1 being omitted or softened out with a badger4 ,in thus softening1 however1 care should be exercised not to graduate one tone into another1 but leave everything firm and distinct1 the same restriction of tones being observed as in the other methods referred to previously4 ,in using oil colours1 turpentine must be liberally used1 or benzine1 as this will destroy the excessive gloss on the surface1 a feature not liked by the process worker4 ,illustration3 ,,on ,,the ,,river ,,rother4 ,half-tone from ,indian-ink wash drawing on grey paper4 7,original #e-e_/h x #c-g_/h47 ,either water colour or oil may be worked upon a photographic basis in order to save labour or difficulties in drawing4 ,in such cases the photographic print should be as faint as possible2 any photographic paper may be used for water colour1 but smooth platinotype will probably be the most pleasant4 ,the surfaces to which oil colour may be applied will be naturally more limited1 but ready-sized canvas for printing in bromide by artificial light is made1 and is largely used for oil painting for the commoner kind of portraits4 ,illustration3 ,,design--,,chinese ,,white ,,on ,,ordinary ,,brown ,,paper--,,half-,,tone4 7,original #g-a_/d x #d-c_/d47 ,it will1 however1 sometimes be found desirable to economise labour by using a photogram to paint on1 thus saving time in re-drawing and ensuring accuracy of elaborate details4 ,moreover1 paint may be put upon a photogram1 and much matter that is not required1 or which may be judged as injurious to the pictorial effect1 can be omitted4 ,after the painting is finished1 the photographic basis or original will then require to be removed4 ,almost any photographic print may be prepared to receive oil paint by giving it a coating of common size1 and drying it slowly by a fire or otherwise4 ,the painting-on being then proceeded with1 and the paint dry1 the back of the print is to be sponged or brushed with the iodine solution mentioned on page #aad4 ,platinotype paper being already sized requires no further sizing1 and by making a weak under-exposed print the subsequent reduction or bleaching of the image can be rendered unnecessary4 ,illustration3 ,by permission of the proprietors of ,the ,english ,illustrated ,magazine4 ,engraved from pencil sketch by ,the ,meisenbach ,co41 ,ltd41 ,west ,norwood4 ,many illustrators are fond of making wash drawings and then strengthening them with pen or pencil4 ,the advantage is not easy to see1 a mixed and indifferent character being usually felt4 ,pencil drawing with a reinforcement of a few ink lines1 or pencil by itself1 is a method which appears to me to be deserving of much more attention and cultivation than it has usually received4 ,illustration3 ,,evening ,,at ,,west ,,mersea4 ,half-tone from pencil drawing4 7,original #d-a_/b x #c-a_/b47 ,average pencil drawing is inclined to be too weak1 and wanting in those characteristics which have been already pointed out as essential in wash drawings1 but if the drawing be vigorous1 and the pencil strokes clean and distinct1 some capital results may be obtained4 ,in order to procure the grey of pencil work a very fine screen is used1 and the printing carefully attended to1 so that pencil sketches are hardly suitable for the cheaper and more rapid class of printing4 ,the lights should be cut away on the block4 ,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 process2 the strong shadows were slightly reinforced with pen and ink1 and the whole carefully reproduced4 ,illustration3 ,,cottage ,,at ,,herongate4 ,half-tone from pencil sketch slightly strengthened with pen and ink4 7,original #d-a_/b x #c-a_/b47 ,it seems scarcely necessary to refer to the use of water colour and oil paintings in colour as illustrations1 inasmuch as if produced for purposes of reproduction1 colour would hardly be employed4 ,occasionally1 however1 one may require to make a photogram of a painting for some such purpose1 in doing which it will be best to employ a professed photographer who is accustomed to copying1 and this because the photographing of coloured objects possesses peculiar difficulties4 ,plates known as ,isochromatic are used1 these having certain dyes mixed with the sensitive film which makes them more sensitive to the least active colours1 such as reds and yellows1 and in addition a stained film of gelatine or glass is introduced into the lens to further correct the action of the colours4 ,special care1 too1 in lighting the picture to be copied is requisite1 some experts recommending the use of coloured reflectors4 ,if the greens1 reds1 and yellows are not very pronounced1 or the effect is not greatly dependent upon blue and such hues which by reason of their great light activity photograph as white1 a fair copy photogram may be produced under ordinary circumstances2 but where any doubt exists1 ,i should recommend that the work be done by an experienced operator4 ,throughout the foregoing remarks on the half-tone process1 it will have been gathered that its inherent defects constantly stand in the way of our giving it unqualified approval4 ,a recent writer on the subject1 ,mr4 ,c4,g4 ,harper1 says of half-tone process that it is inconstant and for ever incapable of rendering wash drawings as well as the wood-engraver4 ,be this as it may--and it may not be possible to gainsay it--each day sees such improvements made in the processes1 that even before these sheets are in my reader's hands circumstances may require a change of opinion1 and prejudices may have given way under the convincing influences of modern improvements4 ,we may now turn our attention to the more direct processes of reproducing in line1 in which1 more than in any other direction1 the revolution which photography has brought about in the art of illustration is evident4 ,illustration ,illustration ,,chapter ,,vii4 ,,line ,,process4 ,the methods of drawing for reproduction by1 and in compliance with the requirements of1 a line process1 are numerous and varied4 ,they include pen1 pencil1 and crayon1 and modifications and combinations of all three4 ,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 produced4 ,having already mastered the primary methods1 the more practised draughtsman1 knowing what any special reproduction process requires1 will1 to some extent1 invent his own methods and often resort to some dodge which may occur to him1 thereby producing some delightful and original result4 ,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 ink1 hence the intervention of a ruled screen1 which broke up the flat even tints of the original picture into minute dots4 ,line processes1 as the term implies1 are used to reproduce an illustration which1 as in a pen and ink sketch1 possesses no flat tints1 and requires no screen1 the actual lines being reproduced in relief and printed in facsimile4 ,it will1 of course1 be remembered that a mechanical process block can only produce in simple black and white3 that is1 it either reproduces a line1 to print black1 or omits it altogether2 so that a line drawn in grey ink1 and another in black1 would each reproduce exactly the same1 namely black4 ,whereas in wash drawing we were limited to a few varying tones1 we are now restricted to two--white and black--and1 as may be seen by looking at any good line drawing1 various degrees of shade are produced by a multiplicity of lines in greater or less proximity and of varying thickness4 ,before proceeding further1 ,i will give an outline of the three principal processes used for producing drawing in line4 ,these are the swelled gelatine1 the albumen1 and the bitumen processes2--other processes exist but are little practised1 and offer no advantages over the above4 ,the albumen and bitumen methods are processes of etching on zinc and familiarly known as zinco line process2 not so the swelled gelatine1 as will be seen from the following description of it4 ,gelatine of a hard variety is melted in water with the addition of a small quantity of sugar and chrome-alum1 and is then spread evenly upon a perfectly clean glass plate4 ,this gelatine film is1 when required for use1 sensitised by immersion in a solution of bichromate of potassium1 methylated spirits1 and water4 ,the effect of this is to render the film1 to some extent1 insoluble where acted upon by light2 or1 more correctly speaking1 non-absorbent when affected by light4 ,a negative1 made from the original to be reproduced1 is placed in contact with the sensitised film and exposed to light4 ,the film1 which it will be remembered is resting upon a glass plate1 is then placed in cold water1 with the result that those parts which have been protected from light absorb water and swell up1 leaving the non-absorbent parts1 which represent the image1 sunk in4 ,when this operation has been carried far enough1 a plaster of ,paris cast is taken1 and from this a wax mould is made1 which is practically a duplicate of the gelatine mould from which the plaster cast was made4 ,into the wax mould copper is deposited1 precisely as in ordinary electrotyping1 thus giving us a copper relief from a gelatine or wax mould made direct from the original4#b ,this process1 while a favourite with the artist1 is not so readily used by the process worker because it is somewhat expensive1 the average cost of a block being from #i;d4 to #as4 #f;d4 per inch4 ,but the results are very fine1 especially when a drawing has been made in ignorance or regardless of the requirements of process reproduction4 ,the zinc etching processes1 by which the great mass of newspaper blocks are made1 are less regardful of delicacies of execution which the swelled gelatine often reproduces with astonishing fidelity4#c ,in the albumen process the sensitive film is composed of egg albumen1 bichromate of ammonium or potassium1 and water1 which is spread upon a zinc plate4 ,after exposure to light under the negative1 the whole surface is inked over with transfer ink1 and then immersed in cold water and gently rubbed4 ,the ink will wash away from those portions which have been protected from light by the opaque portions of the negative1 and will adhere to those affected by light4 ,thus on a bed of zinc we have an ink image on a substratum of albumen1 the exact copy of the original4 ,the zinc has now to be etched with acid4 ,with bitumen the procedure is somewhat similar4 ,the bitumen is first treated with ether1 which will dissolve out only those constituents which1 not being sensitive to light1 are not required4 ,the residue is dissolved in benzole and spread upon a zinc plate1 as with the albumen process4 ,after exposure to light under the negative1 the bitumen film is washed with turpentine1 which takes away all except those portions acted upon by light4 ,the film is next washed in water and placed in a very weak solution of nitric acid1 which at once attacks those portions of the zinc unprotected by bitumen4 ,if what now remains of the film be inked over we shall have1 as in the last process1 an ink image of the drawing on a zinc base1 and the plate is now ready for etching4 ,the etching is performed by successive baths of diluted nitric acid1 gum and powdered resin being applied to the plate after each etching1 and heated so as to run down the sides of the ridges of metal 7which at each successive etching bath are gradually growing deeper7 until the biting or etching be considered deep enough4 ,the ink and substratum of albumen or bitumen are then cleaned off with ,american potash1 and the plate is finally washed4 ,rebiting1 or still further etching1 may be required before the zinc relief is ready to be mounted on a wood block type high for printing purposes4 ,as in the half-tone process1 ,i do not pretend to have given working instructions1 but only such general particulars as may interest the artist or draughtsman whose work is to be reproduced4 ,for either of these processes the average cost is #d;d4 to #f;d4 per square inch1 with a minimum charge of #es4 for a single block4 ,each process has its special uses and applications2 the process craftsman 7whom nothing delights so much as a sharp1 brilliant line7 will usually recommend the bitumen1 but the albumen method will often give a more pleasing result4 ,as a general rule1 if your work is placed in good hands1 the particular process to be used is best left to them to decide1 and if a proof be submitted some little alterations may be suggested which can be carried out by an engraver4 ,in the subsequent pages of this book ,i shall make little reference to these processes2 enough has been said1 and they are no part of the draughtsman's business1 only it will be well to keep in mind throughout such general particulars as have just been given4 ,little has been said with reference to the negatives used in reproduction2 but as the draughtsman who also possesses some knowledge of photography may be tempted to copy his work himself1 it may be well to point out that the negative image must be as sharp as it is possible to get it4 ,the most trifling deviation in focussing1 unnoticeable in ordinary photography1 will tell seriously in making a reproduction2 moreover the kind of negative one may have learned to make for ordinary photographic purposes will not do here4 ,the function of the negative is1 it will be remembered1 to protect certain portions of the film from light1 and to freely admit light where the image is1 hence the denser portions of the negative must be very nearly1 if not absolutely1 opaque1 and the image as nearly transparent as possible2 thus giving what photography proper has taught us to abhor--a black and white print4 ,with ordinary plates1 the required amount of density is not always easy to get1 and special photo-mechanical plates are supplied by ,mr4 ,john ,carbutt1 of ,wayne ,junction1 ,philadelphia1 ,pa41 which give the desired result4 ,these plates are slow1 thickly coated1 and capable of giving great density1 all of which are characteristics peculiarly suitable to the purpose4 ,but in the end the process man will not thank you for saving him the trouble of making a negative2 he is accustomed to make negatives of a certain kind1 and very properly prefers to do this himself4 ,not the least contributory towards a good reproduction is the power which reduction from the original places in our hands4 ,when making the copy negative it is most usual to make it much smaller1 or1 inversely1 the original drawing is made a good deal larger than it is required to appear 7,see ,illustration on page #gb74 ,a somewhat ragged line of 7say7 one-eighth of an inch in width1 would1 if sufficiently reduced in size1 come out as a fine line no thicker than a hair4 ,though reduction carried to such a degree would be impracticable1 a drawing twelve inches by nine inches1 reduced to eight by six1 will usually be advantageous4 ,not only is a certain degree of coarseness and roughness thus removed1 but the lines themselves become smoother and rounder2 lines1 however1 which are very close together1 are apt to close up into a solid mass1 both from the reduction and because lines sometimes have a tendency to thicken in reproduction--a point to be guarded against when drawing4 ,if a drawing be examined through a simple double concave lens1 that is to say the reverse of a magnifying-glass1 the effect of reproduction can be seen1 and the result anticipated2 such lenses1 called diminishing glasses1 are sold expressly for the purpose4 ,the reader need hardly be reminded that everything on the drawing will be reproduced1 except perhaps blue pencil lines1 this colour being photographically white2 hence all finger-marks1 spots1 and stains must be carefully avoided4 ,no doubt these1 and sundry faults in drawing1 can be cut away by the engraver1 but an ideal block is one which requires no such helps to perfection1 but which comes from the etcher's hands ready for use1 and to such an ideal even the tyro must work4 ,the strong point and chief recommendation of a process block is that it reproduces in facsimile the draughtsman's original2 once introduce hand-work and it begins to lose this character2 moreover expense and delay in production are incurred1 again depriving the mechanical block of its distinctive and valuable features4 ,sundry elemental methods of getting an image on to zinc for etching without the intervention of photography may perhaps suggest themselves to the reader4 ,thus1 for instance1 an outline drawing may be made in transfer ink on transfer paper and at once laid down on the zinc and etched4 ,a glass plate1 coated with a soft opaque substance1 may have a design scratched thereon and be used in place of a negative2 but such methods are crude and limited1 and need not be considered here4 ,we will now pass to an examination of the various kinds of drawings suitable for reproduction by relief process blocks1 describing as nearly as possible how they are made and with what materials4 ,illustration ,,chapter ,,viii4 ,,methods ,,of ,,line ,,reproduction4 ,to those who have not previously given the matter attention1 it will be a source of some astonishment to find a wide range of tones1 that is varying degrees of light and shade1 may be suggested by so simple and unpromising a means as black lines on a white ground4 ,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 periodicals1 such as ,the ,english ,illustrated1 ,the ,strand1 ,harper's1 ,sketch1 ,black and ,white1 and many others4 ,in these we get frequent examples of the work of different men1 and shall soon begin to realise not only the wide possibilities of line work1 but the extremely different styles of various artists2 and so long as the practice is not too long continued1 or too much relied on1 some advantageous exercise may be found in carefully copying such examples2 being watchful in so doing that1 quite independent of outline1 our copy suggests the same materials1 fabrics1 c41 as are suggested in the original1 and that this suggestion be arrived at by the same kind of treatment4 ,in this kind of drawing there is obviously no such thing actually as tone1 everything being black or white1 and yet it is possible to suggest every gradation and most delicate tonal relationships of colours by this elementary means2 the varied textures of objects can also be most convincingly suggested4#d ,probably one of the first things that will strike us1 on inspecting many styles of drawing1 is the fact that while some draughtsmen expend enormous labour in filling the whole design with multitudinous strokes of the pen1 others obtain effect by a very few lines and great expanses of white paper4 ,a great number of strokes rapidly put in1 in the manner of shading with pencil1 and a few bold lines slowly and deliberately drawn1 constitute the two chief differences of style4 ,in the latter1 the principal study is perhaps to know what to leave out1 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 labour1 there being not one unnecessary or superfluous line4 ,such powerful sketches1 by ,mr4 ,reginald ,cleaver1 may be seen in ,the ,daily ,graphic1 and by ,mr4 ,phil ,may in ,the ,sketch4 ,in these drawings a maximum of effect is attained with a minimum of work1 and one feels that every line is essential and not one can be spared4 ,in most cases1 for all the purposes of illustration1 a black coat need not be suggested by any more lines of shading than a white gown2 but the artist who so determines may carry his work to a higher standard and1 with greater labour1 even succeed in giving a suggestion of colour in the objects portrayed4 ,but1 even in such elaborate work1 there should be no more execution than is essential1 and the finished drawing should in no case make its elaborate execution felt4 ,the thing which must first impress the spectator is the success of the general effect2 never should there be first awakened a feeling of astonishment at the extraordinary amount of patience bestowed1 or labour expended4 ,if the first remark called forth is one of admiration for the extraordinary dexterity1 we may be pretty sure that the draughtsman has been betrayed into the commonly besetting sin of over-elaboration1 and whatever success has been attained in the effect rendered it would have been probably better if produced with less effort4 ,it would have been more forcible if not overwhelmed1 as it were1 with so much work4 ,illustration3 ,,drawing ,,by ,,mr4 ,,phil4 ,,may4 ,from ,english ,illustrated ,magazine4 ,an example of bold open drawing4 ,never1 then1 let the delight which we may feel in making a pretty finished drawing get the better of our judgment when drawing for reproduction4 ,remember that prettiness comes very near to pettiness1 and delicacy and fineness are apt to become niggling and pedantic2 coarseness is a lesser danger than excessive neatness4 ,much of this1 as already suggested1 may be more clearly learned from the careful examination and comparison of good published drawings4 ,imitate1 and copy if you like1 up to a certain degree1 remembering always that you are thus copying merely to ascertain by what means other men express their ideas in line1 and not for your own practice4 ,in like manner etchings1 engravings1 and indeed every kind of print made up of lines1 may be studied and1 to some extent1 copied2 but only in order to familiarise oneself with what lines1 and combinations of lines1 may be made to do2 but the danger of continuing such a practice cannot be too much emphasised4 ,every artist or draughtsman1 be he beginner or expert1 must draw for himself and according to his own feelings and promptings4 ,in every department of art the successful have had their imitators1 and these again their imitators1 and at each successive stage the further one gets from originality1 the more trammelled1 the more impotent and hopelessly beyond the possibility of really great work4 ,that the drawing is not the end in view1 but merely a means to an end 7that end being the reproduction71 is a matter to which ,i shall refer later on2 but it should here be noted1 and moreover the student may be reminded1 that every line and every mark which he makes will be similarly reproduced by the process4 ,when drawing for wood engraving1 the engraver could be instructed to strengthen this or leave out that2 not so the mechanical block1 which is to be regarded as normally an untouched and purely mechanical thing1 only to be altered by hand on the rarest possible occasions1 and then only when time and circumstances permit4 ,this character of indiscriminating facsimile is not to be considered as a disadvantage in any way2 the good draughtsman is thankful for it1 he knows what to reckon upon1 and to all it must be an incentive to do one's best4 ,it is the same difference as between a mirror and an average photographer's portrait3 the mirror may show us all our faults and yet1 if we have any beauty1 it does not belie us2 while we know how often the ordinary commercial carte-de-visite is unreliable4 ,in the course of studying various reproductions we shall probably have become aware that the same things may be very differently rendered by different hands4 ,thus trees and foliage in landscape may be represented by an outline1 and a few black patches and dots1 or by numerous clearly drawn parallel lines1 or yet again by irregular strokes crossing and recrossing each other2 evidently1 then1 there is no intention here of imitating nature4 ,and so1 throughout1 the aim of the pen draughtsman is to suggest1 rather than to portray things exactly as they are4 ,lines1 scratches1 or dots1 cannot pretend to imitate leafy foliage2 and1 be it noted1 the same lines1 scratches1 or dots1 may be similarly employed1 in the same drawing1 to suggest something quite different4 ,it is in this employment of various pen marks1 to suggest the composition of distinct objects1 that individuality of style reveals itself2 as does the discreet using of white blanks to express or suggest widely different things4 ,i have presumed throughout these pages that ,i may be addressing many to whom the idea of drawing in pen and ink 7or other material7 for reproduction1 is entirely a new one2 hence it will be necessary to examine the pen strokes which go to make up a complete drawing4 ,let it be well understood that many things are possible to the accomplished artist which must not be attempted by the beginner2 later on we may learn1 from our own experience1 little freaks and tricks of our own1 but we must first of all content ourselves with simple conscientious work4 ,in the following examples of pen and ink shading we have first the kind of strokes which the pen would make if used rapidly1 as in writing1 and without any particular care4 ,in bold sketchy work this sort of handling may be permissible1 but the student should practise shading by such lines as in ,no4 #b4 ,these are drawn rapidly in succession1 the wrist being rested firmly on the table and the hand quite free1 as in rapid writing4 ,commence at the top left-hand corner and work downwards2 notice that each stroke is equidistant1 parallel1 and of the same thickness throughout its length4 ,look at this from a little distance and it appears like a grey1 flat1 even tint4 ,this simple shading should be tried many times until perfect ease and certainty is acquired1 each stroke of the pen being firm1 distinct1 and black2 each stroke intended and nothing uncertain about it4 ,illustration3 ,no4 ,i4 ,no4 ,,ii4 ,no4 ,,iii4 ,,examples ,,of ,,pen ,,and ,,ink ,,shading4 ,reduced to about half the size of original4 ,a good exercise will be to draw a square1 and practise filling it with a flat tint consisting of lines either in the same direction1 or else of lines in varying directions1 and then with lines crossing each other or cross-hatching4 ,having now discovered how a flat tint may be laid down1 and how such may be made uniformly or gradually darker1 we may apply such methods to simple objects as the cube and vase here shown4 ,illustration3 7,original #a-a_/b x #a-a_/d47 ,by this time we may feel well on the road towards accomplishing any general subject which we are skilful enough to outline4 ,of the various mechanical helps to drawing outline1 for those who lack the required skill1 ,i shall speak hereafter4 ,illusutration3 7,original #d x #b-a_/d47 ,it need hardly be pointed out that as there is1 in nature1 no such thing as outline3 it is purely an arbitrary means of indicating form1 and separating one space from another2 whether such spaces be occupied with shading or not1 but especially where there is no shading4 ,at first it may perhaps be best to make a clear sharp outline of uniform thickness2 but later we shall find we may often advantageously dispense entirely with outline1 letting the shading only distinguish one object from another4 ,notice the absence of outline in the hills in ,near ,berry ,head1 page #id4 ,a little experience will show us that an imperfect outline1 and one which varies in thickness with various objects1 will greatly assist in the attractiveness of our sketches4 ,a too rigid outline1 as also a too close adherence to what has been said about the precision of the shading strokes1 tends to a stiff formal appearance which is not to be desired1 and destroys anything like originality and individuality of style4 ,in the accompanying drawing notice these points--the irregularity of outline1 in some parts its entire absence1 the value of white spaces1 and the suggestive little dots on the white foreground4 ,i have already remarked that the drawing is only to be regarded as a means to an end1 and must therefore be made not so as to give satisfaction in itself1 but so as to produce a good mechanical reproduction4 ,however irksome some artists may feel this working for process reproduction1 it is not accompanied with any great difficulties1 nor are its special requirements so very restricting1 if only we understand what is wanted4 ,two influences1 for good or for evil1 exist between the original and the reproduction 7two influences to be taken into account1 and reckoned with when we are drawing1 so as to produce a definite effect in the reproduction71 and these are reduction and thickening of the lines4 ,a diminishing glass1 used to examine any drawings1 will at once show the effect of reduction or diminishing1 and in rough and rapid drawing this reduction is depended upon to remove irregularities and coarseness4#e ,illustration3 ,,in ,,harbour4 ,pen drawing4 7,original #g x #f47 ,it may be taken for granted that nearly every reproduction we see has been reduced from the original1 some more1 some less1 and while generally speaking we may say that the effect of reduction is to refine and soften2 the beginner1 however1 will sometimes be troubled by finding an increase in the thickness of the lines which is less agreeable1 and is very fickle1 and can only to a limited degree be counted upon as to the result4 ,hence the need for keeping darkly shaded portions as open as possible3 that is to say1 when lines are very close together1 or there is cross-hatching1 see that the lines do not needlessly run into each other1 but that the little white interstices are well preserved4 ,keep the shading open 7the rough net-like effect can be got rid of by reduction71 and remember that not only do some lines thicken up1 and so engulf the intervening white1 but in reduction the white spaces reduce as well as the black lines1 and may be reduced into invisibility4 ,some definite rules have sometimes been suggested to guide the process man as to the amount of reduction best suited for average work2 these1 however1 like many other rules of the kind1 are quite arbitrary4 ,on this subject ,mr4 ,henry ,blackburn says1 with an authority based upon the experience of reducing1 to various scales1 some thousands of drawings3 ,as to the amount of reduction that a drawing will bear in reproduction1 it cannot be sufficiently widely known that in spite of rules laid down there is no rule about it4 ,illustration3 ,same size as original4 ,in some instances no reduction is required1 and the reproduction is so exact a replica of the original that it can hardly be distinguished1 yet1 ,on the other hand1 the value of reduction for certain styles of drawing can hardly be over-estimated2 and again1 ,every drawing has its scale1 to which it is best reduced4 ,the effect of the reduction may be seen in the accompanying three examples1 the first being the same size as the original1 and the others reduced as marked4 ,illustration3 7,original #d-c_/d x #d-a_/d47 ,until some experience has been gained in this direction1 and apart from the exigencies of the space the illustration is required to fill1 the process engraver will probably be the best authority for us to consult as regards the amount of reduction suitable to each individual drawing4 ,a reduction of one-third is a very usual one1 so long as the drawing is not unusually rough or clumsy4 ,referring to the effect of reduction upon lines laid down to express a flat tint1 ,mr4 ,h4,r4 ,robertson gives some interesting notes upon the number of lines required to be drawn in an inch square to produce an even grey tint4 ,i do not think too much importance should be attached to such calculations1 as they are likely to embarrass the draughtsman and make him far too much concerned with the mere mechanism of his work2 still1 the matter is an interesting one4 ,he says that from experiment he finds it will usually require about #ajh to #abj lines within an inch to give to the naked eye the idea of a flat tint or wash1 but that about #hj to an inch is as many as can be drawn to the inch by unaided vision2 eighty lines to the inch gives #abj in #a-a_/b inches1 which1 if reduced in reproduction by one-third1 will give the requisite number of #abj to the inch which ,mr4 ,robertson finds desirable4 ,the effect produced1 however1 by parallel lines of shading alters considerably when the direction of the lines alters1 and ,i think it is only necessary for us to glance through ,academy ,notes1 or any similar collection of sketches made by artists who understand the importance of conveying suggestions with pencil or pen1 to assure us that far fewer lines are in many cases quite capable of giving the idea of an even tint4 ,such rules and figures are interesting1 and perhaps useful1 but they are certainly dangerous if the student places himself too much in subjection to their influence4 ,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 work1 and the inclination is to blame the process as unsympathetic1 or the process man as incompetent1 whereas the fault lies with the drawing1 which is unsuitable through a want of proper regard for the requirements of process4 ,for instance1 nothing is commoner with the student than to find such portions of our drawing as distance1 sky1 and the more delicate shading come up heavy and black--quite different to the original1 and robbing such parts of it of all delicacy2 or it may be that lines which we believed to be fine1 smooth1 flowing lines1 reproduce as broken and irregular4 ,illustration3 ,,the ,,willow ,,harvest4 7,original #g x #ad47 ,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 ones4 ,drawing with the pen insufficiently charged with ink1 or with ink diluted with water1 will give these grey lines2 but the line process1 recognising nothing but black and white1 either reproduces the grey lines as black1 or reproduces them imperfectly as broken and irregular4 ,here1 then1 will be another matter for the beginner to exercise himself in3 namely1 the drawing of good black lines and an avoidance of grey ones4 ,with drawings made on a fairly large scale1 so that every line can be made firmly and boldly1 we are less likely to fall into making grey lines4 ,with etchings1 in which the image is in intaglio1 gradation in the lines is possible2 because1 according to the depth of the etched line1 a greater or less amount of ink is contained1 and a grey line can be printed therefrom4 ,and so1 for this reason1 etchings are misleading if used as copies or examples from which to draw in pen and ink4 ,when the drawing has been first drawn in with pencil and inked over1 every vestige of pencil marks must be carefully removed1 otherwise the process reproduces them1 not as soft grey marks1 but as black as those made in ink1 and some very unpleasant surprises will be the result4 ,illustration ,illustration ,,chapter ,,ix4 ,,tools ,,and ,,materials ,,for ,,line ,,drawing4 ,to produce a line drawing which shall comprise such characteristics as have now been enunciated1 three essentials will be required3 a white surface1 a black fluid1 and a suitable instrument to convey the fluid at will4 ,these we will take seriatim1 in their conventional order--,papers1 ,inks1 and ,pens4 ,the material most largely used for drawing on is probably white ,bristol board1 of four-sheet or six-sheet thickness1 and this will answer better than anything else in almost all cases4 ,some attention should be paid to the tint of the card1 many cardboards having a tendency to turn yellow with age and exposure4 ,a cardboard of a pure white1 or a slight tendency to a bluish tint1 is what we require1 a blue card being in photographic reproduction practically the same as white4 ,upon the surface of the cardboard will greatly depend the ease with which we shall get clean sharp lines4 ,with many cardboards1 in which the surface is apparently smooth1 the pen finds irregularities and sometimes obstacles to its smooth and even progress1 catching and spluttering over little particles of hard matter or hair4 ,a good ,bristol board1 such as is procurable at any artists' colourman1 presents no such difficulties1 and the making of a fine smooth line should be quite easy4 ,messrs4 ,reynolds and ,sons supply various kinds of boards equally suitable for pen work4 ,the bank note ,bristol manufactured by ,f4,w4 ,devoe ,co4 is also especially adapted to this work4 ,the process man will very likely recommend you to use a clay surface board1 and no doubt in some instances these have their advantages4 ,on these clay boards the pen strokes are remarkably clean and crisp1 and have a good deal the appearance of having been produced mechanically rather than by hand2 a very fine line1 however1 is difficult to produce1 the result being rather like1 but in a much less degree1 drawing on an enamelled card on which the ink spreads2 at the same time1 however1 there will be less liability to make grey lines4 ,a further advantage of a clay surface is that the surface is easily removable with the blade of a penknife1 so that faults may be scraped or cut away--a feature put to very important use in boards specially made for scraping1 which are described on p4 #if4 ,for large1 bold work a clay board is useful1 but it should not be too often used on account of the hard1 mechanical appearance of the drawing4 ,whatman papers1 or boards having a surface of ,whatman paper1 are also much used1 and these are procurable in two surfaces3 ,h4-,p41 or ,hot-pressed1 the smoothest2 and ,n41 or ,not hot-pressed1 the surface of which is sufficiently rough to make it very pleasant to work on1 but not too much so4 ,if using the ,h4-,p41 the surface must be wiped over with a clean wet sponge to remove a certain gloss which the process of hot-pressing imparts to it4 ,there is no particular virtue in any special paper or board beyond whiteness1 evenness1 and purity2 any paper having these qualities may be used with success4 ,i should not recommend the beginner to experiment with too many kinds2 he will in the end be probably no nearer satisfaction than at the outset4 ,start on ordinary white ,bristol and persevere1 attributing failures to your own incompetence rather than to any fault in the materials4 ,some of the very best things have been produced on any scrap of notepaper or other white surface that has been at hand4 ,of suitable black fluids there are many varieties1 and the beginner may as easily concern himself a great deal too much about inks as about any other part of the necessary materials4 ,cakes or sticks of dry pigment1 or pans and tubes of moist colour1 may be employed1 but for general convenience a fluid black will be best4 ,these are of two kinds3 fixed1 which is not removable by water1 and ordinary2 and it may be well to consider beforehand the work we are going to do1 and use the indelible1 or fixed1 ink if necessary4 ,i mean by this that we may sometimes require to use ,chinese white over our black lines to produce whites1 which could not easily be left as blanks1 in which case it will be necessary to use a fixed black1 else the ,chinese white would smear and spoil the black4 ,the introduction of ,chinese white is1 however1 an exception rather than the rule1 and when the use of an indelible ink is not important1 ,stephens' ,ebony ,stain is admirable4 ,it works easily1 and although it dries with a slight gloss1 which is usually a disadvantage1 it reproduces well4 ,it can be immediately thinned when becoming too thick by the addition of a little water1 care being taken not to dilute it sufficiently to make it grey4 ,it is sold in bottles at sixpence and a shilling1 and is manufactured by the well-known makers of writing ink1 but may be procured from the artists' colourmen4 ,messrs4 ,reeves and ,sons have introduced a fluid black1 called ,artists' ,black2 this is made both indelible and not indelible4 ,this has become very popular of late1 and is largely used2 the not indelible1 with water1 making fine greys for wash drawing4 ,higgins' ,american ,waterproof ,india ,ink is also extensively used1 and has received high commendation4 ,fixed ,indian ,ink is sold in fluid form1 and ,lampblack and ,ivoryblack in tubes and cakes4 ,ordinary writing ink is quite unsuitable2 it runs when fine lines cross1 and is either too blue or too brown in colour4 ,common ,indian ,ink is also too brown to reproduce well1 so that the beginner will do wisely to use one of the above-named blacks1 which are prepared for the purpose1 and so diminish his chances of failure4 ,all are sold in bottles at sixpence or one shilling4 ,not taking account of eccentricities of accomplished artists1 who may use some special medium to their fancy1 and whose very mastership guarantees their success in whatever medium they may work1 a dull intense black line on a pure white surface is the ideal to be attained4 ,it may be mentioned that if for any exceptional purpose the reproduction is to be printed in coloured ink1 the original had better be drawn in a like colour1 always excepting blue or anything approaching thereto4 ,but brown1 green1 red1 and orange are permissible1 and will photograph correctly4 ,a black drawing1 reproduced in brown or other colour1 is apt to give a very different impression1 and still more so if a colour be reproduced in black4 ,chinese white has been referred to1 and should certainly always be at hand4 ,if applied fairly thickly with a fine brush it will efface any faulty ink marks1 and may also be used to introduce lights into shading which has been worked up too solid4 ,it is also useful for putting in small lights1 as in windows1 or longitudinal white streaks on water which has been shaded in dark4 ,it should be of good quality1 and kept well stoppered in a strong glass or stone bottle4 ,with regard to the pen to be used there is more latitude for individual taste1 as what one man can do with a given pen another cannot4 ,the manufacturers who have given most attention to the requirements of draughtsmen are ,j4 ,gillott and ,sons1 the well-known makers of pens of all kinds4 ,many kinds of ,brandauer's and ,blanzy ,poure and ,co4's pens are also very good4 ,it should not be supposed that a very fine-pointed pen is essential1 for on the contrary a small tool often seems to lead to the making of small1 niggling work4 ,mr4 ,c4,g4 ,harper finds a well-cut quill pen delightful for making pen studies1 and says it flies over all descriptions of paper1 rough or smooth1 without the least catching of fibres or spluttering4 ,it is the freest and least trammelling of pens1 and seems almost to draw of its own volition4 ,a glass drawing-pen1 such as is used by mechanical designers1 c41 has its uses1 but it is only capable of making a uniformly thick line4 ,an assortment of one dozen of ,gillott's pens can be obtained for one shilling1 and from these our selection can be made4 ,brandauer's ,no4 #eae and ,no4 #cdb ,e4,f4 are well spoken of1 and have the advantage of not becoming scratchy with use4 ,a flexible pen1 capable of making fine as well as thick strokes1 working evenly1 and not soon worn out1 is what should be sought1 and having found two or three kinds to suit1 stick to them1 and make yourself thoroughly master of their capabilities4 ,should any difficulty exist in obtaining a special pen1 an ordinary ,f writing nib will not lead you far wrong1 while for bold vigorous drawing ,i should prefer a gold ,j2 it is clear from this that mere fineness of point is not an essential matter4 ,the possibilities of a particular pen are not learnt all at once1 it should be persevered with and understood4 ,it has been recommended that two or three pens of different character should respectively be used on different portions of the same drawing4 ,there may be advantages in this1 especially if a drawing contain a very wide variation in quality of its lines4 ,it may sometimes be that very bold thick work in foreground is associated with fine delicate work in distance and sky4 ,some artists prefer to use a fine brush instead of a pen4 ,a small sable brush1 having the outside hairs cut away1 or a long hair brush known as tracer or rigger1 is capable of making fine lines hardly to be distinguished from pen strokes4 ,at first they are slow to work with1 but considerable rapidity may be acquired with practice4 ,the lines are rounder and not so harsh as those made with the pen1 and it is said that an artist who has once accustomed himself to use a brush never goes back to pens4 ,illustration3 ,a ,,field ,,path4 ,bitumen process4 7,original #g-a_/b x #f-a_/b74 ,see p4 #hf4 ,the foregoing materials and pens are for the production of simple black line drawings on a white ground1 and it is in this direction that ,i should advise the student to persevere and cultivate himself4 ,all the beauty and expressiveness of lines is only realised after long practice2 and1 of the many ways of illustrating by line process1 it is the best means of self-education1 compared with which all others are flippant and inconsequent4 ,illustration3 ,a ,,field ,,path4 ,swelled gelatine4 7,original #g-a_/b x #f-a_/b47 ,see p4 #hf4 ,still1 with some truth it has been said that it is only by experiment that we learn to achieve distinction1 and so after a while we may indulge in experiments in other directions1 and try our hand at the various tricks which the ingenious have placed within our reach4 ,these will be described in ,chapter ,,xi4 ,illustration ,,chapter ,x4 ,,comparison ,,of ,,processes4 ,the method of drawing in line referred to in the two preceding chapters may be regarded as traditional and of the normal character1 and we shall next take under consideration various other methods of drawing equally suitable for reproduction by line process4 ,in the meantime1 we will see how the processes for producing blocks in relief may be applied and see by a few examples how the results compare4 ,with the artist1 the ,swelled ,gelatine process will probably rank as first favourite1 and this because it is less exacting in its requirements4 ,although only rendering the drawing in black and white1 it is certainly more sympathetic1 and does to some extent recognise the weaker impression of a grey line4 ,by this process many ordinary black and white drawings1 made without any regard for the demands of the process man1 reproduce well1 but would be impossible by the cheaper zinc etching2 moreover1 it is admirably suited to reproduce drawings in which a mixture of pen and pencil has been employed1 an example of which will be given later4 ,illustration3 ,,moonlight4 ,example of medium tint4 7,original #d x #g47 ,the artist or draughtsman is not1 however1 usually master of the situation2 the printer and publisher will use the cheaper methods1 to suit which we must adopt1 to a certain degree1 a conventional manner4 ,if a drawing be seriously studied1 it is often surprising how much of the feeling of the draughtsman is conveyed to us through the strokes of his pen or pencil1 and it is just this feeling which the ,gelatine process preserves in great measure1 but which the commoner methods sift out and give us a mere mechanical translation4 ,still1 by suiting ourselves to these more ordinary processes1 much may be done to compensate for the lack of sympathy which they display4 ,i have given 7pp4 #hb1 #hc7 two reproductions from the identical drawing1 in order that comparison may be made4 ,the ,bitumen process is characterised by the crude1 sincere1 line given1 ignoring many finer lines1 and bringing others up black and hard4 ,the ,albumen process is the one by which probably the greatest number of blocks are made in this country1 and1 when carried to a high degree of perfection1 yields some very pleasing results which1 though inferior to swelled ,gelatine1 are better than the ,bitumen4 ,ordinarily1 however1 there is not very much to choose between these two1 and a very great number of examples would have to be examined in order to properly exhibit the differences4 ,the comparison of results by these three processes is a subject which has given rise to some controversy4 ,the artist1 who has also usually been the author in this matter1 has pronounced favourably for the swelled gelatine2 but in this the process expert is in disagreement4 ,after comparing carefully a variety of results1 ,i am inclined to think that perhaps too much importance is attached to the supposed advantages of the swelled gelatine1 and two powerful contributories to success are not sufficiently considered4 ,swelled gelatine is not used for ordinary newspaper work1 and is charged at a much higher rate2 and for this reason1 probably1 greater care is taken in the block-making1 and1 being used in higher class publications1 it is more carefully printed from than is possible in the vast majority of cases when the cheaper blocks are used4 ,the use of zinc blocks in cheap1 rapidly printed publications probably prohibits the process having full justice done to it1 and we are apt to judge its possibilities by the examples we too often see4 ,cheapness1 short time1 and rapid printing are factors calculated to spoil the reputation of any process4 ,if bitumen and albumen could receive the same amount of care and attention as is customarily bestowed upon the more expensive swelled gelatine1 there seems little reason why results should not be equal4 ,illustration3 ,,pen ,,drawing4 ,three different shading media4 7,original #h x #e-c_/d47 ,illustration3 ,,untouched ,,line ,,block4 7,original #g x #f47 ,in considering the application of such various methods1 we are brought to that somewhat singular contest which seems to exist in every sphere of work wherein art is concerned1 it is the disagreement and misunderstanding which exists between artist and craftsman4 ,the enterprising endeavour of the process-block maker is to perfect his process to produce a clean1 bright1 faultless piece of technical work2 a process which shall produce from all kinds of originals an equally brilliant print1 so that1 when he is called to reproduce a special effect which the artist may desire1 he seems incapable of understanding as desirable anything which falls short of his own arbitrary standard4 ,it is as though the artist's colourman said to the painter1 you must varnish all your picture so as to show the full richness and gloss of the colours1 no matter whether the painter reckoned on some degree of dulness to give a certain effect4 ,illustration3 ,,line ,,block ,,lightened ,,by ,,roulette4 7,original #g x #f47 ,so the material maker will aim at supplying canvas or board of as fine and smooth a surface as possible1 and it is at first difficult to persuade him that the artist is right in desiring a coarse1 rough surface4 ,the process man and material maker are ever on the side of polish1 brilliancy1 and fineness4 ,execution and craft invariably seem to be at war with feeling and art1 and ,i would strongly caution my reader against being too much concerned about the relative virtues of various processes1 or too much prejudiced by what others may have to say4 ,whatever your artist friend may advise is pretty certain to be discounted by your block-maker2 and in course of time1 and after experience1 you will probably form your own individual opinion1 which will be at variance with both4 ,it is at this stage that more particular mention may be made of the use of the roulette to correct by hand1 on the zinc block1 the misinterpretations of the process4 ,the roulette consists of a sharp-edged toothed wheel of minute proportions1 which is passed backwards and forwards across lines which have come up too black1 thus breaking such lines into tiny dots1 which therefore print greyer4 ,it is well to know that such a revision of the block1 as first turned out1 is possible1 and we shall sometimes be glad to make use of it4 ,still1 as before pointed out1 such hand-work must not be relied upon4 ,illustration ,illustration ,,chapter ,,xi4 ,,other ,,methods ,,adapted ,,for ,,line ,,reproduction4 ,when a large space is required to be covered with an even tint1 an immense saving of labour and time may be effected by the use of ,shading media2 but beyond a mere saving of labour they may1 if discreetly used1 be made to produce some very desirable effects4 ,illustration ,if applied to the entire surface1 the result is very like a half-tone process block in appearance4 ,this is seen in the illustration on page #he1 in which the shading medium has been applied everywhere except in the few white spots4 ,such an application is particularly useful for evening or twilight subjects1 but it is more usual to employ them locally1 especially for skies4 ,they are also largely used by some artists for figures1 in the manner shown in illustration on page #fe1 in which the shading is so effectively used on the waistcoat and hat of the man4 ,the pattern of the tint varies greatly1 there being more than a dozen distinct designs1 a few examples of which are given on page #ia4 ,illustration3 ,,shading ,,medium ,,on ,,pen ,,sketch ,,vignette4 7,original #e x #d47 ,these shading media are introduced on to the zinc block after printing from the negative 7see ,chap4 ,,vii471 for which purpose transparent sheets of gelatine1 on which the required pattern has been engraved and previously inked1 are used4 ,by pressing these on to the albumen or other surface of the block1 an ink impression is transferred1 which accordingly protects the surface during etching in the same manner as the rest of the picture4 ,the shading need not be restricted to the blank spaces only1 but may be pressed on to any part or the whole of the block2 and there is no reason why two or more different patterns should not be used in combination on the same subject4 ,the gelatine sheets being transparent1 the process worker can see exactly where to apply them1 and can do so with considerably intricacy4 ,in sending to the etchers a drawing in which a shading medium is to be introduced1 the practice is to mark such portions as are to be shaded by scribbling over with blue pencil2 this is at once understood better than written instructions4 ,it had better be stated whether a dark or light tint be required2 also whether it is to be vignetted or shaded all over4 ,vignetting is the most usual1 as seen in the accompanying block1 page #ib4 ,it is usual for the process people to make a slight additional charge for the introduction of tints2 especially if at all complicated4 ,and1 of course1 if special experiments in the combination of various tints be intended1 requiring special care1 fair consideration must be made for the additional trouble and labour4 ,like most mechanical aids to drawing1 shading media must be adopted with discretion1 and they can at best be considered as a poor substitute for pure hand-work2 they economise time and are useful in an emergency1 but ,i should certainly caution the beginner against the too frequent use of them4 ,an ingenious method of imparting a certain greyness to some portions of a drawing is illustrated by the accompanying sketch ,near ,berry ,head4 ,this is known as ,splatter work1 and consists of sprinkling minute dots of the black drawing fluid wherever required4 ,the drawing is first executed in the usual way1 and all portions which are not to be splattered upon are covered over with pieces of paper cut to the necessary shape and size4 ,a stiff bristle brush is then inked2 nothing serving for the purpose better than an ordinary tooth-brush4 ,holding the brush in the left hand1 with the bristles downwards1 the bristles are to be briskly stroked with any handy stick of wood2 in this manner a spray of tiny dots of ink is splashed on to the paper beneath4 ,illustration3 ,,near ,,berry ,,head4 ,pen drawing--foreground dotted by splatter work4 7,original #f-a_/d x #e47 ,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 comb1 by which means the splashes can be with more certainty directed to a particular spot4 ,superfluous ink should be struck off the brush before sprinkling the drawing1 and some portions of the protecting paper masks can be removed before others if some of the splattering be required to extend further4 ,it will be best to use an indelible or fixed ink for this work1 as1 even after practice1 some ugly splashes are apt to occur1 which will have to be afterwards corrected with ,chinese white4 ,splatter work is more largely practised in ,america1 and is just one of those tricks which in dexterous hands is sometimes so peculiarly happy in its results1 and yet so apparently unresponsive in others4 ,we now come to consider an important group of drawing methods1 known as ,scratch boards4 ,in speaking of white cardboards1 reference was made to clay surface boards1 and the possibility of removing any fault by scraping with a knife4 ,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 extent1 and made use of as a chief method of representation1 not as a means to correct mistakes4 ,these boards are of two principal kinds3 #ast4 ,white1 on which are impressed white indented lines1 giving the whole a ribbed appearance2 and1 #bnd1 ,black reticulations1 or lines printed at right angles to the impressed grain or ribs4 ,canvas-like reticulations1 irregular grain or ,aquatint dots1 and diagonal or vertical lines1 are the most useful patterns 7of which there are many72 they may be obtained at ,f4,w4 ,devoe ,c4,t4 ,raynolds ,co4 and most of the dealers in materials1 and are known as scratch-out1 scrape-out or stipple boards4 ,both boards are of a somewhat similar description1 differing only in the method of producing the pattern4 ,in the white boards the marks are impressed2 whereas in the black ones they are printed4 ,taking the black patterns first1 the grain printed thereon supplies us with a flat grey tint composed of numerous fine black lines2 this for convenience we will call the full tint4 ,now if we gently scrape the clay surface with the sharp point of a knife1 moving it across the black lines1 they will be removed from the top of the impressed ridges which cross at right angles1 thus at once converting the black lines into rows of black dots1 and giving a lighter tint which we will call a half-tint4 ,closely examine the accompanying series of specimens1 and this will be at once recognised4 ,illustration3 ,no4 ,i4 ,no4 ,,ii4 ,,dots4 ,,horizontal ,,lines4 ,illustration3 ,no4 ,,iii4 ,no4 ,,iv4 ,,diagonal ,,lines4 ,,aquatint4 ,illustration3 ,,the ,,scraper4 ,,examples ,,of ,,black ,,grain ,,scrape ,,boards4 7,original size47 ,in ,no4 #a we have a board with parallel ruling1 as supplied by the makers2 in ,no4 #b1 a few strokes of the knife have converted some of the lines into dots2 in ,no4 #c1 the knife has been used more vigorously1 scraping away lines altogether and thus producing plain whites4 ,this1 then1 gives us full tint1 half-tint1 and white4 ,now if we work with pencil or pen on the full tint1 building up the drawing precisely as if drawing on plain white card1 and then scrape out1 as just illustrated1 it will be seen what a wide range of tones will be suggested4 ,illustration3 ,no4 ,i4 ,no4 ,,ii4 ,no4 ,,iii4 ,the drawing is to be put in first either with crayon1 pencil1 or ink1 and the scraping done afterwards2 by this means any mistakes can readily be scratched out2 no small consolation to the unpractised4 ,but1 on the other hand1 a faulty scratch or scrape cannot be rectified1 hence the greater need for care4 ,the manner of handling the knife 7an ordinary penknife1 or a specially constructed blade1 may be used7 differs a good deal in individual workers1 but the safer manner is perhaps to keep the knife well up and nearly vertical4 ,avoid outlines1 allowing the different degrees of tint to separate one object from another1 as one would do in a wash drawing1 and proceed somewhat in the manner illustrated by the accompanying figures4 ,illustration3 ,a ,,misty ,,moonrise4 7,original #d x #b-a_/b47 ,illustration3 7,original #d x #b-a_/b47 ,one of the difficulties to be guarded against is the too great evidence of scraping1 the knife marks often revealing themselves much more plainly in the reproduction than in the original1 also the too sudden contrast between the full tint and the scratched half-tint4 ,notice in the two accompanying sketches on diagonal grain boards1 by ,mr4 ,c4,j4 ,vine1 how the full tint1 when it meets the half-tint1 is broken up by slight irregular scratches2 especially is this seen in the sky of ,a ,misty ,moonrise4 ,in this sketch1 sky1 sea1 and the sails of the two more distant boats1 are almost entirely made up by the diagonal tint and the scraped half-tint4 ,only in the hulls of the boats and the sails of the nearest boat is pen-work introduced1 the lines being drawn diagonally from right to left1 at right angles to the grain of the full tint4#f ,illustration3 ,,pen ,,and ,,ink ,,on ,,black ,,line ,,scrape ,,board4 ,,first ,,stage4 7,original #e-c_/d x #c47 ,illustration3 ,,pen ,,and ,,ink ,,on ,,black ,,line ,,scrape ,,board ,,with ,,white ,,scraped ,,out4 7,original #e-a_/b x #c-a_/d47 ,a more rapid way of obtaining an effect can hardly be imagined than by these scraped boards1 and in good hands1 or with practice1 the effects obtainable are often very charming4 ,the drawings should1 as a rule1 be not greatly larger than the reproduction intended--a reduction of one-third or one-half being about the best4 ,all the different kinds of black grain boards are treated in the same manner as above described4 ,illustration3 ,,pencil ,,on ,,vertical ,,grain ,,white ,,scrape ,,board4 ,by ,c4,j4 ,vine4 7,original #d x #c47 ,now the use of white grained boards is less a scraping method than pure line drawing1 much of the line being almost mechanically produced by drawing upon the ribbed surface with pencil4 ,we know if we place a piece of paper upon a rough1 cloth-covered book and rub a blacklead pencil over it we get a mottled effect1 the blacks and whites of which are reproductions of the projections and depressions on the book cover2 so if we draw on a ribbed surface clay-board with pen and ink1 the ink follows elevation and depression in one continuous pen stroke4 ,if1 however1 we draw with a black pencil1 without undue pressure1 the pencil passes from one elevation to another1 or from one rib to another1 and thus forms a broken or dotted line1 which1 although in actual colour as black as an ink line1 yet being broken and not solid1 will reproduce lighter or greyer4 ,a number of adjacent pencil lines would therefore produce a flat tint of dots1 very similar to the tint of a half-tone block or a shading medium1 in addition to which1 and upon which1 ink lines may be made to produce deeper blacks4 ,on the accompanying illustration are pencil marks and ink strokes drawn on a piece of grained white board1 the grain or ribs being vertical4 ,to the left1 a single detached pencil stroke forming dotted lines2 next are adjacent pencil lines constituting a grained tint1 something very like the full tone of the black-grained blocks before considered1 and coarser or finer in proportion as the pencil is pressed more or less heavily2 next we have some pen and ink lines1 the difference of which will at once be seen2 and finally1 a mixture of pencil and pen1 on which the knife has subsequently been used to scratch some small lights4 ,this exhausts the practical possibilities of white grained scrape boards4 ,illustration ,the accompanying sketches will show somewhat the kind of things obtainable4 ,illustration3 ,,pencil ,,and ,,pen ,,on ,,vertical ,,line ,,white ,,scrape ,,board4 ,by ,c4,j4 ,vine4 7,original #d x #c47 ,reduction causes a very marked improvement1 and the drawings should be looked at from time to time whilst in progress with a diminishing glass4 ,an indelible ink should be used1 or one that does not penetrate but rests on the surface3 such as ivory-black1 lamp-black1 or ,indian ink4 ,instead of pencil1 a stick of lithographic chalk will be of advantage4 ,in the first place1 the greyness of pencil is deceptive1 and reproduces blacker than we expect1 moreover pencil rubs and smears2 not so lithographic chalk1 which does not rub1 and is black4 ,the scratching or scraping must be the final stage of a drawing1 as only solid pen marks can be put on the white board after the grained clay surface has been removed4 ,,drawings ,,in ,,pencil ,,or ,,chalk ,,on ,,rough ,,papers4 ,by the foregoing description of pencil or chalk drawing on ribbed surfaces1 we see how a pencil drawing may be translated by an ordinary line zinco block1 instead of the more expensive half-tone process described in the earlier chapters4 ,the pencil or crayon point1 in passing over a rough or broken surface1 forms a series of dots instead of a continuous line4 ,the same thing occurs when pencil is used on a rough surface drawing paper4 ,such pencillings1 being examined1 are found to be lead marks1 interspersed with minute interstices of white paper1 the whole giving a sort of grey tint of greater or less intensity4 ,for broad sketchy effects such a drawing method is exceedingly valuable2 some very delightful things may be done without the least appearance of the mechanical4 ,illustration3 ,,sewardstone ,,marshes4 ,drawing on ,cont crayon on rough paper4 7,original #f x #d47 ,as may be readily understood from the accompanying examples1 such drawings are best adapted for purely artistic impressions1 and not for the portrayal of detail4 ,practically any paper may be used which is white1 and whose surface is sufficiently rough2 some particular kinds1 about to be mentioned1 have proved especially successful under experiment4 ,any material may be used to draw with1 preference being given to a black substance which will not smear or rub on being touched4 ,a good ,b blacklead pencil has the advantage of being pleasant to handle1 and capable of being used with a sufficiently fine point to render some details2 it has1 however1 the decided disadvantage of rubbing with a very little touching1 and the strokes1 although fairly intense1 are not so black as crayon2 hence1 in reproduction1 many portions which were expected to come out soft and delicate1 reproduce much too black4 ,we have1 then1 for our selection1 ,hardmuth's or ,cont's crayons1 made in several degrees1 and also made into cedar-wood pencils--a cleaner and more handy form4 ,neither of these is1 unfortunately1 free from the disadvantage of blurring when rubbed1 and will hence require to be fixed before being sent away2 the photo-engraver1 in the press of his business1 rarely failing to subject drawings to a severe test4 ,fixing may be best effected by treating the drawing with a solution of one part pure gum mastic dissolved in seven parts methylated spirit4 ,in ,lemercier's lithographic crayons we have a drawing medium which gives as satisfactory results as the ,cont or ,hardmuth1 and does not blur2 it therefore saves the trouble of fixing4 ,being greasy1 they should be used in a porte-crayon4 ,they are made in three degrees as to hardness1 the ,no4 #a being the hardest and best suited for drawing the limited amount of detail which is possible with crayons4 ,so long as the drawing is not too heavily worked upon1 a surprising improvement is secured by reducing4 ,a reduction of one-half is not too much4 ,as to the papers to be used1 the following may be mentioned as only some which ,i have tested1 and which others have spoken well of1 but there must be a great many other rough surface materials well worth a trial4 ,of the well-known ,whatman papers1 both the ,hot-pressed and ,not1 the latter being1 perhaps1 preferable4 ,a ,french paper1 ,allong1 has a very pleasing surface grain1 and may be used on the right or wrong side with different results2 the right side being the rougher1 and perhaps the better4 ,illustration3 ,,crayon ,,drawing ,,on ,,allong ,,paper4 ,small whites in ,chinese white4 7,original #i x #f47 ,next1 we have ,lalanne and ,michallet or ,ingres papers1 and some examples of crayon drawing on these are here given4 ,illustration3 ,,crayon ,,on ,,pyramid ,,paper ,,no4 #b4 ,small whites in ,chinese white4 7,original #g x #f47 ,the most noticeable feature in these will be the lines1 or grain1 formed by the texture of the paper2 this grain is apparently more perceptible when vertical1 but if the paper is turned round so that the lines come into a horizontal position1 they are much less discernible in the finished sketch4 ,in many respects the effect of these papers is a good deal similar to that gained by using the white lined clay-boards2 the grain being1 however1 less mechanical4 ,in like manner the crayon sketch may be effectively helped by the addition of pen and ink1 or fine brush work4 ,scraping out1 however1 is not within its capabilities2 though ,chinese white1 if applied fairly solidly1 may successfully stop-out small lights or efface errors4 ,illustration3 ,,crayon ,,on ,,pyramid ,,no4 #a4 7,original #i x #f47 ,other papers which may be attempted are ,arnold's drawing papers1 rough surface cartridge1 various crayon papers1 c4 ,such houses as ,penrose ,co41 ,amwell ,street1 ,e4,c41 ,london1 or ,f4,w4 ,devoe ,c4,t4 ,raynolds ,co41 of ,new ,york1 would probably supply patterns and information in this respect4 ,a paper known as ,pyramid ,grained paper has a granulated surface1 breaking the crayon marks into a succession of dots rather than broken lines1 and often yields very pleasing results2 it is made in two varying degrees1 ,no4 #a having a grain of #ae1jjj pyramids to the square inch1 and ,no4 #b1 #i1jjj4 ,for a further variation in effect1 a drawing may be executed in crayon or pencil on a fairly smooth paper previously pressed into close contact with any rough surface1 such as sandpaper or canvas4 ,the unsized side of a canvas for oil painting1 or the cover of a book1 will answer the purpose2 openness of work1 and the amount of ultimate reduction desirable1 being depended upon and controlled accordingly4 ,the following sketches1 by ,mr4 ,c4,j4 ,vine1 on ,michallet and ,lallane papers 7pp4 #aaa1 #aac1 #aae1 #aag71 are pure untouched crayon work1 reproduced by zinc line etching1 so that these drawings may be safely entrusted to this cheapest and least sympathetic process2 though there can be little doubt that the swelled gelatine would render fuller justice to work of this class4 ,illustration ,illustration ,,chapter ,,xii4 ,,mechanical ,,aids ,,to ,,draughtsmanship--,,drawing ,,and ,,sketching ,,from ,,nature4 ,the various methods whereby illustrations may be made for reproduction have now been reviewed1 if not exhaustively1 at least with sufficient completeness to enable the reader to start making those actual experiments in practice without which the most exact description is useless4 ,but thus far1 with the exception of such cases in which it is possible to use a photogram and reproduce it by half-tone process1 some ability to draw1 some certain amount of native artistry on the part of the student1 has been taken for granted4 ,now1 while in wash drawings1 crayon1 or pencil sketches1 scrape boards1 and the like1 there must be some amount of instinctive artistic ability1 not only to guide the hand in execution but to govern taste1 idea1 and selection2 yet in simple line drawing with the pen1 without any art knowledge or technical ability1 it may be possible to produce a perfectly reproducible drawing1 fulfilling in every way the essential duty of an illustration4 ,and if this be so1 there is no reason why very many more writers should not illustrate what they have to say1 making matters more intelligible and producing a more lasting impression4 ,for the purpose we shall require a photogram to commence with1 and here is a use and an application of photography not always fully realised or appreciated4 ,a man may be possessed of considerable taste and judgment in the selecting of a view1 or particular aspect of a building1 and yet be utterly lacking in ability to put down on paper correctly what he sees2 that is1 he is not a good draughtsman4 ,no particular taste in selecting a position may be needed1 or possessed1 and yet it may be desirable to portray an object1 or scene1 and it is to such men that the camera becomes so important as an indirect means to illustration4 ,indirect because1 as already pointed out1 the reproduction of a photogram by half-tone process 7the only way of reproducing a photogram for type machine printing7 is attended with difficulties1 and cannot always be resorted to4 ,the half-tone block is not suitable for the most rapid printing in newspapers1 c42 its results are not all that could be wished2 it is more expensive and takes longer to make1 apart from such other drawbacks pointed out in an earlier chapter4 ,therefore it is desirable to see how we can utilise a photogram so as to produce the simpler1 and often more acceptable1 line block from it1 and do this by a more mechanical method than re-drawing1 or copying from it4 ,probably the first easy method that will suggest itself will be to make a tracing from it on tracing paper1 and then with carbon paper transfer it to the desired card1 c4 ,there is no objection to such a course1 except that it is not always attended with equal satisfaction4 ,to begin with1 a photogram is often so dark in parts as to prevent our seeing many details through the tracing paper2 also1 however careful1 if we are tracing a face1 the slight deviation in tracing over the outlines and features1 which is almost unavoidable1 and further variations when afterwards transferring1 will often seriously interfere with the likeness--presuming a likeness to be required4 ,illustration3 ,,study ,,of ,,trees4 ,crayon drawing on ,lalanne paper2 vertical grain4 7,original #h x #d-a_/b47 ,an avoidance of error and saving of time may be effected by making a fairly pale print and1 having fixed it1 cover the back with the scribble of a blue pencil or chalk4 ,we can now place this down upon the card board or paper to be drawn upon1 and carefully go over everything that is to be drawn with a sharp hard point1 which will leave a blue outline sketch which can then be inked in1 and the blue need not be rubbed out afterwards as it will not appear in reproduction4 ,in the same way the original photogram can be used with a piece of blue carbon paper instead of chalking the back of the print4 ,no attempt should be made to draw in all the details of a photogram1 but only such salient points as may be required for illustration4 ,another method is as follows3--,make the photogram in the ordinary way1 but on plain salted paper1 or ,matt silver sensitised paper1 which has been previously prepared by immersion for a short while in a solution of ammonium chlorate1 #ajj grains2 gelatine1 #aj grains2 water1 #aj ounces4 ,the photogram is to be fixed and washed1 toning being unnecessary2 when dry it can be drawn upon with a fixed or indelible black ink1 carefully putting in just what parts are needed and disregarding the rest of the picture4 ,as soon as the ink is dry1 the print is immersed in a bath of mercury bichlorate and alcohol1 when the photogram will gradually disappear1 leaving the black ink lines on plain white paper4 ,nothing more is required beyond mounting on card to fit it for reproduction4 ,of course corrections can be made and stains1 c41 be removed with ,chinese white4 ,should it be desired to restore the bleached photogram1 it can be done by immersing in a weak solution of soda hyposulphite4 ,the foregoing method is one given by ,mr4 ,c4,g4 ,harper in his book ,drawing for ,reproduction2 it appears1 however1 needlessly elaborate1 and ,i presume mercury bichloride is intended and not bichlorate4 ,even with care the photographic image is sometimes slow to get rid of1 and will often refuse altogether to leave the clear white blank we require4 ,illustration3 ,,advancing ,,twilight4 ,crayon drawing on ,lalanne paper2 horizontal grain4 7,original #aj-a_/b x #f47 ,a photographic print1 however1 on either albumenised or ,matt paper will certainly disappear utterly if subjected to the following bath1 for which formula ,i am indebted to ,mr4 ,e4,j4 ,wall3-- ,iodine #a grain ,iodide of ,potassium #aj grains ,cyanide of ,potassium #bj ,water #ajb ,this is a similar solution as is used to remove ink-stains from linen1 c4 ,the print may also be bleached by sponging over with the following preparation1 recommended by ,w4 ,ethelbert ,henry3-- ,saturated ,solution ,iodine in ,alcohol #a part ,cyanide of ,potassium in ,water #b parts ,water #b ,after which the print is to be washed well for a few minutes4 ,of course the reason for using a fixed ink in such processes is obvious4 ,yet another method on similar lines1 but even simpler in operation4 ,a certain photographic printing paper called ,ferro-prussiate paper gives1 on exposure to light1 a blue image1 and only requires washing in water to fix or make it permanent4 ,this blue print can now be used for drawing upon1 as in the previous instance1 only that the photographic image1 being blue1 does not need to be bleached1 and will not interfere with the reproduction of the black lines drawn upon it4 ,if for any reason it be desired to get rid of the blue print1 this can be bleached by immersion in water containing a little common washing soda4 ,illustration3 ,,beachy ,,head4 ,crayon drawing on ,michallet paper1 right side4 7,original #h-a_/b x #e-a_/b47 ,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 draughtsman4 ,by placing the unskilled in such a position1 photography appears to have removed the last obstacle to the more frequent use of appropriate illustration2 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 magazine4 ,the method of drawing on thin transfer paper with transfer ink1 and then placing the drawing direct on to a zinc block1 hardly needs to be referred to here4 ,such a simple means of placing the image on the zinc and then etching is necessarily of limited application1 neither reduction nor enlargement is possible1 and photography is not employed2 it is merely a mechanical etching of the zinc in all parts not protected by the ink image1 as transferred from the drawing in transfer ink1 and is used for very rapid and imperfect portraits1 c41 in the commoner class of newspaper work4 ,and now1 whatever be the special characteristics and advantages of the camera1 it is by no means my intention to advocate its use where even only a moderate amount of native artistic ability exists2 and1 in all probability1 the possessor of such ability will more frequently prefer to use his sketch-book than his camera--and this is as it should be4 ,there is always something of freshness about a first original sketch1 be it in whatsoever medium1 a quality which the most careful copy fails to repeat4 ,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 away2 and we shall then have to consider what medium and what materials are suitable for drawing from life4 ,certainly the ordinary pencil sketch1 as taken from the pocket sketch-book1 would not do4 ,in the first place such sketches would rarely be vigorous enough1 and whatever vigour they possessed would be sadly diminished by rubbing and the pressure of the opposite page4 ,illustration3 ,a ,,sussex ,,lane4 ,crayon drawing on ,michallet paper1 wrong side of paper used4 7,original #i x #d-a_/b47 ,very few have successfully drawn from life in pen and ink4 ,some few well-known caricaturists and figure draughtsmen do so1 and attain success purely through their splendid dash and spirit1 but such things are forbidden the average man with whom the pen drawing is a matter of delicate care4 ,but there seems no reason why the lithographic crayon on rough paper should not be thus utilised1 and slight touchings-up added afterwards4 ,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-book4 ,i have noticed in some a very false idea existing with regard to draughting in a picture with pencil before using the pen and ink4 ,now ,i do not hesitate to say that the careful sketching in of the subject in pencil is essential to all except the genius1 and ,i am not writing for the genius1 who knows more than ,i can tell him and can dispense with what he does not know4 ,there is nothing to be ashamed of in drawing first in pencil2 one might perhaps be able to draw in quite as correctly with the pen1 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 in4 ,by this course there is less danger of confused hesitating lines4 ,from the first let the ink lines be clear1 distinct1 and black2 no messing about1 to quote ,mr4 ,blackburn's expressive phrase2 be decided as to the sort of shading you are going to put in a certain place and put it there1 once for all1 and don't touch it again4 ,avoid1 by constant self-restraint1 over-elaboration or too much laboured detail2 let each part of the drawing be finished from the first1 and do not return to it and work on it over and over again4 ,and the first step to ensuring this precision will be by carefully pencilling everything1 indicating only where shading is to come4 ,when the pen and ink drawing is completed1 carefully erase the pencil marks with bread crumbs2 do not use indiarubber1 which will be sure to abrade the surface1 and probably break the continuity of the ink lines4 ,as we become more conversant with the possibilities of the zinco process1 an intimacy which can only be brought by an experience built up of experiments and failures1 we shall find it possible to sometimes leave in certain of the pencilling 7allowing1 of course1 for their coming up as black as ink71 but for the beginner such a practice is not recommended1 as it is nearly sure to end in disappointment4 ,there are many interesting modifications of recognised means which are possible to the experienced--especially the production of what may be termed mixed drawings1 either for reproduction in half-tone or line1 drawings in which in order to produce less ordinary effects1 wash1 pen1 and pencil are employed combinedly2 but1 by the time my gentle reader has reached a stage when he may advisedly attempt such excursions from the orthodox path1 he will have passed beyond the sphere of this book and will be entitled to that liberty which art permits to its practitioners4 ,in the meantime let me ask the student to repress for a time his more lofty aspirations1 and content himself with patiently learning to produce--not a charming sketch1 a delightful drawing1 but--a drawing in which there is as much of artistic or pictorial merit as is compatible with the requirements of the process of reproduction4 ,if you are drawing professedly for reproduction1 no blame can attach to you if you bear in mind during the production of your drawing the necessity of its making a good block1 with as little sacrifice of artistic quality as may be4 ,an exalted position as an art is not necessarily claimed for drawing or painting for reproduction2 but how much of that difficult-to-be-defined quality which we call artistic exists in it1 depends not so much upon the method1 the means1 or the application1 as it does on those who work at it and their motive4 ,apart from this1 viewed from the lowest aspect1 its utility is beyond question1 and at the present time it is an application of fine art showing the most vitality of any4 ,the books devoted to the subject which have already been written1 have perhaps given too much attention to the actual processes of reproduction--they have not appealed to the illustrator2 or else1 while professing to be books of instruction in practice1 have dealt rather with the theory of illustration and the comparison of styles4 ,it seemed to me there was need for a simple description of methods for the enlightening of a beginner3 an elementary guide2 a first step2 in short1 a ,handbook of illustration4 ,illustration ,higgins' ,american ,drawing ,inks ,illustration ,illustration ,illustration ,illustration 7,blacks and ,colors7 ,the ,standard ,,liquid ,,drawing ,,inks of the ,world ,they are used and endorsed by the leading ,illustrators1 ,schools1 ,colleges and ,institutes4 ,three-fourths of the professional draughtsmen of this country use no other drawing ink4 ,the manufacturers have never solicited a single testimonial1 yet the merits of the inks have called forth endorsement from the most famous and experienced users of drawing inks in various professions1 real masters of their arts4 ,the following are a few commendations3 ,,jo4 ,,pennell1 the celebrated pen artist of ,london1 ,eng4--,there is no ink equal to it for half a dozen reasons4 ,from the time you open the bottle until you have put all its contents on paper1 you have no reason to find fault with it4 ,a4,b4 ,,frost1 the famous ,american illustrator1 ,convent1 ,n4,j41 ,u4,s4,a4--,i use a great deal of it1 and it is certainly the best4 ,e4,w4 ,,senior1 ,c4,e41 ,sydney1 ,australia4--,i cannot refrain from letting you know how ,i appreciate your ',american ,drawing ,ink4' ,it is an article long been looked for by us professional men4 ,in my opinion1 it is far superior to ,blank's ,liquid ,indian ,ink4 ,i have been using it for #b-a_/b years now1 and have during that time and up to the present ceased to have any other brand in the office--so pleased am ,i with it4 ,t4,b4 ,,norgate1 ,patent ,attorney1 ,victoria1 ,b4,c4--,i have used your inks for some years and find them first-class4 ,,jacob ,,hauck1 ,draughtsman1 ,county ,surveyor's ,office1 ,omaha1 ,neb4--,i have used hundreds of your ',general ,inks1' and became a great admirer of your unequalled ink4 ,the ,inks are as follows3 ,,blacks--,two kinds4 ,waterproof 7insoluble when dry7 and ,general 7soluble74 ,,colors--,carmine1 ,scarlet1 ,vermilion1 ,brick ,red1 ,blue1 ,yellow1 ,green1 ,orange1 ,brown1 ,indigo1 ,violet4 ,prices--,small bottles1 #be cents each2 half pints1 #b each2 pints1 #c4ge each1 and quarts1 #g each4 ,users are cautioned to refuse untried and experimental inks1 which may be claimed as being equal to the ,higgins ,inks4 ,higgins' ,american ,drawing ,inks were first introduced in #ahhj1 and have hence stood the test of time unfailingly4 ,every bottle is strictly guaranteed from first to last by the manufacturers4 ,color cards showing actual inks sent free4 99 99 99 99 99 ,,for ,,sale ,,by ,,dealers ,,throughout ,,the ,,world 99 99 99 99 99 ,,chas4 ,m4 ,,higgins ,,co41 ,originators and ,manufacturers ,inks and ,adhesives1 #afh to #agb ,eighth ,street1 ,brooklyn1 ,n4,y41 ,u4,s4,a4 ,london ,office1 #ajf ,charing ,cross ,road4 ,,the ,,folding ,,montauk ,,is ,,the ,,ideal ,,artists' ,,camera ,illustration ,it is fitted with a perfect lens for in or outdoor1 snapshot or time exposures1 and when examined and tested will show its superiority at once4 ,when fitted with ,ross ,patent ,london-,made ,lenses they are perfection itself1 and will make perfect snapshots ,,on ,a ,,gray ,,day ,,prices ,,from #be ,,to #aej ,send for catalogue and full description to the maker ,g4 ,,gennert1 #bd and #bf ,east #acth ,st4 ,,new ,,york ,,photo-,,ceramics ,,by ,w4 ,,ethelbert ,,henry ,,and ,h4 ,,snowdon ,,ward ,photography applied to the decoration of ,china1 ,porcelain1 ,placques1 ,art ,pottery and ,ceramic and ,metallic ,surfaces in general4 ,,illustrated444444 ,prices3 ,paper1 #ej;c42 ,cloth1 #ge;c4 ,,post ,,paid1 ,,five ,,cents ,,extra ,g4 ,,gennert1 ,,publisher #bd #bf ,east #acth ,st4 ,,new ,,york ,photo ,lithography 99 99 99 99 99 ,,by ,,george ,,fritz ,,vice-,,director ,,of ,,the ,,court ,,and ,,imperial ,,state ,,printing ,,works ,,at ,,vienna 99 99 99 99 99 ,,translated ,,by ,e4,j4 ,,wall ,,fellow ,,of ,,the ,,royal ,,photographic ,,society 99 99 99 99 99 ,,containing ,,six ,,full ,,page ,,plates ,,by ,,the ,,imperial ,,state ,,printing ,,works ,,at ,,vienna ,this book treats of the preparation of ,collodions1 etc41 for ,negative work1 preparation of stones and of ,zinc plates and the making of drawings for ,photo-,lithographic work1 and includes special detailed instructions for the various materials used1 diagrams illustrating the best studios and work rooms1 etc4 ,,illustrated4444 ,cloth and ,gold1 #a4ej ,g4 ,,gennert1 ,,publisher #bd #bf ,east #acth ,st4 ,,new ,,york ,illustration ,,champion ,,card ,,and ,,paper ,,co4 ,illustration ,,east ,,pepperell1 ,,mass4 ,,manufacturers ,,of ,illustration ,,surface-,,coated ,,papers 4444 ,,plain ,,and ,,coated ,,blanks ,,for ,,printers ,,lithographers ,,this ,,book ,,is ,,printed ,,on ,,our ,,coated ,,paper ,illustration ,hume's ,illustration ,illustration ,,cantilever ,,enlarging ,,apparatus ,in #cj ,sizes1 ,various ,patterns4 ,illustration3 ,the ,standard ,pattern #e in4 ,condensers1 for #c #d plate1 without objective1 #ce2 with objective1 #de4 #h in4 ,condensers1 for #eg plate1 without objective1 #fj2 with objective1 #hj4 ,fine ,screw ,motion1 for use with non-racking lenses4 ,price for all sizes1 #e4 ,goods ,tested ,thoroughly and ,packed ,free ,g4 ,,gennert ,sole ,american ,agent #bd and #bf ,east #acth ,st4 ,,new ,,york ,adams ,illustration ,,brilliant ,,view ,,finders ,illustration ,a perfect1 bright and distinct image in direct sunlight1 or in a room where objects are hardly discernible on the ground glass4 ,,style ,no4 #a1 ,,for ,,regular ,,cameras ,,style ,no4 #b1 ,,for ,,detective ,,cameras 99 99 99 99 99 ,j4,a4 ,,leonard1 ,civil ,engineer4 ,,newburgh1 ,n4,y41 ,oct4 #b1 #ahie4 ,the ,adams ,finder received this ,a4,m41 and ,i want to thank you for putting me in the way of getting such a perfect instrument4 ,while the price seemed high1 the results are so far beyond anything that ,i deemed possible1 that ,i am more than satisfied4 ,i find that in the brightest sunlight the ,finder gives a beautiful1 clear and brilliant image1 without any necessity of shading4 ,very sincerely yours1 7,signed7 ,j4,a4 ,,leonard4 99 99 99 99 99 ,adams ,brilliant ,finders ,style ,no4 #a4 ,size ,no4 #a1 #d4ej ,size ,no4 #b1 #e4ej ,size ,no4 #c1 #f4ej ,style ,no4 #b4 ,size ,no4 #a1 #c4ej ,size ,no4 #b1 #d4ej ,size ,no4 #c1 #e4ej ,g4 ,,gennert1 ,sole ,agent #bd and #bf ,east #acth ,street1 ,,new ,,york ,,the ,,gennert ,,universal ,hard ,rubber ,fixing ,box ,illustration3 ,no4 #a4 ,illustration3 ,no4 #b4 ,the ,gennert ,universal ,fixing ,box is a decided improvement over the well-known ,gennert ,hard ,rubber ,bath4 ,the ,gennert ,universal ,fixing ,box is a substantial box with cover1 made entirely of hard rubber1 and has the following advantages over all other methods of fixing3 ,it has ridges on all four sides1 thus allowing any size plate to be fitted 7see cut ,no4 #b74 ,the plate stands half an inch above the ridges1 allowing the operator to remove it without touching the film1 as the top of the box above the ridges flares out sufficiently to admit the fingers to reach the side of the plate4 ,it fixes more plates4 ,the cover prevents dust and light from entering the box4 ,the hypo is always clean and fresh4 ,all impurities sink to the bottom and the plate cannot touch them4 ,it saves plates4 ,no spots possible on your negatives4 ,it saves spotting and retouching4 ,it saves your temper4 ,the ,gennert ,universal ,fixing ,box is made in two sizes3 ,no4 #a allows of twenty #c-a_/dd-a_/d1 #d-a_/de-a_/b or #d-a_/df-a_/b1 or eleven #f-a_/bh-a_/b plates being fixed at one time3 price1 #d4ej4 ,no4 #b allows of twenty-two #de1 #eg or #eh1 or eleven #haj plates being fixed at one time2 price1 #e4jj4 ,buy a ,gennert ,universal ,fixing ,box1 made of pure hard rubber1 and save your hypo1 plates and temper1 by sending an order to your dealer for a ,,universal4 ,g4 ,,gennert1 ,manufacturer #bd-bf ,east #acth ,street ,,new ,,york ,,carbutt',s ,half-,tone ,process ,plates ,specially made for ,photo-,etchers on ,copper1 ,brass or ,zinc1 giving negatives equal if not ,superior to ,wet ,collodion ,plates4 ,illustration3 ,,john ,,carbutt ,,manufacturer ,,of ,dry ,plates1 ,films ,,and ,,photographic ,,specialties ,,wayne ,,junction ,,philadelphia4 ,,price ,,list--,plain1 ,orthochromatic and ,strippers ,sizes4 ,per ,doz4 ,per ,doz4 ,no4 of ,plain ,strippers4,doz4 or ,ortho4 in ,case4 ---------------------------------------- ---- #c-a_/d #d-a_/d #j #de #j #gj #cf #d #e #j #fe #j #ij #cf #d-c_/d #f-a_/b #a #jj #a #be #bd #e #g #a #aj #a #de #bd #e #h #a #be #a #fe #bd #f-a_/b #h-a_/b #a #fe #b #bj #ab #h #aj #b #dj #c #bj #ab #aj #ab #c #hj #e #jj #d #aa #ad #e #jj #f #fe #c #ad #ag #i #jj #ab #jj #b ,,carbutt',s ,,fluid ,,stripping ,,medium ,which has been arrived at after a series of exhaustive experiments1 is destined to entirely supersede the old gelatine processes4 ,it is supplied already prepared from the factory4 ,it is applied cold1 sets and dries quickly1 forming a pellicle negative1 thin1 tough and flexible1 and may be printed from either side4 ,full particulars for use accompany each package4 ,price3 ,pint bottles1 #ge;c42 quart bottles1 #a4ce2 per gallon1 #e4 ,testimonial ,we have been in the photo-engraving business over three years4 ,used wet-plates for two years1 and your process-plates for the last year on half-tone work4 ,each lot seemed uniform with the others and worked well4 ,have not had a wet-plate bath in the place1 even for line work 7or half-tone either71 for over a year1 and have turned out just as good half-tone work as can be done1 so our customers say4 ,it is as good as we could ever get with wet plates4--,h4444 ,,eng4 ,,co41 per ,g4,c4,a4 ,,write ,,to ,,factory ,,for ,,circulars ,,john ,,carbutt1 ,,keystone ,,dry ,,plate ,,and ,,film ,,works ,wayne ,junction1 ,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 ,artists1 ,architects and ,designers who wish to lay washes of color over drawings in ink4 ,unlike many so-called ,indelible ,inks1 ,messrs4 ,winsor ,newton's ,waterproof ,indian ink1 after it has dried1 will be found absolutely unaffected by subsequent wetting4 ,the lines of the drawing1 from the thickest to the thinnest1 remain undisturbed1 and the purity of the most delicate color-wash is retained in an unsullied condition4 ,finally1 it may be mentioned that ,messrs4 ,winsor and ,newton's preparation is made from genuine ,indian ,ink1 and not1 as is frequently the case1 from an imitative article4 ,winsor and ,newton's ,waterproof ,ink is made in #ba different colors4 ,sample card on application4 ,illustration ,,winsor ,,newton1 ,limited #hh ,fulton ,street ,rathbone ,place ,,new ,,york ,,and ,,london4 ,,process ,,illustration ,,practical ,,materials ,,for ,,practical ,,workers 99 99 99 99 99 ,,angerer ,,scraper ,,boards ,,eight ,,varieties4 ,sample ,packet1 #as4 #f;d4 ,,angerer ,,lithographic ,,grained ,,papers ,,four ,,varieties4 ,sample ,packet1 #f;d4 ,,gillot ,,scraper ,,boards ,,eight ,,varieties4 ,sample ,packet1 #as4 #b;d4 ,,penrose',s ,,new ,,stipple ,,boards ,imitating the ,lithographic ,hand ,stipple ,,two ,,kinds4 ,sample ,packet1 #f;d4 ,,goodall',s ,,bristol ,,boards ,,lithographic ,,transfer ,,papers ,,tracing ,,transfer ,,papers ,,lemercier',s ,,inks and ,,crayons ,gillott's ,pens4 ,fine ,sable ,brushes 99 99 99 99 99 ,t ,squares1 ,set ,squares4 ,tracing ,points1 ,ruling ,pens1 ,magnifying and ,diminishing ,glasses 99 99 99 99 99 ,all ,materials1 ,tools1 ,chemicals1 and ,appliances for every ,branch of ,photo-mechanical ,reproduction ,catalogue1 ,sixpence1 ,post-free 99 99 99 99 99 ,,penrose ,,co4 ,the ,photo ,process ,stores #h;a1 ,,upper ,,baker ,,st41 ,clerkenwell1 ,,london ,f4,w4 ,,devoe ,c4,t4 ,,raynolds ,,co ,f4,w4 ,,devoe ,c4,t4 ,,raynolds ,,co ,,manufacturers ,,of ,artists' ,materials ,illustration ,,supplies ,,for ,oil and ,water ,color ,painting ,pastel and ,miniature ,painting ,charcoal1 ,crayon and ,lead ,pencil ,drawing ,etching1 ,ornamenting and ,designing ,materials for ,tapestry ,painting ,pyrography and ,china ,painting ,materials for ,pen and ,ink ,drawing ,a ,specialty ,liquid ,inks1 ,crow ,quill ,pens1 ,process ,papers1 ,roulettes1 ,f4,w4 ,devoe ,co4's ,superior ,liquid ,chinese ,white and ,indian ,ink1 ,pen and ,ink ,carton1 ,bank ,note ,bristol1 best for ,black and ,white ,work1 ,scratch ,board1 etc41 etc4 99 99 99 99 99 ,a ,complete ,line of ,ross's ,hand ,stipple ,process ,papers at ,wholesale and ,retail 99 99 99 99 99 ,fulton and ,william ,streets1 ,new ,york1 and #agf ,randolph ,street1 ,chicago ,,gennert ,hard ,rubber ,illustration ,illustration ,photographers' ,,developing and ,,fixing ,,dishes ,the ,standard of ,excellence 99 99 99 99 99 ,each ,piece ,marked ,,gennert ,manufacturer1 ,new ,york ,a4,b4 ,fleming ,co4 7,,limited7 ,scottish ,printing ,ink ,manufactory ,caroline ,park1 ,,edinburgh ,warehouse2 #ae ,whitefriars ,st41 ,london1 ,e4,c4 ,fine ,color ,department2 #aja ,leadenhall ,st41 ,london1 ,e4,c4 ,manufacturers of ,every ,kind of ,black and ,colored ,inks ,,half-,,tone ,,printing ,,inks ,,in ,,black ,,and ,,art ,,shades ,a ,,specialty 7,any ,shade ,made to ,order7 ,our ,half-,tone ,inks will not fill up1 do not contain ,earth-,colors1 and are permanent ,photochromic ,printing in ,three ,colors ,,the ,,three ,,neutral ,,colors 7,red1 ,blue and ,yellow7 ,,specially ,,prepared ,,and ,,guaranteed ,,absolutely ,,permanent ,shades ,verified by ,lovibond's ,patent ,tintometer ,,high-,,class ,,collotype ,,inks ,,of ,,all ,,shades ,,the ,,brighton ,,camera ,patented #ahha-hi and ,patent applied for ,illustration3 ,,as ,a ,,front ,,focus4 ,the ,brighton is the first desired step forward in view cameras for several years1 and can justly be called perfect1 as it has all the features so highly prized by ,artists and ,view ,photographers1 and is also adapted for ,studio use of the amateur or artist4 #ast4 ,it is a ,front ,focus ,camera4 #b;d4 ,it is a ,back ,focus ,camera as well4 #c;d4 ,it has more swing than any other ,camera4 #dth4 ,it has a self-centering1 rising and falling front4 #eth4 ,it has ,rack and ,pinion 7forward7 and slide 7backward7 movement4 #fth4 ,it has a new front board feature1 and an extra large front board4 #gth4 ,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 bed4 #hth4 ,while no ,camera is more rigid when the back clamp is set1 it can be taken entirely apart by reversing the tightening lever4 #ith4 ,it has an improvement which allows the bed to be raised without the screw catching4 #ajth4 ,it can be set up and taken down quicker and easier than any ,camera4 ,add to this absolutely perfect workmanship1 materials and finish1 and you have the ,brighton ,camera1 the ,twentieth ,century product4 ,illustration3 ,,as ,a ,,back ,,focus4 ,,price ,,list4--,leather ,bellows1 ,double ,swing1 including one ,xtralite ,plate ,holder and ,carrying ,case1 #eg1 #bd4jj2 #eh1 #bf4jj2 #f-a_/bh-a_/b1 #bh4jj2 #haj1 #cj4jj2 #aaad1 #dj4jj2 #adag1 #fj4jj4 ,g4 ,,gennert1 ,manufacturer #bd #bf ,east #acth ,street1 ,,new ,,york ,illustration ,,ross ,,lenses ,,ross ,,zeiss ,,anastigmats ,,ross-,,goerz ,,double ,,anastigmats ,illustration ,the ,best ,photographic ,objectives for all purposes4 ,several series especially adapted to ,reproductions4 ,illustration ,catalogue on ,application to ,g4 ,,gennert ,sole ,american ,agent #bd #bf ,east #acth ,street1 ,,new ,,york ,illustration ,there are ,,washing ,,boxes ,,and ,,boxes ,that are ,supposed to ,wash1 ,but ,don't ,do ,it ,illustration ,the ,gennert ,universal ,washing ,box ,illustration ,,washes ,,clean ,,and ,,quick ,no4 #a ,holds #bb ,plates #c-a_/d #d-a_/d or #d-a_/d #f-a_/b--aa ,plates #f-a_/b #h-a_/b4 ,price1 #b4jj4 ,no4 #b ,holds #bb ,plates #d #e1 #e #g1 or #e #h--aa ,plates #h #aj4 ,price1 #b4be4 ,g4 ,,gennert1 ,sole ,mfr41 #bd and #bf ,east #acth ,st4 ,,new ,,york ,,the ,,new ,,york ,,photogravure ,,co41 at #acg ,west #bc;d ,street1 makes perfect pictures for artistic1 scientific and commercial purposes1 by special1 inimitable photogravure1 photogelatine1 and half-tone block processes4 ,it has a gallery fitted to produce negatives of all sizes up to #bd #cj1 by the best orthochromatic methods4 ,from this department to the packing room1 there is not a phase of any work1 however trivial apparently1 not carefully attended with the most zealous supervision4 ,from ,king's ,handbook of ,new ,york ,city 99 99 99 99 99 ,photographs in ,colors ,mr4 ,edwards spoke from the small stage at the end of the exhibition hall1 and after an interesting rsum of the many 'processes' by which pictures and illustrations are now made with the aid of photography1 the most important of which he explained in lucid and not too technical phraseology1 he approached the most interesting part of his discourse1 the modern method of three-color printing1 which has1 under the ,new ,york ,photogravure ,company1 reached so high a state of perfection and resulted in such surprisingly attractive results4 ,from the ,mail and ,express1 ,new ,york 99 99 99 99 99 ,,sun ,,and ,,shade reproduces1 not only the most notable paintings and portraits1 but the best work of amateur and professional photographers4 ,if it gave nothing but the latter work1 it would be deserving of the most liberal patronage that it receives2 but it is an admirable record of the greatest paintings at the ,metropolitan ,museum of ,art1 of living ,american players1 of portraits of celebrated ,americans1 of great ,american painters1 with reproductions of their work1 and it is a monument of the ,new ,york ,photogravure ,co41 which is a monument of artistic ,new ,york4 ,,footnotes3 #a ,our frontispiece1 a ,collotype by ,s4,b4 ,bolas and ,co41 is an excellent example of this process4 #b ,the copper deposited by electro-deposition is little more than a thin skin of metal1 which is then backed by a block of type-metal of the same thickness as the usual letterpress type4 #c ,see remarks on printing in ,chap4 ,x4 #d ,the term tone1 as used here and elsewhere throughout this book1 is a word universally employed in art to express varying degrees of lightness and darkness irrespective of colour4 ,the word shade1 as commonly used and accepted1 comes nearest to its meaning1 but that shade refers rather to varying tint of local colour1 as when one says a beautiful shade of pink4 ,shade is also used to express the reverse of light1 as light and shade4 ,objects in nature1 when represented in correct relationship of lightness and darkness1 are said to be in correct relative tone4 #e ,refer to p4 #gb4 #f ,here1 with all due deference1 ,i may draw attention to the unpleasing effect of an illustration of elliptical or cushion shape1 especially when mixed with letterpress on a book page1 the general scheme of which is square or rectangular4 ,unless an irregular shape is for a special purpose desirable1 it will be safer to keep the illustrations to a rectangular form4 ---------------------------------------- ---------------------- ,transcribers ,notes3 ,fixed various commas and full-stops4 ,p4#af4 'astist' changed to 'artist'4 ,p4#cb4 'ana' changed to 'and'4 ,p4#aji4 'reveiwed' changed to 'reviewed'4 ,add3 ,camera3 to 'be be raised'1 changed to 'be raised'4 ---------------------------------------- ----------------------