,,drawing ,,for ,,printers4 ,a ,,practical ,,treatise ,,on ,,the ,,art ,,of ,,designing ,,and ,,illustrating ,,in ,,connection ,,with ,,typography4 ,,containing ,,complete ,,instruction1 ,,fully ,,illustrated1 ,,concerning ,,the ,,art ,,of ,,drawing1 ,,for ,,the ,,beginner ,,as ,,well ,,as ,,the ,,more ,,advanced ,,student4 ,,by ,,ernest ,,knaufft1 ,editor of ,the ,art ,student1 and ,director of the ,chautauqua ,society of ,fine ,arts4 ,,chicago3 ,,the ,,inland ,,printer ,,company4 #ahii4 ,,copyright1 #ahig ,,and #ahii1 ,,by ,,ernest ,,knaufft4 ,,preface4 ,the author has no doubt but that many captious readers1 upon opening this book1 will find it puzzling4 ,they will think that it does not present the subject in an orderly fashion4 ,they would much prefer to have us suggest one month's study of outlines1 and then finish with the subject2 then two months' study of shading1 which we would maintain covered the whole ground2 and they would wish us to separate with equal positiveness the whole study of drawing into distinct portions4 ,to these criticisms ,i reply with the following parable3 ,mrs4 ,smith1 the mother of a large family1 distressed by the bigness of the physician's bill 7or rather by her husband's complaints of the same71 procured at the druggist's a case of homopathic medicine1 with a booklet directing its dispensation1 which would enable her to act as her family physician1 and bringing it home perused it with delight1 as she found every ailment which her children were heir to extensively described therein--chicken-pox1 croup1 diphtheria and scarlet fever were alphabetically set down1 and their proper remedy clearly named4 ,when she retired she staid awake1 almost hoping to hear little ,johnny cough or ,mary toss in her crib1 that she might prove her knowledge of symptomatology1 and the efficacy of the drugs4 ,alas1 a month's experience brought with it a source of embarrassment which she had not anticipated on procuring her book4 ,true1 she had learned it by heart with ease1 and knew that for a slight attack of fever one drop of aconite and two of belladonna should be given on alternate days1 and that for an incipient attack of croup she should give one drop of aconite every half hour1 8which might be administered more frequently if the case showed symptoms of rapid development40 ,alas1 the difficulty did not arise from any omission in the book directions for applying remedies1 but the puzzling point was to distinguish in nature between the symptoms of croup1 for instance1 and those of an ordinary cold4 ,was ,johnny's sonorous barking due to a real croupy throat1 or was it the natural formation of his vocal organs which gave so ominous a tone to a cough that might be only the result of his wading in the rain barrel the morning before8 ,was ,tommy's calling for 8a wink of water0 no less than six times in a night due to a prospective fever1 or was it the result of loneliness because he had for the first time been put in the spare room1 and wanted his mother's company8 ,was little ,mary's restlessness indicative of a coming attack of measles1 or the result of her cousin's having read her1 that afternoon1 8,the ,goblins 'll ,get ,you if ,you ,don't ,watch ,out40 ,these were the puzzling questions2 if the physician could only diagnose the case for her1 she herself could have administered the proper quota of drops of aconite or belladonna4 ,the moral is plain4 ,those books on drawing which say1 8,having made correct outlines1 begin to shade with an ,f pencil as follows10 are very easy reading2 but an attempt at application soon convinces one that such instruction presupposes an amount of previous eye-training on the part of the student which is not often the endowment of the ordinary man4 ,,contents4 ,,part ,i4 ,,chapter ,i4 ,,introductory -- ,a ,,knowledge ,,of ,,designing ,,of ,,value ,,to ,,printers 4 4 4 #ag ,,chapter ,,ii4 ,,seeing ,,properly 4 4 4 #bf ,,chapter ,,iii4 ,,silhouettes -- ,,perspective 4 4 4 #cb ,,chapter ,,iv4 ,,power ,,of ,,outline -- ,,shaded ,,drawing 4 4 4 #da ,,chapter ,v4 ,,general ,,practice 4 4 4 #di ,,chapter ,,vi4 ,,characteristics ,,of ,,objects 4 4 4 #eg ,,chapter ,,vii4 ,,light ,,and ,,shade 4 4 4 #fc ,,chapter ,,viii4 ,,methods -- ,,outline ,,and ,,shaded ,,drawing -- ,r,,sum 4 4 4 #gc ,,chapter ,,ix4 ,,lines ,,of ,,the ,,face 4 4 4 #hb ,,chapter ,x4 ,,broad ,,outline ,,adapted ,,to ,,printing -- ,,light ,,and ,,dark ,,masses -- ,,french ,,names -- ,,art ,,school ,,methods 4 4 4 #hf ,,chapter ,,xi4 ,,lines ,,introduced ,,because ,,their ,,counterpart ,,is ,,seen ,,in ,,nature -- ,,facial ,,expression 4 4 4 #aja ,,chapter ,,xii4 ,,pen ,,drawing ,,for ,,magazine ,,and ,,newspaper 4 4 4 #aaa ,,chapter ,,xiii4 ,,pen ,,technic3 ,,its ,,use ,,and ,,abuse -- ,,criticism ,,of ,,various ,,styles 4 4 4 #aba ,,chapter ,,xiv4 ,,illustrations ,,reviewed -- ,,the ,,planes ,,of ,,the ,,face 4 4 4 #acb ,,part ,,ii4 ,,chapter ,i4 ,,introduction 4 4 4 #aec ,,chapter ,,ii4 ,,taste 4 4 4 #afc ,,chapter ,,iii4 ,,miscellaneous ,,illustrations -- ,,economy ,,in ,,printing 4 4 4 #age ,,chapter ,,iv4 ,,lettering3 ,,theory ,,and ,,practice 4 4 4 #aha ,,chapter ,v4 ,,some ,,standard ,,historic ,,alphabets ,,studied 4 4 4 #aia ,,chapter ,,vi4 ,,early ,,and ,,modern ,,type3 ,,its ,,appropriateness1 ,,its ,,ornamentation 4 4 4 #aig ,,chapter ,,vii4 ,,origin ,,and ,,development ,,of ,,letters 4 4 4 #bjg ,,chapter ,,viii4 ,,summary ,,of ,,method ,,of ,,instruction -- ,,analysis ,,of ,,styles ,,of ,,book ,,decoration 4 4 4 #baa ,,chapter ,,ix4 ,,wood ,,engraving -- ,,directions ,,for ,,practice 4 4 4 #bbc ,,chapter ,x4 ,,directions ,,for ,,experiments ,,with ,,zinc ,,plates -- ,,copperplate ,,engraving--,,lithography--,,chalk ,,plate 4 4 4 #bcd ,,list ,,of ,,illustrations4 ,aldine ,horace3 ,title-page from 4 4 4 #aii ,auriol1 ,georg3 ,heading design 4 4 4 #age ,designs 4 4 4 #bje1 #baf ,theatre du ,chat ,noir 4 4 4 #bag ,bauernfeind1 ,michael3 ,alphabet 4 4 4 #ahi ,beggarstaff ,brothers3 ,poster 4 4 4 #bai ,bergomensis1 ,j4 ,p4 ,f43 ,title-page 4 4 4 #aic ,bonnard1 ,pierre3 ,head of ,pierre ,rn ,choudieu 4 4 4 #hg ,tailpiece 4 4 4 #ie ,bonnat1 ,lon3 ,studies for figures in a painting 4 4 4 #ed ,portrait of ,lon ,cogniet 4 4 4 #ia ,brun1 ,a43 ,at the ,caf ,aphrodite 4 4 4 #ig ,caspari3 ,title-page to ,volume ,,ii of ,jugend 4 4 4 #afi ,chap-,book3 ,illustration1 ,genuine 4 4 4 #bbg ,chaume1 ,geoffrey de3 ,mask of ,branger 4 4 4 #ada ,crawhall1 ,joseph3 ,illustration1 imitation of ,chap-,book 4 4 4 #bbi ,dagnan-,bouveret3 ,study of a head 4 4 4 #gb ,david d',angers3 ,medallion 4 4 4 #acg d',illzach1 ,ringel3 ,medallion portrait 4 4 4 #ach ,diagrams3 ,of ,herkomer pine trees-- ,no4 #a 4 4 4 #fj ,no4 #b 4 4 4 #fa ,of ,grasset ornament-- ,nos4 #c and #d 4 4 4 #fd ,practice blocks for wood-engraving1 ,nos4 #a and #b 4 4 4 #bcb ,no4 #c 4 4 4 #bcc ,dollman1 ,j4 ,c41 ,r4 ,i43 8,hawks ,dinna ,pike ,out ,hawks' ,een0 4 4 4 #aci ,donatello3 ,bust of young girl1 after 4 4 4 #ajd ,don ,chisciotte1 ,caricature from3 ,crispi as ,csar 4 4 4 #cg ,eaton1 ,wyatt3 ,portrait of ,robert ,louis ,stevenson 4 4 4 #aaf ,engstrm1 ,albert3 ,caricature of the artist himself 4 4 4 #ba ,hedin--a caricature 4 4 4 #bh ,jrgen--a caricature 4 4 4 #bi ,daniel ,fallstrm--a caricature 4 4 4 #dd ,figaro1 ,illustration from 4 4 4 #aef ,forain3 ,newspaper caricatures 4 4 4 #abg1 #adb ,french ,art ,schools ,studies1 published under the direction of ,bargue and ,grme3 ,figure1 4 4 4 #ef ,hand1 ,fig4 ,a 4 4 4 #ff ,hand1 ,fig4 ,b 4 4 4 #fg ,foot 4 4 4 #ih ,foot 4 4 4 #ii ,french ,periodical3 ,headpiece from 4 4 4 #baa ,caricature of ,french actor1 ,dailly1 from 4 4 4 #bac ,battle of the ,sphinx1 from 4 4 4 #baf ,french ,periodical3 ,headpiece from 4 4 4 #bbb ,wood cut portrait from 4 4 4 #bca ,tailpiece1 ,silhouette 4 4 4 #bcc ,gaillard1 ,c4 ,f43 ,study for the portrait of ,mme4 ,r4 4 4 4 #gg ,gerbault1 ,h43 ,pen drawing with mechanically stippled background 4 4 4 #bd ,gil ,blas--front page from 4 4 4 #afd ,girardet1 ,jules3 ,pen drawing 4 4 4 #cf ,grasset1 ,eugene3 ,typographical ornaments 4 4 4 #cb1 #ci1 #da1 #dh ,cover of a dictionary 4 4 4 #aff ,department headings 4 4 4 #agb1 #bjc ,typographical design repeated from page #ci 4 4 4 #bcd ,grellet1 ,f43 ,study from bust of ,young ,girl1 by ,donatello 4 4 4 #ajd ,study from bust of ,brontolone1 by ,luca della ,robbia 4 4 4 #aji ,guillaume3 ,caricature of ,eugne ,carrire 4 4 4 #abe ,pen drawing from ,french daily paper 4 4 4 #adc ,herkomer1 ,hubert3 ,study of pine trees 4 4 4 #ea ,holbein3 ,book-cover 4 4 4 #bbb ,jugend3 ,title-page from 4 4 4 #afi ,knaus1 ,ludwig3 ,head of ,old ,man 4 4 4 #hc ,lansyer1 ,e43 ,the ,courtyard of the ,sorbonne 4 4 4 #bj ,larousse's ,new ,dictionary3 ,first page from 4 4 4 #bja ,l',artist3 ,initial ,l's from 4 4 4 #bag1 #bah ,initial ,l and paragraph heading1 from 4 4 4 #bbj ,la-,tour1 ,fantin3 ,portraits 4 4 4 #fh ,lautrec1 ,h4 de ,t43 8,zimmerman and his machine0 4 4 4 #bab ,lefebvre1 ,j43 ,crayon study of a child 4 4 4 #ajf ,leloir1 ,maurice3 ,pen drawing 4 4 4 #adg ,le ,roux1 ,e43 ,on the ,banks of the ,isole 4 4 4 #adj ,lwe-,marchand3 ,portrait of ,m4 ,x4 4 4 4 #ge ,lormier1 ,e43 ,crayon drawing from ,medallion of ,alf4 ,leroux 4 4 4 #ach ,luca della ,robbia3 ,bust of ,brontolone1 after 4 4 4 #aji ,lucas1 ,f4 ,h43 ,book illustration 4 4 4 #add ,lucidario3 ,title-page from 4 4 4 #ahf ,luque1 ,m43 ,crispi1 a caricature 4 4 4 #dj ,pen drawing 4 4 4 #adf ,mantelet1 ,albert3 ,initial letter 4 4 4 #bad ,same enlarged 4 4 4 #bae ,marchetti3 ,initial letter 4 4 4 #aba ,chapter heading 4 4 4 #abc ,matlay1 ,p43 ,portrait of ,flicien ,rops 4 4 4 #bcg ,millais1 ,john ,everett3 ,pencil sketch 4 4 4 #de ,minnesinger's ,song ,book3 ,page from 4 4 4 #ahc ,moloch1 ,b43 8,crispi under ,hostile ,lightning10 a caricature 4 4 4 #ca ,monet1 ,claude3 ,marine 4 4 4 #adh ,munkacsy1 ,michael3 ,study for a figure in a painting 4 4 4 #ec ,moullier1 ,marc3 ,pen drawing for ,la ,plume 4 4 4 #acj ,novel ,heading3 ,see ,pall ,mall ,budget4 ,pall ,mall ,budget3 ,heading for novel from 4 4 4 #afh ,pall ,mall ,gazette3 ,portraits from 4 4 4 #ajh ,paris ,illustr3 ,illustration from 4 4 4 #ade ,paul1 ,herman3 ,des ,gueules 4 4 4 #acb ,penlick3 ,nos ,soldats 4 4 4 #bba ,pomeroy1 ,f4 ,w43 ,burns' statue 4 4 4 #agh ,renard1 ,e43 ,the ,grandmother 4 4 4 #aad ,ricketts1 ,charles3 ,page from ,nimphidia 4 4 4 #ahe ,rivoire3 ,cover design 4 4 4 #agf ,robert1 ,carl3 ,portrait of ,hahnemann from medallion by ,david d',angers 4 4 4 #acg ,rogel1 ,hans3 ,alphabet 4 4 4 #ahi ,sickert1 ,walter3 ,portrait of ,c4 ,rivers ,wilson 4 4 4 #aai ,same reduced 4 4 4 #aej ,silhouette1 an old-fashioned3 ,goethe's ,mother 4 4 4 #aec ,st4 ,elme3 ,pen drawing from a ,french journal 4 4 4 #abd ,stimmer1 ,chr43 ,alphabet 4 4 4 #ahi ,strange's ,book on ,lettering3 ,examples of ,seventh ,century ,lettering1 from 4 4 4 #aie ,stuck1 ,franz3 ,cover design for ,pan 4 4 4 #aga ,lettering of same repeated 4 4 4 #bcf ,t41 ,e4 ,g43 ,portrait of ,fred ,walker 4 4 4 #ajb ,same reduced 4 4 4 #adi ,tid-,bits3 ,newspaper cut from1 portrait of ,george ,frederick ,watts1 ,r4 ,a4 7artist unknown7 4 4 4 #gi ,same reduced 4 4 4 #aab ,toussaint1 ,t43 ,the late ,duc d',aumale 4 4 4 #hi ,vallet1 ,l43 ,news drawing from ,french periodical 4 4 4 #abh ,vallotton1 ,f43 ,three portraits of ,frederick ,nietzsche 4 4 4 #acd ,portrait of the artist1 portrait of ,malthus1 portrait of ,paul ,robin 4 4 4 #ace ,verdyen3 ,a fte at ,brussels 4 4 4 #ic ,vierge1 ,daniel3 ,illustration to ,pablo de ,segovie 4 4 4 #abb ,westminster ,budget3 ,cover design1 from 4 4 4 #aeg ,wood cut3 ,the ,standard-bearer of ,schafhausen 4 4 4 #bbf #ag ,,drawing ,,for ,,printers4 ,,chapter ,i4 ,,introductory -- ,,designing ,,of ,,value ,,to ,,the ,,printer -- ,,natural ,,ability ,,versus ,,instruction -- ,,small ,,designs ,,as ,,difficult ,,as ,,large -- ,,reader ,,not ,,to ,,be ,,discouraged ,,because ,,he ,,cannot ,,be ,a ,,full-,,fledged ,,artist -- 8,,how ,,should ,i ,,begin ,,to ,,learn ,,to ,,draw80 -- ,,learning ,,to ,,see -- ,,instruction ,,does ,,not ,,consist ,,of ,,naming ,,materials -- ,,the ,,study ,,of ,a ,,hat ,,seen ,,in ,,different ,,positions -- ,,the ,,value ,,of ,,observation4 ,there has been in recent years a marked change in the character of the printing done in this country2 plain printing has been superseded by decorative printing2 the typographer of a few years back was only a compositor and pressman1 today he should be a designer as well4 ,in view of that requirement this little treatise is written1 in the hope that1 though its advice may not make an illustrator out of its reader1 it will at least acquaint him with some principles of design that he may apply in his daily practice4 ,the reader will not be deceived1 the writer not misunderstood1 if at the outset it is put on record that great success in art is dependent much more upon natural ability1 aye1 genius1 than upon study1 and that these chapters can only tell you how to study--they cannot guarantee you success4 ,a man of fifty1 a master printer1 may study our advice thoroughly and then attempt to #ah draw an elephant chasing an ,african1 and the result may be conspicuously inferior to the treatment of the same subject by little eight-year-old ,johnny ,green who is yet in the primary school2 but ,johnny ,green may have 8an eye for drawing0 and our master printer be as devoid of it as is a cow of melody in her voice4 ,not only is it true that without talent you must not expect to succeed in producing important pictures1 such as full-page illustrations1 double-column portraits1 poster designs and large work in general1 but it is almost more unlikely that you will succeed in designing the most simple tailpiece or initial letter4 ,it is quite natural that you should suppose it a very easy task to design an initial letter or a tiny silhouette of a leaf or flower1 a branch or wreath or two forming a 8printer's mark02 every artist in ,christendom thinks the same--until he tries it2 but you would be surprised if ,i filled this chapter with the history of certain initial letters and devices1 and tracing them to their fountain head1 we found that in nine cases out of ten they were designed by the very greatest artists of the time4 ,you can take it as an undisputed fact that should some publishing house wish an ordinary full-page illustration for a book1 and at the same time a simple 8publisher's mark10 a device about an inch square for the title-page of that book1 they would find ten artists who could execute the former to one who could design the latter so that it would be up to the standard of the best 8marks0 in history4 ,is it then1 you ask1 our intention at the very start to discourage you1 and advise you to attempt nothing because you cannot excel in anything8 ,not at all4 ,a #ai country editor need not refrain from studying rhetoric so as to improve the style of his editorials1 just because he knows that without genius he may not expect to equal the diction of ,macaulay4 ,the rhetoric may not give him wit to put in his editorials1 but it at least may teach him to cast his sentences properly4 ,so this treatise may not supply you with 8art feeling10 but it will1 we hope1 show you how to make a design in a more workmanlike way than you would without our advice2 and we most sincerely advise you to try4 ,everyone in asking the question1 8,how should ,i begin to learn to draw80 expects that the answer will direct him to use certain materials in a certain way1 and that by the manipulation of these materials in this certain way1 he will get the desired result4 ,so far as this treatise is concerned1 the reader will be disappointed in this regard2 it is true that the writer is particularly interested in the technic of the different graphic arts1 and later on will have something to say about the best methods for pen drawing1 for chalk-plate1 for wood engraving2 but in these first chapters on drawing it must be distinctly understood that our advice is that the student should not worry about what pencil or what paper he should use1 or about how his lines should look1 but should realize from the outset that his principal study should be the education of his eye4 ,the reason that we do not draw well in infancy is because we have not learned to see4 ,you may take it as a positive fact that the untrained eye of every man sees things in an absolutely incorrect manner--or rather he does not know how he sees things4 ,let us take1 for example1 an immense factory-building with over a hundred windows #bj ,illustration3 ,,the ,,courtyard ,,of ,,the ,,sorbonne ,,in #ahhf4 ,pen drawing by ,e4 ,lansyer4 ,looking at these buildings as in this picture1 an artist knows that a doorway or a window in the building with the dome would appear as a perfect rectangle1 as we see in the case of the main doorway1 because seen 8in front view02 but the windows in the buildings at the sides are not perfect rectangles because1 being seen 8in perspective10 or at an angle1 their sills and lintels seem to tip downward4 ,the uneducated eye1 however1 knowing them to be rectangles1 sees them as such1 not realizing that each receding window is narrower than its predecessor2 and that1 moreover1 the lintels and sills of a window in a higher story have a greater tip than those of one below1 and that every lintel has greater tip than its corresponding sill4 ,this knowledge1 however1 should be known to all artists through the study of perspective4 #ba ,illustration3 ,,caricature ,,of ,,the ,,artist ,,himself4 ,by ,albert ,engstrm4 #bb on its front and on its sides4 ,let us presume that a man is standing directly in front of the building2 the chances are that he sees every window in a tolerably correct manner4 ,he sees that all the windows are alike1 etc42 that each is a certain distance from the other1 etc4 ,good6 ,but now let him walk to the end of the building and look at it diagonally2 he still sees the building as he saw it in the front view2 depend upon it1 that he sees each window as a perfect rectangle1 and each window the same distance from the other2 he would be incapable of going home and showing you on a piece of paper the 8direction0 of every window line4 ,let an artist step in his place and he sees every window different from the other6 ,you probably do not realize the full truth of this statement at present1 but you will after we have our chapter on perspective4 ,for the present please take my word for it1 and bear in mind that you must first learn to see4 ,let us take the caricature by ,albert ,engstrm for our first lesson4 ,we have selected it for two reasons3 first1 because it is a caricature1 and we wish our readers to realize that this treatise is going to be of use to printers from the beginning1 and that we are going to study drawing in an interesting manner4 ,many a printer is as well the publisher of a newspaper and feels that from time to time he would like to publish a caricature to enliven his pages1 or at any rate he is interested in the cartoons in the illustrated press1 and would like to know how they are done1 and the best way to acquire this knowledge is to practice a little one's self4 ,besides1 the practice of caricaturing is most beneficial to every draftsman2 there have been but few great painters who #bc have not indulged in it4 ,another reason for using this cut is that it is drawn in a very simple manner in a few strong lines4 ,while the students at the art schools usually begin to get effects with light and shade1 the printer will do well to master outline sooner than light and shade1 for it is the most quickly executed and the most easily engraved1 and1 ,i need not add1 last but not least1 most easily printed4 ,i should advise you then to take commonplace objects that are about the house and make innumerable sketches of them in the manner of this drawing4 ,take a derby hat for example1 place it a little above the eye and endeavor to draw it as ,engstrm did his4 ,do not worry much about your style of drawing1 do not complain that your pen will not work and that you cannot get a line varying in thickness like this one2 or if you do succeed1 do not ask your friends to admire your handsome pen line2 do not think about your drawing at all1 but solely about learning to see4 ,place the hat above you1 notice that you see the under part of the brim nearer you1 and the inside of the brim on the far side2 if there is not a head under the hat endeavor with a single curved line to indicate as much of the lining as you see2 if you see anything else that is not given in ,engstrm's drawing and you try to express it as he expresses things you employ an excellent method of study4 ,next place the hat in the same position but below the eye1 on the seat of a chair1 and notice that you no longer see under the brims but inside of them2 then place the hat on its crown upon the chair so that you see the oval of the inside of its crown1 and endeavor to express that oval with two semi-circles1 as simple as the one which ,engstrm uses in drawing the #bd crown of the hat4 ,again1 put the hat on the mantelpiece and draw a side view of it2 this will be more simple than any of the other views4 ,i think that an hour's practice of this kind will soon convince you that the casual glance of the uneducated eye does not take in a complete or perfect view of an object1 but that after you have studied an object with a view to drawing it1 you begin to see with more thoroughness4 ,you will1 ,i think1 notice1 as you walk home in the evening1 the contours of the different hats that you see in the hatter's ,illustration3 ,,pen ,,drawing ,,with ,,mechanically ,,stippled ,,background4 ,by ,h4 ,gerbault4 ,showing different kinds of hats in various positions4 window1 and upon the pedestrians2 you will begin to guess how you would draw such a hat or cap1 and from time to time you will see headgear that 8lends itself to drawing10 as it were2 you will say1 8,when ,i go home ,i will try to draw that hat40 ,we print on this page an interesting drawing by ,gerbault4 ,to the casual observer a drawing of this kind simply represents some men with their hats on1 and he enjoys looking at the hats collectively1 while he may enjoy the individual #be faces2 but the illustrator1 with his practiced eye1 finds enjoyment in examining the way each individual hat is drawn4 ,you will find the same enjoyment if you practice drawing hats as we have recommended1 and it is needless to say that your enjoyment will be profitable1 and1 moreover1 that your practice need not be limited to the drawing of hats1 but may embrace coats1 gloves1 and shoes as well4 ,if such is the influence upon your mind made by this chapter1 we feel sure that you will never regret having read it and given the time to the practice we recommend1 and we think that the first step in the study of drawing will have been made1 and that you will feel it has been a successful one4 #bf ,,chapter ,,ii4 ,,more ,,about ,,hats -- ,,perspective ,,may ,,be ,,learned ,,from ,,them -- ,,drawing ,,more ,a ,,matter ,,of ,,seeing ,,properly ,,than ,,use ,,of ,,pen -- ,,texture -- ,,silhouette ,,drawings ,,used ,,by ,,egyptians4 ,we trust that you followed the advice of our former chapter1 that you tried to draw a hat in several positions1 and that you then found1 as we prophesied1 that you were led to observe the hats that you saw in the street with a new sense of discernment2 if that is true1 you will appreciate this chapter1 we think1 though it be very short4 ,we select two more caricatures for you1 in which we find hats that are very similar4 ,now we can tell you quite positively whether you have an eye for drawing or not4 ,stop a moment1 and before reading the next paragraph1 look at these hats1 pages #bh1 #bi1 and argue out the reason why they are drawn as they are2 if your reasons are somewhat like the following1 your chances for learning to draw are good2 if not1 you have much study ahead of you1 even before you can make a start4 ,your observation is good if you realize that in drawing almost anything you may represent it as a silhouette4 ,the ,egyptians did much of their writing in hieroglyphs1 using silhouette pictures of thousands of different objects2 helmets and crowns1 hands and feet1 men and animals1 tools and utensils were employed as characters in their alphabet2 and if you see plainly how a silhouette is made by outlining an object as it is seen from one point #bg of view1 usually a perfect side view1 the object on a level with the eye1 and that the outline is filled in with black1 you may be sure that you have been observing correctly4 ,you will notice then that these two hats are 7#a7 on a level with the eye1 for if 7#b7 below the eye1 you would see the top of the crown and into the brim2 if 7#c7 above the eye1 you would see underneath the brim4 ,you notice also that the 8,hedin0 is the true silhouette1 which is made by leaving out the lights on the side1 the suggestion of the band1 and the upper edge of the brim4 ,you will also notice 7#d71 particularly in the 8,jrgen10 that the feet are as though the gentleman were walking on a chalk-line on a table and the spectator sitting on a low chair1 so that the feet were on a level with his eye2 this is a characteristic feature of ,egyptian hieroglyphs4 ,if the feet were drawn realistically they would not only not be on a line one with the other1 but we would seem to look down upon the shoes1 as ordinarily a man's feet are below the spectator's eye4 ,we think that this is enough for one lesson1 and if you find that the propositions that we have numbered are not clear to you1 you would better work out the problems on a sheet of paper4 ,we take it for granted that ,nos4 #a and #b are clear to anyone who drew the hats according to our last chapter2 but ,nos4 #c and #d may not be so evident2 if not1 get a pair of shoes and put them on the mantel on a level with your eye2 next place them upon the floor in the position in which one ordinarily walks or stands1 and our propositions will be clear to you4 ,it is most important that you should understand all these matters of optics1 though it makes little difference #bh ,illustration3 8,,hedin0--,a ,,caricature4 ,by ,albert ,engstrm4 ,the hat and coat are pure silhouette1 the face 8suggestive outline40 #bi ,illustration3 8,j,,rgen0--,a ,,caricature4 ,by ,albert ,engstrm4 ,the hat and shoes are partially silhouette2 but the high lights upon them are connected with finished work4 #cj with what kind of a pen you may make your drawing4 ,having mastered these principles1 you would then understand such a criticism on ,engstrm's work as the following3 ,mr4 ,engstrm sometimes employs the pure silhouette1 as in the 8,hedin10 and sometimes silhouette in a modified form1 as in the 8,jrgen02 in the former case an artist sacrifices rotundity1 detail and texture 7the white streaks on the 8,jrgen0 hat suggest the surface of the beaver2 this we call texture2 a felt hat has no such white streaks upon it1 and might be adequately represented by a set of lines such as are used on ,jrgen's coat1 but no silhouette can suggest texture72 in his caricatures ,engstrm unites with the silhouette effect the single-plane effect of the ,egyptian hieroglyphs4 7,the hieroglyphs were mostly painted on walls and the feet represented as though flush with the wall1 and not one farther from us than the other1 hence we say that they are on one plane47 ,many caricaturists have effectually burlesqued the ,egyptian method of drawing and the placing of their figures4 ,the trousers and the cane in the 8,jrgen0 drawing are the only objects in one plane2 the coat collar is distinctly rounded4 ,in the ,moloch illustration we see also silhouette treatment4 ,you can easily imagine how ,hedin's hat1 if the proper size1 would fittingly rest on ,crispi's head4 #ca ,illustration3 ,,crispi ,,under ,,hostile ,,lightning4 ,caricature by ,b4 ,moloch4 ,an example of silhouette drawing4 #cb ,illustration3 ,,typographical ,,ornament4 ,designed by ,eugene ,grasset4 ,,chapter ,,iii4 ,,hieroglyphic ,,designs ,,or ,,silhouettes -- ,,their ,,use ,,as ,,typographical ,,ornaments -- ,,objects ,,seen ,,as ,,on ,,one ,,plane -- ,,placing ,,your ,,object -- ,,horizontal ,,lines ,,parallel ,,to ,,the ,,eye -- ,,horizontal ,,lines ,,not ,,parallel ,,to ,,the ,,eye4 ,we publish two kinds of drawings with this chapter1 which many be classified as follows3 ,the ,grassets are hieroglyphic-like designs or silhouettes2 the ,crispi1 in his robe de chambre1 which for want of the artist's name we shall call the ,don ,chisciotte cut--8,don ,chisciotte0 you no doubt suspect is the ,italian for ,don ,quixote1 and it is the name of a cartoon paper--is a pure outline drawing4 ,now let us take them in turn4 ,every printer will recognize that the ,grasset designs are excellent1 for they may be printed with greater ease than shaded drawings1 and their simplicity is in perfect harmony with the solid black of type4 ,now1 not only would it #cc be pleasant for you as a printer to begin making some such silhouettes1 but it is very good practice in drawing for you to search the house for objects that you can put up against the window pane and draw their contours1 filling them in with black4 ,a whisk broom1 a pair of scissors1 a pair of eyeglasses1 a leaf1 a feather may be put up against the glass and its silhouette copied1 and you then realize how many objects may be represented by their contours4 ,later you learn how to silhouette objects less flat2 you may try the ink bottle with a pen in it1 the glue pot with the brush in it2 this leads you to such a thorough understanding of ,grasset's flowers as pages of writing would never give4 ,in walking in the streets after such an exercise you will notice not only the 8block0 of a man's hat 7which we spoke of in ,chapter ,i71 but you will notice what kind of a silhouette it makes against the sky2 then the shape of the birds1 the weather vanes1 the church steeples as they are 8etched against the sky10 as the poets say1 will have a new interest for you4 ,in this practice of silhouetting objects you learn something that is most important in more advanced work4 ,you learn to see objects as on one plane4 ,we fancy your knowledge of geometry is sufficient for you to understand what we mean1 but let us go over the ground slowly so that it may facilitate our future explanations of perspective problems4 ,by a plane we mean a plain1 a flat surface4 ,a table top is a plane4 ,but the plane the artist draws upon--say a sheet of paper--though he may let it lie horizontal on a table1 is always considered a vertical plane1 corresponding to a pane of glass in a window4 ,now1 if #cd we are looking across the street1 through the window1 we know that each receding cobblestone in the street 7though in one horizontal plane7 is in a different vertical plane from the others4 ,if we wished to make the plane a tangible one we could set up a pane of glass in front of the nearest cobblestone1 and then another pane in front of the cobblestone across the street1 then it would be evident to anyone that these stones were in two planes1 would it not8 ,good6 ,now1 if you should go to the window and trace with a paint brush a picture of these two cobblestones on the glass1 you would draw your picture on one plane1 and that a vertical plane4 ,well1 that is just what the artist does when he draws a picture by the eye4 ,he may lay his paper horizontally on a common table1 or obliquely on a tipping drawing table1 or on an easel1 but he does not draw the objects as though seen through a horizontal or oblique plane 7except sometimes when he sketches from a church-steeple or a hilltop71 but on the contrary1 the ordinary drawing always represents objects as seen through a vertical pane of glass and as they would be traced on that pane1 hence reduced to one plane4 ,having read the foregoing two or three times we will ask you to turn to the ,don ,chisciotte caricature4 ,has it not a new interest to you8 ,do you not see immediately that the legs of the bureau1 though in reality some few feet apart and so in different planes1 are drawn on a sheet of paper on one plane8 ,well1 the second step after you have learned to draw a simple form in outline is to learn to 8place0 your objects and their receding parts--as the legs of the bureau4 ,it would be impossible for me to overestimate the trouble this gives the #ce beginner--such as the man who sees the factory viewed at an angle as though it were seen from the front 7see ,chapter ,i74 ,but if perchance you can get it into your mind that you must draw as though tracing on a window pane1 nay1 better still1 if you will dip a brush in the ink and actually draw on the pane for several days1 you will soon have little need of puzzling over perspective1 and when you look diagonally at a rectangular object--as the windows in a factory--you will see at a glance that they are no longer rectangles1 as in a front view1 but the lintels and sills actually seem to tip 7in an upward direction if below the eye1 in a downward direction if above the eye74 ,then you suddenly realize that certain laws of optics come into play in making the very simplest of views4 ,you look at such a simple interior as in the ,don ,chisciotte room and you recognize at once that the lines in it which were horizontal in nature are governed by three laws2 the portire rod and the side boards of the couch are drawn horizontal because the artist sees them in a front view--they are parallel to his eye--but the lines of the front of the bureau and the floor line behind it run up because they are lines seen not in front view1 but seen diagonally1 and they are below the artist's eye2 but the top line of the mirror runs down because it is above the artist's eye4 ,from this chapter any reader with a mathematical mind will have already deduced the facts of the following rules of perspective1 even if he has not formulated them in precise language2 but you might as well learn them by heart1 as they are applied every time you draw a box1 a table1 a room1 a railroad track1 a street1 etc4 #a4 ,all horizontal lines in nature that are parallel to #cf ,illustration3 ,,pen ,,drawing4 ,by ,jules ,girardet4 ,showing a mantel a little below the eye4 ,the student should practice drawing interiors with the purpose of learning the theory of perspective from every object drawn4 ,the horizontal lines of the picture frame1 for example1 tip in the opposite direction to the mantel1 because they are above the eye4 ,had the mantel been a few inches higher it would have been drawn as a perfectly horizontal line4 #cg ,illustration3 ,,crispi ,,as ,c,,sar ,,in ,,his ,,robe ,,de ,,chambre4 ,a political caricature from ,don ,chisciotte4 #ch the eyes of the spectator 7like the portire rod and the bed part of the couch in the ,don ,chisciotte caricature1 like the lintels and sills of the ,sorbonne doorway71 that is when one is standing directly in front of them1 appear as horizontal lines and are to be so drawn1 they do not tip either up or down whether below or above the eye4 #b4 ,but when a horizontal line is no longer parallel to the axis of the eyes1 that is when it is seen diagonally1 as the floor line1 the front of the bureau and the top of the mirror1 then it follows this law2 if it happens to be just on a level with the eyes1 that is on the horizon line1 then it is horizontal to the sight and is so drawn2 if the mirror were hanging where it is in the ,don ,chisciotte1 but were cut off just on a level with ,crispi's eyes1 and the draftsman of the picture were just ,crispi's height1 then the base of the mirror would be drawn horizontal4 ,but when the lines are below the eye1 as the floor line and the bureau lines1 then they seem to run up to the horizon and are drawn slanting upward2 while if they are above the eye1 as the top of the mirror1 they tip down to the horizon and are drawn slanting downward--the end farther away from the artist lower in the picture than the end nearer him4 7,see the side buildings in the ,sorbonne courtyard47 ,it is advisable for the student of perspective to cut a rectangular opening1 not too large1 say the size of this page1 in a piece of pasteboard1 which he may hold at arm's length in front of him and look through as he would through a small window4 ,this will not only frame his picture for him1 but it gives him two horizontal lines and two perpendicular lines1 and he can hold his pencil or his ruler against the face of the frame #ci so that it just covers any straight line he wishes to draw2 and he will readily see that all vertical lines in nature make his pencil run parallel to the sides of his frame1 while horizontal lines if in nature parallel to the axis of his eyes1 or if on a level with his eyes1 make it run parallel to the base and top4 ,and then1 best of all1 he can hold his pencil parallel to oblique lines which run away from him1 and they will appear parallel to the face of his frame1 or in one plane1 as they would be in a drawing4 ,this is very helpful1 as there is nothing so confusing to the beginner as the lines which run away from him4 7,in looking up a railroad track the rails seem to run away4 ,you know they are actually parallel1 but to your eye they converge4 ,not only that1 but you know they are flat on the ground1 whereas1 in a picture1 you draw them standing up4 ,all this is at first very confusing47 ,illustration3 ,,typographical ,,ornament4 ,designed by ,eugene ,grasset4 #dj ,illustration3 ,,men ,,of ,,the ,,day--,,crispi4 ,by ,luque4 ,from ,la ,caricature4 #da ,illustration3 ,,typographical ,,ornament4 ,designed by ,eugene ,grasset4 ,,chapter ,,iv4 ,,power ,,of ,,outline -- ,,shaded ,,drawings -- ,,texture -- ,,local ,,color ,,and ,,values -- ,,thrown ,,shadow ,,and ,,modeling ,,shadow -- ,,mannerisms ,,of ,a ,,caricaturist -- ,,beginner ,,advised ,,to ,,use ,,outline ,,only1 ,,but ,,he ,,may ,,practice ,,in ,,shading4 ,if ,i have been successful in making every point clear in my foregoing chapters the reader now has such a knowledge of the art of drawing as will enable him to understand1 7#a7 the power of an outline1 and 7#b7 to realize that one may become a tolerable draftsman if he will train his eye to see the outline of an object as if marked upon a pane of glass--that is1 reduced to one plane2 and to realize1 moreover1 that 7#c7 this learning to see things in one plane involves some knowledge of perspective1 of which more anon2 but for the present let us leave outline and take up another branch of the subject4 ,in the ,luque cartoon the helmet is represented #db in a new form4 ,the careful observer will see instantly that it differs materially from the helmet in the ,don ,chisciotte cartoon1 shown upon page #cg4 ,let us make an analysis of this difference4 ,i contemplated no pun when ,i wrote of a material difference4 ,yet that is the main point of contrast4 ,we guess that the helmet of the major domo in the ,don ,chisciotte is metal1 but we only guess it4 ,we argue that the ,romans wore metal helmets1 hence we fancy this is one2 but outline rarely indicates texture 7we mean by texture the material of an object--wood1 wool1 stone1 linen1 etc47 or color4 ,but in the ,luque we are very sure that the helmet is of black leather4 ,true1 we surmise this only1 because we know that modern helmets are apt to be either metal or black patent leather1 and this one is too dark for metal1 and the high light upon it is just like the white light on a black patent leather helmet4 7,when the light falls on a rounded object there is nearly always one place upon it where the light strikes1 creating a white light--no matter what the color of the object--which artists call the high light4 ,this is always more apparent upon highly polished objects than upon rough objects47 ,now1 you see in the ,luque we have a very different kind of drawing from a pure outline like the ,don ,chisciotte1 or a silhouette like the ,grasset4 ,in such drawing the outline is only the framework2 after it is put in1 the labor is by no means over2 to the contrary1 every bit of surface has to be covered with an appropriate tint1 and two different considerations decide how light or how heavy this tint shall be3 first1 the consideration of light and shade2 secondly1 local color4 ,when the artist put a #dc dark mass under ,crispi's mustache he did not mean to suggest that ,crispi had been eating blackberry jam1 or that he had a negro's lower lip1 but he meant to represent the strong shadow that a thick mustache throws upon a lower lip when the light comes from above2 in doing this he noted a 8thrown shadow40 ,when1 however1 he made the dark line on the lower part of the chin he did not mean to suggest that the upper part of the chin threw a shadow on the lower part1 but he represented the part of the chin that rounds under the jaw2 this is called a 8modeling shadow40 7,a circle may represent a ring1 or a disk--as in the medal inscribed ,literis et ,artibus in the ,fallstrm 7page #dd7--or a sphere2 but without shading it is said not to have modeling2 and if it is intended for a sphere1 it can only suggest a sphere2 to make it fully represent one1 we shade it2 then it is positively not a ring1 nor a disk1 if the shading is properly done4 ,this shading gives it rotundity1 or bulk1 and this effect we designate as modeling47 ,when ,luque makes the part of the visor of the helmet to our right darker than the part to our left and leaves a light between1 he also models--that is1 represents modeling or rotundity2 but when he makes both the shaded side and the lighter side dark1 and also makes ,crispi's coat black1 then he is said to represent local color4 ,here you see we have a very advanced form of drawing1 and a form ,i should not advise you to employ in your early efforts to do professional work2 if you essay to make a cartoon for your paper1 ,i should advise you to confine yourself to outline or silhouette4 ,but in order that you may fully understand a drawing which at first appears to be outline1 but which upon examination turns #dd ,illustration3 ,,daniel ,,fallstr,m4 ,a caricature by ,albert ,engstrm4 #de ,illustration3 ,,pencil ,,sketch4 ,by ,john ,everett ,millais4 ,this is not a careful study1 but shows an artist's method of 8placing0 objects4 ,the right-hand figure is evidently that of a minister1 and the artist at first intended to have his coat fall over his left thigh but afterwards changed it4 ,the gray lines which thus place the skirt of the coat are those referred to in ,chapter ,v4 ,in the left-hand figure the head was drawn first and the hat added4 ,it is interesting to note how low upon the head the hat rests4 ,the mistake of the beginner is usually to put a hat too high on the skull4 7,or perhaps the artist's first intention was to draw a derby hat1 which was afterwards changed to a high hat47 #df out to be partly shaded1 we have introduced in these first chapters this question of modeling and local color4 ,we have pointed out 7,chapter ,,ii7 that ,engstrm sometimes uses pure outline1 sometimes outline and silhouette1 and sometimes outline1 silhouette and shading4 ,his 8,fallstrm10 given with this chapter1 is without silhouette effect1 but is in outline1 shading and local color4 ,the medal referred to is a piece of pure outline4 ,ordinarily1 when an artist draws a thing of this kind--a button1 a policeman's badge1 etc4--he makes the lower line a little heavier than the rest so as to suggest the shadow the object throws upon the coat2 but ,engstrm has omitted this4 ,in the nose1 however1 we have not pure outline1 but a distinct broadening of the line under the nose giving the same suggestion of its protruding and of its throwing a shadow as does ,crispi's mustache in ,luque's drawing4 ,in the hat1 moreover1 we have both modeling--very good modeling1 too1--and local color4 ,you should be reminded that ,engstrm is a caricaturist1 and takes liberties with the art of drawing as well as with his subjects4 ,the example we gave in ,chapter ,i1 his own portrait1 was a perfectly consistent drawing1 all pure outline2 so was the 8,hedin0 7,chapter ,,ii71 because silhouette goes perfectly well with outline4 ,but to model a hat as fully as in this 8,fallstrm0 drawing1 so that under its rim is a shadow1 and yet not have it throw a suggestion of a shadow upon the man's head1 is most inconsistent drawing--permitted the caricaturist only4 ,if you were making such a study from nature you would surely see a thrown shadow on the head and you should put it in4 #dg ,while ,i say you should not employ shading and local color to any great extent in your early work1 yet you may study the theory of it so as to use it sparingly1 and that study is best pursued by putting on a table a group of objects of different colors and textures2 put a white box beside a brown book1 an ink bottle beside a glass1 a teacup beside a brown stone jug1 and draw each object in relation to the others4 ,make your ink bottle blacker than your brown jug1 but note that both have distinct high-lights upon them4 ,the white box will probably not have a high-light upon it1 but one side of it may be all light1 while the corresponding side of the brown book will be darkish1 though lighter than its side in shadow4 7,we suppose that you place your table near a window so that the light from it falls on one side of the objects1 the other side being in shadow2 this is the best arrangement for objects studied for their light and shade4 ,do not have light come from other windows47 ,you1 therefore1 in your drawing1 have white paper to represent the light side of the box1 but you put on a slight tint to represent the light side of the brown book4 ,the ink bottle you will treat very much like ,luque's helmet2 black as it is there will be streaks of white upon it--sometimes high-lights1 and sometimes reflection of the window as seen in a mirror4 ,if the cover of the box1 because it projects a little1 throws a line of shadow upon the side of the box1 you will instantly recognize that this is the same kind of a thrown shadow as that which ,luque put under ,crispi's mustache and ,engstrm put under ,fallstrm's nose4 ,some study of this sort will soon train your eye to see the reason of spots of light and dark in artists' drawings4 #dh ,one of the points we admire in an expert's drawing is the use he makes of black spots4 ,the ,japanese have rules of composition1 governing this distribution of spots1 which they follow1 balancing a black here with another there in an admirable manner4 ,in our chapter on wood engraving we shall give some specimens of well distributed blacks4 ,in our tailpiece by ,grasset you will notice how on the right-hand side five petals and two buds balance a tri-parted leaf on the opposite side4 ,one of the problems for the designer of printers' devices is to balance them properly4 ,it is much easier to copy a spray from nature and fill it in with black ink than it is to make that spray balance so that when placed at the end of a chapter or used to divide paragraphs it will balance as perfectly as the letter ,v or ,a4 ,it is needless to note that every printer realizes that paragraphs might be separated by the letter ,i or ,a or ,v1 but not properly by the letter ,b or ,d or ,e4 ,illustration3 ,,typographical ,,ornament4 ,designed by ,eugene ,grasset4 #di ,,chapter ,v4 ,,how ,,to ,,begin ,a ,,drawing -- ,,education ,,of ,,the ,,eye ,,the ,,first ,,thing -- ,,mantelshelf ,,seen ,,front ,,view -- ,,side ,,view ,,but ,,exactly ,,on ,a ,,level ,,with ,,the ,,eye -- ,,tipping ,,downward ,,if ,,above ,,the ,,eye -- ,,upward ,,if ,,below ,,the ,,eye -- ,,place ,,the ,,big ,,proportions ,,of ,,objects ,,before ,,attempting ,,detail -- ,,this ,,should ,,show ,,proportion ,,and ,,direction -- ,,separate ,,complex ,,subjects ,,into ,,elements -- ,,meaning ,,of ,,elements -- ,,every ,,object ,,has ,,its ,,axis -- ,,beginning ,,of ,,every ,,figure ,,should ,,always ,,show ,,its ,,action -- ,,general ,,practice ,,to ,,place ,,all ,,the ,,objects ,,in ,a ,,picture ,,with ,,pencil ,,lines ,,first -- ,,some ,,examples ,,from ,,munkacsy4 ,i hear some of my readers ask1 8,is there not something a teacher should tell us that will help us whether we are drawing in outline or whether we are shading--something that will teach us how to begin any kind of a drawing80 ,the reply is 8,yes10 and ,i propose to give such help in this chapter2 but it has purposely been delayed till now1 because ,i wished to emphasize the fact that the principal thing is not for me to tell you how to draw1 but for me to help you to learn to see so as to know what to draw4 ,for example1 ,i will ask the printer to insert a rule here in a horizontal position1 thus3 ,illustration ,this represents a mantelshelf seen in front view1 or one seen in side view exactly on a level with your eyes4 ,now1 it stands to reason1 does it not1 that anybody can #ej draw such a line8 ,what you need to be taught1 is that the mantel is to be drawn that way only under the two circumstances mentioned4 ,the moment you have a side view of it when it is below or above the eyes1 you must draw it tipping4 ,tipping downward 7away from you7 if above the eye2 upward1 if below4 ,thus1 if above the eye3 ,illustration3 7,a1 the end nearer spectator47 ,thus1 if below3 ,this difference in the direction of line according to the position of the spectator is something the novice does not see1 and it is the business of the teacher to point it out4 ,hence the many references to seeing and the few to drawing which are found in our foregoing chapters4 ,but there is a suggestion about drawing which ,i will give you that will help you at the first stage of your study4 ,it is this3 ,accustom yourself to place something on your paper--some form having a height and a breadth--that resembles the big proportions of your subject1 before you attempt to finish any single part of it4 ,our illustrations clearly show the working of this method4 ,in the ,herkomer study the lower parts of the tree trunks are not finished1 they are merely placed4 ,the outlines of the trunks show 7#a7 the relation of the two trunks to one another1 7#b7 their size1 and 7#c7 their direction4 ,with the same simple means the artist could have shown contrary facts2 for example1 that 7#a7 the trees were nearer together1 7#b7 that the left one was #ea ,illustration3 ,,study ,,of ,,pine ,,trees ,,by ,,hubert ,,herkomer4 ,the form above the lowest branch1 which looks something like a cloud1 shows us the artist's method of 8placing0 a branch before finishing it2 also the lower parts of the trunks show their placing4 ,all objects should be thus outlined before they are shaded4 #eb wider than the right1 7#c7 that they tipped at an angle of fifteen degrees to our left4 ,again1 the mass that at first glance looks like a cloud1 is really the 8placing0 of a branch4 ,now1 before the artist put any of the black in his picture1 which suggests the dark colors of a pine1 he placed all the principal branches1 limbs1 and the trunks of the two trees1 just as you see them in the unfinished places we have pointed out4 ,the reader should need very little more help than this to fit him to go out to nature and begin a landscape4 ,almost any element you may see can be begun in this manner4 7,i use the word element to cover either one object or a group of objects2 we say of some picture that it has four elements3 a foreground1 a pine tree1 a clump of trees and distant hills47 ,for example1 without the line representing the limb below ,herkomer's outline for the unfinished branch might almost stand for a cloud--its outline would then simply be a little less toothed4 ,its upper part might also stand for a group of distant trees4 ,now1 this branch1 no less than the trunks1 has its big proportions2 it is almost twice as long as it is high1 and no amount of pretty drawing of details would ever represent that branch if you should start out with a form twice as high as it is wide4 ,always look out for these dimensions at first4 ,the branch also has a direction--the direction of its axis--which is downward to our left1 and no amount of pretty drawing of its details would ever represent this branch if it were represented with a horizontal axis4 7,the axis of the lowest branch is at a still greater angle2 this downward tip is characteristic of the lower branches of the pine1 larch1 elm1 beech1 willow1 etc47 ,now1 a cloud has its #ec ,illustration3 ,,study ,,for ,a ,,figure ,,in ,a ,,painting4 ,by ,michael ,munkacsy4 ,this shows the placing of the parts of the figure so that it shows action1 though there is no finish4 #ed ,illustration3 ,,studies ,,from ,a ,,model ,,for ,,figures ,,in ,a ,,painting4 ,by ,lon ,bonnat4 ,these studies show the placing of the parts of the figures so that they express action1 though there is no finish4 #ee axis1 a group of trees1 and you must not draw a stratus cloud which lies horizontal as though it were a cirrus or a cumulus cloud blown upward by a contrary wind4 ,in the placing of an element1 then1 it is not the margin of the outline we think of1 but the positions of objects1 their general bulk1 and the direction of their axes4 ,in the figure studies we reproduce by ,bonnat and ,munkacsy1 you can plainly see that the action of the figures is graphically portrayed without any attempt at detail1 simply by 8placing0 the parts of the figure in the right place4 ,a good beginning in the case of figure drawing should always show the action2 that is to say1 show that the man is stooping over1 leaning back1 standing upright or sitting down1 long before the drawing shows that his coat is black or has four buttons on it1 or that he has finger nails on his fingers4 ,it is nearly always the practice with artists to place objects in this way with a pencil line1 even if the subsequent drawing is to be in pen or wash4 ,let your lines be light1 and then you can erase them after your ink lines are put over them4 ,do not be afraid of feeling your way with lines2 put down several until you get the right one4 ,do not expect to get your work right at first4 ,if you get in a branch of a tree and think it is correct1 leave it till the tree is complete2 but if in the end you see it is too large for the rest of the tree1 rub it out and make it smaller4 ,every artist has to do this many times if his subject is at all complicated4 #ef ,illustration3 ,example of ,french ,art ,school studies from plates published under the direction of ,bargue and ,grme1 showing the method of placing a figure before drawing the final outline or shading2 also showing lines on the jaw1 in the trunk and leg that are not contour lines4 #eg ,,chapter ,,vi4 ,,value ,,of ,a ,,line -- ,,what ,,the ,,artist ,,sees -- ,,lines1 ,,not ,,contour ,,lines1 ,,used ,,to ,,represent ,,organic ,,parts -- 8,,placing0 ,,elements ,a ,,mental ,,training -- ,,more ,,important ,,to ,,the ,,printer-,,draftsman ,,than ,,intricate ,,detail -- ,,placing-,,lines ,,to ,,be ,,made ,,carefully -- ,,synthesis ,,of ,,the ,,human ,,arm ,,represented ,,with ,a ,,few ,,lines -- ,,the ,,delight ,,of ,,an ,,artist ,,in ,,synthetic ,,studies -- ,,japanese ,,masters ,,of ,,synthetic ,,drawing -- ,,grasset',s ,,silhouette -- ,,think ,,of ,,your ,,objects1 ,,when ,,placing ,,them1 ,,as ,,silhouettes -- ,,reducing ,,contour ,,lines ,,to ,,geometric ,,figures -- ,,herkomer',s ,,pine ,,trees ,,mapped ,,out ,,into ,,polygons -- ,,this ,,method ,,not ,,to ,,be ,,carried ,,to ,,excess -- ,,characteristics ,,of ,,objects ,,to ,,be ,,looked ,,for -- ,,nature',s ,,forms ,,soon ,,recognized ,,in ,,simple ,,polygons4 ,it is difficult for the amateur to realize the value of a line as fully as the art student realizes it4 ,we give an illustration of the first laying in or placing of a figure1 as done in the ,parisian art schools4 ,the student who works for months and months in this manner sees a meaning in an artist's lines that the casual observer misses4 ,here1 for example1 all the lines on the arm represent swellings which are not merely temporary but are organic1 belonging to every arm4 ,so also with the cross lines on the abdomen2 they are not as one might expect1 chance lines1 but divide the trunk into organic parts4 ,any model taking this pose would show some such lines1 or rather the body would divide itself into #eh some such parts which would produce the wrinkles which these lines represent2 no matter whether he were older or younger1 stouter or thinner1 the markings would be in about the same place4 ,when we come to the analyzation of the human face this fact of representing parts of the body by lines that are not outlines--i4 e41 not contour lines--will be still clearer to you4 ,now1 the point we want to make is that the method of 8placing0 objects1 recommended in the last chapter1 is not a mere process of procedure in drawing1 but is quite as important a mental training as the making of the most intricate outline--in fact1 for the printer-draftsman it is more important than the latter4 ,if you wish to make a poster design1 it is better that you should know how to place 8the elements0 of a branch of oak or ivy than that you should draw the venation of the leaves or the delicate modeling of the stems1 because if printed in flat tones it is the big characteristics--showing the difference between an ivy leaf and an oak leaf--that you need to secure4 ,therefore1 in all your preliminary sketching do not work carelessly just because you are finally going to rub out your placing lines2 but rather try to see how much likeness to the object you can get by the most economical means1 in your very placing of the object4 ,in the man's arm1 for example1 even the inexperienced draftsman1 who might not see the correctness of the drawing in the man's trunk1 can realize that we have here the swelling of the deltoid1 the curve of the biceps1 the extreme width at the elbow1 and the inside lines which mark bones and muscles at the elbow2 all of which represent the synthesis of the human arm1 though perhaps not the similitude #ei of any one arm4 ,were you1 with an artist companion1 looking over a collection of drawings by the masters you would be surprised at his delight in many drawings that were carried little further than this study of an arm4 ,the ,japanese are celebrated for their synthetic drawing2 they have the ability to make a spot of green that is not a lily leaf in all its intricate detail1 but which has all the characteristics of a lily leaf which distinguish it from every other kind of leaf1 stand for a perfect lily leaf4 ,if you will turn to the ,grasset design on page #ci you will realize that his wisteria is by no means a complete floral drawing1 but simply gives the characteristics of the wisteria in its silhouette4 ,here you see we revert to the subject of our second chapter1 and recommend that in placing your objects you think of them as silhouettes4 ,this wisteria design suggests another help for the beginner4 ,the flower itself in its entirety takes the form in nature of a cone1 which in silhouette is a triangle2 the entire branch of the ornament on page #dh takes the form of a triangle2 and since geometrical forms are more easily analyzed than natural forms1 it might be well for you to train yourself to notice if an object takes the general form of a quadrangle or a rectangle1 a triangle or a polygon4 ,the branches of trees can frequently be mapped out into triangles or polygons with not more than five or six sides1 that are very easy to recognize4 ,we have made a tracing of the pine trees by ,mr4 ,herkomer1 in which we have mapped out the branches into polygons1 ,a1 ,b and ,c 7page #fj74 ,the lines ,d ,e and ,f ,g are added to suggest how the tree trunks are #fj ,illustration3 ,,diagram ,,no4 #a4 #fa ,illustration3 ,,diagram ,,no4 #b4 ,,no4 #d--,study of ,pine ,tree1 by ,hubert ,herkomer1 with lines added showing rectangles w x y z1 containing the whole group2 polygons #a to #ad1 containing branches1 lines going through axes of trunk e d1 and f g1 and p1 plumb-line to which f g is compared--that is1 its angle obtained--as shown in diagram ,,no4 #a4 #fb first put in as axes1 ,f ,g being compared with the plumb-line ,p4 ,w1 ,x1 ,y and ,z suggest a quadrangle1 into which the whole tree could first be placed4 ,we wish to say1 however1 that we do not consider it advisable to reduce freehand drawings to geometrical forms to too great an extent4 ,the art student in ,paris does not think of his model as a combination of cubes and cylinders1 but as a human figure2 nor when he leaves the atelier does he consider a tree as a combination of cylinders and cones1 but as an oak tree1 or a maple or a pine2 and whether his drawing is a moment's jotting in a sketch-book1 or a week's study on canvas1 he tries to get as much of the characteristics of the pine tree or the oak1 in the moment or in the week1 as his perception will allow4 ,you would be surprised1 if you practiced this method for a few months1 to see how much meaning these first polygons will have to you4 ,if you will map out an elm tree1 for example1 and then turn to our diagram ,no4 #b1 you will instantly recognize that the forms ,a1 ,b1 ,c1 could never be intended for an elm4 ,this negative recognition would be followed by positive recognition1 and you would guess at least1 if you were not sure1 that1 in a sketch of a sea coast1 certain polygons put more on one side of a line than on the other1 which represented a tree trunk1 were meant for the branches of a pine6 #fc ,,chapter ,,vii4 ,,original 8,,placing0 ,,and ,,finished ,,drawing ,,compared -- ,,size ,,of ,,the ,,frame ,,does ,,not ,,affect ,,the ,,proportions ,,if ,,the ,,same ,,dimensions ,,are ,,retained -- ,,blocking ,,in ,,shadows ,,by ,,outline ,,before ,,shading -- ,,all ,,practice ,,in ,,drawing ,,lines ,,will ,,be ,,helpful -- ,,lines ,,used ,,for ,,contour ,,both ,,of ,,objects ,,and ,,of ,,shadows -- ,,finding ,,the ,,direction ,,of ,,shadows -- ,,why ,,plaster ,,casts ,,are ,,used ,,as ,,studies -- ,,japanese ,,art ,,entirely ,,without ,,light ,,and ,,shade ,,of ,,the ,,sort ,,most ,,usual ,,in ,,occidental ,,modeling -- ,,noting ,,values -- ,,mere ,,shading ,,not ,,the ,,end ,,of ,,drawing4 ,in order that there may be no doubt about the method of placing elements1 as suggested in the last chapter1 we have made skeletons 7#b and #d7 of the ,grasset and the ,herkomer cuts1 on which we have marked1 so that there can be no misunderstanding1 the lines given in our diagrams #b and #c4 ,in the ,grasset diagram1 ,no4 #c1 ,a ,b ,c ,d correspond to a b c d in skeleton diagram ,no4 #d1 while the dotted forms1 ,e and ,f1 ,no4 #c1 correspond to e and f1 ,no4 #d4 ,in the ,herkomer1 ,no4 #b1 w x y z is the rectangle ,w ,x ,y ,z of diagram ,no4 #a2 #a #b #c #d #e correspond to ,a1 #f #g #h #i #aj to ,b1 #aa #ab #ac #ad to ,c2 while the d e and f g equal ,d ,e1 ,f ,g2 p is our plumb-line1 ,p4 ,it must be distinctly understood that any number of objects may be contained in a rectangle2 let a child scribble upon this page1 anywhere1 a dozen or more #fd ,illustration3 ,,diagram ,,no4 #c4 ,illustration3 ,,diagram ,,no4 #d4 #fe forms1 no matter how irregular1 and a perpendicular through the extreme right-hand form1 one through the left1 and a horizontal through the top and the bottom form1 and we have a rectangle which has given dimensions4 ,it may be twice as high as wide1 or three times as wide as high1 no matter1 let either of those proportions be preserved1 and a rectangle of the same proportions1 drawn upon a visiting card or covering the wall of a barn twenty feet high1 will give you the right proportions for your group4 ,and then1 if you will find inside of the rectangle1 one or a dozen polygons1 like ,a1 ,b1 ,c1 ,no4 #a1 and f1 ,no4 #d1 you will be able to 8place0 the most irregular objects4 ,we give with this chapter also1 two illustrations showing the manner in which shading is done in the art schools1 but the main thing ,i wish you to note about the illustrations is1 not the shaded drawing1 but the drawing where the shadow is blocked in1 ,fig4 ,a4 ,now1 this is important to bear in mind3 ,a line is used1 not only for drawing the outside outline or contour of objects1 but for drawing the outline of shadows upon and within them2 therefore1 every bit of practice you may have in drawing lines of any kind will be helpful to you when blocking in the shapes of shadows that bring out the form of an object4 ,it is just as imperative1 for example1 that you compare the inside margin of the shadows upon the wrist 7as indicated in ,fig4 ,a7 with the plumb-line1 so as to see their direction1 as it is that you compare the trunk of the ,herkomer tree with the plumb-line1 that you may get its direction4 7,in obtaining the direction of small shadows the artist very frequently uses his pencil1 held vertical1 as a plumb-line47 #ff ,illustration3 ,,fig4 ,a4 ,examples of ,french ,art ,school studies1 from plates published under the direction of ,bargue and ,grme1 showing method of blocking in a cast1 both its outline and its shading4 #fg ,illustration3 ,,fig4 ,b4 ,method of shading in simple tones1 with very little reflected light or half-tones4 7,see ,fig4 ,a47 #fh ,illustration3 ,portraits1 drawn in crayon1 by ,fantin-,la-,tour1 from his painting in the ,salon of #ahgi4 ,an example of the rendering of 8values0 in black and white4 #fi ,we give another illustration that we trust will interest you1 the very beautiful drawing by ,fantin-,la-,tour4 ,our object in giving this is twofold3 first1 to show you the drawing of the cast4 ,we have said that the ,bargue-,grme studies show how students learn to work in ,paris4 ,the truth is that nearly all over the world art students learn to draw from white plaster casts on which the shadows are very distinct4 ,the eye is thus trained to see form1 as we call it4 ,and it will not be difficult for you to look from the cast drawing in the ,la-,tour to the head of the standing girl1 and see how the form of her face is brought out by shading in the same manner as in the cast4 ,in publishing a drawing of this kind in a book for printers we do not recommend it as an example of drawing for the press 7though it would be an excellent guide for lithography71 but it is full of interest in that it exemplifies what artists consider artistic draftsmanship4 ,it is evident that the author of it has studied in an art school and that he gets his effects1 not by chance1 but by deliberation4 ,he is sensitive to the different degrees of darks upon the several objects4 ,no matter how plainly he may see the shadow upon the cast1 he knows that1 in order to represent it as a light object1 such shadows must not be black4 ,so there is a vast difference between its dark tones and the dark tones of the block on which it stands4 ,also in drawing the human face he concentrates his darks about the eyes1 nose and mouth2 the rest of the face is shaded with great delicacy1 for he knows that if he puts darks elsewhere he will get the undesirable effect of an old face4 ,the printer is not expected to carry his art as far as this1 but we must say #gj frankly that his degree of success depends entirely upon the extent of his knowledge of the truths herein stated4 ,one need not go to an art school to see that a cast is white1 and that its shadows are not as black as the shadows upon a bronze2 but unless he trains his eye by observation to see this difference in other things1 no tricks of pen-technic will help him when he comes to draw a white horse1 or a white collar4 ,he does not have to study portraiture in an art school in order to make a drawing in pen and ink1 for his paper1 from a photograph2 but unless he will train himself to observe so that he realizes that in a young face the greatest darks are limited to the eyes1 nose1 and mouth1 he will be likely to make his pen-portrait look more like an old person than a young person1 even though in executing the same he imitates the most perfect pen-technic4 ,now1 as the placing of the shadows in the seated girl's face is not the same1 it is a little difficult for you to realize that it contains the same kind of drawing as the blocked-in cast hand and head4 ,but the eye becomes trained from drawing casts to see the most delicate modeling of shadows1 and the seated girl's face is really a complex style of drawing1 of which the cast head and hand are simple specimens4 ,i mean by 8complex style of drawing0 a method of getting effects by imitating the light and shade upon objects1 as opposed to mere outline style or silhouette style4 ,now1 therefore1 this illustration should indicate to you that it is well to draw from casts1 as art students do1 if you wish to make finished pictures in black and white4 ,in the foregoing statements ,i have been careful in #ga my language4 ,i do not say students all over the world learn to draw in light and shade1 for there is a great deal of wonderful ,japanese art that is done entirely without knowledge of light and shade of the sort most usual in ,occidental modeling4 ,nor do ,i say that you must draw from casts to learn to see light and shade1 because during the middle ages many great artists learned to draw from life and not from casts4 ,the cast is a comparatively modern art-school accessory4 ,another reason for giving this ,la-,tour drawing is that it brings us a step farther into the consideration of values2 we notice that in it the cast appears to be white1 the girls' faces and hands lighter than their gowns1 and one girl's hair lighter than the other's4 ,now1 when an artist makes a difference between the degrees of the color of objects1 we say he notes their values4 ,bear this in mind1 then1 that mere shading is not the end of drawing4 ,you can go a step farther and indicate the color value of a shadow1 of which more hereafter4 #gb ,illustration3 ,,study ,,of ,a ,,head1 ,,in ,,crayon ,,or ,,pencil1 ,,by ,,dagnan-,,bouveret4 ,showing method of sketching the outline of a hat4 #gc ,,chapter ,,viii4 ,,study ,,by ,,dagnan-,,bouveret -- ,a ,,hat ,,in ,,outline ,,not ,,meant ,,for ,,an ,,outline ,,drawing -- ,,connecting ,,link ,,between ,,outline ,,and ,,shaded ,,drawing -- ,,more ,,about ,,art-,,school ,,methods -- ,,method ,,of ,,drawing ,,based ,,upon ,,cast ,,drawing -- ,,the ,,big ,,shadows ,,versus ,,minor ,,shadows -- ,,do ,,not ,,draw ,,individual ,,hairs -- ,,hair ,,and ,,mustache ,,to ,,be ,,considered ,,as ,a ,,mass1 ,,not ,,as ,,separate ,,hairs -- ,,effect ,,to ,,be ,,obtained ,,by ,,masses ,,of ,,shadows -- ,,train ,,the ,,eye ,,to ,,become ,,sensitive ,,to ,,graduations ,,of ,,light ,,and ,,shade -- ,,light ,,and ,,dark ,,in ,,the ,,head ,,intended ,,to ,,show ,,shape ,,of ,,the ,,skull1 ,,not ,,to ,,indicate ,,parti-,,colored ,,hair -- ,,drawing ,,from ,,pasteboard ,,boxes ,,good ,,training ,,in ,,learning ,,to ,,see ,,light ,,and ,,shade -- ,,contrasting ,a ,,finished ,,drawing 7,,gaillard7 ,,with ,a ,,rough ,,sketch -- ,,equal ,,art ,,in ,,each ,,when ,,both ,,are ,,well ,,done -- ,a ,,newspaper ,,cut ,,in ,,which ,,light ,,and ,,shade ,,are ,,indicated ,,by ,,variation ,,of ,,thickness ,,in ,,line -- ,,broad ,,drawing ,,recommended ,,to ,,printers -- ,,the ,,naso-,,labial ,,line -- ,r,,sum4 ,in our illustration by ,dagnan-,bouveret we find most interesting indications of how an artist works2 and this head may serve as a connecting link between the chapter on outline and the one on shading4 ,the hat is a beautiful piece of outline drawing1 which1 however1 was not meant for an outline drawing4 ,it is simply to serve as the placing of the hat1 which would afterward be shaded as are the face and mustache4 ,the eyes1 #gd nose and mustache were first outlined in this way1 and you will recognize1 ,i think1 that this is the same kind of drawing as that of which we treated in our first chapters1 though1 of course1 the hat is not all in one plane4 ,but before you can thoroughly appreciate the drawing of the face it is necessary that ,i should explain a little further the study of drawing as it is taught in the art schools4 ,this ,i will do with the help of the ,lwe-,marchand cut4 ,in this1 we see the method pursued in almost all art schools the world over3 a method based upon cast drawing4 ,it is found from experience that students learn to see form more prominently from a plaster cast1 which is white1 than from natural objects2 and it is found that the best results are got if the students are taught to see the big shadows of an object rather than the multitude of minor shadows which may be seen upon close scrutiny4 ,so the student is told not to look for these minor shadows1 but to half close his eyes1 and stand a good distance away from the object--say three times its height--and look for the form that he sees when the object becomes to his half-closed eyes nothing more than a mass with a light and a dark side4 ,you can imagine that after a person has learned to get the effect of a hand and a foot1 as in the illustration in ,chapters ,,vii and ,x1 by merely noting the shape of the one big shadow1 that it is not difficult for him to go farther and put in the minor shadows by opening his eyes and examining the object more closely2 and that when he has learned to do this for several months1 or perchance several years1 in the antique class1 and then for as long1 or longer1 in the life class1 that he has become #ge ,illustration3 ,,charcoal ,,drawing4 ,portrait of ,m4 ,x41 by ,lwe-,marchand4 ,this drawing was doubtless made on a sheet of charcoal paper1 possibly gray in color1 and was then photographed for the direct process2 and then1 in order to indicate the gray paper1 the photo-engraver tinted the zinc plate with a ,ben ,day film1 which gives the stipple result4 ,the cross lines in the corner indicate that after the artist made his study he wished to enlarge it upon a canvas preliminary to painting1 which was done by covering the drawing with squares and adding a diagonal to the same4 ,these squares and diagonals were repeated on a larger scale on the canvas and the drawing enlarged freehand by placing the different points of the original in the corresponding triangles on the canvas4 ,this method of enlarging drawings has been used for five thousand years4 #gf so sensitive to seeing shadows that it is not difficult for him to discern them upon anything and everything4 ,now1 that is the secret of the beautiful drawing of the mustache in the ,dagnan-,bouveret drawing4 ,the beginner draws the hairs of the mustache1 and tries to get his effect in that way2 but you cannot by drawing the pelt of a fox on a barn door get the effect of one with a real live body underneath it4 ,the result in this drawing is due entirely to ,dagnan-,bouveret's sensitiveness to light and shade4 ,the lines1 which the casual observer would take to be the hairs of the mustache1 are really the shadows thrown by the groups of hairs as they part here and there4 ,it is true that if he were etching this head or drawing it with a fine pen1 he might in finishing it put in a few hairs1 and even ,albrecht ,drer would sometimes get a good effect by drawing the hairs of the mustache or the curls on a head4 ,but in nearly all modern work1 the hair1 mustache or beard is considered as a mass receiving light and shade1 and is so treated1 there being no great difference between the golden hair of a child and the white hair of an old woman4 ,in the beautiful study by ,gaillard we see the shape of the skull under the woman's hair1 and there is a very great difference between the part that is in shadow around her ears and the part that is light on the top of her head4 ,this does not mean that the hair was gray on top1 and black around the ears1 but it means that the light struck the hair on top1 while it did not strike it on the sides4 ,now1 if you can give yourself the time to study from the cast1 or even from simple pasteboard boxes1 so that your eye will become sensitive to these graduations from #gg ,illustration3 ,,study ,,for ,,the ,,portrait ,,of ,,mme4 ,r4 ,by ,c4 ,f4 ,gaillard4 #gh light to dark1 you will soon realize that1 while in your drawing for printing you may never in a hundred years' practice draw anything so delicate as the ,gaillard1 yet in your simplest drawings you may put in practice the theory upon which it is made4 ,for example1 if you are drawing an old woman's head1 even if you only use four or five lines to represent her hair1 you will not press upon your pen when you are doing her hair on the top1 but you will press upon it when you come within the region of the ears2 and that pressure1 though it will not represent hairs1 nor the actual value of the shadow1 will yet give the difference between the light on the top of the head and the shadow behind the ears1 and this will suggest to the educated eye the roundness of the cranium4 ,now we reproduce also the rough ,watts drawing4 ,let us contrast these two drawings4 ,the one is almost as finished as it can be1 the other slight2 yet ,i want you to realize why ,i recommend this slight drawing to printers and tell you that it is artistic4 ,it is so because in the very heavy lines that you see in the ear1 beard and coat there is knowledge of modeling4 ,the artist knew his business just as ,gaillard did1 and every time he put down a blotty line it was meant to represent the presence of a shadow4 ,this face is from a photograph2 hundreds of delicate tones have been left out2 and the white hair of the beard is modeled with nothing but thin and heavy lines while the shadows of the photograph were delicate gray tints6 ,a clever penman drawing from a photograph uses darks which the uneducated eye will take to be arbitrary blackening of the drawing1 but which an artist knows are the result of intelligent observation4 #gi ,illustration3 ,,george ,,frederick ,,watts1 ,r4 ,a4 ,an ,english newspaper cut from ,tid-,bits1 artist unknown4 ,an excellent example of newspaper work4 ,note that the skull-cap is not represented partly gray and partly black because the artist meant to indicate a cap that was one color in front and another in the back1 but he meant to show the rounding of the cranium1 just as ,gaillard did in varying the tones in the hair of the old woman4 #hj ,now1 in the ,gaillard drawing you see a very delicate line running diagonally from the wing of the nose almost to the corner of the lips4 ,this is called the naso-labial line1 and is found in every old face4 ,i say again1 that though you work for one hundred years as a printer you would probably never draw a delicate line like this4 ,but if you should make studies in pencil and realize that this line is typical of old age1 you would be able to put it in such a drawing as the ,watts 7the artist has used two lines to represent it71 where1 you will notice1 it comes down about as far on the lower lip as in the ,gaillard1 and you would realize why it was left out in the ,dagnan-,bouveret and ,marchand younger subjects4 ,this chapter should be exceedingly interesting to you as indicating two things--one discouraging and the other encouraging4 ,first1 that when students of art have the opportunity to work so beautifully1 as in the ,bargue-,grme studies1 and afterward from life1 as in the ,gaillard1 they needs must see more than you do1 and you must not expect to equal them if you1 a busy printer1 can only practice a few evenings a week4 ,therefore you should not attempt subtile renderings like the ,gaillard1 but should confine yourself to simple means4 ,on the other hand1 when ,i tell you that this is about all the study there is gone through with in an art school 7,i say about all1 for besides blocking-in1 students learn a good deal about values2 this we shall treat of in a succeeding chapter71 it should be interesting to you to realize that if you will simply train yourself to see light and shade like the plinth in the foot studies given in ,chapter ,,xii by drawing a pasteboard box1 and then afterward draw from life1 so as to see that hair is darker #ha in shaded portions than in light ones1 and that in an old person the naso-labial line is marked and shows darker than the cheeks1 you will1 when copying a photograph for your paper1 no matter how roughly you work1 be able to indicate the shadows in the hair and the dark naso-labial line1 as in the ,watts portrait4 ,this1 ,i say1 should encourage you1 and it is the only way for you to learn to draw4 #hb ,,chapter ,,ix4 ,,head ,,by ,,knaus ,,analyzed -- ,,drawn ,,in ,,the ,,manner ,,of ,,the ,,dagnan-,,bouveret ,,and ,,containing ,,lines ,,like ,,the ,,watts -- ,,the ,,naso-,,labial ,,line ,,used ,,to ,,delineate ,,old ,,age -- ,,the ,,shadow ,,of ,,the ,,nostril -- ,,the ,,wing ,,of ,,the ,,nose -- ,,the ,,nostril ,,usually ,,the ,,darkest ,,shadow ,,line ,,in ,a ,,face4 ,let us resume the subject of ,chapter ,,viii4 ,we give a fine drawing of an old man's head by ,knaus1 and we will ask you to look at it and see if you cannot realize two things about it--first1 that no matter how many lines there may be upon the hat1 which make it look battered and different in texture from a new silk hat1 it was first drawn as was the ,dagnan-,bouveret given in the last chapter2 secondly1 do you notice the oblique naso-labial line1 which we spoke of in connection with the ,gaillard and ,watts8 and do you realize one of two things from this also1 that1 either this line in the original drawing ran up to the wing of the nose but was lost in the several engravings1 or else the artist wished to indicate that his model was not a very old man1 and he did not make the line very strong in that place8 ,if so1 you have learned some important principles that will help you in drawing1 for you will be able to sketch any hat you wish to draw by the same process that the best artists employ4 ,again1 you will be able to use proper judgment in introducing the lines into a face4 ,if1 for example1 you were copying1 in pen-and-ink1 chalk-plate or wood engraving1 #hc ,illustration3 ,,old ,,man',s ,,head4 ,crayon ,drawing by ,ludwig ,knaus4 #hd from some half-obliterated etching or from some faded daguerreotype1 an old man's head like the ,knaus1 you would have the knowledge back of you that would permit you to draw in the naso-labial with proper accentuation4 ,if you knew the original was a centenarian you would most certainly continue the line up to the wing of the nose and draw it continuously without a break2 or if he were but a sexagenarian of whom the biographical dictionaries said 8he carried his years lightly10 you might purposely break this line as in the ,knaus4 ,so far1 so good4 ,and now for some other lines in the face4 ,at the base of the nose we have the shadow of the nostril1 and the curved portion of the nose around it called the wing of the nose2 these are nearly always introduced into drawings4 ,in the ,knaus they are very happily drawn4 ,revert to the illustrations of the last chapter1 and see if you can find them4 ,in the ,marchand and ,gaillard they are represented by modeling rather than lines1 but they are outlined in the ,dagnan-,bouveret and the ,watts1 the former being in pencil4 ,we notice that one of these objects is grayer than the other2 which is it8 ,it is the naso-labial line1 and the shadow of the nostril is much the darker4 ,the same effect is got in the ,watts by using a fine line for the naso-labial line and a thicker line1 or a blot1 for the nostril4 ,if1 therefore1 you were drawing the ,gaillard in line1 can you not realize that you would approximate the effect of our half-tone by making the outline of the wing of the nose the lightest of your lines1 the naso-labial line darker1 and the shadow of the nostril the darkest of the three8 ,this order can #he usually be followed in drawing an old person1 and in almost every case 7young or old7 the nostril shadow is the darker of the three lines mentioned4 ,in regard to the nostril being sometimes a line and sometimes a blot1 the difference lies in the character of the original2 with some persons the nostril is very straight and little of the inside of the nose shows4 ,this was evidently the case in the ,knaus original1 so the artist uses a line and nothing more for the nostril 7you will1 however1 not fail to note the subtlety of the artist's touch1 which gives us a strongly marked line for the nostril1 but a more delicate line for the wing of the nose74 ,in the ,dagnan-,bouveret1 however1 the nostril goes up at quite an angle1 exposing much more of the inside of the nose than in the ,knaus2 therefore1 were you rendering this drawing in pen-and-ink1 you could use a blot in the nostril similar in heaviness to that in the ,watts portrait on page #gi4 ,we should advise you1 by the way1 in following these chapters1 to make tracings of all our half-tone cuts and render them in pen-line like the ,watts2 this will help you immensely to understand an analyzation of them4 #hf ,,chapter ,x4 ,,the ,,analyzation ,,of ,,the ,,naso-,,labial ,,line ,,indicates ,,the ,,foundation ,,of ,,art ,,study -- ,,when ,,the ,,line ,,is ,,properly ,,seen ,,it ,,may ,,be ,,drawn ,,with ,,any ,,medium -- ,,choudieu ,,head ,,by ,,bonnard -- ,,its ,,similarity ,,to ,,the ,,watts -- ,,strong ,,marking ,,of ,,the ,,naso-,,labial ,,line ,,in ,,it -- ,a ,,similar ,,analyzation ,,to ,,that ,,given ,,the ,,watts ,,drawing -- ,,portrait ,,by ,,toussaint -- ,,how ,,it ,,might ,,be ,,rendered ,,in ,,simple ,,pen ,,lines ,,like ,,the ,,watts -- ,,drawing ,,by ,,bonnard -- ,,its ,,heavy ,,outline ,,appropriate ,,to ,,printing -- ,,the ,,meaning ,,of ,,blacks ,,in ,a ,,drawing -- ,,drawing ,,by ,,bonnat -- ,,example ,,of ,,drawing ,,by ,,light ,,and ,,dark ,,masses -- ,,the ,,employment ,,of ,,whites ,,in ,,scratch-,,board ,,and ,,in ,,wood ,,engraving -- ,,bonnard',s ,,drawing ,,of ,,curtain -- ,,brun ,,drawing ,,correct ,,in ,,color ,,values -- ,,digression ,,in ,,regard ,,to ,,french ,,names -- ,,drawing ,,of ,a ,,foot ,,showing ,,art ,,school ,,methods4 ,some of the most valuable hints we have given our readers are those of ,chapters ,,viii and ,,ix1 in connection with the naso-labial line4 ,in these you will find the foundation of our teaching--that is1 we do not say that a human face must be made by putting in a black line running obliquely from the nose to the lip1 made with such or such a pen1 such or such a crayon1 ink1 or charcoal1 but we point out the line in nature1 and say that because it is found in nature1 artists put it in their drawings4 ,when not found in a face1 as that of a young person1 then it is left out in a good artist's drawing of a young face4 ,whether he uses pen1 wash1 #hg or crayon1 has very little to do with the case4 ,there are some methods of using the pen1 wash1 or crayon1 that are better than others2 but1 if you are taught to see the naso-labial line in nature1 it is very easy to learn to draw it in one of those mediums1 and having drawn it in one1 it is easier to learn to draw it in other mediums4 ,we give1 with this chapter1 the head of ,choudieu1 in which this line is marked as conspicuously as in the ,illustration3 ,,head ,,of ,,pierre ,,rene ,,choudieu4 ,drawn by ,pierre ,bonnard 7probably from a medallion1 and possibly with a quill pen71 for ,la ,revue ,blanche4 ,watts4 ,this drawing might have been made with an ordinary pen1 somewhat worn1 or 7as was probably the case7 with a quill pen1 or with a camel's-hair brush1 or with a ,japanese brush 7which1 like the quill pen1 is a delightful instrument with which to draw heavy lines72 but are we not right in surmising that you are better prepared to draw such a head because we pointed out in #hh the last chapter that the naso-labial line was a characteristic mark of an old man's face than if we had given you directions for using the quill pen or the brush and said nothing about this line8 ,of course1 we do not mean to suggest that1 were you making a copy from this line drawing1 you would be so careless as to leave out the naso-labial line1 but if you were drawing an old man's face from a photograph1 might you not easily overlook this line if it had never been pointed out to you8 ,if you agree with this proposition you will be in thorough sympathy with the spirit in which this work is written1 and when our chapter on expression comes you will not at all regret that it is not a technical chapter on the use of a drawing instrument4 ,now1 let us consider the ,choudieu drawing a little more fully1 and in doing so we shall ask you to notice that the words follow almost verbatim the part of ,chapter ,,viii referring to the ,watts head4 ,this does not mean that we are at a loss for a vocabulary1 but it is done purposely so that we may thus call attention to it1 and that you may realize that we have called your attention to a vital principle2 moreover1 that principle may be referred to again and again in almost every case where an old person's head is under consideration4 ,we publish also the ,duc d',aumale drawing1 in which you will see the line is again marked4 ,now1 we publish this drawing mainly in connection with the highly finished drawings illustrating ,chapter ,,viii1 by ,dagnan-,bouveret1 ,lwe-,marchand and ,gaillard1 but you may profitably note also that were you tracing it1 intending to make a line drawing of it in pen and ink1 you would #hi ,illustration3 ,,the ,,late ,,duc ,d',,aumale4 ,drawn in crayon1 by ,t4 ,toussaint1 and engraved by half-tone4 #ij represent this muscular indentation with a strong line1 as in the ,watts portrait4 ,you will not fail to notice also the line in the throat corresponding to the one in ,bonnard's ,choudieu1 now presented for consideration4 ,this ,bonnard is a slight drawing1 but it is recommended to printers because it is both artistic in treatment and easily printed4 ,it is artistic because in the heavy lines that you see in the ear and hair there is a knowledge of modeling4 ,the artist knew his business just as ,gaillard did1 and every time he put down a blotty line it was meant to represent the presence of a shadow4 ,we have no means of determining whether this was from an actual plaster or bronze medallion1 or whether the artist worked from a photograph and from his imagination rendered the effect of a modeled relief2 but in either case1 in the photograph or in nature1 there were thousands of little tones that have been left out4 ,a clever pen draftsman works in the same manner1 using darks which the uneducated eye will take to be arbitrary blackening of the drawing1 but which an artist knows is the result of the intelligent observation of the shapes of shadows1 and of the most important shadows of a face4 ,now1 one of the most conspicuous lines in this drawing is the one running diagonally from the wing of the nose almost to the corner of the lips4 ,this is called the naso-labial line1 and is found in every old face4 ,i say again1 that though you work for one hundred years as a printer1 you would probably never draw as correct a line as this4 ,but if you should make studies in pencil and realize that this line is typical of old age1 you would be able to put it in such a drawing #ia ,illustration3 ,,portrait ,,of ,,leon ,,cogniet4 ,after the painting by ,l4 ,bonnat1 drawn1 probably1 by the painter himself1 upon grained scratch-board with lithographic crayon 7871 the lights scratched out with a penknife4 #ib as the ,bonnard where1 you will notice1 it comes down about as far as the lower lip1 as in the ,gaillard1 and you would realize why it was left out in the ,dagnan-,bouveret and ,marchand drawings4 ,the ,bonnat portrait of ,cogniet becomes particularly interesting from this view point1 e4 g41 practice for the sake of observation4 ,it is executed by a process of no value to the printer of the country newspaper1 but there is food for thought in the way the form is brought out by the juxtaposition of masses of light and dark that are not lines4 ,ordinarily we do not recommend to the printer to experiment with such effects1 but rather to confine himself to outline or silhouette1 but the value of the white-line will be considered in connection with wood engraving1 and any practice in drawing from nature in light masses will help you appreciate the judicious use of white-line in wood engraving1 or strong contrasts of white and black in any medium4 ,we publish1 for example1 two very different kinds of drawing as companions to the ,bonnat4 ,one in which ,verdyen has obtained an effect of the brilliancy of fireworks by scratching out whites from a very black drawing4 ,similar effects may be got with great ease in wood engraving4 ,a still more clear effect of light is got in the ,bonnard tailpiece1 where1 by simply breaking the window sash with the light fold of a curtain1 he makes us feel the color of the curtain from the top to the bottom of the picture4 ,we should advise you to practice in any medium1 endeavoring to get similar effects1 as they are most valuable in saving a drawing from monotony4 ,in the ,brun drawing1 for example1 no casual observer #ic ,illustration3 ,a ,,fete ,,at ,,brussels4 ,drawn by ,verdyen1 probably on ruled scratch-board 7see tones in the sky71 with crayon1 in sky1 and with brush1 in figures2 the plate very much retouched by hand4 #id would appreciate the white pillars1 and an untrained draftsman would be likely to cover them with tones1 but as a matter of fact they help immensely to give variety to the drawing4 ,in an architectural exhibition we are frequently tired by the monotony of similar drawings where the draftsmen1 in their desire to render texture and local color1 cover such surfaces with lines meant to represent stone1 brick or mortar4 ,we would remark also that just as our own repetition of the ,watts analysis apropos of the ,bonnard's ,choudieu portrait was intentional1 so the apparent conglomeration of portrait studies1 landscapes and buildings is not the result of careless arrangement on our part1 but is intentional1 that it may be shown that a certain principle in drawing1 studied from one object1 may be applied to any other4 ,if you draw a friend's face by lamplight and pick out the lights upon it and his cuff1 as in the ,bonnat ,cogniet1 you will be prepared to pick out similar lights on portions of buildings as in the pillars in the ,brun drawing2 or on window curtain folds as in ,bonnard's tailpiece4 ,it may be interesting to printers for us to narrate the difficulty of preparing a proper legend for the ,choudieu4 ,it was a tailpiece to an article in a ,french magazine1 and bore no legend4 ,to all appearances it was the portrait of one ,mr4 ,dangers1 but knowing how liberal the ,french are in their use of cognomens1 we took the precaution to investigate4 ,a ,frenchman may be born ,smith1 but in manhood is known to the public by one or a dozen other names4 ,he may marry ,miss ,brown1 and1 therefore1 parade as ,mr4 ,brown2 his ,uncle ,jones #ie ,illustration3 ,,tailpiece1 ,,by ,,pierre ,,bonnard4 #if may leave him money1 so he publishes his articles under the name of ,jones2 he was born in the city of ,boston1 so he signs himself de ,boston1 meaning of1 or from1 ,boston4 ,under this name he paints his first picture1 but the town council does not buy his works as he hoped it would1 and the council of ,albany does1 so he discards 8de ,boston0 and1 in his gratitude1 he afterward signs his canvases d',albany 7abbreviation of de ,albany74 ,but now as to ,christian names4 ,our friend ,smith was1 perhaps1 named by his father ,henry1 but at his baptism there were added the names of ,lewis and ,charles and his mother's name1 ,black4 ,then1 when at the age of fifteen he comes to be confirmed1 he takes the name of ,matthew1 ,mark1 ,luke1 ,john1 plus ,mary4 ,and with any of his surnyms he may at any time combine any two or half a dozen of these pronyms4 ,so that a ,french biographical dictionary is one-half biography and one-half cross-reference4 ,thus--,brown1 see ,jones2 ,black1 see ,white4 ,knowing this1 we referred to the periodical from which this was cut1 and found it was a tailpiece to an article signed ,pierre ,rn ,choudieu4 ,ah6 this gave us a clue2 but1 who then was ,dangers8 ,was ,choudieu a sculptor as well as a writer1 and was this a medallion portrait by him of ,dangers8 ,or was it a portrait of ,choudieu by a draftsman named ,dangers8 ,the artists were not mentioned in the index nor on any page in the body of the magazine1 but on the title-page we found 8,dessins de ,pierre ,bonnard10 meaning that the drawings in the magazine were by one artist--,pierre ,bonnard4 ,therefore1 ,d',angers could not have been the artist1 so #ig ,illustration3 ,,at ,,the ,,caf ,,aphrodite4 ,pen ,drawing by ,a4 ,brun4 #ih ,illustration3 ,example of ,french ,art ,school studies1 from plates published under the direction of ,bargue and ,grme1 showing method of blocking in a cast1 both outline and shadows4 #ii ,illustration3 ,example of ,french ,art ,school studies1 from plates published under the direction of ,bargue and ,grme1 showing method of shading in simple tones without much reflected light or half-tones4 #ajj we must search further2 this we did1 and luckily1 in the back of the magazine1 found the advertisement of a series of articles by ,pierre ,choudieu1 and one of the paragraphs in it read1 8,pierre ,rn ,choudieu1 naquit a ,angers10 etc4 ,this translated meant that he1 ,choudieu1 was born at ,angers1 so that we fathomed our problem at last1 and give the result under the cut4 ,the foot plates are identical in treatment with the plates of hands given on pages #ff and #fg4 ,the reader should compare these plates1 that he may understand that a method may be learned from the drawing of one object and applied to the drawing of a thousand other objects4 ,you must not expect that in a brief treatise of this kind we can give specimens of every object that the printer may have occasion to draw--we should have to publish an encyclopdia for that--but we do purpose to give methods which will enable him to draw every kind of tangible object with light and shade upon it4 ,these hands and feet studies may be used as guides to show how any such object may be 8modeled10 i4 e41 shaded so that the object seems to be solid4 #aja ,,chapter ,,xi4 ,,more ,,about ,,the ,,naso-,,labial ,,line -- ,,it ,,suggests ,,old ,,age -- ,,absent ,,in ,,youth -- ,,drawing ,,not ,,arbitrary -- ,,lines ,,introduced ,,because ,,they ,,are ,,in ,,nature -- ,,lines ,,made ,,by ,,the ,,orbicular ,,muscle ,,and ,,the ,,crow',s ,,feet 7,,these ,,suggestive ,,of ,,old ,,age7 -- ,,line ,,at ,,the ,,corner ,,of ,,the ,,mouth -- ,,lines ,,made ,,by ,,the ,,frontal ,,muscle -- ,,suggestive ,,of ,,old ,,age ,,or ,,of ,,passion -- ,,much ,,used ,,by ,,the ,,actor4 ,let us harp a little longer upon the naso-labial line4 ,we reproduce two very beautiful drawings by ,grellet1 the one of a young girl1 the other of an old man4 ,how suggestive is the old man's head because of the strong marking of the naso-labial line4 ,do you not realize how easily you could draw this line1 and the whole head for that matter1 in the manner of the ,bonnard ,choudieu8 ,but valuable as it is by itself1 how much more suggestive in connection with the young girl's head1 where the naso-labial line is hardly perceptible4 ,this is a lesson in negation1 at the value of which we have hinted so often4 ,it is your business to learn when to put in a line1 but equally your business to learn when to leave it out4 ,therefore we give with this chapter some heads of younger persons1 that you may learn this very lesson4 ,take the ,fred ,walker head4 ,how like the ,watts drawing1 so far as its treatment goes2 but the naso-labial line is missing4 ,what is the result8 #ajb ,illustration3 ,,portrait ,,of ,,fred ,,walker4 ,pen drawing by ,e4 ,g4 ,t4 ,note entire absence of naso-labial line1 and of line about orbicular muscles4 ,absence of these lines indicate youth4 ,contrast with the ,watts and ,choudieu heads1 where strong markings are prominent because of advanced age of the subjects4 #ajc ,why1 we have the characteristics of a younger man4 ,in this little comparison you have the foundation of all art study4 ,drawing is not arbitrary2 we do not introduce lines into a face simply because this artist or that artist did so2 we introduce them because their counterpart is found in nature4 ,it is not in the province of these papers1 as we have said1 to tell the printer how he should draw every object he may attempt to delineate--a waste-paper basket1 the head of a cow1 a printing press1 or a hat4 ,but we can give him hints which will help him to observe for himself the characteristics of any object under the sun which he may wish to draw4 ,if he finds around the mouth of a cow more pronounced lines than in a calf1 he must put them in4 ,if in one trash basket the wickerwork runs upward with each line parallel1 he must draw it by perpendicular parallel lines1 while in another one the wickerwork is interwoven diagonally and he must represent it by diagonal lines4 ,in a coat sleeve1 the arm hanging down1 there are but few cross-folds1 so he introduces few cross-lines into a sketch of such a sleeve1 but when the arm is bent many more folds occur at the elbow and he therefore introduces more cross-lines in his drawing of the sleeve4 ,this is about all there is to the science of drawing4 ,now let us proceed a little further4 ,in the ,watts we notice two or three lines below the lower eyelid2 these we find also in the ,gaillard1 but they are absent in the ,donatello ,young ,girl's ,head by ,grellet2 they are very perceptible in the ,brontolone4 ,here we have to do with another muscle4 ,in the human head the eye is #ajd ,illustration3 ,,lithograph ,,crayon ,,drawing4 ,from bust of a young girl by ,donatello1 by ,f4 ,grellet4 ,note absence of strong marking of naso-labial line1 the absence of line at the angle of the lips1 and of orbicular muscles4 ,the absence of these markings indicates youth4 ,to be compared with the ,lefebvre drawing4 #aje set in a cavity in the skull called the orbital orifice1 and in a very old person the lower edge of this cavity is sometimes perceptible under the flesh1 and occasions a line in an artist's drawing4 ,but the main cause for the lines around the edge of an eye is that the eye is surrounded by a soft muscle1 which is called the orbicular muscle4 ,the part of this muscle which forms the eyelid is called the palpebral part2 the part above the eyelid1 the superior orbital orbicular2 and the part below the lower eyelid1 the inferior orbital orbicular4 ,at the outer corner of the eye1 as the two parts come together1 they show in an old person's face habitually1 and in a child's face laughter creates radiating lines called crow's-feet4 ,these lines called the crow's-feet1 and still more the folds in the muscles below the eye between the lower eyelid and the base of the orbital orifice are1 like the naso-labial line1 very conspicuous in old age and almost entirely absent in childhood4 ,if you understand this you will turn to the beautiful drawing by ,lefebvre1 and realize why1 although there is a great deal of shading on the hair1 ear and jaw1 and quite a perceptible piece of shading on the wing of the nose1 there are no lines down the cheek between the eye and the lips4 ,indeed1 in the original drawing1 the white paper was there left entirely uncovered4 ,of course1 the artist might have filled the entire space with shading1 but in that case it would have been a graduated tint suggesting the roundness of the cheek1 as in the ,grellet ,young ,girl1 but there would have been no suggestion of lines2 the moment lines are introduced the characteristics of old age are #ajf suggested4 ,at the corner of the mouth is a line which runs in about the same direction as the naso-labial line4 ,in youth the cheek is slightly rounded out from the lip1 and in a side view it is usually the outline of the cheek ,illustration3 ,,crayon ,,study ,,of ,a ,,child4 ,by ,j4 ,lefebvre4 ,half-tone from a lithographic reproduction by ,f4 ,grellet4 which makes the little line at the corner of the lips in the ,lefebvre and the ,grellet ,young ,girl1 and always in the side view of a baby's head2 but as the head becomes less babyish it is the muscles of the lips which cause this line4 ,the muscles of the lips are exactly like those of the eye2 they run entirely around the lips1 but at the corner of the mouth1 instead of having the radiating line like the crow's-feet1 the threads of the muscle have a more perpendicular trend and create a line running in the same direction as the naso-labial line2 while below this1 but attached to it1 is the triangular muscle of the lips1 or the #ajg depressor of the angle of the lips2 this1 in the ordinary old person1 creates a long line1 starting at the corner of the lip1 running down considerably4 ,this line is very conspicuous in the ,brontolone1 but absent in the ,young ,girl and the ,lefebvre4 ,it is seen plainly in the ,choudieu1 and we do not see how you can ask for a better lesson in drawing than the comparing of the highly finished ,brontolone with the very simple ,choudieu6 ,once more1 above the eyes the forehead is covered with the frontal muscle4 ,the fibers run perpendicularly1 but when they contract1 as when a person frowns1 the folds in the flesh run horizontally2 these folds are particularly perceptible in old age4 ,though every mother will remember their alarming occurence in babyhood1 we do not associate them with youth2 and so in the ,grellet ,young ,girl we find no lines in the forehead1 nor are they in the ,lwe-,marchand1 hence a placid temperament is suggested in that portrait4 ,many men no older than ,monsieur ,x4 have constant lines in their forehead1 and the actor uses these muscles continually for expression4 ,we write the plural because the muscle is frequently divided into right and left portions which follow the direction of the eyebrows1 so that when the muscle is contracted the eyebrow's are no longer horizontal but have an ,m shape across the forehead4 ,in the ,watts there is a very perceptible line which curves over the right eye1 taking the direction of the eyebrow2 this is part of the frontalis muscle4 ,if the line on the other side were completed it would take a similar direction over the left eye4 #ajh ,illustration3 ,,mr4 ,,colquhoun4 ,,sir ,,john ,,willoughby4 ,,mr4 ,h4 ,h4 ,,champion4 ,,english ,,newspaper ,,portraits4 ,sir ,john ,willoughby1 ,mr4 ,colquhoun1 and ,mr4 ,h4 ,h4 ,champion1 from the ,pall ,mall ,gazette4 ,undoubtedly traced from photographs4 ,executed in a simple manner1 suitable for quick printing on a cylinder press4 ,note absence of naso-labial line1 except perhaps in the case of the right-hand side of ,mr4 ,colquhoun's head4 ,this is either a slip of the pen1 meant to come lower down to represent the mustache1 or it is the naso-labial line1 and its companion was lost in the engraving process4 7,this line could very well have remained in ,mr4 ,colquhoun's face1 as he is evidently much older than ,mr4 ,champion and ,sir ,john ,willoughby47 ,also note absence of strong marking about the orbicular muscles1 and absence of lines in the frontalis4 ,the absence of these lines indicates youth4 ,compare with the ,choudieu and ,watts1 where the introduction of these lines represents old age4 #aji ,illustration3 ,,lithograph ,,crayon ,,drawing4 ,from ,bust of ,brontolone by ,luca della ,robbia1 by ,f4 ,grellet4 ,reproduced by half-tone4 ,the original was #ab by #i inches4 ,strong marking of the naso-labial line1 line at the corner of the lips1 crow's-feet1 and orbicular muscle1 typical of old age4 ,to be compared with the ,bonnard ,choudieu4 ,we have thus covered the muscles of the face which have most to do with expression1 and so you see that1 besides drawing the eyebrows1 eyelashes1 eyeballs1 the bridge of the nose1 the nostril1 the lips1 and the chin1 the artist has to do with a great many muscles1 and the novice must not only be warned about them1 that he may know when to introduce them1 but he must remember that they have principally to do with old age or #aaj abnormal expression 7laughter1 grief1 hate1 etc471 and they must be used to express such attributes only4 ,hence the three ,english drawings represent very admirably the normal1 placid expression of middle-aged men4 ,if with the foregoing hints you attempt to draw a portrait for your newspaper1 we fancy that1 if you follow our advice faithfully1 you will meet with more success than you imagine4 #aaa ,,chapter ,,xii4 ,,the ,,science ,,of ,,pen ,,drawing -- ,,pen ,,drawing ,,may ,,be ,,any ,,size -- ,,the ,,watts ,,in ,,two ,,sizes -- ,,drawing ,,may ,,be ,,enlarged ,,or ,,reduced -- ,,from ,,the ,,printer',s ,,viewpoint ,,pen ,,technic ,,less ,,important ,,as ,,regards ,,its ,,adaptability ,,to ,,reduction ,,than ,,as ,,regards ,,the ,,printability ,,of ,,the ,,cut ,,made ,,from ,,it -- ,,the ,,printer',s ,,own ,,experience ,a ,,guide ,,in ,,this ,,matter -- ,,three ,,kinds ,,of ,,printing ,,considered1 ,,for ,,convenience ,,characterized ,,as ,i4 8,,magazine10 ,,ii4 8,,city ,,newspaper10 ,,iii4 8,,country ,,newspaper0 ,,printing -- ,,cross-,,hatched ,,lines ,,supposed ,,to ,,fill ,,up ,,more ,,rapidly ,,than ,,single ,,lines -- ,,portrait ,,of ,,stevenson ,,by ,,wyatt ,,eaton ,,the ,,ne ,,plus ,,ultra ,,of ,,newspaper ,,portraiture -- ,,the ,,naso-,,labial ,,line ,,in ,,this ,,drawing ,,suggested ,,by ,,shading1 ,,not ,,by ,a ,,single ,,line -- ,a ,,drawing ,,by ,,sickert -- ,,any ,,pen ,,may ,,be ,,used ,,for ,,these ,,drawings1 ,,but ,,the ,,lines ,,mainly ,,to ,,be ,,considered ,,as ,,thick ,,or ,,thin1 ,,since ,,they ,,may ,,be ,,put ,,upon ,,chalk ,,plate1 ,,and ,,not ,,drawn ,,in ,,pen-,,and-,,ink ,,at ,,all4 ,in our last chapter we said that we believed that if you would attempt to draw a portrait for your newspaper1 following our advice faithfully1 you would meet with more success than you would imagine4 ,but you say1 perhaps1 that you are not prepared to attempt a portrait because we have given you no directions for pen drawing4 ,well1 here you are partly right and partly wrong4 ,there is a science of pen drawing that #aab ,illustration3 ,,george ,,frederick ,,watts1 ,r4,a4 ,an ,english newspaper cut--from ,tit-,bits1 artist unknown4 ,an excellent example of newspaper work4 ,note that the skull-cap is not represented partly gray and partly black because the artist meant to indicate a cap that was one color in front and another in the back1 but he meant to show the rounding of the cranium1 just as ,gaillard did in varying the tones in the hair of the old woman4 ,an enlargement of this cut was given in ,chapter ,,viii4 ,if a drawing is made the size of that enlargement1 it can satisfactorily be reduced to the size of the cut above4 ,of course it may reduce to smaller dimensions2 the greater the reduction the nearer the lines come together1 and their closeness makes them more difficult to print4 #aac you may study with profit1 but in order to draw a simple portrait for your newspaper it is not necessary for you to have any further instruction than we have given you4 ,if it is going to pay you to follow drawing at all1 you should be able at this stage of progress to make a tolerably good drawing for a newspaper portrait4 ,but1 you say1 8,what size should ,i make the drawing80 ,we reply1 8,almost any size1 though usually not smaller than the cut is to appear40 ,but that it may be smaller is seen by our two ,watts cuts4 ,here is a cut the exact size of the original ,watts1 as it went to the engraver1 who by mistake enlarged it to the size it appeared in ,chapter ,,viii4 ,i accepted this enlargement gladly1 so as to show you that a drawing may be enlarged or reduced1 but more especially with the idea of showing you the usual size that a drawing is made for reduction2 for you will always be safe in making your portrait the size of the ,watts in ,chapter ,,viii if you wish it to appear the size of the present cut4 ,i cannot over-emphasize the importance of your realizing that you have been told sufficient about pen drawing for you to go ahead and make drawings for your paper4 ,if there is anything more to be learned ,i am candid in saying that you are better able to find out what it is than ,i am1 for it is almost entirely a matter of printing1 and not of engraving4 ,photo-engravers can nowadays reproduce almost any kind of a drawing1 but a cut which might print well in a magazine might not print at all in your country newspaper4 ,you know better than ,i do the trouble of 8bringing up0 a fine cut on poor #aad ,illustration3 ,,the ,,grandmother4 ,pen ,drawing1 by ,e4 ,renard1 from a ,french ,catalogue4 ,the parallel lines in the background represent a tint1 and herein is the foundation of pen drawing1 as distinguished from wash drawing3 parallel lines are used to represent a tint2 if they are farther apart they represent a lighter tint1 if nearer together a darker tint2 or again1 if the artist presses on his pen more heavily on one set of lines than another1 he can also get a darker tone without putting the lines any closer together4 ,for newspaper work such a method is preferable to placing the lines near together2 the ,wyatt ,eaton shows the pressing on the pen method perfectly4 #aae paper1 on a cylinder press1 and when you are making your drawing it is for you to keep in mind the kind of paper it is to be printed on1 and to keep your lines sufficiently open accordingly4 ,ordinary intelligence should be your guide4 ,let us take the ,renard ,grandmother for an example2 in the background is a series of the simplest lines imaginable4 ,if you should make your drawing the same size as our cut1 and the lines the same distance apart1 it could be easily reduced to an inch wide1 and print in a magazine1 but it would not then print in a country newspaper2 the lines would be so near together that they would fill up4 ,the cut might print in a city newspaper1 but it is not likely4 ,the truth is that a printer can tell better about this than ,i can4 ,all ,i can say is that as a general thing a set of parallel lines print better than cross-hatched lines4 7,in using the expressions1 8a magazine10 8a city newspaper0 and 8a country newspaper10 to represent first1 second and third class printing1 ,i am well aware that the distinction is an arbitrary and not a real one2 that sometimes by using good ink1 good stock and by printing slowly1 the country printer can run a cut in his newspaper with better results than can a city paper using poorer stock and ink for the sake of economy1 and printing at lightning speed4 ,but the reader will kindly let the expressions stand for 7#a7 perfect press1 good stock and ink1 and expert overlaying2 7#b7 perfect press1 ordinary 8news0 stock1 poor ink1 and little overlaying2 7#c7 poorest stock1 ink1 cheap press1 and not expert overlaying47 #aaf ,illustration3 ,,portrait ,,of ,,robert ,,louis ,,stevenson4 ,drawn1 probably with a quill pen1 by ,wyatt ,eaton1 in #ahhh1 the original #h by #aj inches4 ,the drawing was made in an open manner so that it would print on the poorest kind of paper1 as it was used as a placard to announce a story by ,stevenson1 in the ,new ,york ,sun4 ,reproduced by kind permission of the ,s4 ,s4 ,mc,clure ,co41 by whom it is copyrighted4 ,a reduction of this drawing1 greater than the above1 adorned the cover of the ,march1 #ahig1 ,mc,clure's ,magazine4 #aag ,next to the preference of one set of lines to cross-hatched lines1 it is to be said that a dark is better obtained by pressing on the pen than by putting the lines near together4 ,we publish a superb example of pen drawing for newspaper work--the ,stevenson1 by ,wyatt ,eaton4 ,we believe that this is the ne plus ultra of newspaper portraiture1 for the lines are strong and vigorous1 there being no possibility of their running together in printing4 ,i should advise you to look at this portrait under a magnifying glass that you may realize how very simple the treatment is4 ,mc,clure's 8,human ,documents0 contains a baker's dozen of half-tones of ,stevenson1 from photographs4 ,you might procure this pamphlet and copy the half-tones in pen1 using the ,wyatt ,eaton as a guide4 7,and in parentheses ,i would say you will notice that the naso-labial lines on both sides of the face are strongly marked1 and yet instead of there being one line going in the direction of the muscle1 as in ,bonnard's 8,choudieu10 we have on the light side of the face eight perpendicular lines1 and on the shaded side six blots with almost horizonal1 but slightly oblique1 direction6 ,do you not1 therefore1 see that it is not the kind of line you use1 not a matter of 8what way the lines go10 but where you put your tones1 that counts in drawing8 ,if ,wyatt ,eaton had not seen the strongly marked naso-labial line on ,stevenson's face1 he would not have put these two triangular forms radiating from the nostril4 ,moreover1 ,eaton could have represented these lines in another way just as well4 ,also1 it would #aah take too long to explain other subtle features of this drawing1 but we would add that you will rarely see so much tone on the light cheek as in this drawing4 ,stevenson was an invalid1 and this tone represents the sunken cheek of ill-health47 ,now1 if you will examine the ,sickert portrait of ,wilson1 you will find an equally artistic drawing1 but one not quite so adaptable to newspaper printing2 for the darks are partly obtained by putting the lines near together rather than by great pressure1 and in our reproduction they have frequently run together where in the original print1 which was #f by #i inches1 they were separated4 ,and so also in printing on poor paper2 there is a chance that the interstices will fill up1 while they would not in the ,eaton4 ,as1 however1 this drawing was made for printing on a thin manila paper1 not on coated paper1 and there is great deal of pressure on the pen 7note especially the side of the nose71 which was put on knowingly by the artist1 it contains much that should be imitated in newspaper work4 ,in regard to the way to make such heavy lines1 we would say that it is a mere matter of practice2 the selection of pen has little to do with it4 ,excellent results may be got by using a brush instead of the pen1 and we dare say that ,mr4 ,eaton used a quill pen4 ,but as a matter of fact1 the artist usually prefers to use a very fine pen such as a crow quill1 or mapping pen1 which is flexible1 it thus being that a dark line is got1 not by a blunt-pointed pen1 but by allowing the nibs of #aai ,illustration3 ,,portrait ,,of ,c4 ,,rivers ,,wilson4 ,pen drawing by ,walter ,sickert4 ,from the ,london ,whirlwind1 #ahij4 ,an example of artistic portrait-drawing suitable for newspapers1 showing darks obtained both by placing fine lines near together 7see just above mustache on shaded side71 and darks obtained by pressing on the pen 7see heavy lines on shaded side of nose74 #abj a flexible pen to spread so that the ink flows very freely from it4 ,for ordinary purposes a ,gillot #cjc or #agj is frequently used by the artists4 ,but it is a matter of practice mainly1 and the pen you usually write with is apt to be the best medium for practice at first4 ,in fact1 we are particularly anxious to have our reader not worry about pen technic4 ,let him realize that he might wish to put his drawing upon the chalk plate1 in which case he would make a tracing of a photograph1 and1 placing it upon the chalk1 press upon it with a hard-pointed pencil1 and thus transfer his outline into an indentation on the chalk4 ,he would then take the scraping tool and clear away the chalk wherever he wishes a line4 ,the fact being that he would introduce lines only where he knew there should be lines in nature1 as in the case of the naso-labial line1 the eyelids1 etc42 and he would broaden his lines only where he knew the tones should be darker in nature than where he had used a set of fine lines4 ,there would be no use of pen at all6 ,so you see we have come right to the milk in the cocoanut--right to the matter this series was to teach4 ,many readers no doubt were disgusted when they did not find in our first chapters directions for the use of the pen and a list of materials for pen drawing1 but those who may have occasion to do their portraits in chalk plate will thank us for our hints on the study of nature and the study of lines1 no matter how made4 #aba ,,chapter ,,xiii4 ,,study ,,of ,,pen ,,technic ,,continued -- ,,the ,,printer ,,must ,,not ,,expect ,,the ,,knowledge ,,of ,,pen ,,technic ,,to ,,take ,,the ,,place ,,of ,,knowledge ,,of ,,drawing -- ,,examples ,,considered -- ,,the ,,grandmother ,,by ,,renard -- ,,the ,,marchetti1 ,,the ,,vierge1 ,,the ,,st4 ,,elme1 ,,are ,,good ,,examples ,,of ,,pen ,,drawing -- ,,the ,,guillaume ,,an ,,amusing ,,example ,,of ,,use ,,of ,,parallel ,,lines -- ,,the ,,forain ,a ,,good ,,example ,,of ,,newspaper ,,cartoon ,,style2 ,,the ,,vallet1 ,,of ,,newspaper ,,news ,,style -- ,,the ,,moullier ,,an ,,example ,,of ,,eccentric ,,use ,,of ,,dots -- ,,method ,,of ,,pen ,,practice ,,suggested4 ,illustration3 ,,initial ,,letter ,,by ,,marchetti4 ,pen drawing from ,paris ,illustr4 ,judicious study of pen technic is helpful to the printer-designer4 ,i use the adjective 8judicious0 because ,i need a word beginning with ,j for our initial letter4 ,what ,i mean is1 that just so far as the printer studies drawing1 he may study pen technic1 but he must not expect to progress further in the latter than he has progressed in the former2 so while this chapter will be exceedingly helpful to the reader who has followed the previous ones1 it will only lead to failure #abb ,illustration3 ,,illustration ,,to ,,pablo ,,de ,,segovie4 ,pen drawing by ,daniel ,vierge1 one of the most celebrated of modern pen-draftsmen4 ,if you will scrutinize this drawing under a magnifying glass you can examine this technic with more ease than with the naked eye4 #abc if the reader does not follow our advice in regard to training the eyes to see as well as in regard to pen technic4 ,we said in our last chapter that the parallel lines in the background of 8,the ,grandmother10 by ,renard1 showed the foundation of pen drawing4 ,the same is ,illustration3 ,illustration 7pen drawing72 chapter heading1 but without initial letter1 by ,marchetti4 ,from ,paris ,illustr4 true of our initial letter1 in which we find a set of parallel lines which1 contrasted with the white of the illumination thrown by the lantern1 gives us an effect of gray4 ,this is found again in the other drawing by ,marchetti2 and if you will study these two drawings1 and then turn to the ,vierge1 you will find that nine-tenths of it is drawn in the same way4 ,here and there to get a certain vibration of tone1 ,vierge uses crosshatch1 but you will notice that the lightest gray and the intensest dark are got without crosshatching4 ,in the ,st4 ,elme you may also distinguish very clever use of parallel lines1 without much crosshatching4 ,we have purposely reproduced this1 together with the page it decorated1 so that you may see the artist had a good reason for not crosshatching2 he wished his drawing to form a decoration about the page1 and he did not want it to be too heavy1 so he abstained from crosshatching4 #abd ,illustration3 ,pen drawing by ,st4 ,elme1 decorating a page of a ,french journal1 #i #a_/b by #ac1 showing a clever use of parallel lines1 and a method of decorating a printed page1 which will be considered later on4 #abe ,the best practice for you is to make drawings for your publication in any manner you see fit1 and after you have had experience in printing the same1 you can tell very well how much crosshatching is advisable1 and how much clogs up in the printing4 ,there are ,illustration3 ,caricature of the ,french painter 7whose works are somewhat dark and misty in effect7 ,eugne ,carrire at work4 ,by ,guillaume4 ,from the ,french daily1 ,gil ,blas4 several caricaturists in this country whose work is printed in daily papers in a thoroughly satisfactory manner1 and yet they use a great deal of crosshatching1 but of course they know just how open to keep the lines1 for they know just what results their printer can #abf get and what not4 ,but we would say it is a good principle1 to begin with1 that the less crosshatching in your work the better it will print4 ,hence the ,marchetti and ,st4 ,elme drawings are given as examples4 ,in the portrait of the painter ,carrire1 we have an amusing example of the effective use of parallel lines4 ,instead of giving us a black silhouette1 the artist--,guillaume--has given us a gray one1 which suggests the subject seen through a fog4 ,had the artist wished to represent the palette as being of dark wood he could have pressed on his pen lines and thus given us that effect4 ,had he wished to show that the canvas was lighter than the figure1 he could have refrained from pressing so heavily on his pen lines1 or1 better still1 distributed his lines farther apart and thus obtained the effect of a lighter tone4 ,bear in mind1 however1 that ,i used the term pen lines in speaking of this drawing because the original was made in that medium1 but the same graduation or contrast of lines is applicable to nearly all methods of line drawing2 to etching and chalk plate as well4 ,you will1 perhaps1 have a better grasp of the subject by thinking of it as--the theory of tone imitation by lines4 ,when you have grasped the theory of this pen technic1 alias the representing of tone by lines1 you will be prepared to make your own deductions from various specimens of illustration4 ,some of our friends1 for example1 who might have been interested in our first chapters and the specimens of caricature given therein1 may have been disappointed #abg that we have given so much attention to portraiture recently1 so we have made an effort in this chapter to give a mlange that will cover many fields of newspaper illustration4 ,in the ,forain we have a splendid example of such work4 ,it was printed on very poor paper stock1 but it came out admirably1 harmonizing with the type1 which is larger than that used in this country1 long ,illustration3 ,,newspaper ,,caricature4 ,by ,forain1 from ,figaro4 ,this composition evidently makes fun of ,mr4 ,berthelot1 who has had1 or expects to have1 some dealings with ,england1 for the visitor says1 8,may ,i see my honorable master80 and the maid responds1 8,mr4 ,berthelot is not receiving2 he is taking an ,english lesson40 ,the cut in ,figaro was #h by #h1 and it represents an excellent method of newspaper drawing1 and one that could be easily imitated in chalk plate4 ,we would also call attention to the drawing of the broom4 ,our readers who followed the directions of our first chapters will see that the silhouette of the broom is indicated in a masterly manner4 #abh ,illustration3 ,example of news drawing1 by ,l4 ,vallet1 from a ,french periodical4 #abi primer predominating4 ,the drawing of the still-life objects is particularly interesting4 ,look at the duster the woman holds3 is not its form exactly what you would see if it were held up against the window and viewed in silhouette8 ,a good example of a news illustration is given in the ,vallet page1 which could easily be imitated in chalk plate4 ,the artist viewed a collection of ,english army costumes1 or witnessed a drill1 and he shows us in very simple lines the style of accouterment4 ,any newspaper editor who could sketch tolerably well could do the same thing for his county fair4 ,in the ,moullier we have a specimen that is well-nigh as amusing as the artist in the fog1 for here we have a pen drawing that is not made by lines1 but by a series of stipples4 ,while the newspaper tyro should not employ this technic too frequently in his practice1 still1 realizing that the tone effect is graphically gained without the use of the conventional line1 it must quickly dawn upon him that there are many technics1 and1 having practiced drawing mantelshelves according to the instructions in our early chapters1 he will also appreciate the fact that the artist was in front of this mantelshelf1 as the horizontal lines do not tip1 and that the shelf was higher than his eye1 as the top of the mantel is not shown4 ,this knowledge gathered allows the student to see that various technics may represent the same truth in nature4 ,a good method of practice for pen work is as follows3 ,take a wood engraving or half-tone from some #acj ,illustration3 ,pen drawing by ,marc ,moullier1 for ,la ,plume1 showing a clever and eccentric use of dots4 ,it may be remarked that since the mantelpiece is above the eye we cannot see the top of it4 ,it is parallel to the artist's eyes1 and so is represented as a horizontal line4 ,so far as correct drawing is concerned1 it makes no difference how that line is made4 ,one artist makes it a thick line with a blunt pen1 another a thin line with a fine pen1 and another1 like ,moullier1 makes it with a series of dots1 but each of these methods is a matter of technic1 and the rules of technic are arbitrary1 not fixed as are the rules for drawing4 ,you may invent your own technic1 but you cannot invent perspective4 #aca periodical1 the larger the better1 go over the back of it with a blue pencil1 lay it on a sheet of bristol board or paper1 face upward1 and go over the outline with a hard pencil1 using such a pressure as will transfer to the bristol board a blue outline4 ,the object in using blue is1 that you do not have to erase it1 but may work over it with a pen1 as the blue does not photograph4 ,besides transferring the outline it is also advisable to outline the shape of any of the shadows you intend to introduce4 ,you then endeavor with the pen lines to imitate the delicate shadows of the half-tone or wood cut4 ,perhaps instead of saying imitate1 we would better say approximate1 for you must not expect to be able to imitate with pen the extreme delicacy of a half-tone4 #acb ,illustration3 ,,des ,,gueules 7,,studies ,,of ,,mouths1 ,,jaws7 ,,by ,,herman ,,paul4 ,,chapter ,,xiv4 ,a ,,chapter ,,of ,,illustrations ,,and ,a ,r,,sum -- ,,vallotton ,,heads ,,only ,,understood ,,by ,,those ,,who ,,can ,,see ,,light ,,and ,,shade ,,upon ,,objects -- ,,medallions ,,by ,,david ,d',,angers ,,showing ,,the ,,planes ,,of ,,the ,,face -- ,,these ,,planes ,,brought ,,out ,,in ,,some ,,of ,,the ,,vallotton ,,heads1 ,,and ,,in ,,medallions ,,by ,,lormier ,,and ,d',,illzach1 ,,and ,,in ,,drawing ,,by ,,chaume -- ,,landscape ,,by ,,le ,,roux1 ,,caricature ,,by ,,forain -- ,,the ,,le ,,roux ,,and ,,the ,,paul ,,drawings ,,indicate ,,the ,,force ,,of ,,outline -- ,,examples ,,of ,,different ,,kinds ,,of ,,technic4 ,the definite character of our illustrations to the last two chapters should have made so strong an impression upon the reader 7if he practices drawing7 that there ought to be little necessity of further letterpress explaining the different technics of pen drawing4 #acc ,so please permit us to introduce a large number of illustrations in this chapter1 with slight comment2 it being surmised that the reader will1 however1 give a fuller consideration to the drawings themselves than we do4 ,each one should be studied again and again1 the reader not copying it1 but making a drawing in the same style of some similar object4 ,this chapter1 moreover1 must serve as a general rsum of our instruction in freehand drawing and pen drawing2 it virtually ends the first part of our text-book2 the succeeding matter will be confined to the consideration of different methods of decorating title-pages1 and of designing chapter headings1 tailpieces1 etc42 and the third part will consist of the consideration of different methods of engraving1 chalk-plate1 wood engraving and color printing4 ,now for our rsum4 ,in order to learn to draw you must first learn to discern the outline of objects1 which you may do by seeing them in silhouette4 ,to draw the hair in outline1 as in ,vallotton's third ,nietzsche1 you must first see the hair as in the first ,nietzsche2 that is1 see it in mass or in silhouette in nature4 ,before ,vallotton took a brush in hand to put on the solid black of the hair in number one you may be sure he drew a pencil outline like the outline in number three2 but before he drew that outline he saw the mass as in number one4 ,the ,vallotton drawings may be further studied from two very different view-points4 ,the third ,friedrich ,nietzsche is pure outline1 like the examples of ,engstrm #acd ,illustration3 ,,friedrich ,,nietzsche4 ,,friedrich ,,nietzsche4 ,,friedrich ,,nietzsche4 #ace ,,felix ,,vallotton4 ,,malthus4 ,,paul ,,robin4 ,,heads ,,designed ,,by ,f4 ,,vallotton4 ,vallotton has made it a practice to engrave a great many of his own designs4 ,we do not know whether these heads were engraved by him1 or merely drawn by him and photo-engraved1 but the manner in which they are designed--that is1 with great economy of line1 and a few simple1 telling spots--is one which is the outgrowth of his practice in wood engraving2 he would work exactly like this if drawing on wood4 7,we shall treat of wood engraving for printers in a future chapter47 #acf given in our early chapters1 and is very simple and easy to understand1 though not by any means easy to draw4 ,the drawing of ,malthus1 on the other hand1 is not easy to understand1 for in addition to the outlines it is modeled--that is1 it contains masses of shadow which bring out the different planes of the face4 ,and it is necessary to study light and shade1 as indicated in ,chapter ,,vii1 before we can fully understand a drawing of this kind4 ,in order to model1 you must learn to see the light and shade upon objects4 ,when your eye is trained to see light and shade1 you can draw the hair as in the second ,nietzsche1 and you can see planes in the face1 as in the ,malthus4 ,although the ,david d',angers diagrams were drawn to show the general masses of the head as they are brought out in successive stages by a sculptor1 yet they become very interesting to the printer who has not had the benefit of an art school education1 for they show him at a glance how much of the character of the human head is dependent upon the different planes of the face1 and it explains better than words what is meant by planes4 ,chapter ,,viii should be read in connection with it1 and the ,vallotton portraits1 especially that of ,malthus1 may be examined critically with this in mind1 for you will then see that ,vallotton has introduced masses of black with the idea of suggesting planes in the face4 ,we introduce the de ,chaume to accompany the ,david d',angers1 ,lormier and d',illzach medallions1 to emphasize the matter of the planes of the human face4 #acg ,illustration3 ,medallion portrait of ,hahnemann1 after ,david d',angers4 ,drawing by ,carl ,robert4 ,showing successive stages in modeling1 from the flat to the relief4 ,we do not want our readers to think that the shadows we have pointed out in our text are the only ones to be noticed in the human face4 ,under certain circumstances1 notably when an actor's face is illuminated by the footlights1 there are shadows upon it quite different from those we have analyzed in previous chapters4 ,but the shadows we have pointed out are those most prominent in a photograph1 and those most frequently employed by the artist1 but if your drawing is to be very extensive you must learn to look for new shadows in new aspects2 and the de ,chaume shows some such shadows1 yet in the case of the naso-labial line it is easy to see that #ach ,illustration3 ,crayon drawing1 from a medallion of ,alf4 ,leroux1 by ,e4 ,lormier4 ,drawn on stipple tinted board2 or else on plain paper1 and the mechanical stipple added to the same after the drawing was made4 ,illustration3 ,medallion portrait of ,m4 ,a4 ,soisson1 by ,ringel d',illzach4 ,drawn by the sculptor on scratchboard with horizontal line tint1 the blacks drawn with crayon1 the whites scratched out with a penknife4 ,as in the ,monet1 our engraver1 instead of reducing the cut by the direct process1 reduced it by half-tone1 through a screen with diagonal lines1 hence the horizontal lines have disappeared4 7,see page #adh7 #aci it is not far different from other naso-labial lines which we have considered4 ,again1 much of our instruction has been given using the human face as a basis of study2 but it is not for a moment to be surmised that the study of drawing should be limited to the human face4 ,we have intended only to suggest a process of study2 this process may be ,illustration3 8,,hawks ,,dinna ,,pike ,,out ,,hawks' ,,een40 ,j4 ,c4 ,,dollman1 ,r4,i4 ,pen drawing from the artist's water color1 made for an exhibition catalogue4 ,this cut shows an excellent style of newspaper drawing1 consisting of outline1 and a gray got by parallel lines1 without crosshatching4 applied to anything under the sun4 ,hence we give the ,forain and the ,le ,roux outline to portray still life and landscape4 ,and it is worthy of note that still life need not be circumscribed to mere drill2 on the contrary1 it is very frequently introduced into drawing--much to the perfecting of the composition4 ,the dishpans1 pots #adj ,illustration3 ,,on ,,the ,,banks ,,of ,,the ,,isole4 ,,by ,e4 ,,le ,,roux4 ,pen drawing by the artist from his painting4 #ada ,illustration3 ,mask of ,branger4 ,drawing by ,geoffroy de ,chaume4 ,drawn by the sculptor from his model1 with 7lithographic7 crayon1 on grained paper with a specially prepared tooth4 #adb ,illustration3 ,newspaper caricature1 by ,forain1 from ,figaro4 ,the butler says3 8,i have heard him say that you spice your dishes too much40 ,the chef says3 8,yes1 he misses his ,blanchette du ,havre40 7,some local hit1 blanchette in cookery being a wrapper of pastry1 bacon1 etc47 8,if he is not satisfied why doesn't he leave80 ,there are few draughtsmen in the world more expert in the use of line than ,forain4 ,he is most wonderful in his construction of forms2 every line means something4 ,the ,french do not mind a free line--one that runs a little too far out--if it has meaning to it2 hence we see a line through the butler's nose1 and his mouth extends to the right of the naso-labial line in quite an unnatural fashion1 but since the line of the cheek is beautifully attached to the eyesocket and upper eyelid1 it does not annoy the ,french at all4 #adc ,illustration3 ,pen drawing by ,guillaume1 from the ,french daily paper ,gil ,blas4 ,this is given as a good example of newspaper work of a kind that could be easily imitated on chalk plate4 ,it is reproduced with adjacent head-line and type that you may get an idea of the typographical appearance of the ,french newspaper4 ,the legend says3 8,today ,gil ,blas publishes its twelfth supplement1 which should be delivered gratuitously 7by the news agents7 to all the purchasers of the paper40 ,the cut1 then1 is merely a little joke to call attention to the more important supplement inside1 which supplement in itself is a pictorial one2 ,french readers are fonder of illustrations than ,american readers4 #add ,illustration3 ,an example of pen drawing4 ,book illustration1 by ,f4 ,h4 ,lucas4 ,this shows splendid modeling with very delicate pen work1 and a certain amount of variety in the background4 ,it is less adaptable to newspaper work than our other illustrations4 ,it is given as a specimen of eccentric line work as regards the background1 which is not unlike the ,moullier4 and coal shovel1 in the ,forain1 are particularly suggestive from this view-point4 ,the ,le ,roux is given in order that our text-book may include an example of landscape1 and also that the pupil may realize that drawing is frequently a matter of the right line in the right place4 ,as we said in ,chapter ,,xiii1 just as we studied the matter of the naso-labial line1 and the orbicular muscle1 one should study the direction of the wickers of a trash basket1 so the artist has studied here the characteristic lines of tree trunk1 foliage1 hillside1 and grasses4 ,if you will study a city street or a shipyard in the same spirit--that is1 search for the characteristic lines--you will be able to make a drawing which1 even though it lacks #ade ,illustration3 ,illustration from the ,paris ,illustr4 ,an example of combined use of outline1 parallel lines and solid black1 with very little crosshatch4 ,mainly interesting because of the introduction of still-life objects1 which hint at subjects suitable for practice4 ,the novice would do well to select a group of similar objects and endeavor to render them in a similar manner4 artistic finish1 will have a certain graphic value2 and for this very reason 7we mean1 to show that outline may be graphic7 we purposely introduce into this chapter the ,paul caricatures1 consisting mainly of outlines1 like those we gave in our first chapters1 and we bid you harp upon them with the fact ever in your mind that they are not arbitrary1 but each line stands for some prototype in nature2 and that we may go a little farther in the analyzation of the face1 we publish some models in relief in which the planes of the face are brought out4 ,these planes were considered in ,chapter ,,vii1 and you must #adf ,illustration3 ,illustration from ,paris ,illustr4 ,pen drawing1 by ,m4 ,luque1 evidently from an instantaneous photograph1 containing all the elements of pen drawing without crosshatch4 ,this has been reduced too much2 the shadows in the building seem black because the lines have run together4 ,in the original illustration the lines on the building were separated1 and the effect was one of gray1 which is the right tone for shadows seen at a distance on a clear day4 ,the outlines of the clouds were probably drawn with an unbroken line1 and after they were engraved were rouletted on the plate1 and hence print as a series of dots4 #adg ,illustration3 ,pen drawing1 by ,maurice ,leloir1 showing admirable effect gained by use of parallel lines without crosshatch2 a splendid example for the novice to study4 #adh look at ,fantin-,la-,tour's cast head in order to understand them4 ,do so1 and then let your eye jump to the ,vallotton heads1 and we think you will grasp their characteristics immediately1 for you will see wherein they differ from the ,engstrm drawings4 ,they differ in this3 that in addition to pure outline1 they mass the constructive shadows found in the ,david d',angers4 ,in other ,illustration3 ,marine1 by ,claude ,monet4 ,drawn with lithographic crayon on scratchboard1 the lines running perpendicularly1 instead of horizontally as in the d',illzach1 the lights scratched out with the penknife4 ,this cut has a peculiar interest technically4 ,the foregoing was dictated with the original in hand1 which was a direct process cut in which one set of lines ran perpendicularly4 ,our engraver1 however1 instead of reducing the cut by the direct process1 reduced it by half-tone1 through a screen with diagonal lines1 hence the perpendicular lines have disappeared4 words1 the black under ,vallotton's eyebrows does not mean that his eyebrows are abnormally thick1 but it means that he has deep sunken eyes1 and that there is #adi ,illustration3 ,portrait of ,fred ,walker1 by ,e4 ,g4 ,t41 from an ,english periodical4 ,reduced to a smaller area than when given in ,chapter ,,xi4 ,by comparing this with the cut on page #ajb we notice that the drawing is so simple that there is very little difference in the general aspect of the two1 but here and there1 as under the jaw1 the lines have run together a little more in the smaller cut1 giving a darker effect than in the larger one2 the lesson is obvious4 a shadow under the eyebrows and in the plane of the superior orbicular muscle1 which recedes1 and ,vallotton wishes to emphasize this4 ,and in the ,malthus he does not mean that ,malthus had a triangular birth-mark on his right cheek1 but he means that he had a prominent cheekbone1 and a sunken cheek beneath it2 hence the shadow1 which is what we call 8a modeling shadow40 #aej ,illustration3 ,portrait of ,c4 ,rivers ,wilson4 ,pen drawing by ,walter ,sickert4 ,from ,the ,london ,whirlwind1 #ahij4 ,reduced to a smaller area than when given in ,chapter ,,xii4 ,by comparing this with the cut on page #aai you will see that many of the lines1 especially in the shadow of the nose1 have run together1 and we do not find as strong a contrast between the black accents on the nose and the gray half-tones produced by the open lines in the larger cut4 ,it is often the case when a drawing is too greatly reduced that it loses snap1 because the graduation from the grays to the blacks is not so perceptible as in the original4 ,still the lines were so open in this drawing that the present cut is a very fair one4 ,the result is much better than could have been got from so fine a drawing as the ,renard4 7,see page #aad47 ,we cannot complete our chapter without mentioning that the styles of drawing we have suggested by no means exhaust the different methods at your disposal4 ,while it is well to confine yourself to outline1 or outline and solid black1 or outline and slight shading1 yet you may experiment in many more complicated methods1 as seen in the ,monet1 and the ,ringel d',illzach1 for even if you do not use these methods for illustrations they help you to observe the capital lights and darks in nature4 #aea ,,part ,,ii4 #aec ,illustration3 ,,goethe',s ,,mother4 ,old-fashioned silhouette4 ,see chapter on wood engraving4 ,,chapter ,i4 ,,introduction ,,to ,,part ,,ii4 ,,instruction ,,in ,,drawing ,,abandoned ,,and ,,design ,,considered -- ,,this ,,instruction ,,less ,,absolute ,,than ,,instruction ,,in ,,drawing -- ,,the ,,printer ,,to ,,use ,,as ,,much ,,of ,,the ,,subsequent ,,matter ,,as ,,serves ,,his ,,purpose -- ,,in ,,the ,,study ,,of ,,lettering ,,all ,,styles ,,have ,,to ,,be ,,covered1 ,,though ,,only ,,one ,,or ,,two ,,may ,,be ,,of ,,value ,,to ,,the ,,printer -- ,,wood ,,engraving ,,valuable ,,because ,,it ,,teaches ,,concentration ,,and ,,economy ,,of ,,line -- ,,the ,,printer ,,in ,,america ,,not ,,able ,,to ,,be ,,always ,,artistic1 ,,but ,,must ,,introduce ,,art ,,from ,,time ,,to ,,time ,,as ,,opportunity ,,arises4 ,the reader is asked to view this second part of 8,drawing for ,printers0 differently from the first part4 ,in the first part the writer aimed at establishing #aed recognized rules for drawing rather than giving his individual opinions4 ,he thinks that very little of the first part of the book can be questioned4 ,for example1 it is not a matter of personal opinion that the horizon line is on a level with the spectator's eyes1 or that a mantelshelf on such a level should be drawn with a straight line2 it is a matter of fact1 which he merely reiterates as the writer of a grammar reiterates the indisputable facts of a language1 that a noun is a name word1 a verb an action word1 an adverb a word which qualifies a verb4 ,but when the writer of a literary text-book has exhausted his rules of grammar and takes up the subject of rhetoric1 although he endeavors to give only such examples of writing as are excellent1 still his own personal taste is apt to guide him in his selections1 and he may claim as admirable that which is to be criticised4 ,a rhetoric of the eighteenth century would necessarily contain much artificial1 sentimental and ,latinized ,english which a teacher of today would not put before his students4 ,so it is that in the following chapters ,i may advocate1 7#a7 ,that which may not meet with the approval of my readers4 7#b7 ,that which may not suit my readers' customers1 and even 7#c7 ,that which is wrong4 ,you therefore may use as much of my advice as you find practical in your daily work1 and discard that which is impractical4 #aee ,but do not forget that that which may be impractical today may come in handy some time next year6 ,that there will be much that you will find impractical goes without saying4 ,it is absolutely necessary that the student of the arts 7as the writer of these papers7 acquaint himself with that which is classical2 he then becomes fascinated with it and recommends it4 ,but the classical covers an immense field1 embracing that which is best in many ages and in many different lands1 and it is utterly impossible that the practical worker in the arts should utilize all the classical styles at one time4 ,hence only a fragment of any text-book built upon the study of the classic can be practical at any given time4 ,let us be more specific4 ,let us take the department of lettering alone4 ,if an author publishes a work on lettering1 and he is a cultivated man1 he must examine the many styles of the past4 ,he examines the monumental letter of classic ,rome and the monumental letter of the ,renaissance2 the ,caroline letter of #gjj ,a4 ,d41 as well as the ,gothic and the ,visigothic4 ,it is not his business to place one above the other1 but to explain the beauty of all4 ,if1 however1 you are a printer of today1 and the ,morris style of type is most in vogue1 and you have stocked your cases with it1 it is the ,gothic letter you are most interested in1 because it is what you are using and what your customer has just been trained to like2 so the most practical part of a book on lettering would be that which would treat of the ,gothic letter1 and its offspring1 the ,old ,english2 while the chapter on ,visigothic1 with its twisted letters1 would seem quite #aef ,illustration3 ,,newspaper ,,illustration4 ,from the ,paris ,figaro1 showing harmony of drawing1 type1 and rules--a method of drawing that could easily be imitated on chalk plate4 #aeg ,illustration3 ,,cover ,,design ,,of ,,the ,,westminster ,,budget4 ,this mortised portion was used for advertisements4 ,printed on light weight yellow paper1 #aj by #ac4 ,an excellent example of the use of silhouette in design4 #aeh impractical to you as you could not use the examples given4 ,yet it would be the business of the writer on alphabets to analyze them thoroughly1 otherwise his work would be incomplete4 ,now then1 ,i shall try to be practical1 and in the chapter on lettering bear in mind that the modern fonts are the ,morris1 ,caxton1 ,jenson1 ,erhard ,ratdolt1 ,old ,english and ,touraine4 ,i shall try to give a little more attention to the letters after which these are patterned than ,i shall to the ,phnician or ,etruscan1 the ,visigothic1 the ,aldine1 and the ,irish text letter4 ,but1 on the other hand1 no printer can be educated without knowing something about these latter alphabets4 ,and so you must bear with me while ,i analyze them1 though they may not be practical4 ,once more1 suppose you do agree that a style of lettering not now in vogue is a pleasing style1 and one worth imitating1 the question arises1 ,how much time can you give to the study of it in order to use it8 ,nearly all artistic work requires hand labor1 and hand labor is slow4 ,in our chapter on wood engraving1 we shall recommend the study of that art1 both because it can be used and because it trains you to appreciate good designing2 but how many printers can neglect their business in order to spend hours and hours in practicing an eminently slow art1 when rapid and cheap photo-engraving will serve the purpose almost as well8 ,very few1 ,i fear4 ,so1 also1 when we come to the matter of taste1 we come to the question of what should artistic printing #aei look like8 ,even if you are convinced that coated paper and the half-tone do not belong to ideal printing1 how many can afford to attempt a piece of rough printing with heavy type1 coarse paper and an outline device1 and expect to retain his customers1 when his rival1 ,smith1 is using coated paper and half-tones that almost equal photographs8 ,very few printers1 ,i fear1 would be able to pay expenses by such a course4 ,there are very few merchants but would have their catalogues printed by ,smith with half-tone illustrations of photographs of their wares4 ,or even if the printer does not apply his art methods to job printing1 but to his own publications1 he will probably find few buyers who are cultured enough to appreciate his rough printing1 so between the amount of time necessary for preparing artistic productions and the poor chance they have of receiving patronage1 it is very difficult for a cultured printer to attain his ideal4 ,the writer has followed our art periodicals for years and knows too well that nearly all of them have failed4 ,if artistic periodicals advertised for years to art-loving people have failed1 how little is the chance of art methods succeeding with the people6 ,we must1 then1 bear in mind that ,i may recommend methods because ,i know them to be artistic without expecting them to be accepted or put in practice4 ,the practical printer's course must be a compromise4 ,he introduces an artistic principle here1 another there1 without ever reaching his ideal4 ,sometimes it is his own circular1 sometimes a literary pamphlet1 or #afj sometimes a poster that allows him to experiment1 while his average printing is commercial1 nothing more4 ,but1 let us say in parenthesis1 that while we deprecate the lack of artistic culture that prevents our printers from turning out artistic work1 we do not for a moment claim that that which is not artistic is poor1 or that all printing that is not rough is not artistic4 ,the half-tone and coated paper have their use4 ,if1 as a matter of news or information1 exactness is required1 any sensible printer will turn to the half-tone for assistance4 ,even ,mr4 ,walter ,crane1 in publishing his book on 8,decorative ,illustration10 though he uses #cjc pages of rough paper to exemplify the superiority of the simple wood cut of the past1 employs eleven sheets of highly calendered paper to reproduce delicate facsimiles of old manuscripts6 ,he felt that the purpose of these supplementary pages was to illustrate and not to embellish the book2 so he sacrificed artistic harmony for science4 ,so1 also1 a printer does well1 when getting up a catalogue of houses1 horses or chickens for sale1 to insert a frontispiece of coated paper and print on the same a half-tone which gives an adequate idea of the house1 horse or chicken to be sold4 ,that is a scientific piece of work4 ,the point is1 that a catalogue printed on cheap paper with an insert of a half-tone printed on coated paper can never be an artistic unit1 can never be exhibited as a piece of artistic printing4 ,the ,french1 who are extremely artistic people1 have carried delicate printing as far as it will go1 and the ,french printer will get you up a catalogue with a half-tone #afa frontispiece1 but everything will be in harmony with it2 the paper of the body of the book is coated paper1 the type is delicate1 the initial letters are equally fine1 and the printing of the entire brochure is so delicate that it is in keeping with the frontispiece4 ,that is the right principle for bookmaking1 that the work be harmonious4 ,there is no objection to fine type 7so long as it is not so fine as to tire the eyes7 if it is printed properly4 ,the main reason for recommending such heavy type as ,morris' is1 that it is pretty sure always to print well4 ,when a ,french printer turns out a cheap newspaper he uses large type and heavy headlines1 accompanied by illustrations that harmonize with such type and headlines4 ,our examples of ,forain's work 7see previous chapters7 show the style of the ,french drawing made for the daily newspaper in harmony with the typography and in a suitable manner for printing on poor stock4 ,the clipping from the ,french newspaper we give with this chapter1 showing different styles of watch chains1 is an excellent example of good taste in this direction4 ,the type1 the drawing1 and the rules all harmonize4 ,with a chalk-plate outfit a clever printer could supply such diagrams for his paper each week without feeling that he was transgressing the canons of the highest form of art4 ,from this example it will be seen that one of the requirements for a good newspaper drawing is that it harmonizes with the type page4 ,you may feel then that it is not required of you to make a finished drawing for #afb a newspaper--in fact1 the more finished it is the less likely it is to be a good newspaper design4 ,another example of good newspaper designing is the ,westminster ,budget cover4 ,the original covered a folio #aj by #ac inches4 ,the paper being a cheap stock 7yellow7 and the design being bold and effective1 serves as an admirable example of what we choose to call a poor-paper design4 ,this design will in future be again considered in connection with wood engraving and lettering2 and in the next chapter we shall consider similar headings and covers4 #afc ,,chapter ,,ii4 ,,the ,,matter ,,of ,,taste ,,again ,,under ,,review -- 8,,magazine10 8,,city ,,newspaper0 ,,and 8,,country ,,newspaper ,,printing10 ,,arbitrary ,,terms -- ,a ,,style ,,of ,,design ,,appropriate ,,for ,,certain ,,kinds ,,of ,,periodicals ,,may ,,not ,,be ,,appropriate ,,for ,,other ,,kinds -- ,,some ,,general ,,principles ,,of ,,designing -- ,a ,,broad1 ,,black ,,line ,,desirable ,,for ,,lettering1 8,,devices0 ,,and ,,designs ,,in ,,general2 ,a ,,fine ,,line ,,may ,,be ,,used ,,for ,,illustrative ,,cuts -- ,,bold ,,masses ,,of ,,light ,,and ,,dark ,,appropriate ,,for ,,rough ,,printing -- ,,the ,,appropriateness ,,of ,,the ,,designs ,,for ,,jugend1 ,,pan1 ,,la ,,revue ,,encyclop,,dique1 ,,etc41 ,,considered4 ,i suppose a very orderly writer would have finished his introduction in the last chapter1 beginning in this with definite instruction4 ,but ,i feel so overwhelmingly the importance of the subject treated of in the last chapter--that is1 the matter of taste--that ,i must before proceeding add a few more words to the subject4 ,besides1 further review will strengthen the reader's understanding of my principle of instruction1 which is that the fitness of things1 the taste which you display in following a certain kind of design1 is as much a matter of study as is the drawing of an object4 ,for example1 ,i used the words in the last chapter1 8printing on rough paper40 ,now1 of course1 that #afd term is indefinite1 and1 like our terms 8magazine10 8city newspaper0 and 8country newspaper0 printing1 can stand only for some style of printing agreed upon ,illustration3 ,front page of the ,french weekly1 ,gil ,blas4 ,originally #aj #c_/d inches by #ae #c_/d4 ,this shows an excellent arrangement of type for the heading and subtitles4 ,also1 the front page cartoon1 done in excellent style1 shows the use of outline and solid blacks on the main objects1 with a little parallel lining behind the objects4 ,the title means1 8,the ,week in ,pall ,mall10 i4 e41 in ,london4 8,the ,grand ,prix that is1 the ,spring race1 the ,derby has been run2 brothers1 we must depart40 by the writer and reader4 ,therefore1 if you will allow1 the term 8rough printing0 will stand for printing corresponding to all that done prior to the introduction of #afe coated paper1 and where the type used was long primer or larger4 ,and ,i choose1 as a matter of taste1 to insist upon it that all printing is bad that is not done in this way4 ,now1 do not set me down as a faddist4 ,i am not thoroughly converted to ,morris' printing1 because in his matter the words are so closely run together that they are not read with ease1 and1 above all things1 ,i do not consider the so-called 8deckle-edge1 handmade paper0--which in all probability is never handmade--such an 8artistic0 cloak to cover a multitude of sins as many printers consider it4 ,the very fact that it is artificial and imitative makes it as objectionable as coated paper1 which also is artificial and insincere4 ,the matter can be explained in this way3 ,we may have no objection to a dress suit and high silk hat4 ,we recognize in it as legitimate a style of dress as the workingman's overalls2 but we do not like to see a man working in a ditch clothed in a dress suit and silk hat4 ,with this objection almost everyone will agree4 ,but there are those who1 wishing to follow the dictates of society1 do not like to see a man1 even if he is a lecturer or a bridegroom1 disporting himself in a dress suit and silk hat at any hour of the day earlier than six o'clock4 ,now1 there are two distinct lines of judgment4 ,the first is drawn so broadly that nearly all will agree4 ,the second line is drawn so finely that but few may agree4 ,but it is a fact that in either case the question is a matter of taste4 ,so1 then1 when ,i claim that the title of a newspaper should be in heavy type1 and not in such script as would be appropriate for a lady's visiting #aff ,illustration3 ,,design ,,for ,,the ,,cover ,,of ,a ,,dictionary1 ,,published ,,in ,,paper-,,covered ,,parts4 ,by ,eugene ,grasset4 ,admirable lettering 7more closely following the ,caroline manuscript than the design for ,la ,revue ,encyclopdique71 united with harmonious design1 the artist not being contented merely to introduce a girl with poster-like hair1 but bringing out an idea--that of the expansive distribution of knowledge1 signified by the dandelion seed1 which is freely distributed by the wind2 see motto 8,je seme a tout vent40 ,i sow 7or spread7 seed with every wind4 #afg card1 most of you will agree with me4 ,but when ,i claim that the title should be in very heavy block type1 and not in ,french ,old ,style1 ,i shall not have so many followers4 ,of course1 it is true that circumstances alter cases1 and while ,i think it quite necessary that a 8,daily ,news10 8,journal0 or 8,press0 should have the heaviest of type1 ,i will acknowledge that a dainty little weekly in #hvo1 called 8,the ,needlewoman10 or 8,embroidery ,notes10 might be properly printed with a pica italic heading4 ,i think the reader now understands the object of the second part of 8,drawing for ,printers10 and will see that nearly all the illustrations in it are selected with a view to their appropriateness for rough printing1 simply because it is therein that you need to study the subject of designing for printing4 ,it is self-evident that to print a half-tone cut you need calendered or coated paper1 and that with this a little half-tone initial letter could be used1 but as we study printing on poor stock1 familiarity with the styles of the past is necessary to acquaint you with what is best in pictorial1 or rather decorative1 effect4 ,this much said1 let us fall to considering some principles of designing4 ,other things being equal1 a broad black line is best if there is any shadow or detail in the drawing4 ,but if there is no shadow the outline need not be very heavy1 but the drawing may partake of a diagram effect1 as in the watch-chain illustration from the ,figaro1 given in a preceding chapter 7page #afe74 ,such a thin line harmonizes with the type and does not #afh attract too much attention4 ,it is also well suited for the unimportant elements in a heading design4 ,but if you wish to introduce in a heading an important element like the ,american eagle1 the coat-of-arms of a state1 or an emblematic design for a class paper1 then a strong line or a solid black is preferable4 ,strong lines and blacks are also preferable for an initial letter that is to form part of the decoration of a page4 ,therefore1 if we consider the front page of a paper or catalogue consisting of a heading1 an initial letter and an illustration1 we may treat each design according to the following principles4 ,if the illustration is to be the main thing1 the heading and initial letter would best ,illustration3 ,heading to a novel in ,the ,pall ,mall ,budget1 an example of free-hand lettering and device1 showing elements suggestive of the subject matter4 ,the lettering is not heavy enough for the title-page of a periodical1 nor is it so heavy as to interfere with the effect of the illustration on the same page4 be mostly in outline1 as in the ,figaro watch chains4 ,but if there is no illustration1 and we wish the heading and initial letter to be decorative1 a heavy outline and solid black may be used4 ,as an example of heavy outline and solid black we have selected the dictionary cover by ,grasset4 ,this is strong enough to serve as a heading for a newspaper or periodical1 but in the case of a #afi chapter heading such heavy lettering might not be desirable1 and the lighter ,pall ,mall ,budget design might be preferable4 ,so1 too1 as in the ,jugend1 since ,illustration3 ,,title-,,page ,,to ,,volume ,,ii ,,of ,,jugend4 ,designed by ,caspari4 ,showing harmonious uniting of free-hand designed letter1 type1 and device4 ,the device1 however1 is a little too pictorial2 it would be better if its background were simpler4 the illustration is not the most important thing1 heavy blacks may be used2 it is an excellent example of the #agj proper heaviness of the heading contrasted with an unimportant illustration4 ,here1 however1 the black is around1 not upon1 the letter4 ,perhaps one of the most enjoyable features of the printer-designer's work is that of designing covers for booklets and pamphlets4 ,if he does not have to confine himself to a definite idea1 he may choose a motive from a thousand and one different elements4 ,of course1 he must be more or less logical in his choice of motive1 and not put a ,pierrot upon a church fair programme1 nor a bunch of violets upon a stove manufacturer's catalogue1 though we frequently run across such designing4 ,one of the enemies to good designing is the prevalent taste for photographic half-tone covers1 where the stove manufacturer requires the reproduction of his stoves on the cover4 ,now1 we are utterly opposed to this2 not on the ground that the picture of a stove is not a fit emblem for a stove manufacturer's catalogue--for it certainly is quite proper--but we object on the ground that the printing of it requires coated paper1 which often is not tenacious enough for a cover2 and1 secondly1 on the ground that the delicacy of the half-tone1 which has no strong outlines or masses of light or dark1 does not make a picture that can be seen at a sufficient distance to warrant its being a cover4 ,the brevier that you use in the body of a book is not the proper type for its cover1 and so a delicate half-tone that is appropriate for the reading pages of your catalogue is not appropriate for its cover4 ,the specimens we give in this chapter1 therefore1 are nearly all of them #aga ,illustration3 ,cover design for a ,german periodical entitled ,pan1 by ,franz ,stuck4 ,original1 #h by #ab4 ,printed in black on heavy green cover paper4 #agb ,illustration3 ,department heading designed by ,eugene ,grasset for ,la ,revue ,encyclopdique1 showing an excellent style of lettering 7founded on the ,caroline71 also an admirable decorative outline made to give a finished effect1 or an effect of delicacy4 adapted to rough1 heavy paper1 which will make a durable cover4 ,the design for ,pan1 by ,franz ,stuck1 is a particularly good example4 ,possibly the shadow thrown by the head is a disturbing element in the composition2 it makes the right-hand side heavy and is not in itself decorative4 ,the spacing also between the ,p and the ,a is greater than between the ,a and the ,n1 without1 so far as we can see1 having a valid reason for so being4 ,but the design was for the cover of a publication of artist's sketches1 and it was consequently more permissible for the artist to draw with freedom than had he been designing a more conventional cover4 ,stuck is one of the best letterers in ,europe2 and1 in his more serious moments1 is most exact in his spacing4 ,the two most interesting characteristics of the design are the elegance of the letters and the boldness of the drawing of the head2 #agc substitute more commonplace lettering as in the 8,roebuck0 heading 7page #afh7 and such delicate drawing as in the ,grasset 8,encyclopdie10 and the design would lose force as a pamphlet cover4 ,the ,westminster design1 given on page #aeg1 recommends itself because of the silhouette steeple1 which could be easily engraved on wood1 and also because of the lettering1 which is as good an example of 8pen-hand0 as is the ,pan of 8monumental0 lettering4 ,it also suggests effects to be got by white on black1 as does the ,jugend4 ,the 8,roebuck0 7page #afh7 lacks the elegance of the ,pan and the robustness of the ,westminster1 but it shows a good style for such newspaper lettering as has to be made quickly2 as1 for example1 drawn on the chalk-plate in half an hour1 when perfect spacing and proportioning is out of the question4 ,there are times also when a letter is needed that is not truly elegant4 ,it seems sacrilegious1 as it were1 to design a heading for 8,on the ,diamond and ,gridiron0 with letters from a ,lucca ,della ,robbia monument1 or the ,mazarin ,bible4 ,therefore1 some such lettering as the 8,roebuck0 comes in appropriate for the light departments of a paper4 ,akin to the ,pan design is the ,jugend 7page #afi71 though it is not nearly so good4 ,it would be better with a border about it1 and still better if the ,jugend letters were not quite so narrow1 and if the background behind the girl were more simply drawn2 but the letter is good and strong1 and the figure1 being in outline1 #agd might be printed upon the roughest paper4 ,the whole page is interesting also as showing recent movement in type design in ,germany4 ,this is the result of the ,william ,morris movement in ,england4 ,it will be noticed that the type letters are broad and well proportioned2 they are virtually modernized ,jenson4 #age ,illustration3 ,,heading ,,design ,,by ,,georg ,,auriol4 ,from ,la ,revue ,encyclopdique4 ,,chapter ,,iii4 ,,some ,,miscellaneous ,,illustrations ,,appropriate ,,for ,,different ,,purposes -- ,,the ,,rivoire ,,appropriate ,,where ,,expenditure ,,is ,,unlimited -- ,,half-,,tones ,,used ,,for ,,news-,,giving ,,or ,,information-,,giving ,,purposes -- ,,the ,,hassall ,,outline ,,appropriate ,,for ,,posters ,,and ,,decorative ,,printing4 ,let us resume the consideration of some miscellaneous illustrations for the sake of investigating the different styles of design and the principles which underlie them4 ,as we said in ,chapter ,,ii1 the ,french1 who are the most ready to use simple designs printed on rough paper1 also are experts in preparing with most exquisite workmanship most delicate designs4 ,let us cite the cover of the ,paris ,illustr--you will see that here a half-tone and a wood engraving have been used1 and that each is virtually a picture4 ,the type of the title is very fine ,french ,old ,style 7by fine we mean thin71 and while1 of course1 the hair lines in the a and e are due to our great reduction of the cut1 yet in the original these lines were very fine1 and therefore by no #agf ,illustration3 ,cover design1 by ,rivoire1 for a summer number of ,paris ,illustr1 the flowers printed in slate color1 in half-tone2 the portrait1 of ,mlle4 ,weber1 a wood engraving1 and the title1 printed in black4 ,the original #aa #a_/b by #ae inches4 #agg means as well adapted to ordinary printing as the ,grasset1 ,caspari 7,jugend71 and ,stuck designs given in ,chapter ,,ii4 ,yet ,i consider the present design an admirable one4 ,but what are the facts in the case8 ,the art editor1 in getting up this design1 had plenty of money at his disposal4 ,the cover was of heavy calendered paper1 the flowers were printed in half-tone in color1 and the woman's portrait1 printed in black1 was beautifully engraved on wood1 a very costly process4 ,this single cover may have cost as much as the entire sixteen pages of the body of the weekly4 ,the ,auriol heading of this chapter is ,french also1 and is no less artistic than the realistic flowers on the ,paris ,illustr cover2 but on account of its simplicity it is far superior to the ,paris ,illustr as a floral design for ordinary printing1 simply because it can be printed on cheap stock and can be cheaply and quickly reproduced4 ,there ought to be no mistake1 then1 about my attitude in recommending one style of designing above another4 ,i do so from a practical point of view4 ,a third example is found in the two ,burns cuts4 ,surely1 when ,i found the half-tone among the news columns of an ,english art periodical ,i did not object to its realism2 on the contrary1 it gave me a very good idea of what the original statue was like4 ,but think of the expense of having a half-tone made large enough for a poster6 ,also1 how vague it would appear from across the street if the poster were in half-tone4 ,but1 turning to the ,hassall1 see how admirably the artist has given us the impression of ,burns1 how #agh ,illustration3 ,,burns ,,statue4 ,by ,f4 ,w4 ,pomeroy4 ,recently unveiled at ,paisley4 ,half-tone from a half-tone from a photograph1 published in the ,magazine of ,art4 #agi ,illustration3 ,,poster ,,design ,,for ,,the ,,burns ,,exhibition1 ,,glasgow4 ,by ,j4 ,hassall4 #ahj well his design would appear from across the street1 and how cheaply it could be reproduced4 ,therefore1 what an excellent style his is as a guide for my printer readers4 ,hence1 if the printer readers wish to make a cover design containing a portrait and flowers1 ,i advise them not to follow the ,rivoire--not for the reason that it is inartistic1 but because it is too expensive for ordinary printing1 and for cheap printing a poor imitation is abominable2 while a design like the ,caspari 7,jugend1 see page #afi71 where the portrait would be an outline and the lettering broad so it could be quickly read like the word 8,jugend10 and in which the floral form should be decoratively treated like the dandelion design in the ,grasset 8,larousse10 or like the ,auriol1 page #age1 would be just as pleasing to the eye1 would print on the cheapest kind of stock1 and would1 therefore1 appear to the critical as an artistic design4 #aha ,,chapter ,,iv4 ,,an ,,important ,,chapter ,,on ,,lettering -- ,,lettering ,,can ,,never ,,be ,,wholly ,,original1 ,,it ,,must ,,follow ,,historical ,,models2 ,,must ,,be ,,blackletter ,,or ,,italian -- ,,the ,,student ,,advised ,,to ,,master ,,three ,,or ,,four ,,standard ,,alphabets -- ,,strange',s ,,book ,,on ,,alphabets ,,recommended -- ,,monumental ,,letters ,,constructed ,,upon ,a ,,geometrical ,,basis -- ,,mr4 ,,gleason ,,white ,,on ,,charles ,,ricketts ,,and ,,the ,,vale ,,press ,,quoted -- ,,it ,,is ,,recommended ,,to ,,copy ,a ,,monumental ,,alphabet1 ,,and ,,to ,,give ,,some ,,study ,,to ,,the ,,complex ,,gothic ,,alphabets1 ,,that ,,the ,,student ,,may ,,understand ,,the ,,principles ,,of ,,the ,,thickening ,,of ,,different ,,parts ,,of ,a ,,letter ,,by ,,pen ,,pressure -- ,,it ,,is ,,recommended ,,to ,,practice ,,the ,,caroline ,,hand ,,first1 ,,and ,,then ,,the ,,gothic4 ,this and the following chapters devoted to lettering give much practical information to the printer which may be enhanced in value if1 before reading them1 he will proceed as follows3 ,let him turn to the advertising pages of some printers' magazine and copy1 as best he can1 three or four lines of ornamental lettering of three or four different fonts4 ,after he has done this1 then read this chapter and the next1 and follow the suggestions therein4 ,we think he will then get a fuller benefit from them than if he reads our suggestions first and then proceeds to letter according to our directions4 ,a great deal of time is wasted by the beginner who attempts to letter because of his impression that he can originate new styles of letters4 ,now1 a critic sometimes speaks of 8original lettering10 meaning that the lettering shows individuality in treatment1 and is not the mere slavish copying of some conventional form4 #ahb ,but in comparison to the other branches of art there is no such thing as originality in lettering4 ,your letter must be1 broadly speaking1 either ,gothic 7or blackletter1 thus ,a7 or ,italian 7or roman letter1 thus ,a72 that is1 it must be built upon ,gothic or ,italian principles4 ,the best thing for the beginner to do is to obtain some examples of good lettering and master two or three alphabets of ,gothic or ,italian style4 ,after he has done this1 he will see how all other alphabets he may come across in printed books will conform to the same general principles of the alphabets he has mastered4 ,he will see how certain minor changes may be made1 and if1 in the end1 he is anxious to be original he will1 by broadening a letter where it may be broadened1 or bringing its cross-bar down a little lower than usual1 give a suggestion of originality to his work4 7,the chances are1 however1 that he will prefer to prove himself a good workman1 and be content to combine1 place and execute traditional letters47 ,strange's 8,alphabets10 published a few years ago1 is an excellent book to study1 and we shall give several alphabets from it4 ,the old books on the subject are apt to be too ornamental for the printer1 and the example we give from ,niedling's 8,book ,ornaments0 is of far less practical use than the ,strange examples we shall give4 ,but the ,bauernfeind alphabet is valuable for study4 ,it shows the construction of the capitals on a geometrical basis1 giving an idea of how monumental letters are made4 ,it is easy to see that with such a guide as this1 made by an architect1 the commonest workman1 with the aid of the #ahc ,illustration3 ,page from a ,minnesingers' song-book in the ,university library at ,heidelberg4 ,example of ,gothic letter4 ,the initial letters were in black and terra cotta4 ,the letter ,w was half black and half terra cotta2 the ,u1 ,h1 and ,i were terracotta2 the ornamentation was black4 ,in all probability the letters were half an inch or an inch high4 ,if you examine them under a magnifying glass you can understand their construction better than as they now appear4 ,the first verse reads as follows3 8,winter1 dine trben stunde und din kelte magnivalt1 ob ich das erwenden kunde1 daz siu wurden has gestalt1 das liesse ich dur die lange naht1 und durh die vil minneklichen diu mir froeiden vil hat braht40 #ahd square and compass1 could cut in marble an immense dedication of a building or archway1 though the letters might be two or three feet high4 ,a little study of this alphabet will give you the ability to understand anything written upon the subject of roman letters1 so that the following quotation from an article by ,gleason ,white1 taken from the ,magazine of ,art1 will immediately become intelligible to you4 ,mr4 ,white was writing of ,charles ,ricketts and the productions of the ,vale ,press4 ,he said the ,vale ,press had its own type1 its own paper with its own watermark1 but the printing was done by ,messrs4 ,ballantyne4 ,the type designed by ,mr4 ,ricketts was 8based on the precedents of the best ,italian alphabets40 ,mr4 ,ricketts believes that the plan on which all letters should be based is that of the perfect circle or the perfect square2 it matters not which geometrical form you choose1 since a certain number of letters--,m1 ,l1 ,h1 and the like--demand a parallelogram1 and others--,c1 ,g1 ,q1 ,o--an ovate or circular plan4 ,if to draw this distinction between types based on the oval or the circle appear a mere quibble1 we must remember that the difference between the ,byzantine and the ,pointed styles1 which divide architecture into two great sections1 is one of similar limit4 ,there is all the difference in the world1 to a specialist in types1 between a small 8b10 8g0 or 8o0 that follows the circle 771 and one that is planned upon an oval 77--,i wish to emphasize this point1 because ,i know that the designer regards it as vital2 and ,i1 for one1 agree entirely with his estimate of its importance4 ,the question of 8ceriphs0 and the angles of certain strokes2 whether a ,w consists of interlaced ,v's1 or of two connected only by the ceriph2 whether the ceriphs of a capital ,t are vertical1 or slant divers #ahe ,illustration3 ,reduced page from 8,nimphidia10 by ,michael ,drayton2 design and lettering by ,charles ,ricketts4 ,lettering to be compared with the ,italian 8,lucidario40 #ahf ,illustration3 ,facsimile of the title-page of the 8,lucidario0 7,a4 ,mischomini3 ,florence1 #adid74 ,original size of rule1 giving proportion of page1 #d #g_/h by #g #g_/h inches4 ,showing early ,italian type letter and wood-cut design in harmony with same4 #ahg ways1 or parallel--all these are secondary matters1 but the plan of the letter is not secondary4 ,in the beautiful ,kelmscott type1 as in the famous ,foulis fonts and other notable instances1 the ,o is ovate1 and all other letters agree with it4 ,in ,mr4 ,ricketts' 8,vale0 type1 the square and the circle dominate every letter4 ,if this distinction be passed over as unimportant1 further contention is useless4 ,but on this point no compromise can be entertained4 ,if it be unimportant whether the arch is a semicircle1 or planned1 like ,euclid's first problem1 upon the intersection of circles1 then it matters little4 ,but so long as architecture is separated by such structural difference1 it follows that an ,o based on a circle1 or an ,h based on a perfect square1 must be entirely unrelated to the ovate ,o or the oblong ,h4 ,when taste is in question1 one allows the adversary equal vantage2 but when geometry comes in1 axioms must be observed4 ,therefore1 the ill-founded assertion that ,mr4 ,rickett's type copies any modern font cannot be allowed4 ,you may dislike his symbol for the ordinary 810 or dispute over the beauty of his ceriphs and the oblique strokes of certain letters2 but if you maintain that a circle and an oval are practically alike1 the question of these nicer points need not be raised4 ,we give a reproduction of a page from the ,vale ,press1 and for comparison the ,lucidario printed in ,florence in #adid4 ,the similarity in the style of lettering is evident4 ,an evening or two spent in copying the ,bauernfeind alphabet1 and then making up one upon the principle that most of the letters should be contained in a square will lead you to understand the monumental letter1 or what you recognize as upper-case ,roman4 ,you might then begin to collect pictures of medival and classical monuments1 and you would at a glance be able to see #ahh the principles upon which their inscriptions are constructed1 and you would see that though the letters of certain monuments differed in proportion from others1 yet the letters themselves of all the classical monuments would be virtually the same1 and most of the ,italian medival inscriptions the same in character4 ,an ,albrecht ,durer alphabet given by ,strange 7on page #agd7 is particularly interesting1 being constructed in the same manner as the ,bauernfeind4 ,the ,stimmer and ,rogel ,gothic alphabets are almost worthless for printers' designing1 but it will not be without profit for you to realize that they are built upon the principle of the swell made with a quill pen1 and this will lead you to the study of what you recognize as ,gothic letters which grew out of the pen hand of the middle ages4 ,whether in solid black or white1 any ,gothic letter must have more or less the principles of the ,stimmer and ,rogel alphabets4 ,space will not permit of a full analyzation of the matter1 so let us take the letter ,l only4 ,in its simplest form it consists of two lines 7or 8limbs07 at right angles--one perpendicular1 the other horizontal4 ,both lines may be the same length2 but conventionality has ordered that if either be the shorter1 the horizontal should be4 ,the irregularity of the ends of the letter1 as in the monumental letters1 is not a necessary characteristic of an ,l 7which may consist of two simple lines72 but it is the most frequent form in the monuments and is associated with our idea of a capital letter4 ,when made with a pen in the middle ages it was sometimes customary to give the two lines #ahi ,illustration3 ,examples of seventeenth century alphabets4 ,from 8,bcher ,ornamentik10 by ,a4 ,niedling1 ,weimar1 #ahie4 ,b4 ,f4 ,voigt4 ,the first alphabet1 after ,michael ,bauernfeind1 is a monumental letter based upon the square1 the margins of the letters being obtained by segments of circles4 ,with such a diagram a letter ten feet high could be made as easily as one an inch high1 and by an ordinary workman4 ,the printer would not advisedly map out his letter with such exactitude1 but it would be well to copy several of the letters1 if not the whole alphabet1 that he may study the character of the monumental letter4 ,the second alphabet is after ,chr4 ,stimmer2 the third after type1 the dies of which were cut by ,hans ,rogel4 #aij an undulatory character1 and there is hardly any kind of twist or curve that has not been given to them4 ,in making initial letters1 in order to fill up the space it became the practice to make two lines of the upright shaft1 and sometimes three lines were used4 ,cross-bars were also introduced1 so that in ,caxton's initial letters the ,l looks like the monogram ,p4 ,e4 ,l4 ,almost nothing restrained the caligrapher2 and if he chose to make a dozen or two upright shafts1 each getting smaller than the other on either side of the letter1 the whole ending in some such ,celtic interlacing as the base of the ,niedling plate1 he could do so4 ,but none of this is an organic form of the letter ,l2 and additional curve is pure ornament4 ,the distinction between the superficial ornament and the organic lines of a letter is easily understood by first practicing the ,caroline hand and then the ,gothic4 ,in the next chapter we shall be more explicit as regards details4 #aia ,,chapter ,v4 ,,the ,,distinction ,,in ,,lettering ,,between ,,superfluous ,,ornaments ,,and ,,organic ,,lines -- ,a ,,solid ,,foundation ,,for ,,the ,,study ,,of ,,lettering -- ,,studies1 ,,with ,,the ,,quill ,,pen1 ,,of ,,the ,,caroline ,,alphabet ,,and ,,its ,,modern ,,revival ,,in ,,france ,,by ,,grasset ,,and ,,auriol -- ,,the ,,minnesinger ,,letter ,,not ,,very ,,ornate ,,but ,,more ,,complex ,,than ,,the ,,caroline -- ,,the ,,minnesinger ,,corresponds ,,to ,,the ,,stimmel ,,and ,,rogel ,,alphabets -- ,,the ,,bergomensis ,,letter ,,more ,,complicated ,,and ,,more ,,regular ,,than ,,the ,,minnesinger -- ,,the ,,italic ,,letter ,,more ,,simple ,,and ,,rounder ,,than ,,the ,,minnesinger4 ,in the last chapter we said1 8,the distinction between the superficial ornament and the organic lines of a letter is easily understood by first practicing the ,caroline letter and then the ,gothic40 ,let us explain the benefit of this practicing2 the keynote to the matter is found in our ,caroline example4 ,draw the second ,i and you will find that it is virtually a simple shaft with a little spreading at the top and bottom4 ,if you draw with a quill or reed pen it is very easy to get this swell by a little extra pressure as you begin to draw and as you finish2 and in almost all ,caroline writing the ,i is made freehand and the shape depends upon pen pressure and varies a little each time the letter is made4 ,it is not mapped out beforehand4 ,the thin curved line on top of the first ,i is superfluous ornament2 that line is made by a second stroke4 ,we find several such ornaments in the first two lines which form the head of a chapter1 just as we find much ornamentation of the initial letter2 but we #aib do not find any ornamentation of the ,i's in the eight lines of text4 ,there the ,i's are all made with a single stroke of the pen1 so that the top and bottom of each one is a trifle different from that of the others4 ,in the first line of text there is superfluous ornamenting of the ,t's1 and of the ,h4 ,otherwise this is a true pen hand2 the ,i made with one stroke1 the ,c1 ,d1 ,l1 ,o1 ,p1 ,q1 ,u1 ,x1 etc41 with two strokes1 the ,a1 ,b1 ,e1 ,m1 ,n1 ,r1 ,s1 with three4 ,the reader is advised to copy this alphabet with as large a quill pen as procurable1 making the letters from half an inch to an inch high1 and then1 turning to the ,grasset 8,nouveau ,larousse ,illustr10 it will dawn upon him that he knows exactly how the letters there were made2 and he will have little trouble in imitating almost to perfection the three words1 8,en ,six ,volumes40 ,when he tries the words1 8,nouveau ,larousse ,illustr10 he may have some trouble with the ,a1 the ,s and with the ,o1 which does not show its separate halves as in the ,caroline3 the horizontal line of the ,l also is more difficult to make than if it were the same width throughout4 ,the ,i1 ,r1 ,n and ,v he will find quite simple4 ,as he familiarizes himself with the ,caroline ,m1 ,d1 ,v and ,i2 with the ,h in the second line of the text under the ornamental ,h2 and with the ,p1 ,s1 ,c1 he will begin to realize that upper and lower case letters were originally the same4 ,he will also be surprised1 if he next falls to studying the ,minnesinger letters 7last chapter7 under a magnifying glass1 to find how like they are to the ,caroline4 ,is not the capital ,i somewhat clumsier than the first ,i in the ,caroline top line8 ,are not the c1 d1 h1 i1 o1 p1 s1 u1 v and y clumsier1 more angular drawings of the same letters as in the #aic ,illustration3 ,,title-,,page ,,by ,,jacobus ,,phillippas ,,foresti ,,bergomensis4 7,ferrara1 #adig47 ,a splendid example of ,gothic lettering4 ,it is to be remembered that this was originally designed with a reed or quill pen1 and the ornamentations are such as may be easily made with that instrument4 ,but its regularity is also due1 in a small measure perhaps1 to its having been engraved on white metal4 ,in an entire book written in this style the letters would be less regular--a little more like the ,minnesinger letters4 #aid ,caroline alphabet8 ,you find the s more decidedly four strokes1 while in the ,caroline it may be considered three4 ,you find the m slightly different3 turn to our last chapter and note the ,hans ,rogel m1 which is upper case1 and see how it corresponds to the ,minnesinger lower-case m4 ,the ,caroline e you think1 differs from the ,minnesinger e1 but if you will look at the e in erat1 third line of text1 you will see how decidedly the e there is a lower-case e4 ,now turn to the ,bergomensis letters and recognize that they have certain characteristics4 ,one characteristic is that the final letters and several others are ornamented with the same kind of curved lines as in the first ,caroline ,i4 ,then that the letters are made with a pen stroke1 but that three strokes are frequently used where one is satisfactory in the ,caroline4 ,this is plainly seen in the letter ,i4 ,and of these three strokes1 one is the shaft of the letter1 which is long1 the other two are the top of the shaft1 which extends a little to the left1 and the bottom which extends to the right4 ,and these three strokes become the basis of the letter i1 of u which is a double-i1 of n which is a double-i1 and of m which is a triple-i4 ,the o is made of the main shaft and the right-hand base1 and the left-hand top and the main shaft4 ,so you will then see that the ,bergomensis is nothing less than a more complicated and more regular letter than the ,minnesinger1 which in turn is nothing less than a more irregular letter than the ,caroline6 ,in order to make the ,bergomensis letter you must have your pen cut to a comparatively blunt point the exact width of the letter--a letterer uses such a pen almost always4 #aie ,when you study the ,italic specimen 7see last chapter1 8,lucidario0 page71 however1 you find that the lower-case letter is very much like the ,minnesinger1 except that it is more simple and a trifle more rounded1 but note that it is evidently written with a comparatively sharp-pointed quill pen4 ,but it is not to be overlooked ,illustration3 ,example of seventh century lettering from a ,latin manuscript1 reproduced from ,strange's book on lettering4 ,in this letter1 freed of the curves in the capitals ,i1 ,t1 ,l1 ,v1 ,c1 etc41 we find the principles of a very simple and graceful style of lettering1 virtually the ,caroline1 which is being revived by ,grasset and ,auriol in ,france today4 that the variety in the letters is still due to the pressure of the pen4 ,the ,italic letter is best practiced with a new quill2 and then when it gets a little out of order it may be cut a trifle and be used for a ,gothic letter1 like the ,minnesinger2 and then when it spreads again it may be cut a second time and then used for a broader ,gothic letter like the ,bergomensis4 #aif ,now1 ,i do not claim that this chapter will be intelligible to a mere reader--,i feel sure that it will not be--but to anyone who will put in practice all the exercises ,i have suggested1 ,i feel sure that it will be intelligible1 and that it will give him the foundation for the whole study of lettering so that he may pick up any alphabet and master its principles after a few days' practice4 #aig ,,chapter ,,vi4 ,,use ,,of ,,quill ,,fen ,,necessary ,,in ,,the ,,study ,,of ,,lettering -- ,,the ,,ornamentation ,,in ,,lettering ,,of ,,northern ,,and ,,southern ,,scribes ,,compared3 ,,the ,,italian1 ,,gothic1 ,,visigothic1 ,,lombardic1 ,,roman1 ,,venetian1 ,,arabic -- ,,the ,,first ,,printed ,,letters3 ,,type ,,of ,,caxton1 ,,gutenberg1 ,,aldus -- ,,the ,,italic 7,,lucidario ,,page71 ,,modernized1 ,,becomes ,,the ,,jenson ,,and ,,morris ,,type1 ,,the ,,french ,,old ,,style1 ,,english ,,old ,,style1 ,,and ,,our ,,modern ,,roman ,,lower ,,case3 ,,the ,,aldus ,,type ,,becomes ,,our ,,italic -- ,,the ,,printer ,,must ,,have ,,educated ,,taste ,,if ,,he ,,would ,,design ,,correctly -- ,,appropriateness ,,of ,,certain ,,letters ,,because ,,of ,,their ,,historic ,,associations -- ,,the ,,bad ,,taste ,,of ,,ornament ,,at ,,the ,,expense ,,of ,,clearness -- ,,aimless1 ,,unbalanced ,,ornamentation -- ,,overornamentation -- ,,grasset',s ,,lettering ,,studied -- ,,in ,,auriol',s ,,lettering ,,the ,,spirit ,,of ,,plant ,,form ,,is ,,extended ,,by ,,lettering1 ,,as ,,in ,,gothic ,,architecture ,,plant ,,form ,,is ,,built ,,upon4 ,it is to be hoped that upon our advice the printer1 after reading ,chapter ,i1 attempted to copy some font1 and that1 not following any special method1 he found it pretty tedious work3 that he then read ,chapters ,,ii1 ,,iii and ,,iv1 and found1 with the help of our information about the ,latin capitals in a square1 and about the ,gothic letter being dependent upon the spreading of a quill pen1 that things seemed clearer1 more intelligible4 ,but we think that1 with the help of the present chapter1 he will make still more progress4 ,if he1 fully appreciating our reference to the quill pen1 procured one1 and set to work studying the ,grasset letters #aih he must have made rapid progress2 for it is only by using the quill pen that the ,grasset and ,auriol letters can be understood4 ,so we say that if a printer will procure one and practice the ,caroline alphabet given in the last chapter1 next the ,burgomensis1 next the ,minnesinger1 and then the ,stimmel and ,rogel alphabets1 he will find that he has a solid foundation on which to study lettering1 and a clear idea of the genius of letters4 ,he will begin to realize that the ,caroline is the simplest1 the ,burgomensis and ,minnesinger the more complex1 but not very ornamental1 though in them the caligrapher had begun to assert himself1 using a flourish from time to time to ornament the letters4 ,and he will notice that these flourishes are such as are made naturally with a quill or reed pen1 and that upon these curves and swellings are based not only the ,gothic capitals1 but also what are known as lower-case letters4 ,it so happened that most of the southern scribes 7,italians and ,spanish7 confined themselves to a very simple letter1 while the northern ones took pleasure in variety4 ,the southern style is called the ,italian1 or italic2 the northern1 the ,gothic4 ,there are many historical instances1 however1 where northern manuscripts are simple2 and on the other hand1 the letters of ,visigothic and ,lombardic writers1 though southern1 were more ornamental than those of their ,roman and ,venetian brethren2 and our ,burgomensis specimen we call ,gothic1 though it was originated in ,italy4 ,the true southern ornamentation was originated under the ,arabic influence in ,spain 7at the time of the ,saracenic conquest71 and traveled up to ,france1 where it is found in the elongated d1 s and f in the ,french diplomatic hand4 #aii ,illustration3 ,facsimile of the title-page of an ,aldine ,horace1 #aeai4 ,showing ,latin monumental letter now known as upper-case roman2 and ,italian cursive hand1 now known as italic4 #bjj ,you1 of course1 know that when the art of printing was invented the types had to be cast1 and the dies were naturally cut in the form of the letters of the manuscript of the country in which the printing was done4 ,caxton imitated the manuscript of the ,low ,countries and not that of ,england1 when he printed the first book printed in ,english movable type4 ,so1 too1 ,gutenberg's type imitated the ,german manuscript1 while that of ,aldus1 tradition says1 was cast after the manuscript of ,petrarch1 and that form has been called ,italian or italic ever since4 ,we give a specimen of ,aldus' 8,horace03 copy with a quill the lower case in it till you can write with ease1 and you will be able to write as ,petrarch did4 ,it is harder to associate it with quill pen writing than to associate the ,gothic with the pen letter4 ,nevertheless1 if you will write for a little while with an old quill1 lettering like the ,minnesinger1 and then with a new quill imitate the ,aldus italic1 you will soon see that the italic character depends upon the pressure of the quill pen1 just as the ,gothic does1 though not to such a degree4 ,make lower-case a1 d and s1 or an m several times1 and you will see what ,i mean4 ,the other ,italian form1 which printers do not call italic1 is like the ,lucidario1 which is less cursive than the ,petrarchian form4 ,when modernized1 the ,lucidario becomes the 8,jenson0 and ,morris type 7while the ,aldus is our italic72 it only needs a little investigation to realize how easily it became the ,french ,old ,style and ,english ,old ,style1 and then our modern1 roman lower case4 ,it will not be difficult for you1 if you will really obtain the quill pen and practice as ,i propose1 to realize the truth of the following suggestions3 ,a printer should show an educated taste in his #bja designs4 ,few people know this1 and your fight will be continually against this ignorance1 both in yourself ,illustration3 ,first page of ,larousse's ,new ,dictionary1 showing a scholarly style of decoration4 ,this can be best studied under a magnifying glass4 and your customers4 ,you will think that anything you like is artistic and appropriate and you will be tempted #bjb to undertake it4 ,your customers will say that they 8know nothing about art0 but they 8know what they like02 so they will pick out some ill-executed and inappropriate job and insist upon your following it4 ,but my business is simply with that which is established as standard1 and not with what people like or dislike4 ,now1 historic association plays an important part in designing for printers4 ,the first page of the ,larousse dictionary is a superb example of historic association introduced into a design4 ,here1 to illustrate the letter ,a we have letters from many different periods1 but they are all harmonious because of their ornament and their execution4 ,and they are appropriate because they are historical4 ,so if you are designing an announcement of the ,ancient ,order of ,hibernians1 a prospectus of a genealogical society1 a book of early ,english poetry 7earlier than the tenth century7 you could use the sixth or seventh century ,a because that belongs to the very best ,irish-,english lettering used between the sixth and tenth centuries4 ,the other letters that go with the ,larousse sixth century ornamented ,a specimen you will find in an example from the 8,book of ,kells10 given in ,strange's 8,alphabets10 and perhaps in the 8,durham ,book40 ,this identical ,a is probably from 8,the ,rule of ,st4 ,benedict40 ,now1 if you should obtain an ,anglo-,saxon alphabet and master its style and apply it as we have suggested1 it would be properly associated with these historic subjects2 so you1 as an educated printer1 would know that you were right1 and any criticism would not deter you from using it4 ,i take it for granted1 however1 that you use such letters as this ,a only as initials1 or in designing a title #bjc of a line or two2 and that you would not let it occupy too much of the page3 for it is not only necessary that a letter should be associated historically with a subject and that it be well designed1 but it must also be associated with printing or bookmaking4 ,it is true that some introductory pages in the sixth and seventh century ,irish-,english manuscripts were sometimes very ornamental1 but the reading pages were1 as a rule1 quite ,illustration3 ,this is a design by ,eugene ,grasset for the heading of a department in 8,la ,revue ,encyclopdique40 ,it represents ,french designing art at its best4 ,it is free from conventionality1 and yet orderly and well balanced4 ,the ,auriol design for 8,la ,revue ,encyclopdique0 is bold and striking1 but not as perfect as this4 simple4 ,the good bookmaker never forgets his pages are for reading4 ,so1 a ,gothic ornamental letter that might be appropriate in a stained glass window or on a hand-painted testimonial might be offensive throughout a printed book4 ,i know of nothing more inartistic1 more nauseating to critics1 than the millions of lithographed mottoes1 ,christmas cards1 etc41 that the ,english lithographic publishers have put out for the last decade--overburdened with ornament that should be painted and not printed4 ,and so the whites in this sixth century ,a1 and the dotted outline around it1 make #bjd it in a way less appropriate for general printing than the solid black1 twelfth century ,a4 ,the middle ,a is in the style of the wood-cut ,venetian letter of the sixteenth century2 and while on general principles a gray background like this is not so satisfactory as a black one1 yet this is not a bad specimen of designing1 for the stipple could be punched into the wood very deeply1 and is so near together that if one hole did fill up it would not be missed4 ,however1 it1 too1 must not be used for general printing1 but only as rich ornament4 ,it is well balanced1 mind you1 and therefore the detail is not so worrying as would be as much detail put in freehand1 aimlessly and unbalanced4 ,if you will now turn to the cover design of the ,larousse given in the ,august number1 you will find it a beautiful production by ,grasset1 wherein we see also some decorative elements that may be studied in conjunction with what we have written in this and preceding chapters about letters4 ,for example1 the use of line with silhouette--we find a dandelion leaf reduced to silhouette1 and another laurel wreath like the one pictured on the head of ,goethe's mother4 ,but the lettering of the title is the most interesting part of it4 ,grasset has studied the ,caroline letter1 and reproduces it with very scholarly fidelity4 ,only when you have studied an example like the ,caroline alphabet we give from ,strange's book can you appreciate the workmanship and good taste in the ,grasset4 ,a companion piece to this is the heading by ,auriol where we see a modification of the monumental letter and the uncial as in the d and the r4 ,here the initials ,j ,j and the initial ,l are ,gothic in principle1 and you will not fail to see how #bje ,illustration3 ,design for an article in 8,la ,revue ,encyclopdique0 on 8,le ,thatre ,moderne et ,l',influence trangre1 par ,jean ,jullien10 with an initial letter and design embracing a half-tone portrait of the author4 ,a harmonious design1 showing the use of silhouette2 and ,caroline lettering not so well understood as in the work of ,grasset4 ,designed by ,george ,auriol4 #bjf harmoniously the ,l below the leaves extends the spirit of the plant design1 so that if you have ever read essays upon ,gothic art1 like the writings of ,ruskin1 you will readily see the plant form is here built upon1 as in ,gothic architecture4 ,what we have said so far ought to have prepared you for a historic survey of the topic of lettering4 ,our space is much too limited to make such a survey very extensive1 but what we shall give in the next chapter will serve as a foundation on which you can build1 by reading1 a much more exhaustive study of the subject4 #bjg ,,chapter ,,vii4 ,,the ,,growth ,,of ,,written ,,language -- ,,signs ,,and ,,symbols ,,become ,,hieroglyphs -- ,,egyptian ,,hieroglyphs ,,become ,,hieratic ,,or ,,cursive -- ,,the ,,hieratic ,,becomes ,,angular ,,in ,,the ,,ph,,nician -- ,,ph,,nician ,,alphabet ,a ,,monumental ,,one ,,and ,,the ,,letters ,,like ,,ours -- ,,from ,,the ,,ph,,nician ,,come ,,the ,,greek ,,and ,,latin ,,alphabets1 ,,which ,,are ,,used ,,throughout ,,europe ,,today4 ,the growth of written language is briefly recorded as follows4 ,primitive man used signs and symbols1 as does the ,north ,american ,indian4 ,noah understood the symbol of the dove with the olive branch4 ,had he wished to record the event of the flood he would probably have drawn several waved lines to represent water1 and a mountain peak underneath1 to show that the water rose above the mountains4 ,a second picture of a dove with an olive branch would have indicated that the waters had subsided4 ,this method of writing was used by the ,assyrians and ,egyptians #ejjj ,b4 ,c4 ,with the ,assyrians the symbols developed into 8cuneiform10 or wedge-shaped signs1 stamped on clay4 ,with this form we have nothing to do1 as it never influenced our writing2 but with the ,egyptians 7as with the ,chinese7 the symbols soon took a written form called hieratic 7used by the priests71 which is the direct parent of our own handwriting4 ,in hieroglyphs on monuments in ,egypt1 the sign for water was a horizontal zigzag1 and for a mountain a silhouette of hill-like form4 ,these #bjh were painted1 and sometimes partly incised on soft stone or stucco1 and had a pictorial character4 ,but when the priests had to write voluminous rituals1 they used a reed pen on papyrus1 and reduced the silhouette pictures to shorthand-like marks4 ,the first example in the ,larousse ,dictionary 7page #bja71 represents the hieratic shorthand of the hieroglyph of a bird4 ,but not only did the ,egyptians use their signs as hieroglyphic word symbols1 but they also used them as phonetic signs1 so that the sign for water stood for both water 7mu7 and the sound n4 ,the ,phnicians and ,hebrews are supposed to have borrowed their alphabet from the ,egyptian hieratic writing2 and in the transition the irregular character of the markings of the reed pen on papyrus disappeared and monumental regularity took its place1 as nearly all of the early ,phnician and ,hebrew writing was in the form of inscriptions on stone and metal4 ,but in this transition the letters did not revert to the ,egyptian hieroglyphic symbol1 but simply became an angular1 simplified form of the hieratic1 so that the ,a became a ,v or caret-like form with a line crossing it4 ,with the ,phnicians and ,hebrews the signs were never used for word signs1 but for syllabic 7or letter7 forms1 so that with them ,n was simply a phonetic sign 7plus variable vowel accompaniments74 ,this alphabet was used by the ,phnicians1 ,hebrews1 ,moabites and other ,semitic inhabitants of ,palestine4 ,it is supposed to have been carried by the ,phnicians to ,greece1 and possibly to countries farther west1 but until investigation throws further light upon the subject it is well to suppose that all the other countries of ,europe #bji received their alphabets from ,greece1 so that1 virtually1 all the alphabets of ,europe--,latin1 ,english1 ,german and ,russian-are simply modifications of the ,greek 7see the succeeding specimens in the ,larousse ,dictionary page74 ,the ,greek alphabet was modified in two ways3 first1 in the monumental form it became more regular--more right-angled--than the ,phnician2 secondly1 in the manuscript it became much more irregular--cursive in general1 with angles not at right angles 7see cursive examples1 third row of ,larousse ,dictionary page7--so that in some third century manuscripts there is as much irregularity as in the ,egyptian4 ,this character1 however1 is more apt to be found in the late ,greek manuscripts--that is1 those written during the ,christian era--than in classic ,greek manuscripts where simplicity and regularity prevail4 ,it is particularly interesting to the printer to realize this fact3 for when he sees a difference in ,european lettering--as1 for instance1 the difference between ,russian and ,german text on the one hand1 and ,english on the other--he must remember that ,russian and ,german are outgrowths of the late ,greek or ornamental lettering2 while ,english1 ,italian1 ,spanish and ,french are the outgrowths of the simpler classical ,greek forms4 ,to distinguish the two we have called the first 7most of which is irregular7 ,gothic1 the second 7which is generally regular7 ,latin4 ,but many an irregular manuscript was written by other than ,gothic scribes1 and there are some ,latin manuscripts that are as irregular as the ,gothic4 ,no matter how a letter may vary in ornamentation in a ,german1 ,russian1 or ,english book1 it is an outcome #baj of a ,greek original4 ,in the ,russian1 in one or two cases1 a sign is a compound of two ,greek letters1 but in ,english each letter has its ,greek prototype4 ,now anyone who stops to think will notice that monumental letters on stone are about the same in all countries4 7,the letters on ,gothic brasses1 however1 are dissimilar to the usual monumental letters47 ,for the monumental letter is usually made by measuring1 as in the first ,bauernfeind alphabet1 and is cut by an ordinary workman who follows a pattern1 which should be simple4 ,therefore1 an ,a is nearly always two oblique uprights and one horizontal crosspiece1 like the sixth ,larousse example4 ,the two uprights are not always at the same angle1 but they are nearly always oblique1 though one may be very near the perpendicular4 ,the crosspiece is sometimes oblique1 but rarely at an angle greater than fifteen degrees4 ,so a monument erected in ,greece #fjj ,b4 ,c41 one in ,rome #fj ,b4 ,c41 one in ,italy in #adjj ,a4 ,d41 and one in ,paris today1 have virtually the same letter ,a upon them as one written in ,paris today1 and a child who had just learned its letters could recognize it in each4 ,it must not be expected that in a short treatise of this kind we can cover the whole field of paleography1 but our few notes on the subject may indicate to some readers a line of study that will repay anyone who undertakes it4 ,the easiest method is to examine manuscripts of ,bible text1 where the subject matter is pretty well known1 and1 following the different styles of writing1 acquaint oneself with the development of writing in different centuries and in different countries4 ,a valuable handbook giving facsimiles of many ,bible pages is 8,bible ,illustrations10 published by ,henry ,frowde1 ,new ,york--it costs but #a4 #baa ,illustration3 ,,sommaire ,headpiece for a ,french periodical4 ,,chapter ,,viii4 ,,summary ,,of ,,method ,,of ,,instruction ,,given -- ,,preliminary 8,,placing0 ,,of ,,lines ,,in ,a ,,sketch -- ,,the ,,relation ,,of ,a ,,silhouette ,,to ,,an ,,outline -- ,,drawing ,,in ,,outline1 ,,in ,,silhouette1 ,,with ,,partial ,,shading ,,and ,,with ,,full ,,shading -- ,,cuts ,,given ,,of ,,various ,,styles ,,of ,,book ,,decorations -- ,,analysis ,,of ,,these ,,styles4 ,now for our summary4 ,my method of teaching in this series has been one of suggestion1 and very often ,i have seemingly gone off at a tangent1 to hint at an application of some rule2 in so doing perhaps the chapters seem to lack continuity1 but ,i think several readings of them will show that there has been a logical development throughout4 ,perhaps the following summary will bring various parts together and fix all in the memory4 ,first1 the student is advised to practice drawing from objects1 and to learn to get something on the paper as soon as possible1 and then by further labor to develop this something4 ,there should be at first1 lines and markings showing about where the different parts of an object should come4 ,in the ,lautrec drawing the lines are not meant for a bicycle or the calves of a man's legs1 but the lines represent about where the bicycle and the man's calves should come4 ,anything that can be seen may be 8placed0 in this way--a tree1 a house1 a cloud4 ,after the student has learned to 8place0 #bab ,illustration3 ,,zimmerman ,,and ,,his ,,machine4 ,after a lithograph by ,h4 de ,t4 ,lautrec1 from the ,revue ,franco-,americaine4 ,this is given as an example of rapid manner in placing a figure4 ,in sketching a figure it is advisable always to draw the whole figure at once1 and never finish the head first and then go to the hand4 ,in a few lines1 a correct draftsman may indicate a great deal4 ,it is also given as an example of a reproduction from a crayon drawing4 ,this is actually reproduced from a print1 but the artist originally drew on a stone with crayon1 and crayon on paper will reproduce by photo-engraving as well as this4 ,lithograph crayon may be used1 or an ordinary hard crayon 7the softer the better71 or ,hardtmuth's crayon pencils4 ,charcoal paper may be used1 or any of the special crayon papers4 ,the more grain on the paper1 the better4 #bac objects fairly well1 he finds that by going over his sketch lines1 and improving them a little1 he can make outline drawings4 ,outlines are frequently used for finished effect as seen in the ,beggarstaff poster4 ,of course1 this preliminary 8placing0 of the lines is difficult until the eye is trained to see correctly4 ,i have ,illustration3 ,portrait caricature of the ,french actor ,dailly1 from a ,french periodical4 ,half-tone from a wash drawing4 known beginners who could hardly grasp the idea of what an outline is1 so ,i suggest the excellent method of trying to see objects as silhouettes4 ,it is not a bad plan to put a whisk broom1 a screw-driver and a hammer against a window pane and draw them in silhouette4 #bad ,the ,beggarstaff is very interesting from this point of view--if you will think of the cocked hat as a mass1 like the ,quaker hat1 you will find it easier to draw its outline than as if you see it in all its component parts1 as in the ,penlick drawing4 ,we have given previously many silhouette illustrations to emphasize this method of seeing things in mass4 ,we also make this point3 that the ability to see objects in silhouette is helpful1 not only for the purpose of representing an entire object in silhouette1 but also because details can frequently be thus represented with excellent effect4 ,for example1 the hair and mustache in the ,penlick1 and the hair in the ,dailly are in silhouette4 ,besides outline and silhouette1 shading may be employed by the draftsman to bring out form4 ,the ,dailly differs considerably from the ,beggarstaff--it is fully shaded1 and shading brings out the forms of the planes and muscles of the face4 ,illustration3 ,pen drawing by ,albert ,mantelet4 drop-cap ,mantelet's initial gives us a third kind of drawing4 ,it is partly shaded4 ,the ,sphinx design is an excellent example of shading contrasted with silhouette4 ,in order to learn to shade1 it is well to draw from white objects1 such as plaster casts or pasteboard boxes1 placed in a good light1 which should come from one direction only4 ,it makes little difference what material is used to draw with2 your aim should be to accustom yourself to distinguish light and shade4 ,if you can distinguish it upon the object it is not difficult to draw it on paper4 ,lettering and the adaptability or application of #bae ,illustration3 ,initial letter1 with character portrait4 ,drawn by ,mantelet1 enlarged from a cut in a ,french periodical4 ,a drawing might be made this size if intended to be reduced to the size of the cut opposite4 #baf the pictorial to printing are matters which we have allowed to force their way into almost every page1 so a ,illustration3 ,design by ,georg ,auriol4 summary of our method of teaching in this series would not be complete without a further word about the decoration of a page4 ,let us next1 therefore1 consider the matter of periods or styles in illustrating4 ,the initial letter designed by ,auriol represents a modern style of design4 ,illustration3 ,,the ,,battle ,,of ,,the ,,sphinx4 ,illustration from a ,french periodical4 ,crayon and silhouette effect4 #bag ,twenty years ago the half-tone1 as in this portrait1 was unknown1 and while the white and black goes back to the fifteenth century1 the free distribution of the leaves is due to the ,french artists having studied ,japanese designing4 ,the 8,thatre du ,chat ,noir10 designed by the same artist1 is also ,japanesque in treatment4 ,it may be profitably compared with the ,grasset page4 ,auriol's initial ,illustration3 ,thatre du ,chat ,noir 8,l0 you will at once recognize as ,gothic1 and that also1 you see1 goes back farther than the fifteenth century4 ,now1 does not that suggest to you that in modern designing there may be much recourse to antique styles8 ,recognizing this1 you will grasp our idea in publishing these different ,ls4 ,we do not say any special one1 like our initial 8,l10 could be of immediate use to you2 but we do say that1 in the hands of a clever designer1 every one could serve as a basis on which to build a style of design4 ,illustration3 ,drop-cap ,capital ,l ,looking at these initials from this point of view1 they offer various suggestions4 ,here1 for example1 are more natural forms1 but not in the ,japanese styles4 ,a close observer of nature might be able to engrave a somewhat clumsier1 #bah but none the less interesting1 initial of this kind1 while he could not draw a ,japanese-like design with the grace of ,auriol4 ,illustration3 ,drop-cap ,capital ,l ,leaves and flowers are not the only motives at the designer's service4 ,here is a little street vista in which the suggestion of buildings is nicely brought out1 yet the lines are by no means exact4 ,if one or two lines have been cut away in the process of engraving1 we hardly miss them2 and if a few more should be cut away from the design as it is1 they would not be missed4 ,a style of designing in which free lines are used in this way has its value1 though we should not advise one to found a study of drawing upon such principles4 ,illustration3 ,drop-cap ,capital ,l ,lines in themselves1 as well as nature's forms1 may be used4 ,this 8,l0 is little more than a repetition of ,arabic design2 again in our example of ,holbein's book-cover design we see an echo of ,moorish and ,grolier designing1 which were ,arabic in character4 ,illustration3 ,drop-cap ,capital ,l ,like the former initial 8,l10 this one depends upon lines for its ornamentation4 ,these are curved lines instead of straight ones1 and where1 as in the upper part1 it resembles the ,holbein cover1 it is in a measure ,moorish2 but where1 as along #bai ,illustration3 ,,poster4 ,designed and engraved on wood by the ,beggarstaff ,brothers4 ,showing a clever use of silhouette and outline1 with appropriate ,old ,english lettering4 ,one of the most harmonious designs we publish4 #bbj the letter ,l1 the curves have a knot at each end1 one longer than the other1 the design is based upon the ,rococo1 which is often used in modern illustration1 when lightness and irregularity are required4 ,the ,french illustrator ,maurice ,leloir1 in his decorations of some eighteenth century books1 ,such as 8,sterne's ,sentimental ,journey10 used it advantageously4 ,illustration3 ,drop-cap ,capital ,l ,living forms may be substituted for lines1 and the ingenious combination of the figure and its shadows in this specimen suggests a method of construction which is often used by designers4 ,the sky in this little cut is nicely engraved1 and could serve as a good exercise for one who had been practicing wood cutting a month or two4 ,illustration3 ,pastoral scene ,leaving out the initial1 a little rectangular cut like the foregoing makes an effective introduction to a paragraph1 and again suggests practice in wood engraving4 ,all the cuts illustrating this chapter1 except the ,holbein1 are taken from numbers of the ,french journal1 ,l',artist1 published between #ahfa and #ahfh1 and they represent a method of designing in vogue during those years and as far back as #ahcj1 and as late as #ahgj4 ,the initials were doubtless originally designed for a special purpose1 so that the subject related to the text1 but later on cuts #bba ,illustration3 ,,pen ,,drawing ,,by ,,penlick4 ,from ,la ,petit ,journal ,pour ,rire4 ,the legend reads3 8,our ,soldiers4 ,machin1 the staff officer1 the terror of the soldier1 doesn't joke with the rules and regulations2 has risen from the rank and file2 a very useful individual2 it's always ,machin here and ,machin there1 ask ,machin4 ,he terrorizes the one-year volunteers1 whom he treats as young shoots 7literal translation beets72 an old bachelor to the core40 #bbb were put in the case and used promiscuously year after year2 and when the letter needed was not at hand1 a cut like the last example was employed to adorn the page1 as a decoration4 ,here we have a design by ,holbein with ,arabesque or ,celtic interlacing1 which is often studied by designers1 and used with pleasing results4 ,illustration ,it is probable that all the early ,italian and ,french leather book-covers were imitations of ,arab book-covers 7or1 at any rate1 ,eastern covers7 brought into ,europe by the ,moors in the twelfth and thirteenth centuries4 ,their ,mohammedan religion forbade their picturing the figures of man or beast1 and so the efforts of their designers were almost entirely centered on lettering1 and on interlacing streamers or bands1 or whatever we may call them 7since these were also used by ,celtic and ,byzantian designers they are sometimes called ,celtic or ,byzantian interlacing72 and their book-covers consisted of beautiful inlays of colored leather on ingenious combinations of interlaced lines4 ,in the next chapter the subject of wood engraving will be taken up1 and it will make this chapter more interesting4 ,illustration3 ,,la ,,revue4 ,headpiece from a ,french periodical4 #bbc ,,chapter ,,ix4 ,,suggestions ,,for ,,practice ,,in ,,the ,,technic ,,of ,,wood ,,engraving -- ,,photo-,,engraving ,,the ,,more ,,practical1 ,,but ,,lacks ,,the ,,richness ,,of ,,the ,,wood-,,engraved ,,line -- ,,directions ,,for ,,practice ,,in ,,wood ,,engraving -- ,,simple ,,subjects ,,and ,a ,,simple ,,technic ,,are ,,advised ,,for ,,beginners -- ,,many ,,cases ,,instanced ,,in ,,which ,,crude ,,or ,,worn ,,plates ,,and ,,wood ,,type ,,may ,,be ,,improved ,,by ,a ,,little ,,hand ,,work4 ,we wish to supplement the preceding pages with a chapter on the technic of wood engraving1 and a few words about kindred arts which are of special consequence to the illustrator-printer4 ,the art of wood engraving ,i consider one of the most valuable things for the illustrator-printer to learn4 ,true1 this art is going out of use because of its tediousness2 and1 it must be confessed1 if you wish a picture of a building in your paper1 it is much more economical and you can get a better result if you make a pen drawing and send it to be photo-engraved1 than if you engrave it on wood4 ,on the other hand1 you get1 in an engraved line1 whether it is white line or facsimile black line1 a richness of line that is in perfect keeping with the printed type4 ,the white line made by the graver is apt to be sharper and deeper than the white space between two photo-engraved black lines1 and it does not fill up so easily4 ,we illustrate this chapter with some valuable suggestions1 and we consider that a printer who would learn wood engraving to such an extent that he could #bbd execute designs of the kind suggested1 could put forth some excellent examples of artistic printing4 ,wood engraving is closely associated with the great masterpieces of printing in the past1 though1 to be candid1 ,i must admit that only a limited public is capable of appreciating these historic associations2 and you could not1 perhaps1 build up your job printing department entirely on such lines4 ,but from time to time you might make posters1 handbills and booklets1 where antique styles could be followed1 and they would meet with appreciation4 ,nothing could be more easy to learn than the theory of wood engraving1 though the practice is trying to one's patience4 ,simply take a block of boxwood and place it upon a leather cushion filled with sand1 so that you may turn the block of wood in any direction4 ,the natural tendency is to place the handle of the burin or graver in the middle of the palm and push with all one's might1 in order to cut away the wood2 but it should be placed against the palm1 directly below the little finger1 the little finger nestling in the concave part of the wooden handle and the other three fingers brought up along the shaft of the graver1 the ends of the fingers touching the handle of the graver and its shaft1 but not wrapped around it4 ,the instrument should be pushed over the wood with about one-tenth of the muscular exertion that the beginner naturally uses4 ,hold a well-sharpened graver with ease and firmness1 and the process of engraving tires the arm no more than writing does4 ,it takes three or four months' practice to learn to thus hold the tool and use it with such surety that one #bbe can draw in white line on the block as in 8,the ,standard-,bearer0 of ,schafhausen4 ,but after the facility is acquired1 it does not take one long to get up a block either in this style1 or in what we should term the ,chap-,book style1 especially when you have made your design so simple that it can be engraved in a simple way4 ,please mark this last qualification4 ,the wood engravings in our magazines are of a style unadvisable for the printer to follow1 for the engraving of a multitude of gray tones and the printing of the same requires much labor in cutting and in make-ready1 but cuts of the kind we recommend can be printed rapidly and with little make-ready4 ,we give a specimen of the genuine ,chap-,book illustration1 and 8,the ,pedlar's ,lamentation10 which is a clever modern adaptation of the ,chap-,book style4 ,these form good examples for the beginner to follow4 ,beyond the directions as to holding the burin or graver1 there is little that the experimenter will not find out for himself4 ,a design is drawn on the block with pencil1 pen or brush4 ,when tones are to be indicated1 it is advisable for the printer to use a pen or brush4 ,to lighten the yellow color of the wood1 the block may first be rubbed with ,chinese white or with moistened whiting4 ,the design may then be sketched in pencil1 and afterward drawn in ink4 ,as the design must be in reverse1 a good way is to draw it with a pen on thin1 smooth paper4 ,a piece of transfer paper1 like typewriters' carbon paper1 is laid on the block2 the design is laid face downward upon this1 and a hard pencil or stylus is used to go over the back of the design1 which can be seen through the thin paper4 ,the pressure transfers #bbf the mark of the transfer paper to the block1 rendering the design in reverse1 and it may then be drawn over with a pen or brush4 ,in a good wood engraving the ,illustration3 ,,the ,,standard-,,bearer ,,of ,,schafhausen4 ,a #aeba wood cut in white lines4 curving of lines is generally reduced to a minimum4 ,though the transferring and careful cutting around the line is wearisome at first1 it allows one to consider each line separately and thoroughly to study economy of line4 #bbg ,the block is held1 if small enough1 between the thumb and first finger of the left hand1 the fingers holding not the top and bottom of the block but the sides of it4 ,illustration3 ,,example ,,of ,,genuine ,,chap-,,book1 ,,wood ,,cut ,,illustration4 ,from an article on 8,art ,among the ,ballad-,mongers10 by ,llewellynn ,jewett1 ,f4 ,s4 ,a41 in the ,london ,art ,journal4 ,it is then easily turned from side to side on the leather pad4 ,when a curved line is to be engraved it is not the graver alone which moves1 but the block also is directed with the left hand1 so as to assist matters4 #bbh ,the first process in engraving a line is to take a fine tool 7called a tint-tool as distinguished from the blunter tool called a graver7 and outline the line4 ,in the ,schafhausen cut1 the white line around the man's legs gives a good idea of the proper character of such an outlining line1 except that the line should be thinner1 more uniform1 and more like the lower part of the outline of the sword and the outline of the left side of the staff of the standard4 ,the wood is cut away from both sides of a black line2 and then with a gouge of any convenient size the wood is further cleared away4 ,in this way the genuine ,chap-,book cut was produced4 ,the white line of the 8,standard-,bearer0 of ,schafhausen can easily be combined with tint lines4 ,tint lines may be seen in the ,chap-,book imitation4 ,it is advisable to draw simple or rough subjects at first2 and to draw your outlines heavier at first than you intend them finally to be1 since in cutting away you are apt to reduce them by a slip of the tool or by a little more pressure in one place than in another1 and then it is necessary to go around the line again to reduce it to uniform regularity4 ,it is better to draw a face like the one in the ,crawhall than like the genuine ,chap-,book example1 for in following the lines of the latter a slip of the burin might entirely destroy an eyebrow or the bridge of the nose2 but in the ,crawhall any of the lines might be reduced to a somewhat narrower one without interfering with the general effect4 ,the beginner is advised to confine himself to initial letters and tailpieces and not to attempt ambitious subjects4 ,he is also especially advised not to plan out1 on the day he receives his tools1 a cut for a job wanted immediately1 for he will surely have to keep that order waiting a week #bbi ,illustration3 ,,imitation ,,of ,,chap-,,book ,,illustration4 ,cut directly on the wood1 without any copy1 by ,joseph ,crawhall4 #bcj or two4 ,a pound of boxwood in four or six irregular pieces from one inch to three inches long and one to two inches wide1 if not squared off1 may be obtained for about #be cents from a boxwood supply house4 ,the printer may square these scraps with a miter box and saw1 and he can proportion his designs to the size of the scraps4 ,thus1 illustrations and devices may be got up for a mere song4 ,larger blocks of boxwood may be ordered at #c or #d cents a square inch1 which is nearly the cost of photo-engraving2 and as it takes longer to engrave than to draw in pen-and-ink1 wood engraving is not recommended for general illustration4 ,but as photo-engravers usually have a minimum price of from #ge cents to #a for each cut1 it is cheaper to cut initial letters and tailpieces on scraps than to have them photo-engraved4 ,for instance1 twenty photo-engraved tailpieces might cost you from #ae to #bj1 but they might not cost you #b if boxwood scraps were used4 ,in previous illustrations1 such as the head of ,gthe's mother1 the ,grasset typographical ornaments1 the ,vallotton1 ,auriol and ,hassall examples1 we gave suggestions for exercises in wood engraving4 ,the benefit derived from the practice of wood engraving is not limited to preparing new cuts alone4 ,no printer who uses illustrations should be without a wood engraving outfit1 consisting of four to six tools1 and the cunning to use it4 ,there are many cases in which a process plate1 or a chalk plate1 or old wood type1 can be cleaned up1 altered or improved with a little handwork4 ,sometimes in a zinc plate the fine lines in a sky print clearly on a small run1 but soon begin to round and flatten2 if not essential to the design they may then be entirely cut out #bca and the run continued4 ,in chalk plate1 surfaces may be cast black and then cut into with a white line1 as in the ,schafhausen4 ,and wood type which is too old to print a solid black evenly1 may be punched with an awl1 as in the background of the ,larousse ,dictionary ,a1 to reduce it to a stipple gray2 or white-lined like the following portrait2 or the sides may be trimmed with the graver4 ,rouletting can be imitated with a ,illustration3 ,,wood ,,cut ,,portrait4 ,from a ,french periodical1 showing open white lines used to represent a tint4 common graver by cutting across the line at regular intervals4 ,only when a series of lines has to be rouletted is it necessary to have a special instrument1 which costs from #a4ej to #c4 ,new processes are being developed every day whereby printers can make more or less effective1 if crude1 cuts with little expense2 but they are rarely perfect mechanically1 and a little handwork will improve their results a hundred per cent4 ,in order to train oneself to engrave a tint as in the ,french portrait1 it is excellent practice to make parallel #bcb lines on a block without any drawing on it4 ,taking a tint tool1 you engrave a line on the wood1 of any thickness1 and then below it engrave another line1 leaving between the two a ridge of wood the same thickness as your white lines4 ,it is then your task to cover your ,illustration3 ,practice block ,no4 #a4 ,the top four lines are engraved by an expert2 the others1 by a beginner1 show normal progress from the coarse to the fine1 but inability to engrave a perfectly straight line4 ,it takes months of practice before one can engrave a series of straight lines4 piece of wood with parallel lines all of the same thickness1 leaving a space between them1 always of the same thickness4 ,this exercise may be varied after you can make an even tint by making a graduated tint1 letting your white ,illustration3 ,practice block ,no4 #b4 ,the line ,a is first outlined as at ,b4 ,if the beginner makes a design in which lines like ,a may be used throughout1 he is apt to get a better result than if he attempts a fine line like ,c 7outlined as at ,d71 which is very difficult to engrave4 ,e represents a waved line4 lines be nearer and nearer together as you approach the base of the block4 ,these print lighter than those at the top4 #bcc ,another variation is produced by waving the lines2 and still another by crossing a tint with white lines4 ,cross-hatched black lines are very tedious to engrave--we give an example of some4 ,illustration3 ,practice block ,no4 #c4 ,showing engraving of crossed lines2 a difficult undertaking1 requiring assistance from an expert4 ,anyone who attempts engraving cross-lines will appreciate that it is a great waste of time and that the white line is preferable for shading1 and he will appreciate the good judgment shown in ,mr4 ,crawhall's method4 ,besides boxwood1 maple wood may be used to engrave upon2 it is cheaper than boxwood1 costing but #a cent a square inch4 ,proofs are easily taken by laying a thin piece of paper 7engravers use india paper7 upon the inked block1 and rubbing a penknife handle or some hard object over the paper for some minutes until a perfect impression is obtained4 ,illustration3 ,tailpiece1 with silhouette portrait4 ,from a ,french publication4 #bcd ,,chapter ,x4 ,,suggestions ,,for ,,printers ,,in ,,regard ,,to ,,processes1 ,,aside ,,from ,,wood ,,engraving1 ,,by ,,which ,,illustrations ,,are ,,made -- ,,directions ,,for ,,experiments ,,with ,,zinc ,,plates1 ,,designing ,,for ,,zinc-,,plate ,,process -- ,,manipulation ,,in ,,copperplate ,,engraving1 ,,etching ,,in ,,intaglio -- ,,lithography ,,the ,,cheapest ,,process ,,known ,,for ,,short ,,runs ,,of ,,pictorial ,,color ,,work1 ,,its ,,range ,,of ,,effects -- ,,many ,,possibilities ,,in ,,the ,,chalk-,,plate ,,process4 ,the preceding chapter was devoted to wood engraving3 the other processes by which illustrations are made come outside the province of 8,drawing for ,printers10 and we shall merely give a paragraph to each process4 ,illustration3 ,copy of typographical design by ,grasset4 ,etched on zinc without the help of photography4 ,,zinc ,,plates4--,experiments may be made in zinc plates4 ,the cut above was traced from the ,grasset cut given with ,chapter ,,iii1 ,part ,i4 ,between the tracing #bce paper and the zinc1 typewriting carbon paper was laid4 ,the tracing was gone over with a hard pencil2 the design was thus transferred to the zinc4 ,the lines were then covered with asphaltum 7which is the same as bitumen71 bought in a tube at a paint store4 ,any colored oil paint or varnish or transfer ink will do1 as its use is simply to hold the dragon's blood4 ,it may be thinned with turpentine so that it will flow easily from the brush4 ,while the asphaltum was still wet1 the plate was dusted with dragon's blood1 which was put in a coarse linen rag and held like a bag over the plate by the right hand2 the left hand tapping the right made the powder fall evenly over the plate4 ,do this carefully for practice in order to learn to powder a plate evenly for a stipple tint 7see farther on72 the dragon's blood may be dumped on the plate4 ,the plate was then dusted off with a camel's-hair brush1 which removed the dragon's blood from the plate except where bitumen held it4 ,the plate was then held over a flame till the dragon's blood turned black2 it was then immersed in an acid bath1 about ninety per cent water and ten per cent nitric acid4 ,the vessel 7an old baking pan painted with asphaltum7 holding the bath was rocked from time to time4 ,the dragon's blood served as a stopping-out varnish4 ,the acid will eat away the plate where it is not protected by dragon's blood4 ,after five or ten minutes1 when the acid seemed to be eating into the stopping-out varnish1 the plate was taken out1 washed and dried1 and again dusted with dragon's blood4 7,in using a large plate1 of course1 it would be easier to roll it up with lithographic transfer ink47 ,a second and third etching reduced the background1 so #bcf that a proof was taken4 ,for printing in this book the plate has been routed4 ,the ragged edge is due to our 'prentice hand2 this is our second experiment1 but a little practice1 we are certain1 would bring more satisfactory results4 ,the ,pan lettering is copied from the title-page by ,stuck1 given in ,chapter ,,ii1 ,part ,,ii1 page #aga4 ,illustration3 ,copy of lettering by ,stuck4 ,etched on copper without the assistance of photography4 ,it is produced as was the ,grasset1 except that it was etched on copper and required more bitings than the zinc4 ,designs for this process should not be drawn in fine lines like ,engstrm's portrait of himself1 but should be heavy like his portrait of 8,hedin0 and the ,molock 8,crispi40 7,see ,chapters ,i and ,,ii1 ,part ,i47 ,when a white background is not required1 the dragon's blood dusted on the plate may be allowed to remain upon it1 in which case a stipple background is the result4 ,an ingenious experimenter can get many different results by this stipple method4 ,,copperplate ,,engraving4--,copperplate engraving1 and etching in intaglio are not used by the typographical printer1 but the printer who executes very fine work would find that he could make handsome frontispieces for limited editions1 or book-plates1 by either #bcg of these processes4 ,for about #be cents one may obtain ,winsor ,newton's handbook on 8,the ,art of ,etching10 by ,h4 ,r4 ,robertson1 which will give a description of the first process4 ,copperplate engraving is most difficult to master and should not be attempted by anyone who cannot ,illustration3 ,portrait of ,flicien ,rops1 the etcher1 by ,p4 ,matlay4 ,half-tone from a half-tone4 ,showing copperplate press4 draw a sure line4 ,a designer with a sure hand might attempt a simple book-plate4 ,anyone who can use the burin on wood can use it on copper1 though in the latter case the pressure from the palm of the hand1 which the beginner in wood engraving should avoid1 #bch is used because the resistance of copper is much greater than that of wood4 ,the first finger may be placed on top of the burin when engraving in copper1 but at the side for wood cutting4 ,we would say that the engraved line of the copperplate is one of the handsomest lines in the graphic arts4 ,etching in intaglio is easier than copper engraving and can be mastered by anyone who can etch in relief4 ,,lithographing4--,lithography1 like copperplate1 requires a special press1 but a secondhand press can be bought for #be or #cj1 and it is certainly the cheapest process known for short runs of pictorial color work2 and any printer who has many orders for posters or picture printing would do well to investigate the process2 for it is not difficult to draw on the stone1 and1 after the stones are bought1 they last for years1 and every new design simply necessitates the scouring off of the previous design1 which will take a boy only about an hour4 ,a hand press will easily print a #af by #bd poster1 and if it is to be printed in three or four colors by relief printing1 the cost of zinc relief plates or wood blocks would be considerable1 while in the case of the lithograph it is merely the hire of the boy who cleans the stone4 ,there is no end to the variety of effects to be got in lithography by different combinations of technic3 by using1 separately or in combination1 pen1 crayon or brush line2 crayon or spatter work tints2 solid brush tints of color1 or solid brush tints of color with letters or forms scratched out of them with a penknife4 ,,chalk ,,plate4--,the chalk-plate process is one that has never been adequately studied by designers4 ,there are very many possibilities in it4 ,it was first introduced #bci into ,japan through the instrumentality of the writer4 ,the editor of the 8,kohumin ,shimbun0 called at my studio to investigate the working of the chalk plate1 and ,i drew an outline portrait on the chalk plate1 cast it1 mounted it1 and took a proof of it1 all in forty minutes6 ,full information in regard to the process may be obtained from the ,hoke ,engraving ,company1 owners of the patents4 ,every newspaper owning a stereotype outfit will find that it will pay to use the chalk-plate process4 #bdj ,,errata4 ,page #ch1 lines #c and #h3 before 8when0 insert 8that is40 ,page #ch1 line #aa3 for 8called0 read 8on40 ,page #ci1 line #d3 after 8lines0 insert 8if in nature parallel to the axis of his eyes1 or if on a level with his eyes40 ,page #dc1 line #ai3 for second 8bulk0 read 8effect40 ,page #fc1 chapter heading1 line #i3 after 8light and shade10 and on ,page #ga1 line #d3 after 8light and shade0 read 8of the sort most usual in ,occidental modeling40 ,page #gj1 line #be3 before 8style0 insert 8complex40 ,page #ajf1 last word3 for 8depression0 read 8depressor40 ,page #aji3 8,lucca della ,robia0 read 8,luca della ,robbia40 ,page #abj1 line #ac3 for 8whereat0 read 8wherever40 ,page #aej1 line #a3 for 8,reeves0 read 8,rivers40 ,page #ahc1 line #c of legend3 for 8,u4 ,e4 ,i40 read 8,u4 ,h4 ,i40 #bda ,,index4 ,ability1 ,natural1 versus instruction1 #ag1 #ah1 #ai ,action1 #ee ,aldine printing1 #aeh1 #aii1 #bjj ,aldus type1 #aii1 #bjj ,alphabets 7,see ,lettering71 #aeh1 #aha1 #bjb1 #bji ,america1 ,the printer in1 #aei1 #afj ,analyzation of the naso-labial line1 #hf1 #hg ,arabic lettering1 #aih1 #bah1 #bbb ,artist1 ,how the1 sees 7,see ,eye1 ,education of71 #ef1 #ei ,artist1 ,reader not to be discouraged if he cannot become a full-fledged1 #ah1 #ai1 #hj ,art school methods1 #ef1 #eh1 #fb1 #fe-ga1 #gd ,assyrian letters1 #bjg ,auriol1 ,georg1 #age1 #agg1 #agi1 #aia1 #aih1 #bjd1 #bje1 #baf1 #bag1 #bah1 #bcj ,axis1 ,every object has its1 #eb1 #ee ,balance in design1 #dh1 #bjd ,ballantyne1 ,messrs1 #ahc ,bargue and ,grme1 ,studies published under direction of1 #ff1 #fg1 #hj1 #ih1 #ii1 #ajj ,bauernfeind alphabets1 #aha1 #ahf1 #ahg1 #ahh ,beggarstaff ,brothers1 #bad1 #bae1 #bai ,begin1 ,how should one1 to learn to draw1 #ai ,ben ,day film1 #ge ,bergomensis letter 7,see ,lettering71 #aic1 #aid1 #aih1 #bji ,bible manuscripts1 #bji1 #baj ,blocking in shadows by outline1 #fc-fg1 #gj ,bonnard1 ,pierre1 #hg1 #hh1 #ij1 #ib1 #id1 #ie1 #if1 #aag ,bonnat1 ,lon1 #ed1 #ee1 #ia1 #ib1 #id ,boxwood1 #bbd1 #bcj ,broad black line desirable for lettering1 8devices10 and designs in general1 #afg-ga ,broad drawing recommended to printers1 #gh ,brun1 ,a1 #ib1 #id1 #ig ,burns1 ,robert1 ,statue of1 #agg1 #agh ,byzantine design1 #bbb ,caricature1 #df1 #aci1 #adb1 #add1 #bac ,caricaturing beneficial to draftsman1 #bb ,caroline lettering 7,see ,lettering71 #aee1 #ahi1 #aia1 #aib1 #aid1 #aih1 #bjd ,cartoon1 ,newspaper1 style 7,see ,printing71 #abg ,casts1 ,plaster1 used as studies1 #fh-ga1 #gd ,caspari1 #afi1 #agc1 #agg1 #agi ,catalogues1 #agj ,caxton1 #aeh1 #ahi1 #bjj ,celtic interlacing1 #ahi1 #bbb ,chalk plate1 #abi1 #adc1 #aef1 #afa1bcj1 #bch ,chap-,book style1 #bbe1 #bbg1 #bbh1 #bbi ,chapter ,headings 7,see ,initial ,letters71 #ah1 #aba1 #abc1 #afg1 #afh1 #ahb1 #ahi1 #bjd1 #bje1 #bae-bah1 #bbj1 #bbb ,character of objects1 #ajc1 #add ,charcoal drawing1 #bab ,chaume1 ,geoffroy de1 #acf1 #acg1 #ada ,chinese lettering1 #bjg ,choudieu1 ,pierre ,rn1 #hg1 #hh1 #ij1 #ib1 #id1 #ie1 #ajj1 #aja1 #aig ,color printing1 #bch ,copperplate1 #bcf-bch ,cover design1 #aeg1 #afb1 #aff1 #afi-agd1 #agf1 #agg1 #agi1 #bjd1 #bbb ,crane1 ,walter1 #afj ,crawhall1 ,joseph1 #bbh1 #bbi ,crayon drawing1 #bab ,cross-hatched lines 7,see ,printing1 ,technic adapted to71 #aag1 #abc ,dagnan-,bouveret1 #gb1 #gf1 #hb1 #hd1 #he ,dailly1 #bac1 #bad ,david d',angers1 #acf1 #acg1 #adh ,decorated page1 the1 #abc1 #abd1 #afa1 #afh1 #afi1 #ahb1 #bjc1 #bje1 #baf1 #bag 8,decorative ,illustration01 #afj ,design considered1 #aeh1 #afc-agc1 #baf-bah ,design1 ,economy in1 #agg1 #agi ,design1 ,use of heavy blacks in1 #afg1 #aga ,designing of value to the printer1 #ah1 #bjj-bjb ,designs1 ,small1 as difficult as large1 #ah ,detail versus broad drawing1 #gd1 #gf1 #ij d',illzach1 ,ringel1 #acf1 #ach1 #aej ,dollman1 ,j4 ,c41 #aci ,donatello1 #ajc1 #ajd ,don ,chisciotte1 #cb ,dots1 ,eccentric use of1 #abi1 #acj ,dragon's blood1 #bce ,draw as though tracing on a window pane1 #ce ,draw by lamplight1 #id ,drawing-board recommended1 #gh ,drawing ,finished1 and original 8placing0 compared1 #fc-gj ,drawing1 ,finished and rough compared1 #gc1 #gh1 #hj1 #ha ,drawing fragments for practice helpful1 #fe ,drawing from pasteboard boxes good training in light and shade1 #gf ,drawing1 ,how to begin a1 #ai1 #di-ee ,drawing not arbitrary1 #hf1 #ajc ,drawing1 ,preliminary placing of objects in beginning a1 #de1 #ej-ff1 #baa1 #bab ,drayton1 ,michael1 #ahd ,drer1 ,albrecht1 #gf1 #ahg ,durham ,book1 #bjb ,eaton1 ,wyatt1 #aaf1 #aag1 #aah ,economy of line1 #bbf ,egyptian1 ,the1 hieroglyphic and hieratic writing1 #bjg1 #bjh1 #bji ,element defined1 #eb ,english ,old ,style lettering1 #bjj1 #bai ,enlarging a drawing1 #ge1 #aac ,engstrm1 ,albert1 #bb1 #bh1 #bi1 #cj1 #acb1 #acc1 #bcf ,etching1 ,art of1 #bcg ,etruscan1 ,the1 letter1 #aeh ,eye1 ,untrained1 sees incorrectly1 #ai ,eye1 ,education of the1 #ai-be1 #ej1 #gd1 #gf1 #gh ,eye1 ,drawing of the1 #ajc-aje ,eyesight1 ,knowledge of effect necessary beyond mere1 #hd ,face1 ,drawing of a1 and head1 #hd1 #he1 #ij-ib1 #aja-aji1 #acb1 #acc1 #acf1 #add ,finished drawing and original 8placing10 compared1 #fc-gj ,finished drawing and rough drawing1 compared1 #gc1 #gh1 #hj1 #ha ,foot1 ,drawing a1 #ih1 #ii1 #ajj ,forain1 #abg1 #aci1 #adb1 #add1 #afa ,fonts1 ,modern1 #aeh ,form1 #fi1 #gf-gh ,french art school studies1 #eg1 #ff1 #fg ,french names1 #id1 #if1 #ajj ,french ,old ,style lettering1 #afg1 #age1 #aih1 #bjj ,french printers1 #afj1 #afa1 #age ,frontal muscle1 lines made by1 #ajg ,gaillard1 ,c4 ,f41 #gf1 #gg1 #gh1 #hj1 #hb1 #hd1 #ajc ,geometrical forms1 #ei-fb ,gerbault1 ,h41 #bd ,girardet1 ,jules1 #cf ,gothic letters1 #aee1 #aha1 #ahb1 #ahg1 #ahh1 #aia1 #aic1 #aig1 #aih1 #bjj1 #bjc1 #bjd1 #bjf ,grasset1 ,e41 #cb1 #cc1 #ci1 #ei1 #fc1 #fd1 #aff1 #afh1 #agb1 #agc1 #agg1 #agi1 #aia1 #aib1 #aig1 #bjc1 #bjd1 #bag1 #bcj1 #bcd1 #bcf ,greek manuscript1 #bji ,grellet1 ,f41 #aja1 #ajc-ajg1 #aji ,grolier1 #bah ,guillaume1 #abe1 #abf1 #abi1 #adc ,gtenberg1 #bjj ,half-tones1 #adh1 #afj1 #afg1 #agj1 #agg ,hassall1 #agg1 #agi1 #bcj ,hats1 #bc1 #bd1 #bf1 #bg ,hebrew alphabet1 #bjh ,herkomer1 ,hubert1 #ej1 #ea1 #eb1 #ei1 #fj1 #fa1 #fc1 #fe ,hieroglyphs1 #bjg ,high light1 #db ,historic associations of certain alphabets4 7,see ,lettering71 #bjb1 #bbd ,holbein1 #bah1 #bbj1 #bbb ,initial letters1 ,chapter headings1 #ah1 #aba1 #abc1 #afg1 #afh1 #ahb1 #ahi1 #bjd1 #bje1 #bae-bah1 #bbj1 #bbb ,introduction to ,part ,,ii1 #aed1 #aee1 #aeh-afb ,irish text1 #aeh1 #bjb1 #bjc ,italian lettering4 7,see ,lettering71 #aha1 #ahe1 #ahg1 #aie1 #aih-bjj1 #bji ,italic letter4 7,see ,lettering71 #aie1 #aii1 #bjj ,japanese brush1 #hg ,japanese designing1 #dh1 #bag1 #bah ,japanese graphic art without ,occidental modeling1 #ga ,japanese synthetic drawing1 #ei ,japanese use chalk plate1 #bch ,jenson1 #aeh1 #agd1 #bjj ,jewett1 ,llewellynn1 #bbg ,kelmscott type1 #ahf ,knaus1 ,ludwig1 #hb-he ,landscape1 #acj1 #adj1 #add1 #adh1 #aej ,lansyer1 ,e41 #bj ,larousse's ,dictionary1 #aff1 #bja1 #bjb1 #bjd1 #bjh1 #bji1 #bca ,latin capitals1 #aig1 #aih ,la-,tour1 ,fantin1 #fh-ga1 #adh ,lautrec1 ,h4 de ,f41 #baa1 #bab ,lefbvre1 ,j41 #aje1 #ajf1 #ajg ,leloir1 ,maurice1 #adg1 #bbj ,le,roux1 ,e41 #aci1 #adj1 #add ,lettering1 #aee1 #aeh1 #aff-afi1 #aga-age1 #ahj-baj ,lettering must follow historical principles1 #ahj1 #ahg ,letters based on the circle and the square1 #ahc ,light and dark1 ,spots of1 #dg1 #dh1 #ij ,lighting1 ,unusual1 on head1 #ada1 #adh1 #adi ,line1 ,broad1 #afg-aga ,line1 ,value of a1 #ef ,lines used to indicate organic parts1 #ef1 #eg1 #eh1 #hd ,lithography1 #fi1 #aji1 #bch ,local color1 #db1 #dc1 #dg1 #ga ,lwe-,marchand1 #gd1 #ge1 #hd ,lombardic lettering1 #aih ,lormier4 ,e41 #acf1 #ach ,lucas1 ,f4 ,h41 #add ,luca della ,robbia1 #ajc1 #ajg1 #aji ,lucidario page1 #ahe1 #ahf1 #aie1 #bjj ,luque1 ,m41 #dj1 #da1 #db1 #df1 #adf ,mannerisms of a caricaturist1 #df ,mantelet1 ,albert1 #bad1 #bae ,marchetti1 #aba1 #abc1 #abf ,masses of light and dark appropriate for rough printing1 #afg-agb ,masses of shadows1 #gd1 #gf1 #ij ,materials1 ,drawing1 and technic of slight consequence compared with correct seeing1 #ai1 #hf1 #hg ,medallions1 ,david d',angers1 #acf1 #acg1 #adh ,medallions1 ,lormier1 ,e41 #acf1 #ach ,medallions1 ,ringel d',illzach1 #acf1 #ach ,millais1 ,john ,everett1 #de ,minnesinger song book1 ,page from a1 #ahb ,minnesinger lettering1 #ahb1 #aib-aie1 #bjj1 #bji ,modern ,roman lettering4 7,see ,lettering71 #bjj ,modeling1 #acg ,moloch1 ,b41 #cj1 #ca1 #bcf ,monet1 ,claude1 #adh1 #aej ,monumental letters4 7,see ,lettering71 #ahh1 #bjd1 #bji ,moorish design1 #bah1 #bbb ,morris1 ,william1 #aee1 #aeh1 #afa1 #afe1 #agd1 #bjj ,moullier1 #abi1 #acj ,mouth1 ,study of the1 #ajd1 #ajf1 #ajg1 #acb1 #acc ,munkacsy1 ,michael1 #ec1 #ee ,naso-labial line1 #hj-ij1 #aja1 #ajb1 #aji ,newspaper illustration4 7,see ,printing71 #aac1 #aai1 #abe-abi1 #adc1 #aef1 #afa-afh1 #bch1 #bci ,newspaper portraiture1 #aaf1 #aag ,nose1 ,the wing of the1 #hd1 #he ,nostril1 ,the shadows of the1 #hd1 #he ,observation1 ,value of1 #be ,old age1 ,how to portray1 #aja1 #aje1 #ajg1 #afi ,old ,english font1 #aeh ,orbicular muscle1 ,lines made by1 #aje ,organic lines defined and illustrated1 #ef1 #eh ,ornamentation1 ,aimless1 #bjc ,ornamentation of ,northern and ,southern scribes compared1 #aih ,outline1 ,beginner advised to use1 almost exclusively1 #dg ,outline1 ,connecting link between1 and shaded drawing1 #gb1 #gc ,outline1 ,force of1 #da1 #acb1 #aci1 #adj1 #add1 #ade1 #bac1 #bad ,outline1 ,mastery of1 recommended to the printer1 #bc ,paper1 #ada1 #afe1 #afg ,papyrus1 #bjh ,parallel lines4 7,see ,printing71 #aae1 #aag1 #abc1 #abe ,paul1 ,herman1 #acb1 #ade ,pens1 ,various1 may be used1 #aah1 #abj ,pen-,drawing1 ,a1 may be on large or small scale1 #aac ,penlick1 #bad1 #bba ,pen practice1 ,method of1 #aag1 #abi1 #aca ,pen technic1 #aab-acj1 #ace1 #aci-adf1 #adg ,pen technic from printers' view-point1 #aac ,perspective1 #ai1 #bj1 #bb1 #ce1 #cf1 #ch1 #ci ,petrarchian letters1 #bjj ,phnician letters1 #aeh1 #bjh1 #bji ,photo-engraving1 #aac-adh ,placing1 ,preliminary1 of objects in beginning a drawing1 #de1 #ej-ff1 #baa ,plane1 ,objects seen in one1 #cc1 #cd1 #ci ,plant form1 #bje1 #bjf ,pomeroy1 ,f4 ,w41 #agh ,posters1 #agg-agi1 #bai ,preface1 #c-e ,printer must have an educated taste to design correctly1 #bjj1 #bja ,printing1 ,artistic1 #aed-afg1 #bjc1 #bbc1 #bbi ,printing1 ,city newspaper1 #aae-aai1 #abg-abi1 #adc1 #aef1 #afa-afh1 #bci ,printing1 ,country newspaper1 #aac-aai1 #abe-abi1 #aef1 #afa-afh1 #bch ,printing1 ,magazines1 #aac-aae1 #aah ,printing1 ,printers' experience a guide in adapting technic to1 #aac1 #aae ,printing1 ,recent change in the character of1 #ag ,printing1 ,rough1 defined1 #afd ,printing1 ,technics which are adapted to1 #bc1 #cb1 #fh1 #gh1 #gi1 #ij1 #ib1 #ajh1 #aab-aai1 #abc1 #abg1 #abh1 #agg ,process plate1 #bcj ,proportion and direction1 #ej-ee ,proportions1 #fe ,quill pen1 #aaf1 #aah1 #aia-aie1 #aig1 #aih1 #bjj ,ratdolt1 ,erhard1 #aeh ,reed pen1 #bjh ,reduction of drawing for printing1 #aab-aai1 #abd1 #adf1 #adi1 #aej1 #afd1 #aga1 #agf1 #bae ,renaissance lettering1 #aee ,renard1 ,e41 #aad1 #aae1 #abc ,resum of ,part ,i1 #acc-aej ,ricketts1 ,charles1 #ahc1 #ahd ,rivoire1 #agf1 #agi ,rococo design1 #bbj ,rogel1 ,hans1 #ahg1 #ahh1 #aid1 #aih1 #bji ,roman lettering4 7,see ,lettering71 #aee1 #aih ,schafhausen1 #bbe1 #bbf1 #bbh ,scratch-board1 ,whites in1 and wood engraving1 #ia1 #ib1 #ic1 #id1 #ach1 #adh ,seeing properly1 ,drawing a matter of1 #ai-bg1 #ej1 #gd-gh ,shaded drawings1 #db1 #dc1 #df1 #dg1 #dh1 #ff-gh1 #adf1 #bad ,shadows1 ,finding direction of1 #fe1 #ff1 #fg1 #gj ,shadows1 ,large1 versus minor ones1 #gd1 #gf ,shadows1 ,thrown and modeling1 #dc1 #df1 #adi ,sickert1 ,walter1 #aah1 #aai1 #aej ,silhouette1 ,an old-fashioned1 #abe1 #bjd1 #bcj ,silhouette1 its use as typographical ornament1 #cb ,silhouette1 used by ,egyptians1 #bf1 #bg ,silhouetting1 ,practice in1 objects1 #cc1 #aeg1 #bac1 #bad ,solid ,blacks1 7,see ,silhouette7 ,spanish scribes1 #aih ,st4 ,elme1 #abc1 #abd1 #abf ,stevenson1 ,robert ,louis1 portrait of1 #aaf1 #aag1 #aah ,still-life studies1 #adb1 #ade ,stimmer1 ,chr41 #ahg1 #ahh1 #aih1 #bji ,stipple1 #ach ,strange's book on alphabets recommended1 #aha1 #ahg1 #bjb1 #bjd ,stuck1 ,franz1 #aga1 #agb1 #agc1 #agg1 #bcf ,summary1 #baa ,synthetic drawing1 #eh1 #ei1 #fb ,taste4 7,see ,printing1 ,artistic71 #aeh1 #aei1 #afj1 #afa1 #afc1 #afe ,technic4 7,see ,pen ,technic71 #hg ,texture1 #cj1 #da1 #db1 #hb ,thick and thin pen lines4 7,see ,printing71 #aah ,tint lines1 #bbh1 #bca ,touraine font1 #aeh ,toussaint1 ,t41 #hh1 #hi ,transfer1 ,how to1 a drawing1 #aca ,typographer should be designer1 #ag ,vale press1 #ahc1 #ahe1 #ahf ,vallet1 #abh1 #abi ,vallotton heads1 #acc1 #acd1 #ace ,values1 #db1 #dc1 #fh-ga1 #id ,venetian lettering1 #aih1 #bjd ,verdyen1 #ib1 #ic ,vierge1 ,daniel1 #abb1 #abc ,visigothic letter1 #aee1 #aeh1 #aih ,walker1 ,fred1 #aja1 #ajb1 #adi ,watts1 ,george ,frederick1 ,r4 ,a41 #gh-hh1 #ij1 #id1 #aja1 #ajc1 #ajg1 #aab1 #aac ,white1 ,gleason1 #ahc ,windows in perspective4 7,see ,perspective71 #ai1 #bj1 #bb ,wood engraving1 #acd1 #ace1 #aec1 #bah1 #bbj1 #bbc1 #bcj ,wood engraving1 ,practice1 #bbd1 #bcb1 #bcc ,written language1 #bjg1 #bjh ,youth1 ,portrayal of1 #aja-ajh ,zinc plate1 #ge1 #bcj-bcf #bdg ,,advertisements ,the ,manufacture of ,ink4 ,comprising the raw materials and the preparation of writing1 copying and hektograph inks1 safety inks1 ink extracts and powders1 colored inks1 solid inks1 lithographic inks and crayons1 printing ink1 ink or aniline pencils1 marking inks1 ink specialties1 sympathetic inks1 stamp and stencil inks1 wash blue1 etc4 ,translated from the ,german of ,sigmund ,lehner1 with additions by ,william ,t4 ,brannt4 ,illustrated2 #bcj pages2 #b4jj4 ,address all orders to ,,the ,,inland ,,printer ,,co41--#bad ,monroe ,st41 ,chicago4 #cd ,park ,row1 ,new ,york4 ,,the ,,color ,,printer4 ,by ,j4 ,f4 ,,earhart4 ,the ,standard ,work on ,color ,printing in ,america4 ,a veritable work of art4 #h #a_/d by #aj #a_/b inches1 #acg pages of type matter1 #ij color plates in two to twenty colors each1 handsomely bound in cloth1 stamped in gold and four colors4 ,to produce a limited edition of this work required #fbe different forms and #a1fbe1jjj impressions4 ,book contains #aff colors1 hues1 tints and shades1 produced by mixtures of two colors each1 with proportions printed below each4 ,to use colors intelligently and effectively every printer and pressman should have one of these books4 ,the limited edition will soon be exhausted4 ,order one at once4 ,price1 postpaid1 #aj4jj per copy4 ,former price1 #ae4jj4 ,address all orders to ,,the ,,inland ,,printer ,,co4 #cd ,,park ,,row1 ,,new ,,york4 #bad ,,monroe ,,st41 ,,chicago4 ,the ,inland ,printer4 ,illustration ,what it is4 ,the ,inland ,printer is a monthly magazine of from #ajj to #abj pages1 #i by #ab inches in size1 devoted to printing1 publishing1 engraving1 electrotyping1 stereotyping1 bookbinding1 papermaking and all the kindred trades4 ,it is a work of art1 and should be in the hands of every lover of the typographic art or anyone interested in newspaper work or advertising4 ,issued promptly on the first of every month4 ,subscriptions can begin with any number4 ,what it ,contains4 ,its pages are filled with the most instructive and interesting original articles relating to the matters that properly come within its domain1 besides an amount of valuable data1 trade topics1 correspondence1 craft items1 recent patents1 recipes1 hints and suggestions that will surprise you4 ,in addition to this1 it is copiously illustrated1 and the whole make-up and general character of the work is such as to challenge admiration4 ,,the ,,illustrations4 ,the full ,page illustrations and those worked in with the text are all of a high order1 and include half-tone1 zinc etching and other methods of engraving1 alike valuable to the engraver1 process-worker1 compositor and pressman4 ,colored plates1 by various processes1 are also shown4 ,,the ,,text4 ,taking up a copy at random one finds articles on proofreading1 the point system in type founding1 notes on bookbinding1 natural colors in the printing press1 newspapers and newspaper men1 the country newspaper1 typographical make-ready1 advertising1 convention notes1 review of type designs1 pressroom queries and answers1 process engraving1 new patents1 trade notes and much general information4 ,,the ,,advertisements4 ,these are as important in a way as any other part of ,,the ,,inland ,,printer1 for the reason that they are set in attractive and catchy style1 alike beneficial to the compositor and 8ad40 writer1 and printed in the same excellent way that the other part of the journal is4 ,this part will interest you as well as the text4 ,,subscription ,,price3 #b4jj per ,year2 #a4jj for ,six ,months2 #bj;c4 per ,copy4 ,no free copies and no exchanges4 ,subscribe through your type founder1 material dealer or news agent1 or send direct to ,the ,inland ,printer ,company1 #aej ,,nassau ,,st41 #bab-bad ,,monroe ,,st41 ,,new ,,york4 ,,chicago4 ,,transcriber',s ,,note ,original spelling and grammar have been generally retained1 with some exceptions noted below4 ,original printed page numbers are shown like this3 #eb4 ,original small caps are now uppercase4 ,italics look like this4 ,original page images are available from archive4org--search for 8drawingforprinte#jjknau04 ,the transcriber produced the cover image by editing the original cover image1 and hereby assigns it to the public domain4 ,illustrations are the main subject of this book4 ,many of the illustrations were printed full page1 and fell on numbered pages1 inside paragraphs of text1 frequently breaking sentences4 ,the ,list of ,illustrations and many of the cross-references point to page numbers4 ,therefore1 the illustrations have been left where they originally lay--i4e4 many of them inside paragraphs and sentences4 ,this is unconventional1 relative to normal ,distributed ,proofreaders practices1 and it may make reading the text in this simple text edition slightly more difficult1 since there are no variations in font and no images4 ,therefore1 paragraphs broken by illustrations have been marked in this edition with the glyph 80 at each break point4 ,page #ad4 ,the name 8,loewe-,marchand0 was changed1 in the list of illustrations and in the index1 to 8,lwe-,marchand0 to agree with the text in other places4 ,page #ahb4 ,the letter ,a originally printed in blackletter type is coded 8,a0 in the simple text edition1 and is shown via image in the other editions4 ,page #ahd4 ,rare unicode characters 80 ,u#be;cb and 80 ,u#b;b#b;f were employed on this page in the simple text edition of this ebook2 these may require uncommon fonts to display properly4 ,in the other editions1 images are substituted4 ,page #bdj1 ,errata4 ,these errata have been applied to the text in the ebook editions4 ,also1 there was an error in the errata3 #8,page #ahb1 line #c of legend3 for 8,u4 ,e4 ,i40 read ,u4 ,h4 ,i40' has been changed to #8,page #ahc1 line #c of legend3 for 8,u4 ,e4 ,i40 read 8,u4 ,h4 ,i40'4 ,furthermore1 the erratum #8for 8,reeves0 read 8,rivers40' had already been applied in the printed edition which is the basis of this transcription4 ,page #bdg4 ,a new heading 8,,advertisements0 has been added here4