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} + div.poemr p.i4 { margin-left: 4em; } + div.poemr p.s { margin-top: 1.5em; } + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Art of Illustration, by Henry Blackburn + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Art of Illustration + 2nd ed. + +Author: Henry Blackburn + +Release Date: May 10, 2010 [EBook #32320] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION *** + + + + +Produced by Marius Masi, Chris Curnow and the Online +Distributed Proofreading Team at http://www.pgdp.net. + + + + + + +</pre> + + +<div class="pt2"> </div> +<div class="figcenter"> +<img style="border:0; width:455px; height:610px" src="images/cover.jpg" alt="" /></div> + +<div class="pt3"> </div> +<hr class="full" /> +<h2>THE ART OF ILLUSTRATION.</h2> +<hr class="full" /> +<div class="pt2"> </div> + +<p><span class="pagenum"><a name="pagevi" id="pagevi"></a>vi</span></p> + +<div class="figcenter"> +<img style="border:0; width:522px; height:620px" src="images/img005.jpg" alt="" /> +<p class="caption">“THE TRUMPETER.” (SIR JOHN GILBERT, R.A.)<br /> +(<i>Drawn in pen and ink, from his picture in the Royal Academy, 1883.</i>)<br /> +[Size of drawing, 5½ by 4¾ in. Photo-zinc process.]</p></div> + +<div class="pt2"> </div> +<p><span class="pagenum"><a name="pagevii" id="pagevii"></a>vii</span></p> +<div class="verd center"> +<p class="col" style="font-size: 200%;">The Art of Illustration.</p> + +<p class="pt3 f80">BY</p> + +<p class="f120">HENRY BLACKBURN,</p> +<p class="f80"><i>Editor of “Academy Notes,” Cantor Lecturer on Illustration, &amp;c.</i></p> + +<p class="f80 pt2">WITH</p> +<p>NINETY-FIVE ILLUSTRATIONS.</p></div> + +<div class="pt2"> </div> + +<hr class="short" /> +<p class="f90 center"><b>SECOND EDITION.</b></p> +<hr class="short" /> + +<div class="verd center"> +<p><span class="f80">LONDON:</span><br /> +W. H. ALLEN & CO., <span class="sc">Limited</span>,</p> +<p><span class="f90">13, WATERLOO PLACE, S.W.<br /><br /> +1896.</span></p> + +<div class="pt3"> </div> + +<p class="f80">PRINTED BY<br /> +WYMAN AND SONS, LIMITED,<br /> +LONDON, W.C.</p> + +<p><span class="pagenum"><a name="pageviii" id="pageviii"></a>viii</span></p> +<div class="pt3"> </div> + +<p class="f80">DEDICATED TO</p> +<p>SIR JOHN GILBERT, R.A.,<br /></p> +<p class="f80">ONE OF THE PRINCIPAL PIONEERS<br /></p> +<p class="f80">OF BOOK AND NEWSPAPER ILLUSTRATION.</p></div> + +<p><span class="pagenum"><a name="pageix" id="pageix"></a>ix</span></p> + +<div class="pt3"> </div> +<div class="figcenter"> +<img style="border:0; width:620px; height:273px" src="images/img010a.jpg" alt="" /> +<p class="caption">(PEN-AND-INK DRAWING FROM HIS PICTURE, BY MR. CHARLES COLLINS, 1892.)<br /> +[Photo-zinc process.]</p></div> + + +<hr class="art" /> +<h3>PREFACE.</h3> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:60px" src="images/img010b.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">HE object of this book is to explain the +modern systems of Book and Newspaper +Illustration, and especially the +methods of drawing for what is commonly +called “process,” on which so many artists +are now engaged.</p> + +<p>There is almost a revolution in illustration at the +present time, and both old and young—teachers and +scholars—are in want of a handbook for reference +when turning to the new methods. The illustrator +of to-day is called upon suddenly to take the place +of the wood engraver in interpreting tone into line, +<span class="pagenum"><a name="pagex" id="pagex"></a>x</span> +and requires practical information which this book +is intended to supply.</p> + +<p>The most important branch of illustration treated +of is <i>line drawing</i>, as it is practically out of reach of +competition by the photographer, and is, moreover, +the kind of drawing most easily reproduced and +printed at the type press; but wash drawing, +drawing upon grained papers, and the modern +appliances for reproduction, are all treated of.</p> + +<p>The best instructors in drawing for process are, +after all, the <i>painters of pictures</i> who know so well +how to express themselves in black and white, and to +whom I owe many obligations. There is a wide +distinction between their treatment of “illustration” +and the so-called “pen-and-ink” artist.</p> + +<p>The “genius” who strikes out a wonderful path +of his own, whose scratches and splashes appear +in so many books and newspapers, is of the +“butterfly” order of being—a creation, so to speak, +of the processes, and is not to be emulated or +imitated. There is no reason but custom why, in +drawing for process, a man’s coat should be made +to look like straw, or the background (if there be +a background) have the appearance of fireworks. +No ability on the part of the illustrator will make +these things tolerable in the near future. There is +<span class="pagenum"><a name="pagexi" id="pagexi"></a>xi</span> +a reaction already, and signs of a better and more +sober treatment of illustration, which only requires +a <i>better understanding of the requirements and +limitations of the processes</i>, to make it equal to +some of the best work of the past.</p> + +<p>The modern illustrator has much to learn—more +than he imagines—in drawing for the processes. +A study of examples by masters of line drawing—such +as Holbein, Menzell, Fortuny or Sandys—or +of the best work of the etchers, will not tell the +student of to-day exactly what he requires to know; +for they are nearly all misleading as to the principles +upon which modern process work is based.</p> + +<p>In painting we learn everything from the past—everything +that it is best to know. In engraving +also, we learn from the past the best way to +interpret colour into line, but in drawing for the +processes there is practically no “past” to refer to; +at the same time the advance of the photographer +into the domain of illustration renders it of vital +importance to artists to put forth their best work in +black and white, and it throws great responsibility +upon art teachers to give a good groundwork of +education to the illustrator of the future. In all +this, education—<i>general education</i>—will take a wider +part.</p> + +<p><span class="pagenum"><a name="pagexii" id="pagexii"></a>xii</span></p> + +<p>The <span class="sc">Illustrations</span> have been selected to show +the possibilities of “process” work in educated, +capable hands, rather than any <i>tours de force</i> +in drawing, or exploits of genius. They are all of +modern work, and are printed on the same sheets +as the letterpress.</p> + +<p><i>All the Illustrations in this book have been +reproduced by mechanical processes, excepting nine</i> +(marked on the list), which are engraved on wood.</p> + +<p>Acknowledgments are due to the Council of the +Society of Arts for permission to reprint a portion +of the Cantor Lectures on “Illustration” from their +Journal; to the Editors of the <i>National Review</i> +and the <i>Nineteenth Century</i>, for permission to +reprint several pages from articles in those reviews; +to the Editors and Publishers who have lent +illustrations; and above all, to the artists whose +works adorn these pages.</p> + +<p class="rt">H. B.</p> + +<p class="noind pt2"><span class="sc">123, Victoria Street, Westminster.</span></p> + +<p style="margin-left: 5em;"><i>May, 1894.</i></p> + +<p><span class="pagenum"><a name="pagexiii" id="pagexiii"></a>xiii</span></p> + +<hr class="art" /> +<h3>CONTENTS.</h3> + +<table class="nobctr" width="90%" summary="Contents"> +<tr><td class="tc2b" colspan="2"><span class="f70">PAGE.</span></td> </tr> + +<tr><td class="tc3">CHAPTER I.—<span class="sc">Introductory</span></td> + <td class="tc2b"><a href="#page1">1</a></td> </tr> + +<tr><td class="tc3">CHAPTER II.—<span class="sc">Elementary Illustration</span></td> + <td class="tc2b"><a href="#page15">15</a></td> </tr> + +<tr><td class="tcl1">Diagrams—Daily Illustrated Newspapers—Pictorial +<i>v.</i> Verbal Description.</td> + <td> </td></tr> + +<tr><td class="tc3">CHAPTER III.—<span class="sc">Artistic Illustrations</span></td> + <td class="tc2b"><a href="#page40">40</a></td> </tr> + +<tr><td class="tcl1">Education of the Illustrator—Line Drawing for +Process—Sketching from Life—Examples of Line +Drawing.</td> + <td> </td></tr> + +<tr><td class="tc3">CHAPTER IV.—<span class="sc">The Processes</span></td> + <td class="tc2b"><a href="#page102">102</a></td> </tr> + +<tr><td class="tcl1">“Photo zinco”—Gelatine Process—Grained Papers—Mechanical +Dots—“Half-tone” Process—Wash +Drawing—Illustrations from Photographs—<i>Sketch</i>, +<i>Graphic</i>, &c.—Daniel Vierge.</td> + <td> </td></tr> + +<tr><td class="tc3">CHAPTER V.—<span class="sc">Wood Engraving</span></td> + <td class="tc2b"><a href="#page182">182</a></td> </tr> + +<tr><td class="tc3">CHAPTER VI.—<span class="sc">The Decorative Page</span></td> + <td class="tc2b"><a href="#page197">197</a></td> </tr> + +<tr><td class="tc3">CHAPTER VII.—<span class="sc">Author, Illustrator, & Publisher</span></td> + <td class="tc2b"><a href="#page211">211</a></td> </tr> + +<tr><td class="tc3"><span class="sc">Students’ Drawings</span></td> + <td class="tc2b"><a href="#page223">223</a></td> </tr> + +<tr><td class="tc3"><span class="sc">Appendix</span></td> + <td class="tc2b"><a href="#page233">233</a></td> </tr> +</table> + +<p><span class="pagenum"><a name="pagexiv" id="pagexiv"></a>xiv</span></p> +<hr class="art" /> +<h3>LIST OF ILLUSTRATIONS.</h3> + +<p class="center pt2 f80">[<i>The copyright of all pictures sketched in this book is strictly reserved.</i>]</p> + +<table class="nobctr" width="100%" summary="Contents"> + +<tr><td class="tc2b" colspan="3"><span class="f70">PAGE.</span></td> </tr> + +<tr><td class="tc3">“The Trumpeter.” Sir John Gilbert, R.A.</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#pagevi">vi</a></td> </tr> + +<tr><td class="tc3">Swans. Charles Collins</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#pageix">ix</a></td> </tr> + +<tr><td class="tc3">“Ashes of Roses.” G. H. Boughton, A.R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page5">5</a></td> </tr> + +<tr><td class="tc3">“Badminton in the Studio.” R. W. Macbeth, A.R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page6">6</a></td> </tr> + +<tr><td class="tc3">“A Son of Pan.” William Padgett</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page11">11</a></td> </tr> + +<tr><td class="tc3">“Home by the Ferry.” Edward Stott</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page12">12</a></td> </tr> + +<tr><td class="tc3">Man in Chain Armour. Lancelot Speed</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page14">14</a></td> </tr> + +<tr><td class="tc3">“Greeting.” The Hon. Mrs. Boyle</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page15">15</a></td> </tr> + +<tr><td class="tc3">Diagrams (5)</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page19">19-32</a></td> </tr> + +<tr><td class="tc3">View above Blankenburg</td> + <td class="tcc">(<i>Wood</i>)</td> + <td class="tc2b"><a href="#page38">38</a></td> </tr> + +<tr><td class="tc3">The Curvature of the World’s Surface</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page39">39</a></td> </tr> + +<tr><td class="tc3">“Tiresome Dog.” E. K. Johnson</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#page43">43</a></td> </tr> + +<tr><td class="tc3">“Frustrated.” Walter Hunt</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page44">44</a></td> </tr> + +<tr><td class="tc3">“On the Riviera.” Ellen Montalba</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page46">46</a></td> </tr> + +<tr><td class="tc3">“Landscape with Trees.” M. R. Corbet</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page47">47</a></td> </tr> + +<tr><td class="tc3">“An Odd Volume.” H. S. Marks, R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page49">49</a></td> </tr> + +<tr><td class="tc3">“A Select Committee.” H. S. Marks, R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page50">50</a></td> </tr> + +<tr><td class="tc3">“The Rose Queen.” G. D. Leslie, R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page52">52</a></td> </tr> + +<tr><td class="tc3">“Finding of the Infant St. George.” C. M. Gere</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page56">56</a></td> </tr> + +<tr><td class="tc3">“A Ploughboy.” G. Clausen</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page59">59, 61</a></td> </tr> + +<tr><td class="tc3">“Blowing Bubbles.” C. E. Wilson</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page65">65</a></td> </tr> + +<tr><td class="tc3">“Cathedral, from Ox Body Lane.” H. Railton</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page69">69</a></td> </tr> + +<tr><td class="tc3">“By Unfrequented Ways.” W. H. Gore</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page71">70, 71</a></td> </tr> + +<tr><td class="tc3">“Adversity.” Fred. Hall</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page75">73, 75</a></td> </tr> + +<tr><td class="tc3">“A Willowy Stream.” Maud Naftel</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page76">76</a></td> </tr> + +<tr><td class="tc3">“Twins.” Stanley Berkeley</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page79">79</a></td> </tr> + +<tr><td class="tc3">“The Dark Island.” Alfred East + <span class="pagenum"><a name="pagexv" id="pagexv"></a>xv</span></td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page80">80</a></td> </tr> + +<tr><td class="tc3">“A Portrait.” T. C. Gotch</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page83">83</a></td> </tr> + +<tr><td class="tc3">Sir John Tenniel. Edwin Ward</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page87">87</a></td> </tr> + +<tr><td class="tc3">The Rt. Hon. John Morley. Edwin Ward</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page90">90</a></td> </tr> + +<tr><td class="tc3">“Nothing venture, nothing have.” E. P. Sanguinetti</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page92">92, 93</a></td> </tr> + +<tr><td class="tc3">“On the Terrace.” E. A. Rowe</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page94">94</a></td> </tr> + +<tr><td class="tc3">“For the Squire.” Sir John Millais, Bart., R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page97">97</a></td> </tr> + +<tr><td class="tc3">“The Stopped Key.” H. S. Marks, R.A.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page100">100</a></td> </tr> + +<tr><td class="tc3">Nymph and Cupid. Henry Holiday</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page101">101</a></td> </tr> + +<tr><td class="tc3">Illustration to “<i>The Blue Poetry Book</i>.” L. Speed</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page102">102</a></td> </tr> + +<tr><td class="tc3">A Portrait. T. Blake Wirgman.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page103">103</a></td> </tr> + +<tr><td class="tc3">“Forget Me Not.” Henry Ryland</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page105">105</a></td> </tr> + +<tr><td class="tc3">“Baby’s Own.” G. Hillyard Swinstead</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page107">107</a></td> </tr> + +<tr><td class="tc3">“A Silent Pool.” E. W. Waite</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page108">108</a></td> </tr> + +<tr><td class="tc3">“The Miller’s Daughter.” E. K. Johnson</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page111">111</a></td> </tr> + +<tr><td class="tc3">“The End of the Chapter.” W. Rainey.</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page112">112</a></td> </tr> + +<tr><td class="tc3">“In the Pas de Calais.” J. P. Beadle</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page113">113</a></td> </tr> + +<tr><td class="tc3">“Golden Days.” F. Stuart Richardson</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page114">114</a></td> </tr> + +<tr><td class="tc3">“Twilight.” Hume Nisbet</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page115">115</a></td> </tr> + +<tr><td class="tc3">“Le Dent du Géant.” E. T. Compton</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page116">116, 117</a></td> </tr> + +<tr><td class="tc3">Landscape. A. M. Lindstrom</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page119">119</a></td> </tr> + +<tr><td class="tc3">Volendam. C. J. Watson</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page123">123</a></td> </tr> + +<tr><td class="tc3">“Old Woman and Grandchild.” Hugh Cameron</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page125">125</a></td> </tr> + +<tr><td class="tc3">“An Arrest.” Melton Prior</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page127">127</a></td> </tr> + +<tr><td class="tc3">“Sunrise in the Severn Valley.” M. R. Corbet</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page129">129</a></td> </tr> + +<tr><td class="tc3">“The Adjutant’s Love Story.” H. R. Millar</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page131">131</a></td> </tr> + +<tr><td class="tc3">Illustrations from “<i>The Blue Poetry Book</i>.” L. Speed</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page134">134, 5, 7</a></td> </tr> + +<tr><td class="tc3">“Seine Boats.” Louis Grier</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page138">138</a></td> </tr> + +<tr><td class="tc3">“There is the Priory.” W. H. Wollen</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page139">139</a></td> </tr> + +<tr><td class="tc3">From “<i>Andersen’s Fairy Tales</i>.” J. R. Weguelin</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page141">141, 143</a></td> </tr> + +<tr><td class="tc3">“Two’s company, three’s none.” H. J. Walker</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page147">147</a></td> </tr> + +<tr><td class="tc3">Illustration from “<i>Black and White</i>.” C. G. Manton</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page149">149</a></td> </tr> + +<tr><td class="tc3">“A Sunny Land.” George Wetherbee</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page150">150</a></td> </tr> + +<tr><td class="tc3">Decorative Design. The late Randolph Caldecott</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page151">151</a></td> </tr> + +<tr><td class="tc3">Sketch in wash (part of picture) from “<i>Sketch</i></td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page155">155</a></td> </tr> + +<tr><td class="tc3">“The Brook.” Arnold Helcké</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page157">157</a></td> </tr> + +<tr><td class="tc3">From a Photograph from Life. By Mr. H. S. Mendelssohn (“<i>Sketch</i>”) + <span class="pagenum"><a name="pagexvi" id="pagexvi"></a>xvi</span></td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page161">161</a></td> </tr> + +<tr><td class="tc3">From a Photograph from Life. By Messrs. Cameron & Smith (“<i>Studio</i>”)</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page165">165</a></td> </tr> + +<tr><td class="tc3">From a Photograph from Life (“<i>Graphic</i>”)</td> + <td class="tcc">(<i>Wood</i>)</td> + <td class="tc2b"><a href="#page169">169</a></td> </tr> + +<tr><td class="tc3">“Proud Maisie.” Lancelot Speed</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#page173">173</a></td> </tr> + +<tr><td class="tc3">From “<i>Pablo de Segovia</i>.” Daniel Vierge</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page177">177</a></td> </tr> + +<tr><td class="tc3">Drinking Horn from “<i>Eric Bright Eyes</i>.” L. Speed</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page181">181</a></td> </tr> + +<tr><td class="tc3">Heading from “<i>Grimm’s Household Stories</i>.” W. Crane</td> + <td class="tcc">(<i>Wood</i>)</td> + <td class="tc2b"><a href="#page182">182</a></td> </tr> + +<tr><td class="tc3">Photograph from Life. “<i>The Century Magazine</i>”</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page187">187</a></td> </tr> + +<tr><td class="tc3">“Driving Home the Pigs.” John Pedder</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#page193">193</a></td> </tr> + +<tr><td class="tc3">Joan of Arc’s House at Rouen. Samuel Prout</td> + <td class="tcc">(<i>Wood</i>)</td> + <td class="tc2b"><a href="#page195">195</a></td> </tr> + +<tr><td class="tc3">Heading from “<i>Grimm’s Household Stories</i>.” W. Crane</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page197">197</a></td> </tr> + +<tr><td class="tc3">Decorative Page. A. J. Gaskin</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#page199">199</a></td> </tr> + +<tr><td class="tc3">Decorative Page from “<i>The Six Swans</i>.” W. Crane</td> + <td class="tcc">(<i>Wood</i>)</td> + <td class="tc2b"><a href="#page201">201</a></td> </tr> + +<tr><td class="tc3">Title Page of “<i>The Hobby Horse</i>.” Selwyn Image</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page205">205</a></td> </tr> + +<tr><td class="tc3">Viking Ship from “<i>Eric Bright Eyes</i>.” L. Speed</td> + <td class="tcc">(<i>Process</i>)</td> + <td class="tc2b"><a href="#page208">208</a></td> </tr> + +<tr><td class="tc3">“Scarlet Poppies.” W. J. Muckley</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page209">209</a></td> </tr> + +<tr><td class="tc3">“Take Care.” W. B. Baird</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page222">222</a></td> </tr> + +<tr><td class="tc3">Spanish Woman. Ina Bidder</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page225">225</a></td> </tr> + +<tr><td class="tc3">Children Reading. Estelle d’Avigdor</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page227">227</a></td> </tr> + +<tr><td class="tc3">Sketch from Life. G. C. Marks</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page229">229</a></td> </tr> + +<tr><td class="tc3">Bough of Common Furze. William French</td> + <td class="tcc">”</td> + <td class="tc2b"><a href="#page231">231</a></td> </tr> + +</table> + + +<hr class="art" /> +<p><span class="pagenum"><a name="page1" id="page1"></a>1</span></p> + +<div class="figcenter"> +<img style="border:0; width:580px; height:181px" src="images/img018a.jpg" alt="" /></div> + +<div class="pt2"> </div> +<h3>CHAPTER I.</h3> + +<h5>INTRODUCTORY.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img018b.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">HERE are, broadly speaking, two kinds +of engraving for illustration in books, +which are widely distinct—1. <i>intaglio</i>; +2. <i>relievo</i>. The first comprises all +engravings, etchings, and photogravures in which +the lines are cut or indented by acid or other means, +into a steel or copper plate—a system employed, +with many variations of method, from the time of +Mantegna, Albert Dürer, Holbein and Rembrandt, +to the French and English etchers of the present +day. Engravings thus produced are little used in +modern book illustration, as they cannot be printed +easily on the same page as the letterpress; these +<i>planches à part</i>, as the French term them, are costly +to print and are suitable only for limited editions.</p> + +<p>In the second, or ordinary form of illustration, +the lines or pictures to be printed are left in relief; +<span class="pagenum"><a name="page2" id="page2"></a>2</span> +the design being generally made on wood with a +pencil, and the parts not drawn upon cut away. +This was the rudimentary and almost universal +form of book-illustration, as practised in the fifteenth +century, as revived in England by Bewick in +the eighteenth, and continued to the present day. +The blocks thus prepared can be printed rapidly +on ordinary printing-presses, and on <i>the same page +as the text</i>.</p> + +<p>During the past few years so many processes +have been put forward for producing drawings in +relief, for printing with the type, that it has become +a business in itself to test and understand them. +The best known process is still wood engraving, at +least it is the best for the fac-simile reproduction +of drawings, as at present understood in England, +whether they be drawn direct upon the wood or +transmitted by photography. There is no process +in relief which has the same certainty, which gives +the same colour and brightness, and by which +gradation of tone can be more truly rendered.</p> + +<p>As to the relative value of the different photographic +relief processes, that can only be decided by +experts. Speaking generally, I may say that there +are six or seven now in use, each of which is, I am +informed, the best, and all of which are adapted +<span class="pagenum"><a name="page3" id="page3"></a>3</span> +for printing in the same manner as a wood-block.<a name="FnAnchor_1" id="FnAnchor_1" href="#Footnote_1"><span class="sp">1</span></a> +Improvements in these processes are being made +so rapidly that what was best yesterday will not be +the best to-morrow, and it is a subject which is +still little understood.</p> + +<p>In the present book it is proposed to speak +principally of the more popular form of illustration +(<i>relievo</i>); but the changes which are taking place +in all forms of engraving and illustration render it +necessary to say a few words first upon <i>intaglio</i>. +We have heard much of the “painter-etchers,” +and of the claims of the etchers to recognition as +original artists; and at the annual exhibition of the +Society of Painter-Etchers in London, we have seen +examples in which the effects produced in black +and white seemed more allied to the painter’s art +than to the engraver’s. But we are considering +engraving as a means of interpreting the work of +others, rather than as an original art.</p> + +<p>The influence of photography is felt in nearly +every department of illustration. The new photo-mechanical +methods of engraving, <i>without the aid of +the engraver</i>, have rendered drawing for fac-simile +reproduction of more importance than ever; and +the wonderful invention called <i>photogravure</i>, in +which an engraving is made direct from an oil +painting, is almost superseding handwork.<a name="FnAnchor_2" id="FnAnchor_2" href="#Footnote_2"><span class="sp">2</span></a></p> + +<p><span class="pagenum"><a name="page4" id="page4"></a>4</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page5" id="page5"></a>5</span></p> + +<div class="figcenter"> +<img style="border:0; width:326px; height:610px" src="images/img022.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. II.</p> +<p class="center">“<i>Ashes of Roses</i>,” by <span class="sc">G. H. Boughton, A.R.A.</span></p> +<p>This careful drawing, from the painting by Mr. +Boughton, in the Royal Academy, reproduced by the +Dawson process, is interesting for variety of treatment +and indication of textures in pen and ink. It +is like the picture, but it has also the individuality of +the draughtsman, as in line engraving.</p> + +<p>Size of drawing about 6½ x 3½ in.</p></div> + +<p><span class="pagenum"><a name="page6" id="page6"></a>6</span></p> + +<div class="figcenter"> +<img style="border:0; width:387px; height:610px" src="images/img023.jpg" alt="" /> +<p class="caption">“BADMINTON IN THE STUDIO.” (FROM THE PAINTING BY R. W. MACBETH, A.R.A.)<br /> +(<i>Royal Academy, 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page7" id="page7"></a>7</span> +The art of line-engraving is disappearing in +England, giving way to the “painter-etchers,” the +“dry-point” etchers and the “mezzotint engravers,” +and, finally, to <i>photogravure</i>, a method of engraving +which is so extraordinary, and so little understood +(although it has been in constant use for more than +ten years), that it may be worth while to explain, in +a few words, the method as practised by Messrs. +Boussod, Valadon & Co., successors to Goupil, of +Paris.</p> + +<p>In the Royal Academy Exhibition of 1882, Sir +Frederick Leighton’s picture called “Wedded” will +be remembered by many visitors. This picture was +purchased for Australia, and had to be sent from +England within a few weeks of the closing of +the exhibition. There was no time to make an +<span class="pagenum"><a name="page8" id="page8"></a>8</span> +engraving, or even an etching satisfactorily, and so +the picture was sent to Messrs. Goupil, who in a +few weeks produced the <i>photogravure</i>, as it is called, +which we see in the printsellers’ windows to this +day. The operation is roughly as follows:—First, +a photograph is taken direct from the picture; then +a carbon print is taken from the negative upon +glass, which rests upon the surface in delicate relief. +From this print a cast is taken in reverse in copper, +by placing the glass in a galvanic bath, the deposit +of copper upon the glass taking the impression of the +picture as certainly as snow takes the pattern of the +ground upon which it falls. Thus—omitting details, +and certain “secrets” of the process—it may be +seen how modern science has superseded much of +the engraver’s work, and how a mechanical process +can produce in a few days that which formerly +took years.</p> + +<p>What the permanent art-estimate of “photo-engraving” +may be, as a substitute for hand-work, +is a question for the collectors of engravings and +etchings. In the meantime, it is well that the +public should know what a <i>photogravure</i> is, as distinct +from an engraving. The system of mechanical +engraving, in the reproduction of pictures, is +spreading rapidly over the world; but it should be +<span class="pagenum"><a name="page9" id="page9"></a>9</span> +observed that these reproductions are not uniformly +successful. One painter’s method of handling lends +itself more readily than that of another to mechanical +engraving. Thus the work of the President of the +Royal Academy would reproduce better than that +of Mr. G. F. Watts or Mr. Orchardson. That the +actual marks of the brush, the very texture of the +painting, can be transferred to copper and steel, and +multiplied <i>ad infinitum</i> by this beautiful process, is +a fact to which many English artists are keenly +alive. The process has its limits, of course, and +<i>photogravure</i> has at present to be assisted to a +considerable extent by the engraver. But enough +has been done in the last few years to prove that +photography will henceforth take up the painter’s +handiwork as he leaves it, and thus the importance +of thoroughness and completeness on the part of +the painter has to be more than ever insisted upon +by the publishers of “engravings.”</p> + +<p>A word may be useful here to explain that the +coloured “photogravures,” reproducing the washes +of colour in a painting or water-colour drawing, of +which we see so many in Paris, are not coloured by +hand in the ordinary way, but are produced complete, +at one impression, from the printing-press. +The colours are laid upon the plate, one by one, by +the printer, by a system of stencilling; and thus an +almost perfect fac-simile of a picture can be reproduced +in pure colour, if the original is simple +and broad in treatment.</p> + +<p><span class="pagenum"><a name="page10" id="page10"></a>10</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page11" id="page11"></a>11</span></p> + +<div class="figcenter"> +<img style="border:0; width:354px; height:620px" src="images/img028.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. III.</p> +<p class="center">“<i>A Son of Pan</i>,” by <span class="sc">William Padgett</span>.</p> +<p>Example of outline drawing, put in solidly with a +brush. If this had been done with pencil or autographic +chalk, much of the feeling and expression +of the original would have been lost. The drawing +has suffered slightly in reproduction, where (as in +the shadows on the neck and hands) the lines were +pale in the original.</p> +<p>Size of drawing 11½ × 6½ in. Zinc process.</p></div> + +<p><span class="pagenum"><a name="page12" id="page12"></a>12</span></p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:451px" src="images/img029.jpg" alt="" /> +<p class="caption">“HOME BY THE FERRY.” (FROM THE PAINTING BY EDWARD STOTT.)<br /> +(<i>Royal Academy, 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page13" id="page13"></a>13</span></p> + +<p>One other point of interest and importance to +collectors of engravings and etchings should be +mentioned. Within the last few years, an invention +for coating the surface of engraved plates with +a film of steel (which can be renewed as often as +necessary) renders the surface practically indestructible; +and it is now possible to print a thousand +impressions from a copper plate without injury or +loss of quality. These modern inventions are no +secrets, they have been described repeatedly in +technical journals and in lectures, notably in those +delivered during the past few years at the Society of +Arts, and published in the <i>Journal</i>. But the +majority of the public, and even many collectors of +prints and etchings, are ignorant of the number of +copies which can now be taken without deterioration +from one plate.</p> + +<p>It is necessary to the art amateur that he should +know something of these things, if only to explain +why it is that scratching on a copper plate has +come so much into vogue in England lately, and +why there has been such a remarkable revival of +<span class="pagenum"><a name="page14" id="page14"></a>14</span> +the art of Dürer at the end of this century. The +reason for the movement will be better understood +when it is explained that by the process just referred +to, of “steeling” the surface of plates, the “burr,” as it +is called, and the most delicate lines of the engraver +are preserved intact for a much larger number of +impressions than formerly. The taste for etchings +and the higher forms of the reproductive arts is still +spreading rapidly, but the fact remains that etchings +and <i>éditions de luxe</i> do not reach one person in +a thousand in any civilised community. It is only +by means of wood engravings, and the cheaper and +simpler forms of process illustration, that the public +is appealed to pictorially through the press.</p> + +<div class="figcenter"> +<img style="border:0; width:187px; height:300px" src="images/img031.jpg" alt="" /> +<p class="caption">LINE PROCESS BLOCK.</p></div> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_1" id="Footnote_1" href="#FnAnchor_1"><span class="fn">1</span></a> All the illustrations in this book are produced by mechanical +processes excepting those marked in the List of Illustrations; +and all are printed simultaneously with the letterpress. For +description of processes, see <i>Appendix</i>.</p> + +<p><a name="Footnote_2" id="Footnote_2" href="#FnAnchor_2"><span class="fn">2</span></a> One of the last and best examples of pure line-engraving +was by M. Joubert, from a painting by E. J. Poynter, R.A., called +“Atalanta’s Race,” exhibited in the Royal Academy, 1876. The +engraving of this picture was nearly three years in M. Joubert’s +hands—a tardy process in these days.</p> +</div> + +<hr class="art" /> +<p><span class="pagenum"><a name="page15" id="page15"></a>15</span></p> + +<div class="figcenter"> +<img style="border:0; width:610px; height:406px" src="images/img032.jpg" alt="" /> +<p class="caption">“GREETING.” (BY THE HON. MRS. BOYLE.)</p></div> + + +<h3>CHAPTER II.</h3> + +<h5>ELEMENTARY ILLUSTRATION.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:65px" src="images/img032b.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">HE first object of an illustration, the +practical part, is obviously, <i>to illustrate +and elucidate the text</i>—a matter often +lost sight of. The second is to be +artistic, and includes works of the imagination, +decoration, ornament, style. In this chapter we +shall consider the first, the practical part.</p> + +<p>Nearly twenty years ago, at a meeting of the +Society of Arts in London, the general question +was discussed, whether in the matter of illustrating +books and newspapers we are really keeping pace +<span class="pagenum"><a name="page16" id="page16"></a>16</span> +with the times; whether those whose business it +is to provide the illustrations which are tossed +from steam presses at the rate of several thousand +copies an hour, are doing the best work they can.</p> + +<p>In illustrated newspapers, it was argued, “there +should be a clearer distinction between fact and +fiction, between news and pictures.” The exact +words may be thought worth repeating now.<a name="FnAnchor_3" id="FnAnchor_3" href="#Footnote_3"><span class="sp">3</span></a></p> + +<div class="quote"> +<p>“In the production of illustrations we have arrived at great +proficiency, and from London are issued the best illustrated +newspapers in the world. But our artistic skill has led us into +temptation, and by degrees engendered a habit of making +pictures when we ought to be recording facts. We have thus, +through our cleverness, created a fashion and a demand from the +public for something which is often elaborately untrue.</p> + +<p>Would it, then, be too much to ask those who cater for (and +really create) the public taste, that they should give us one of two +things, or rather <i>two things</i>, in our illustrated papers, the real +and the ideal—</p> + +<p>1st. Pictorial records of events in the simplest and truest +manner possible;</p> + +<p>2nd. Pictures of the highest class that can be printed in a +newspaper?</p> + +<p>Here are two methods of illustration which only require to be +kept distinct, each in its proper place, and our interest in them +would be doubled. We ask first for a record of news and then +for a picture gallery; and to know, to use a common phrase, +<i>which is which</i>.”</p> +</div> + +<p><span class="pagenum"><a name="page17" id="page17"></a>17</span> +At the time referred to, drawing on the wood-block +and engraving were almost universal—instantaneous +photography was in its infancy, +“process blocks,” that is to say, mechanical +engraving, was very seldom employed, and (for +popular purposes) American engraving and printing +was considered the best.</p> + +<p>The system of producing illustrations in direct fac-simile +of an artist’s drawing, suitable for printing at +a type press without the aid of the wood engraver, +is of such value for cheap and simple forms of +illustration, and is, moreover, in such constant use, +that it seems wonderful at first sight that it should +not be better understood in England. But the +cause is not far to seek. We have not yet acquired +the art of pictorial expression in black and white, +nor do many of our artists excel in “illustration” in +the true sense of the word.</p> + +<p>It has often been pointed out that through the +pictorial system the mind receives impressions with +the least effort and in the quickest way, and that +the graphic method is the true way of imparting +knowledge. Are we then, in the matter of giving +information or in imparting knowledge through the +medium of illustrations, adopting the truest and +simplest methods? I venture to say that in the +<span class="pagenum"><a name="page18" id="page18"></a>18</span> +majority of cases we are doing nothing of the kind. +We have pictures in abundance which delight the +eye, which are artistically drawn and skilfully +engraved, but in which, in nine cases out of ten, +there is more thought given to effect as a picture +than to illustrating the text.</p> + +<p>It has often been suggested that the art of +printing is, after all, but a questionable blessing on +account of the error and the evil disseminated by +it. Without going into that question, I think that +we may find that the art of printing with movable +type has led to some neglect of the art of expressing +ourselves pictorially, and that the apparently inexorable +necessity of running every word and +thought into uniform lines, has cramped and limited +our powers of expression, and of communicating +ideas to each other.</p> + +<p>Let us begin at the lowest step of the artistic +ladder, and consider some forms of illustration which +are within the reach of nearly every writer for +the press. With the means now at command for +reproducing any lines drawn or written, in perfect +fac-simile, mounted on square blocks to range with +the type, and giving little or no trouble to the +printer, there is no question that we should more +frequently see the hand work of the writer as well +<span class="pagenum"><a name="page19" id="page19"></a>19</span> +as of the artist appearing on the page. For +example: it happens sometimes in a work of fiction, +or in the record of some accident or event, that it +is important to the clear understanding of the text, +to know the exact position of a house, say at a +street corner, and also (as in the case of a late trial +for arson) which way the wind blew on a particular +evening. Words are powerless to explain the +position beyond the possibility of doubt or misconstruction; +and yet words are, and have been, +used for such purposes for hundreds of years, +because it is “the custom.”</p> + +<div class="figcenter1"> +<img style="border:0; width:500px; height:222px" src="images/img036.jpg" alt="" /> +</div> + +<p>But if it were made plain that where words fail +to express a meaning easily, a few lines, such as +those above, drawn in ink on ordinary paper, may +be substituted (and, if sent to the printer with the +manuscript, will appear in fac-simile on the proof +with the printed page), I think a new light may +dawn on many minds, and new methods of expression +come into vogue. +<span class="pagenum"><a name="page20" id="page20"></a>20</span></p> + +<p>This illustration (which was written on the sheet +of MS.) is one example, out of a hundred that might +be given, where a diagram should come to the aid +of the verbal description, now that the reproduction +of lines for the press is no longer costly, and the +blocks can be printed, if necessary, on rapidly +revolving cylinders, which (by duplicating) can +produce in a night 100,000 copies of a newspaper.</p> + +<p>Before exploring some of the possibilities of +illustration, it may be interesting to glance at what +has been done in this direction since the invention +of producing blocks rapidly to print at the type +press and the improvements in machinery.</p> + +<p>In the spring of 1873 a Canadian company +started a daily illustrated evening newspaper in +New York, called <i>The Daily Graphic</i>, which was +to eclipse all previous publications by the rapidity +and excellence of its illustrations. It started with +an attempt to give a daily record of news, and its +conductors made every effort to bring about a +system of rapid sketching and drawing in line. +But the public of New York in 1873 (as of +London, apparently, in 1893) cared more for +“pictures,” and so by degrees the paper degenerated +into a picture-sheet, reproducing (without leave) +<span class="pagenum"><a name="page21" id="page21"></a>21</span> +engravings from the <i>Illustrated London News</i>, the +<i>Graphic</i>, and other papers, as they arrived from +England. The paper was lithographed, and survived +until 1889.</p> + +<p>The report of the first year’s working of the +first daily illustrated newspaper in the world is +worth recording. The proprietors stated that +although the paper was started “in a year of great +financial depression, they have abundant reason to +be satisfied with their success,” and further, that +they attribute it to “an absence of all sensational +news.”(!)</p> + +<p>The report ended with the following interesting +paragraph:</p> + +<div class="quote"> +<p>“Pictorial records of crime, executions, scenes involving +misery, and the more unwholesome phases of social life, are a +positive detriment to a daily illustrated newspaper. In fact, the +higher the tone and the better the taste appealed to, the larger +we have found our circulation to be.”</p> +</div> + +<p>The great art, it would seem, of conducting a +daily illustrated newspaper is to know <i>what to leave +out</i>—when, in fact, to have no illustrations at +all!</p> + +<p>In England the first systematic attempt at illustration +in a daily newspaper was the insertion of a +little map or weather chart in the <i>Times</i> in 1875, +<span class="pagenum"><a name="page22" id="page22"></a>22</span> +and the <i>Pall Mall Gazette</i> followed suit with a dial +showing the direction of the wind, and afterwards +with other explanatory diagrams and sketches.</p> + +<p>But, in June, 1875, the <i>Times</i> and all other newspapers +in England were far distanced by the <i>New +York Tribune</i> in reporting the result of a shooting +match in Dublin between an American Rifle Corps +and some of our volunteers. On the morning after +the contest there were long verbal reports in the +English papers, describing the shooting and the +results; but in the pages of the <i>New York Tribune</i> +there appeared a series of targets with the shots +of the successful competitors marked upon them, +communicated by telegraph and printed in the +paper in America on the following morning.<a name="FnAnchor_4" id="FnAnchor_4" href="#Footnote_4"><span class="sp">4</span></a></p> + +<p>After this period we seem to have moved +slowly, only some very important geographical +discovery, or event, extorting from the daily newspapers +an explanatory plan or diagram. But during +the “Transit of Venus,” on the 6th of December, +1882, a gleam of light was vouchsafed to the +readers of the <i>Daily Telegraph</i> (and possibly to +other papers), and that exciting astronomical event +from which “mankind was to obtain a clearer +<span class="pagenum"><a name="page23" id="page23"></a>23</span> +knowledge of the scale of the universe,” was +understood and remembered better, by three or four +lines in the form of a diagram (showing, roughly, +the track of Venus and its comparative size and +distance from the sun) printed in the newspaper on +the day of the event.</p> + +<p>Maps and plans have appeared from time to time +in all the daily newspapers, but not systematically, +or their interest and usefulness would have been +much greater. Many instances might be given of +the use of diagrams in newspapers; a little dial +showing the direction of the wind, is obviously +better than words and figures, but it is only lately +that printing difficulties have been overcome, and +that the system can be widely extended.</p> + +<p>It remains to be seen how far the <i>Daily Graphic</i>, +with experience and capital at command, will aid in +a system of illustration which is one day to become +general. Thus far it would seem that the production +of a large number of pictures (more or less <i>à-propos</i>) +is the popular thing to do. We may be excused if +we are disappointed in the result from a practical +point of view; for as the functions of a daily +newspaper are <i>primâ facie</i> to record facts, it follows +that if words fail to communicate the right meaning, +pictorial expression should come to the aid of the +<span class="pagenum"><a name="page24" id="page24"></a>24</span> +verbal, no matter how crude or inartistic the result +might appear.</p> + +<p>Let me give one or two examples, out of many +which come to mind.</p> + +<p>1. The transmission of form by telegraph. To +realise the importance of this system in conveying +news, we have only to consider (going back nearly +forty years) what interest would have been added +to Dr. Russell’s letters from the Crimea in the +<i>Times</i> newspaper, if it had been considered possible, +then, to have inserted, here and there, with the +type, a line or two pictorially giving (<i>e.g.</i>) the outline +of a hillside, and the position of troops upon +it. It <i>was</i> possible to do this in 1855, but it is +much more feasible now. The transmission of form +by telegraph is of the utmost importance to journalists +and scientific men, and, as our electricians +have not yet determined the best methods, it may +be interesting to point out the simplest and most +rudimentary means at hand. The method is well +known in the army and is used for field purposes, +but hitherto newspapers have been strangely slow +to avail themselves of it. The diagram on the +opposite page will explain a system which is capable +of much development with and without the aid +of photography. +<span class="pagenum"><a name="page25" id="page25"></a>25</span></p> + +<p>If the reader will imagine this series of squares +to represent a portable piece of open trellis-work, +which might be set up at a window or in the open +field, between the spectator and any object of +interest at a distance—each square representing a +number corresponding with a code in universal use—it +will be obvious, that by noticing the squares +which the outline of a hill would cover, and <i>telegraphing +the numbers of the squares</i>, something in +the way of form and outline may be quickly communicated +from the other side of the world.</p> + +<div class="figcenter"> +<img style="border:0; width:530px; height:388px" src="images/img042.jpg" alt="" /> +<p class="caption">CODE FOR TRANSMITTING FORM BY TELEGRAPH.</p></div> + +<p>This is for rough-and-ready use in time of war, +when rapidity of communication is of the first +importance; but in time of peace a correspondent’s +letter continually requires elucidation. +<span class="pagenum"><a name="page26" id="page26"></a>26</span></p> + +<p>Next is an example, which, for want of better +words, I will call “the shorthand of pictorial art.” +A newspaper correspondent is in a boat on one +of the Italian lakes, and wishes to describe the +scene on a calm summer day. This is how he +proceeds—</p> + +<div class="figcenter1"> +<img style="border:0; width:500px; height:254px" src="images/img043.jpg" alt="" /> +</div> + +<p>“We are shut in by mountains,” he says, “but +the blue lake seems as wide as the sea. On a rocky +promontory on the left hand the trees grow down +to the water’s edge and the banks are precipitous, +indicating the great depth of this part of the lake. +The water is as smooth as glass; on its surface +is one vessel, a heavily-laden market boat with +drooping sails, floating slowly down” (and so on)—there +is no need to repeat it all; but when half a +column of word-painting had been written (and +well-written) the correspondent failed to present the +picture clearly to the eye without these <i>four</i> explanatory +<span class="pagenum"><a name="page27" id="page27"></a>27</span> +lines (no more) which should of course have +been sent with his letter.</p> + +<p>This method of description requires certain +aptitude and training; but not much, not more than +many a journalist could acquire for himself with a +little practice. The director of the <i>Daily Graphic</i> +is reported to have said that “the ideal correspondent, +who can sketch as well as write, is not yet +born.” He takes perhaps a higher view of the +artistic functions of a daily newspaper than we +should be disposed to grant him; by “we” I mean, +of course, “the public,” expecting <i>news</i> in the most +graphic manner. There are, and will be, many +moments when we want information, simply and +solely, and care little how, or in what shape, it +comes.</p> + +<p>This kind of information, given pictorially, has no +pretension to be artistic, but it is “illustration” in the +true sense of the word, and its value when rightly +applied is great. When the alterations at Hyde +Park Corner (one of the most important of the +London improvements of our day) were first debated +in Parliament, a daily newspaper, as if moved by +some sudden flash of intelligence, printed a ground-plan +of the proposed alterations with descriptive +text; and once or twice only, during Stanley’s long +<span class="pagenum"><a name="page28" id="page28"></a>28</span> +absence in Africa, did we have sketches or plans +printed with the letters to elucidate the text, such as +a sketch of the floating islands with their weird inhabitants, +at Stanley’s Station on the Congo river, +which appeared in a daily newspaper—instances of +news presented to the reader in a better form than +words. “The very thing that was wanted!” was +the general exclamation, as if there were some new +discovery of the powers of description.</p> + +<p>As the war correspondent’s occupation does not +appear likely to cease in our time, it would seem +worth while to make sure that he is fully equipped.</p> + +<p>The method of writing employed by correspondents +on the field of battle seems unnecessarily +clumsy and prolix; we hear of letters written actually +under fire, on a drum-head, or in the saddle, and on +opening the packet as it arrives by the post we may +find, if we take the trouble to measure it, that the +point of the pen or pencil, has travelled over a +distance of a hundred feet! This is the actual ascertained +measurement, taking into account all the +ups and downs, crosses and dashes, as it arrives from +abroad. No wonder the typewriter is resorted to in +journalism wherever possible.</p> + +<p>A newspaper correspondent is sent suddenly to +the seat of war, or is stationed in some remote +<span class="pagenum"><a name="page29" id="page29"></a>29</span> +country to give the readers of a newspaper the +benefit of his observations. What is he doing in +1894? In the imperfect, clumsy language which he +possesses in common with every minister of state +and public schoolboy, he proceeds to describe what +he sees in a hundred lines, when with two or three +strokes of the pen he might have expressed his +meaning better pictorially. I have used these words +before, but they apply with redoubled force at the +present time. The fact is, that with the means now +at command for reproducing any lines drawn or +written, the correspondent is not thoroughly equipped +if he cannot send them as suggested, by telegraph +or by letter. It is all a matter of education, and the +newspaper reporter of the future will not be +considered complete unless he is able to express +himself, to some extent, pictorially as well as verbally. +Then, and not till then, will our complicated language +be rescued from many obscurities, by the aid of +lines other than verbal.<a name="FnAnchor_5" id="FnAnchor_5" href="#Footnote_5"><span class="sp">5</span></a></p> + +<p>In nearly every city, town, or place there is +<span class="pagenum"><a name="page30" id="page30"></a>30</span> +some feature, architectural or natural, which +gives character to it, and it would add greatly to the +interest of letters from abroad if they were headed +with a little outline sketch, or indication of the +principal objects. This is seldom done, because the +art of looking at things, and the power of putting +them down simply in a few lines, has not been +cultivated and is not given to many.</p> + +<p>Two things are principally necessary to attain +this end—</p> + +<div class="figcenter"> +<img style="border:0; width:510px; height:269px" src="images/img047.jpg" alt="" /> +<p class="caption">A STUDY IN PERSPECTIVE. (HUME NISBET.) +<br /><br />A. Standpoint. B. Point of Sight. C. Horizontal line. D. Vanishing lines. +<br />E. Point of distance. F. Vanishing lines of distance. G. Line of sight. +</p></div> + +<p>1. The education of hand and eye and a knowledge +of perspective, to be imparted to every +schoolboy, no matter what his profession or occupation +is likely to be. +<span class="pagenum"><a name="page31" id="page31"></a>31</span></p> + +<p>2. The education of the public to read aright +this new language (new to most people), the “shorthand +of pictorial art.”</p> + +<p>The popular theory amongst editors and publishers +is that the public would not care for information +presented to them in this way—that they +“would not understand it and would not buy it.” +Sketches of the kind indicated have never been +fairly tried in England; but they are increasing in +number every day, and the time is not far distant +when we shall look back upon the present system +with considerable amusement and on a book or a +newspaper which is not illustrated as an incomplete +production. The number of illustrations produced +and consumed daily in the printing press is +enormous; but they are too much of one pattern, +and, as a rule, too elaborate.</p> + +<p>In the illustration of books of all kinds there +should be a more general use of diagrams and +plans to elucidate the text. No new building of +importance should be described anywhere without +an indication of the elevation, if not also of the +ground plan; and, as a rule, no picture should be +described without a sketch to indicate the composition. +In history words so often fail to give the +correct <i>locale</i> that it seems wonderful we have no +<span class="pagenum"><a name="page32" id="page32"></a>32</span> +better method in common use. The following +rough plan will illustrate one of the simplest ways +of making a description clear to the reader. Take +the verbal one first:—</p> + +<p>“The young Bretonne stood under the doorway +of the house, sheltered from the rain which came +with the soft west wind. From her point of vantage +on the ‘Place’ she commanded a view of the whole +village, and could see down the four streets of which +it was principally composed.”</p> + +<div class="figcenter1"> +<img style="border:0; width:420px; height:169px" src="images/img049.jpg" alt="" /> +</div> + +<p>In this instance a writer was at some pains to +describe (and failed to describe in three pages) the +exact position of the streets near where the girl +stood; and it was a situation in which photography +could hardly help him.</p> + +<p>It may seem strange at first sight to occupy +the pages of a book on art with diagrams and +elementary outlines, but it must be remembered +that plans and diagrams are at the basis of a system +of illustration which will one day become general. +The reason, as already pointed out, for drawing +<span class="pagenum"><a name="page33" id="page33"></a>33</span> +attention to the subject now, is that it is only lately +that systems have been perfected for reproducing +lines on the printed page almost as rapidly as +setting up the type. Thus a new era, so to speak, in +the art of expressing ourselves pictorially as well as +verbally has commenced: the means of reproduction +are to hand; the blocks can be made, if necessary, +in less than three hours, and copies can be printed +on revolving cylinders at the rate of 10,000 an hour.</p> + +<p>The advance in scientific discovery by means of +subtle instruments brings the surgeon sometimes to +the knowledge of facts which, in the interests of +science, he requires to demonstrate graphically, +objects which it would often be impossible to have +photographed. With a rudimentary knowledge of +drawing and perspective, the surgeon and the +astronomer would both be better equipped. At the +University of Pennsylvania, in Philadelphia, where +the majority of students are intended for the medical +profession, this subject is considered of high importance, +and the student in America is learning to +express himself in a language that can be understood.</p> + +<p>In architecture it is often necessary, in order to +understand the description of a building, to indicate +in a few lines not only the general plan and elevation, +<span class="pagenum"><a name="page34" id="page34"></a>34</span> +but also its position in perspective in a landscape or +street. Few architects can do this if called upon at +a moment’s notice in a Parliamentary committee +room. And yet it is a necessary part of the +language of an architect.<a name="FnAnchor_6" id="FnAnchor_6" href="#Footnote_6"><span class="sp">6</span></a></p> + +<p>These remarks apply with great force to books of +travel, where an author should be able to take part +in the drawing of his illustrations, at least to the +extent of being able to explain his meaning and +ensure topographical accuracy.</p> + +<p>A curious experiment was made lately with some +students in an Art school, to prove the fallacy +of the accepted system of describing landscapes, +buildings, and the like in words. A page or two +from one of the Waverley novels (a description of a +castle and the heights of mountainous land, with a +river winding in the valley towards the sea, and +clusters of houses and trees on the right hand) was +read slowly and repeated before a number of +students, three of whom, standing apart from each +other by pre-arrangement, proceeded to indicate on +blackboards before an audience the leading lines of +the picture as the words had presented it to their +minds. It is needless to say that the results, highly +<span class="pagenum"><a name="page35" id="page35"></a>35</span> +skilful in one case, were all different, and <i>all wrong</i>; +and that in particular the horizon line of the sea (so +easy to indicate with any clue, and so important to +the composition) was hopelessly out of place. Thus +we describe day by day, and the pictures formed in +the mind are erroneous, for the imagination of the +reader is at work at once, and requires simple +guidance. The exhibition was, I need hardly say, +highly stimulating and suggestive.</p> + +<p>Many arguments might be used for the substitution +of pictorial for verbal methods of expression, +which apply to books as well as periodicals. Two +may be mentioned of a purely topical kind.</p> + +<p>1. In June, 1893, when the strife of political +parties ran high in England, and anything like a +<i>rapprochement</i> between their leaders seemed impossible, +Mr. Gladstone and Mr. Balfour were seen +in apparently friendly conversation behind the +Speaker’s chair in the House of Commons. A +newspaper reporter in one of the galleries, observing +the interesting situation, does not say in so many +words, that “Mr. G. was seen talking to Mr. B.,” +but makes, or has made for him, a sketch (without +caricature) of the two figures standing talking +together, and writes under it, “<i>Amenities behind +the Speaker’s chair</i>.” Here it will be seen that the +<span class="pagenum"><a name="page36" id="page36"></a>36</span> +subject is approached with more delicacy, and +the position indicated with greater force through +the pictorial method.</p> + +<p>2. The second modern instance of the power—the +eloquence, so to speak, of the pictorial method—appeared +in the pages of <i>Punch</i> on the occasion +of the visit of the Russian sailors to Paris in +October, 1893. A rollicking, dancing Russian +bear, with the words “<i>Vive la République</i>” wound +round his head, hit the situation as no words could +have done, especially when exposed for sale in the +kiosques of the Paris boulevards. The picture +required no translation into the languages of +Europe.</p> + +<p>It may be said that there is nothing new here—that +the political cartoon is everywhere—that it has +existed always, that it flourished in Athens and +Rome, that all history teems with it, that it comes +down to us on English soil through Gillray, Rowlandson, +Hogarth, Blake, and many distinguished +names. I draw attention to these things because +the town is laden with newspapers and illustrated +sheets. The tendency of the time seems to be to +read less and less, and to depend more upon pictorial +records of events. There are underlying reasons for +this on which we must not dwell; the point of importance +<span class="pagenum"><a name="page37" id="page37"></a>37</span> +to illustrators is the fact that there is an +insatiable demand for “pictures” which tell us +something quickly and accurately, in a language +which every nation can understand.</p> + +<p>Another example of the use of pictorial expression +to aid the verbal. A traveller in the Harz +Mountains finds himself on the Zeigenkop, near +Blankenberg, on a clear summer’s day, and thus +describes it in words:—</p> + +<div class="quote"> +<p>“We are now on the heights above Blankenberg, a promontory +1,360 feet above the plains, with an almost uninterrupted view of +distant country looking northward and eastward. The plateau of +mountains on which we have been travelling here ends abruptly. +It is the end of the upper world, but the plains seem illimitable. +There is nothing between us and our homes in Berlin—nothing +to impede the view which it is almost impossible to describe in +words. The setting sun has pierced the veil of mist, and a map +of Northern Germany seems unrolled before us, distant cities +coming into view one by one. First, we see Halberstadt with its +spires, then Magdeburg, then another city, and another.</p> + +<p>“We have been so occupied with the distant prospect, and +with the objects of interest which give character to it, that we +had almost overlooked the charming composition and suggestive +lines of this wonderful view. There is an ancient castle on the +heights, the town of Blankenberg at our feet, a strange wall of +perpendicular rocks in the middle distance; there are the curves +of the valleys, flat pastures, undulating woods, and roads winding +away across the plains. The central point of interest is the +church spire with its cluster of houses spreading upwards +towards the château, with its massive terraces fringed with +trees, &c., &c.”</p> +</div> + +<p><span class="pagenum"><a name="page38" id="page38"></a>38</span></p> + +<p>This was all very well in word-painting, but what +a veil is lifted from the reader’s eyes by some such +sketch as the one below.</p> + +<div class="figcenter"> +<img style="border:0; width:600px; height:432px" src="images/img055.jpg" alt="" /> +<p class="caption">VIEW ABOVE BLANKENBERG, HARZ MOUNTAINS.</p></div> + +<p>It should be mentioned that three photographic +prints joined together would hardly have given the +picture, owing to the vast extent of this inland view, +and the varying atmospheric effects.</p> + +<p>The last instance I can give here is an engraving +from <i>Cassell’s Popular Educator</i>, where a picture +is used to demonstrate the curvature of the world’s +surface; thus imprinting, for once, and for always, on +<span class="pagenum"><a name="page39" id="page39"></a>39</span> +the young reader’s mind a fact which words fail to +describe adequately.</p> + +<div class="figcenter"> +<img style="border:0; width:600px; height:419px" src="images/img056.jpg" alt="" /> +<p class="caption">THE CURVATURE OF THE WORLDS SURFACE.</p></div> + +<p>This is “The Art of Illustration” in the true +sense of the word.</p> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_3" id="Footnote_3" href="#FnAnchor_3"><span class="fn">3</span></a> The quotations are from a paper by the present writer, read +before the Society of Arts in March, 1875.</p> + +<p><a name="Footnote_4" id="Footnote_4" href="#FnAnchor_4"><span class="fn">4</span></a> This system of reporting rifle contests is now almost +universal in England.</p> + +<p><a name="Footnote_5" id="Footnote_5" href="#FnAnchor_5"><span class="fn">5</span></a> It seems strange that enterprising newspapers, with capital +at command, such as the <i>New York Herald</i>, <i>Daily Telegraph</i>, +and <i>Pall Mall Gazette</i>, should not have developed so obvious a +method of transmitting information. The <i>Pall Mall Gazette</i> has +been the most active in this direction, but might do much more.</p> + +<p><a name="Footnote_6" id="Footnote_6" href="#FnAnchor_6"><span class="fn">6</span></a> It has been well said that if a building can be described +in words, it is not worth describing at all!</p> +</div> + + + +<hr class="art" /> +<p><span class="pagenum"><a name="page40" id="page40"></a>40</span></p> + +<h3>CHAPTER III.</h3> + +<h5>ARTISTIC ILLUSTRATIONS.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img057.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">N referring now to more artistic illustrations, +we should notice first, some of the +changes which have taken place (since +the meeting referred to in the last +chapter), and, bridging over a distance of nearly +twenty years, consider the work of the illustrator, +the photographer, and the maker of process blocks, +as presented in books and newspapers in 1894; +speaking principally of topical illustrations, on +which so many thousand people are now engaged.</p> + +<p>It may seem strange at first sight to include +“newspapers” in a chapter on art illustrations, but +the fact is that the weekly newspapers, with their +new appliances for printing, and in consequence of +the cheapness of good paper, are now competing +with books and magazines in the production of +illustrations which a few years ago were only to be +found in books. The illustrated newspaper is one +of the great employers of labour in this field and +distributor of the work of the artist in black and +white, and in this connection must by no means be +<span class="pagenum"><a name="page41" id="page41"></a>41</span> +ignored. The Post-office carries a volume of 164 +pages (each 22 by 16 inches), weighing from two +to three pounds, for a half-penny. It is called a +“weekly newspaper,” but it contains, sometimes, +100 illustrations, and competes seriously with the +production of illustrated books.</p> + +<p>Further on we shall see how the illustrations of +one number of a weekly newspaper are produced—what +part the original artist has in it, what part the +engraver and the photographer. These are things +with which all students should be acquainted.</p> + +<p>The first stage of illustration, where little more +than a plan or elevation of a building is aimed at +(as suggested in the last chapter), and where an +author, with little artistic knowledge, is yet enabled +to explain himself, is comparatively easy; it is when +we approach the hazardous domain of art that the +real difficulties begin.</p> + +<p>As matters stand at present, it is scarcely too much +to say that the majority of art students and the +younger school of draughtsmen in this country are +“all abroad” in the matter of drawing for the press, +lacking, not industry, not capacity, but method. +That they do good work in abundance is not denied, +but it is not exactly the kind of work required—in +short, they are not taught at the outset the <i>value of +a line</i>. That greater skill and certainty of drawing +can be attained by our younger draughtsmen is +unquestionable, and, bearing in mind that <i>nearly +every book and newspaper in the future will be +illustrated</i>, the importance of study in this direction +is much greater than may appear at first sight.</p> + +<p><span class="pagenum"><a name="page42" id="page42"></a>42</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page43" id="page43"></a>43</span></p> + +<div class="figcenter"> +<img style="border:0; width:346px; height:610px" src="images/img060.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. IV.</p> +<p class="center">“<i>Tiresome Dog</i>,” by <span class="sc">E. K. Johnson</span>.</p> +<p>This example of pen-and-ink work has been +reproduced by the gelatine relief process. The +drawing, which has been greatly reduced in reproduction, +was made by Mr. Johnson for an Illustrated +Catalogue of the Royal Water-Colour Society, of +which he is a member.</p> +<p>It is instructive as showing the possibilities and +limitations of relief process-work in good hands. +The gradation of tone is all obtained in pure black, +or dotted lines. Mr. Dawson has aided the effect by +“rouletting” on the block on the more delicate +parts; but most of the examples in this book are +untouched by the engraver.</p> +<p>(<i>See Appendix.</i>)</p></div> + +<p><span class="pagenum"><a name="page44" id="page44"></a>44</span></p> + +<div class="figcenter"> +<img style="border:0; width:394px; height:610px" src="images/img061.jpg" alt="" /> +<p class="caption">“FRUSTRATED.” (FROM THE PAINTING BY WALTER HUNT.) +<br />(<i>Royal Academy</i>, 1891.)</p></div> + +<p><span class="pagenum"><a name="page45" id="page45"></a>45</span></p> + +<p>Referring to the evident want of training amongst +our younger draughtsmen, the question was put very +bluntly in the <i>Athenæum</i> some years ago, thus:—</p> + +<div class="quote"> +<p>Why is not drawing in line with pen and ink taught in our +own Government schools of art? The present system in schools +seems to render the art of drawing of as little use to the student +as possible, for he has no sooner mastered the preliminary stage +of drawing in outline from the flat with a lead pencil, than he has +chalk put into his hand, a material which he will seldom or never +use in turning his knowledge of drawing to practical account. +The readier method of pen and ink would be of great service as +a preparatory stage to wood drawing, but unfortunately drawing +is taught in most cases as though the student intended only to +become a painter.</p> +</div> + +<p>Since these lines were written, efforts have been +made in some schools of art to give special training +for illustrators, and instruction is also given in +wood engraving, which every draughtsman should +learn; but up to the present time there has been +no systematic teaching in drawing applicable to +the various processes, for the reason that <i>the +majority of art masters do not understand them</i>. +<span class="pagenum"><a name="page46" id="page46"></a>46</span></p> + +<div class="figcenter"> +<img style="border:0; width:199px; height:300px" src="images/img063.jpg" alt="" /> +<p class="caption">“ON THE RIVIERA.” (ELLEN MONTALBA.)</p></div> + +<p>The art of expression in line, or of expressing the +effect of a picture or a landscape from Nature in a +few leading lines (not necessarily outline) is little +understood in this country; and if such study, as +the <i>Athenæum</i> pointed out, is important for the +wood draughtsman, how much more so in drawing +for reproduction by photo-mechanical means? A +few artists have the gift of expressing themselves +in line, but the majority are strangely ignorant of +<span class="pagenum"><a name="page47" id="page47"></a>47</span> +the principles of this art and of the simple fac-simile +processes by which drawing can now be reproduced. +In the course of twenty years of editing the <i>Academy +Notes</i>, some strange facts have come to the writer’s +notice as to the powerlessness of some painters to +express the <i>motif</i> of a picture in a few lines; also +as to how far we are behind our continental neighbours +in this respect.</p> + +<div class="figcenter"> +<img style="border:0; width:380px; height:400px" src="images/img064.jpg" alt="" /> +<p class="caption">“A LIGHT OF LAUGHING FLOWERS ALONG THE GRASS IS SPREAD.” (M. RIDLEY CORBET.)</p></div> + +<p><span class="pagenum"><a name="page48" id="page48"></a>48</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page49" id="page49"></a>49</span></p> + +<div class="figcenter"> +<img style="border:0; width:418px; height:610px" src="images/img066.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. V.</p> +<p class="center"><span class="sc">H. S. Marks.</span></p> +<p>An example of line drawing and “the art of +leaving out,” by the well-known Royal Academician.</p> + +<p>Mr. Marks and Sir John Gilbert (<i>see frontispiece</i>) +were the first painters to explain the composition and +leading lines of their pictures in the <i>Academy Notes</i> in +1876. Mr. Marks suggests light and shade and the +character of his picture in a few skilful lines. Sir +John Gilbert’s pen-and-ink drawing is also full of +force and individuality. These drawings reproduce +well by any of the processes.</p></div> + +<p><span class="pagenum"><a name="page50" id="page50"></a>50</span></p> + +<div class="figcenter"> +<img style="border:0; width:467px; height:610px" src="images/img067.jpg" alt="" /> +<p class="caption">“A SELECT COMMITTEE.” (FROM THE PAINTING BY H. S. MARKS, R.A.) +<br />(<i>Royal Academy, 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page51" id="page51"></a>51</span></p> + +<p>It is interesting to note here the firmness of line +and clearness of reproduction by the common +process block; the result being more satisfactory +than many drawings by professional illustrators. +The reason is not far to seek; the painter knows his +picture and how to give the effect of it in black and +white, in a few lines; and, in the case of Mr. Corbet +and Miss Montalba, they have made themselves +acquainted with the best way of drawing for the +Press. There are many other methods than pen-and-ink +which draughtsmen use,—pencil, chalk, +wash, grained paper, &c, but first as to line +drawing, because <i>it is the only means by which +certain results can be obtained</i>, and it is the one +which, for practical reasons, should be first mastered. +Line drawings are now reproduced on zinc blocks +fitted for the type press at a cost of less than sixpence +the square inch for large blocks; the processes +of reproduction will be explained further on.</p> + +<p>It cannot be sufficiently borne in mind—I am +speaking now to students who are not intimate +with the subject—that to produce with pure +black lines the quality and effect of lines in +which there is some gradation of tone, is no easy +matter, especially to those accustomed to the wood +engraver as the interpreter of their work. Sir John +<span class="pagenum"><a name="page52" id="page52"></a>52</span> +Tenniel, M. du Maurier, and Mr. Sambourne, not +to mention others on the <i>Punch</i> staff, have been +accustomed to draw for wood engraving, and would +probably still prefer this method to any other.</p> + +<div class="figcenter"> +<img style="border:0; width:305px; height:420px" src="images/img069.jpg" alt="" /> +<p class="caption">“THE ROSE QUEEN.” (G. D. LESLIE, R.A.) +<br />(<i>From “Academy Notes,” 1893.</i>)</p></div> + +<p>But the young illustrator has to learn the newer +methods, and how to get his effects through direct +photo-engraving. What may be done by process +<span class="pagenum"><a name="page53" id="page53"></a>53</span> +is demonstrated in the line drawings interspersed +through these pages, also in the illustrations which +are appearing every day in our newspapers, magazines, +and books—especially those which are well +printed and on good paper. Mr. George Leslie’s +pretty line drawing from his picture, on the opposite +page, is full of suggestion for illustrative purposes.</p> + +<p>But let us glance first at the ordinary hand-book +teaching, and see how far it is useful to the illustrator +of to-day. The rules laid down as to the methods +of line work, the direction of lines for the expression +of certain textures, “cross-hatching,” &c., are, if +followed too closely, apt to lead to hardness and +mannerism in the young artist, which he will with +difficulty shake off. On these points, Mr. Robertson, +the well-known painter and etcher, writing seven +years ago, says well:—</p> + +<div class="quote"> +<p>“The mental properties of every line drawn with pen and ink +should be original and personal ... this strong point is +sure to be attained unconsciously, if an artist’s work is simple +and sincere, and <i>not the imitation of another man’s style</i>.”<a name="FnAnchor_7" id="FnAnchor_7" href="#Footnote_7"><span class="sp">7</span></a></p> +</div> + +<p>When the question arises as to what examples a +beginner should copy who wishes to practise the art +of pen-and-ink drawing, the difficulty will be to +select from the great and varied stores of material +<span class="pagenum"><a name="page54" id="page54"></a>54</span> +that are everywhere to his hand. All steel and +copper-plate engravings that have been executed in +line, and all wood engravings, are within the possible +range of pen-and-ink drawing. I hold, however, +that much time should not be occupied in the imitatative +copying of prints: only, indeed, so much as +enables the student to learn with what arrangement +of lines the different textures and qualities of objects +may be best rendered.</p> + +<p>There are, roughly, two methods of obtaining +effect with a pen—one by few lines, laid slowly, and +the other by many lines, drawn with rapidity. If +the intention is to see what effect may be obtained +with comparatively few lines deliberately drawn, we +may refer to the woodcuts after Albert Dürer and +Holbein, and the line engraving of Marc Antonio. +The engraved plates by Dürer furnish excellent +examples of work, with more and finer lines than +his woodcuts [but many of the latter were not done +by his hand]. “Some of the etchings of Rembrandt +are examples of what may be fairly reproduced in +pen and ink, but in them we find the effect to +depend upon innumerable lines in all directions. In +the matter of landscape the etched plates by Claude +and Ruysdael are good examples for study, and in +animal life the work of Paul Potter and Dujardin.” +<span class="pagenum"><a name="page55" id="page55"></a>55</span></p> + +<p>Thus, for style, for mastery of effect and management +of line, we must go back to the old masters; +to work produced generally in a reposeful life, to +which the younger generation are strangers. But +the mere copying of other men’s lines is of little +avail without mastering the principles of the art of +line drawing. The skilful copies, the fac-similes of +engravings and etchings drawn in pen and ink, +which are the admiration of the young artist’s +friends, are of little or no value in deciding the +aptitude of the student. The following words are +worth placing on the walls of every art school:—</p> + +<p>“Proficiency in copying engravings in fac-simile, +far from suggesting promise of distinction in the +profession of art, plainly <i>marks a tendency to +mechanical pursuits</i>, and is not likely to be acquired +by anyone with much instinctive feeling for the +arts of design.” There is much truth and insight +in this remark.</p> + +<p><span class="pagenum"><a name="page56" id="page56"></a>56</span></p> + +<div class="figcenter"> +<img style="border:0; width:610px; height:368px" src="images/img073.jpg" alt="" /> +<p class="caption">“THE FINDING OF THE INFANT ST. GEORGE.” (CHARLES M. GERE. +<br />(<i>From his painting in the New Gallery, 1893.</i>)</p></div> + +<p><span class="pagenum"><a name="page57" id="page57"></a>57</span></p> + +<p>In line work, as now understood, we are going +back, in a measure, to the point of view of the +missal writer and the illuminator, who, with no +thought of the possibilities of reproduction, produced +many of his decorative pages by management +of line alone (I refer to the parts of his work in +which the effect was produced by black and +white). No amount of patience, thought, and +labour was spared for this one copy. What +would he have said if told that in centuries +to come this line work would be revived in its +integrity, with the possibility of the artist’s own +lines being reproduced 100,000 times, at the rate +of several thousand an hour. And what would +he have thought if told that, out of thousands of +students in centuries to come, a few, a very few +only, could produce a decorative page; and that +few could be brought to realise that a work which +was to be repeated, say a thousand times, was +worthy of as much attention as his ancestors gave +to a single copy!</p> + +<p>On the principle that “everything worth doing is +worth doing well,” and on the assumption that +the processes in common use—[I purposely omit +mention here of the older systems of drawing on +transfer paper, and drawing on waxed plates, without +the aid of photography, which have been dealt with +in previous books]—are worth all the care and +artistic knowledge which can be bestowed upon +them, we would press, upon young artists especially, +the importance of study and experiment in this +direction. As there is no question that “the handwork +of the artist” can be seen more clearly through +<span class="pagenum"><a name="page58" id="page58"></a>58</span> +mechanical engraving than through wood engraving, +it behoves him to do his best. And as we are +substituting process blocks for wood engraving in +every direction, so we should take over some of the +patience and care which were formerly given to +book illustrations.</p> + +<p>We cannot live, easily, in the “cloistered silence +of the past,” but we can emulate the deliberate and +thoughtful work of Mantegna, of Holbein, of Albert +Dürer, and the great men of the past, who, if they +were alive to-day, would undoubtedly have preferred +drawing for process to the labour of etching and +engraving; and, if their work were to be reproduced +by others, they would have perceived, what it does +not require much insight in us to realise, that the +individuality of the artist is better preserved, by +making his own lines.</p> + +<p>To do this successfully in these days, the artist +must give his best and most deliberate (instead of +his hurried and careless) drawings to the processes; +founding his style, to a limited extent it may be, on +old work, but preserving his own individuality.</p> + +<p>But we must not slavishly copy sketches by the +old masters, <i>which were never intended for reproduction</i>. +We may learn from the study of them +the power of line to express character, action, and +<span class="pagenum"><a name="page59" id="page59"></a>59</span> +effect, we may learn composition sometimes, but not +often from a sketch.</p> + +<div class="figcenter"> +<img style="border:0; width:266px; height:350px" src="images/img076.jpg" alt="" /> +<p class="caption">“A PLOUGHBOY.” (G. CLAUSEN.)</p></div> + +<p>As to copying the work of living artists, it should +be remembered that the manner and the method of +a line drawing is each artist’s property, and the +repetition of it by others is injurious to him. It +would be an easy method indeed if the young artist, +fresh from the schools, could, in a few weeks, imitate +the mannerism, say of Sir John Gilbert, whose style +is founded upon the labour of 50 years. There is +no such royal road.</p> + +<p><span class="pagenum"><a name="page60" id="page60"></a>60</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page61" id="page61"></a>61</span></p> + +<div class="figcenter"> +<img style="border:0; width:456px; height:610px" src="images/img078.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. VI.</p> +<p class="center">“<i>A Ploughboy</i>,” by <span class="sc">George Clausen</span>.</p> +<p>An excellent example of sketching in line. The +original drawing was 7¾ × 5¾ in. I have reproduced +Mr. Clausen’s artistic sketch of his picture in two +sizes in order to compare results. The small block +on page 59 (printed in <i>Grosvenor Notes</i>, 1888) +appears to be the most suitable reduction for this +drawing. The results are worth comparing by +anyone studying process work. The first block was +made by the gelatine process; the one opposite by +the ordinary zinc process. (<i>See Appendix.</i>)</p></div> + +<p><span class="pagenum"><a name="page62" id="page62"></a>62</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page63" id="page63"></a>63</span></p> + +<p>To return to illustration. The education of +the illustrator in these days means much more +than mere art training. The tendency of editors +of magazines and newspapers is to employ those +who can write as well as draw. This may not be +a very hopeful sign from an art point of view, but +it is a condition of things which we have to face. +Much as we may desire to see a good artist and a +good <i>raconteur</i> in one man, the combination will +always be rare; those editors who seek for it +are often tempted to accept inferior art for the sake +of the story. I mention this as one of the influences +affecting the quality of illustrations of an ephemeral +or topical kind, which should not be overlooked.</p> + +<p>In sketches of society the education and standing +of the artist has much to do with his success. +M. du Maurier’s work in <i>Punch</i> may be taken as +an example of what I mean, combining excellent +art with knowledge of society. His clever followers +and imitators lack something which cannot be +learned in an art school.</p> + +<p>It should be understood that, in drawing for +reproduction by any of the mechanical processes +(either in wash or in line, but especially the latter), +there is more strain on the artist than when his +work was engraved on wood, and the knowledge of +this has left drawing for process principally in the +hands of the younger men. They will be older by +the end of the century, but not as old then as some +of our best and experienced illustrators who keep to +wood engraving.</p> + +<p><span class="pagenum"><a name="page64" id="page64"></a>64</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page65" id="page65"></a>65</span></p> + +<div class="figcenter"> +<img style="border:0; width:406px; height:610px" src="images/img082.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. VII.</p> +<p class="center">“<i>Blowing Bubbles</i>,” by <span class="sc">C. E. Wilson.</span></p> +<p>This is an excellent example of drawing—and of +treatment of textures and surfaces—for process reproduction. +The few pen touches on the drapery +have come out with great fidelity, the double lines +marking the paving stones being the only part giving +any trouble to the maker of the gelatine relief block. +The skilful management of the parts in light shows +again “the art of leaving out.”</p></div> + +<p><span class="pagenum"><a name="page66" id="page66"></a>66</span></p> + +<p>I am touching now upon a difficult and delicate +part of the subject, and must endeavour to make +my meaning clear. The illustrations in <i>Punch</i> have, +until lately, all been engraved on wood (the elder +artists on the staff not taking kindly to the processes), +and the style and manner of line we see in its pages +is due in great measure to the influence of the wood +engraver.<a name="FnAnchor_8" id="FnAnchor_8" href="#Footnote_8"><span class="sp">8</span></a></p> + +<p>This refers to fac-simile work, but the engraver, +as we know, also interprets wash into clean lines, +helps out the timid and often unsteady draughtsman, +and in little matters puts his drawing right.</p> + +<p>The wood engraver was apprenticed to his art, +and after long and laborious teaching, mastered the +mechanical difficulties. If he had the artistic sense +he soon developed into a master-engraver and illustrator, +and from crude and often weak and inartistic +<span class="pagenum"><a name="page67" id="page67"></a>67</span> +drawings produced illustrations full of tone, quality, +and beauty. From very slight material handed to +him by the publisher, the wood engraver would +evolve (from his inner consciousness, so to speak) +an elaborate and graceful series of illustrations, +drawn on the wood block by artists in his own +employ, who had special training, and knew exactly +how to produce the effects required. The system +often involved much care and research for details of +costume, architecture, and the like, and, if not very +high art, was at least well paid for, and appreciated +by the public. I am speaking of the average illustrated +book, say of twenty years ago, when it was not +an uncommon thing to spend £500 or £600 on the +engravings. Let us hope that the highest kind of +wood engraving will always find a home in England.</p> + +<p>Nobody knows—nobody ever will know—how +much the engraver has done for the artist in years +past. “For good or evil,”—it may be said; but I +am thinking now only of the good, of occasions +when the engraver has had to interpret the artist’s +meaning, and sometimes, it must be confessed, to +come to the rescue and perfect imperfect work.</p> + +<p><span class="pagenum"><a name="page68" id="page68"></a>68</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page69" id="page69"></a>69</span></p> + +<div class="figcenter"> +<img style="border:0; width:377px; height:610px" src="images/img086.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. VIII.</p> +<p>Illustration to “<i>Dreamland in History</i>,” by Dr. +Gloucester. (London: Isbister & Co.) Drawn by +<span class="sc">Herbert Railton</span>.</p> + +<p>Example of brilliancy and simplicity of treatment +in line drawing for process. There is no illustration +in this book which shows better the scope and variety +of common process work. Mr. Railton has studied +his process, and brought to it a knowledge of +architecture and sense of the picturesque. This +illustration is reduced considerably from the original +drawing.</p></div> + +<p><span class="pagenum"><a name="page70" id="page70"></a>70</span></p> + +<p>The artist who draws for reproduction by chemical +and mechanical means is thrown upon his own resources. +He cannot say to the acid, “Make these +lines a little sharper,” or to the sun’s rays, “Give a +little more light”; and so—as we cannot often have +good wood engraving, as it is not always cheap +enough or rapid enough for our needs—we draw on +paper what we want reproduced, and resort to one +of the photographic processes described in this book.</p> + +<div class="figcenter"> +<img style="border:0; width:270px; height:350px" src="images/img087.jpg" alt="" /> +<p class="caption">“BY UNFREQUENTED WAYS.” (W. H. GORE.)</p></div> + +<p>I do not think the modern illustrator realises how +much depends upon him in taking the place, so to +speak, of the wood engraver. The interpretation +<span class="pagenum"><a name="page71" id="page71"></a>71</span> +of tone into line fitted for the type press, +to which the wood engraver gave a lifetime, will +devolve more and more upon him. We cannot +keep this too continually in mind, for in spite of +the limitations in mechanically-produced blocks +(as compared with wood engraving) in obtaining +delicate effects of tone in line, much can be done +in which the engraver has no part.</p> + +<div class="figcenter"> +<img style="border:0; width:580px; height:239px" src="images/img088.jpg" alt="" /> +<p class="caption">“THE LOWING HERD WINDS SLOWLY O’ER THE LEA.” (W H. GORE.)</p></div> + +<p>I purposely place these two pen-and-ink drawings +by Mr. Gore side by side, to show what delicacy +of line and tone may be obtained on a relief block +by proper treatment. One could hardly point to +better examples of pure line. They were drawn +on ordinary cardboard (the one above, 4¼ × 9¾ in.) +and reproduced by the gelatine relief process.</p> + +<p>All this, it will be observed, points to a more +<span class="pagenum"><a name="page72" id="page72"></a>72</span> +delicate and intelligent use of the process block +than is generally allowed, to something, in short +very different to the thin sketchy outlines and +scribbles which are considered the proper style +for the “pen-and-ink artist.”</p> + +<p>But “the values” are scarcely ever considered in +this connection. Mr. Hamerton makes a curious +error in his <i>Graphic Arts</i>, where he advocates +the use of the “black blot in pen drawing,” arguing +that as we use liberally white paper to express air +and various degrees of light, so we may use masses +of solid black to represent many gradations of +darkness. A little reflection will convince anyone +that this is no argument at all.</p> + +<p>Mr. Ruskin’s advice in his <i>Elements of Drawing</i>, +as to how to lay flat tints by means of pure +black lines (although written many years ago, and +before mechanical processes of reproduction were +in vogue) is singularly applicable and useful to the +student of to-day; especially where he reminds +him that, “if you cannot gradate well with pure +black lines, you will never do so with pale ones.”</p> + +<p>To “gradate well with pure black lines” is, so to +speak, the whole art and mystery of drawing for the +photo-zinc process, of which one London firm alone +turns out more than a thousand blocks a week. +<span class="pagenum"><a name="page73" id="page73"></a>73</span></p> + +<p>As to the amount of reduction that a drawing will +bear in reproduction, it cannot be sufficiently widely +known, that in spite of rules laid down, there is no +rule about it.</p> + +<div class="figcenter"> +<img style="border:0; width:298px; height:370px" src="images/img090.jpg" alt="" /> +<p class="caption">“ADVERSITY.” (FRED. HALL.)</p></div> + +<p>It is interesting to compare this reproduction +with the larger one overleaf. There is no limit to +the experiments which may be made in reduction, +if pursued on scientific principles.</p> + +<p><span class="pagenum"><a name="page74" id="page74"></a>74</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page75" id="page75"></a>75</span></p> + +<div class="figcenter"> +<img style="border:0; width:467px; height:610px" src="images/img092.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. IX.</p> +<p class="center">“<i>Adversity</i>,” by <span class="sc">Fred. Hall</span>.</p> +<p>This fine drawing was made in pen and ink by Mr. +Hall, from his picture in the Royal Academy, 1889. +Size of original 14½ × 11½ in. Reproduced by +gelatine blocks.</p> + +<p>The feeling in line is conspicuous in both blocks, +many painters might prefer the smaller.</p></div> + +<p><span class="pagenum"><a name="page76" id="page76"></a>76</span></p> + +<div class="figcenter"> +<img style="border:0; width:550px; height:404px" src="images/img093.jpg" alt="" /> +<p class="caption">“A WILLOWY STREAM.” (FROM THE PAINTING BY MAUD NAFTEL.) +<br />(<i>New Gallery, 1889.</i>)</p></div> + +<p><span class="pagenum"><a name="page77" id="page77"></a>77</span></p> + +<p>Mr. Emery Walker, of the firm of Walker and +Boutall, who has had great experience in the reproduction +of illustrations and designs from old +books and manuscripts, will tell you that very often +there is no reduction of the original; and he will +show reproductions in photo-relief of engravings +and drawings of the same size as the originals, the +character of the paper, and the colour of the printing +also, so closely imitated that experts can hardly +distinguish one from the other. On the other hand, +the value of reduction, for certain styles of drawing +especially, can hardly be over-estimated. The last +drawing was reduced to less than half the length of +the original, and is, I think, one of the best results +yet attained by the Dawson relief process.</p> + +<p>Again, I say, “there is no rule about it.” In +the course of years, and in the reduction to various +scales of thousands of drawings by different artists, +to print at the type press, my experience is that +<i>every drawing has its scale, to which it is best +reduced</i>.</p> + +<p>In these pages will be found examples of drawings +reduced to <i>one-sixtieth</i> the area of the original, +whilst others have not been reduced at all.</p> + +<p><span class="pagenum"><a name="page78" id="page78"></a>78</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page79" id="page79"></a>79</span></p> + +<div class="figcenter"> +<img style="border:0; width:413px; height:610px" src="images/img096.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. X.</p> +<p class="center">“<i>Twins</i>,” by <span class="sc">Stanley Berkley</span>.</p> +<p>Sketch in pen and ink (size 8¼ × 5½ in.) from Mr. +Berkley’s picture in the Grosvenor Gallery in 1884.</p> + +<p>A good example of breadth and expression in +line, the values being well indicated. Mr. Berkley, +knowing animal life well, and <i>knowing his picture</i>, is +able to give expression to almost every touch. Here +the common zinc process answers well.</p></div> + +<p><span class="pagenum"><a name="page80" id="page80"></a>80</span></p> + +<div class="figcenter"> +<img style="border:0; width:610px; height:362px" src="images/img097.jpg" alt="" /> +<p class="caption">“THE DARK ISLAND.” (FROM THE PAINTING BY ALFRED EAST.) +<br />(<i>Royal Academy, 1885.</i>)</p></div> + +<p><span class="pagenum"><a name="page81" id="page81"></a>81</span></p> + +<p>There is much instruction in these drawings by +painters, instruction of a kind, not to be obtained +elsewhere. The broad distinction between a +“sketch” from Nature and <i>a drawing made in a +sketchy manner</i> cannot be too often pointed out, and +such drawings as those by Mr. G. Clausen (p. 59), +Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. +Gotch (p. 83), and others, help to explain the +difference. These are all reproduced easily on +process blocks.<a name="FnAnchor_9" id="FnAnchor_9" href="#Footnote_9"><span class="sp">9</span></a></p> + +<p>As to sketching in line from life, ready for +reproduction on a process block, it is necessary to +say a few words here. The system is, I know, +followed by a few illustrators for newspapers (and +by a few geniuses like Mr. Joseph Pennell, Raven +Hill, and Phil. May, who have their own methods), +and who, by incessant practice, have become proficient. +They have special ability for this kind of +work, and their manner and style is their capital +and attraction.</p> + +<p><span class="pagenum"><a name="page82" id="page82"></a>82</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page83" id="page83"></a>83</span></p> + +<div class="figcenter"> +<img style="border:0; width:535px; height:600px" src="images/img100.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XI.</p> +<p class="center"><i>A Portrait</i>, by <span class="sc">T. C. Gotch</span>.</p> +<p>Pen-and-ink drawing (size 7½ × 6½ in.); from his +picture in the Exhibition of the New English Art +Club, 1889.</p> + +<p>Mr. Gotch is well known for his painting of +children; but he has also the instinct for line +drawing, and a touch which reproduces well without +any help from the maker of the zinc block.</p> + +<p>The absence of outline, and the modelling suggested +by vertical lines, also the treatment of +background, should be noticed. This background +lights up when opposed to white and <i>vice-versa</i>.</p></div> + +<p><span class="pagenum"><a name="page84" id="page84"></a>84</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page85" id="page85"></a>85</span></p> + +<p>But to attempt to <i>teach</i> rapid sketching in pen +and ink is beginning at the wrong end, and is fatal +to good art; it is like teaching the principles of +pyrotechnics whilst fireworks are going off. And +yet we hear of prizes given for rapid sketches to +be reproduced by the processes. Indeed, I believe +this is the wrong road; the baneful result of living +in high-pressure times. It is difficult to imagine +any artist of the past consenting to such a system +of education.</p> + +<p>Sketching from life is, of course, necessary to the +student (especially when making illustrations by wash +drawings, of which I shall speak presently), but for +line work it should be done first in pencil, or +whatever medium is easiest at the moment. The +lines for reproduction require thinking about, +thinking what to leave out, how to interpret the +grey of a pencil, or the tints of a brush sketch +in the fewest lines. Thus, and thus only, the +student learns “the art of leaving out,” “the value +of a line.”</p> + +<p>The tendency of modern illustrators is to imitate +somebody; and in line drawing for the processes, +where the artist, and not the engraver, has to make +the lines, imitation of some man’s method is almost +inevitable.</p> + +<p><span class="pagenum"><a name="page86" id="page86"></a>86</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page87" id="page87"></a>87</span></p> + +<div class="figcenter"> +<img style="border:0; width:397px; height:620px" src="images/img104.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XII.</p> +<p class="center">“<i>Sir John Tenniel</i>,” by <span class="sc">Edwin Ward</span>.</p> +<p>Example of another style of line drawing. Mr. +Ward is a master of line, as well as a skilful portrait +painter. He has lost nothing of the force and +character of the original here, by treating it in line.</p> + +<p>Mr. Ward has painted a series of small portraits +of public men, of which there is an example on p. 90.</p> + +<p>Size of pen-and-ink drawing 8½ × 5½ in., reproduced +by common process.</p></div> + +<p><span class="pagenum"><a name="page88" id="page88"></a>88</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page89" id="page89"></a>89</span></p> + +<p>Let me quote an instance. The style of the late +Charles Keene is imitated in more than one journal +at the present time, the artists catching his +method of line more easily than the higher qualities +of his art, his <i>chiaroscuro</i>, his sense of values and +atmospheric effect. I say nothing of his pictorial +sense and humour, for they are beyond imitation. +It is the husk only we have presented to us.</p> + +<p>As a matter of education and outlook for the +younger generation of illustrators, this imitation of +other men’s lines deserves our special consideration. +Nothing is easier in line work than to copy from +the daily press. Nothing is more prejudicial to +good art, or more fatal to progress.</p> + +<p>And yet it is the habit of some instructors to +hold up the methods (and the tricks) of one +draughtsman to the admiration of students. I read +in an art periodical the other day, a suggestion for +the better understanding of the way to draw topical +illustrations in pen and ink, viz.: that examples +of the work of Daniel Vierge, Rico, Abbey, Raven +Hill, and other noted pen draughtsmen, should be +“set as an exercise to students;” of course with +explanation by a lecturer or teacher. But this +is a dangerous road for the average student to +travel. Of all branches of art none leads so quickly +to mannerism as line work, and a particular manner +when thus acquired is difficult to shake off.</p> + +<div class="figcenter"> +<img style="border:0; width:372px; height:430px" src="images/img107.jpg" alt="" /> +<p class="caption">THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)</p></div> + +<p>Think of the consequences—Vierge with his garish +<span class="pagenum"><a name="page90" id="page90"></a>90</span> +lights, his trick of black spots, his mechanical +shadows and neglect of <i>chiaroscuro</i>—all redeemed +and tolerated in a genius for the dash and spirit +and beauty of his lines—lines, be it observed, that +reproduce with difficulty on relief blocks—imitated +by countless students; Mr. E. A. Abbey, the +refined, and delicate American draughtsman, imitated +<span class="pagenum"><a name="page91" id="page91"></a>91</span> +for his method—the style and <i>chic</i> of it being his +own, and inimitable. Think of the crowd coming +on—imitators of the imitators of Rico—imitators of +the imitators of Charles Keene!</p> + +<p>It may be said generally, that in order to obtain +work as an illustrator—the practical point—there +must be originality of thought and design. <i>There +must be originality</i>, as well as care and thought +bestowed on every drawing for the Press.</p> + +<p>The drawing of portraits in line from photographs +gives employment to some illustrators, as +line blocks will print in newspapers much better +than photographs. But for newspaper printing +they must be done with something of the precision +of this portrait, in which the whites are cut deep +and where there are few broken lines.</p> + +<p>It is the exception to get good printing in +England, under present conditions of haste and +cheapening of production, and therefore the best +drawings for rapid reproduction are those that +require the least touching on the part of the +engraver, as <i>a touched-up process block is troublesome +to the printer</i>; but it is difficult to impress this on +the artistic mind.</p> + +<p><span class="pagenum"><a name="page92" id="page92"></a>92</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page93" id="page93"></a>93</span></p> + +<div class="figcenter"> +<img style="border:0; width:411px; height:610px" src="images/img110.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XIII.</p> +<p class="center">“<i>Nothing venture, nothing have</i>,” by <span class="sc">E. P. Sanguinetti</span>.</p> +<p>Pen-and-ink drawing from the picture by E. P. +Sanguinetti, exhibited at the Nineteenth Century +Art Society’s Gallery, 1888.</p> +<div class="center"> +<img style="border:0; width:239px; height:350px" src="images/img109.jpg" alt="" /></div> +<p>The large block is suitable for printing on common +paper, and by fast machines. The little block is +best adapted for bookwork, and is interesting as +showing the quality obtained by reduction. It is +an excellent example of drawing for process, showing +much ingenuity of line. The tone and shadows on +the ground equal the best fac-simile engraving. (Size +of original drawing, from which both blocks were +made, 15 × 10 in.)</p></div> + +<p><span class="pagenum"><a name="page94" id="page94"></a>94</span></p> + +<div class="figcenter"> +<img style="border:0; width:600px; height:478px" src="images/img111.jpg" alt="" /> +<p class="caption">“ON THE TERRACE.” (E. A. ROWE.) <i>From his water-colour in the New Gallery, 1894.</i> +<br />Size of Pen Drawing, 5¾ x 7½ in.</p></div> + +<p><span class="pagenum"><a name="page95" id="page95"></a>95</span></p> + +<p>Some people cannot draw firm clean lines at all, and +<i>should not attempt them</i>. Few allow sufficiently for +the result of reduction, and the necessary thickening +of some lines. The results are often a matter of +touch and temperament. Some artists are naturally +unfitted for line work; the rules which would apply +to one are almost useless to another. Again, there +is great inequality in the making of these cheap +zinc blocks, however well the drawings may be +made; they require more care and experience in +developing than is generally supposed.</p> + +<p>As line drawing is the basis of the best drawing +for the press, I have interspersed through these +pages examples and achievements in this direction; +examples which in nearly every case are the result +of knowledge and consideration of the requirements +of process, as an antidote to the sketchy, careless +methods so much in vogue. Here we may see—as +has probably never been seen before in one volume—what +harmonies and discords may be played on +this instrument with one string. One string—no +“messing about,” if the phrase may be excused—pure +black lines on Bristol board (or paper of the +same surface), photographed on to a zinc plate, the +white parts etched away and the drawing made to +stand in relief, ready to print with the letterpress of +a book; every line and touch coming out a black +one, or rejected altogether by the process.</p> + +<p><span class="pagenum"><a name="page96" id="page96"></a>96</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page97" id="page97"></a>97</span></p> + +<div class="figcenter"> +<img style="border:0; width:467px; height:610px" src="images/img114.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XIV.</p> +<p class="center">“<i>For the Squire</i>,” by <span class="sc">Sir John Millais, +Bart., R. A.</span></p> +<p>This is an example of drawing for process for +rapid printing. The accents of the picture are +expressed firmly and in the fewest lines, to give the +effect of the picture in the simplest way. Sir John +Millais’ picture, which was exhibited in the Grosvenor +Gallery in 1883, was engraved in mezzotint, and +published by Messrs. Thos. Agnew & Sons. (Size +of pen-and-ink drawing, 7¼ × 5½ in.) It is suitable +for much greater reduction.</p></div> + +<p><span class="pagenum"><a name="page98" id="page98"></a>98</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page99" id="page99"></a>99</span></p> + +<p>Drawings thus made, upon Bristol board or paper +of similar surface, with lamp black, Indian ink, or +any of the numerous inks now in use, which dry +with a dull, not shiny, surface, will always reproduce +well. The pen should be of medium point, or a +brush may be used as a pen. The lines should be +clear and sharp, and are capable of much variation +in style and treatment, as we see in these pages. I +purposely do not dwell here upon some special +surfaces and papers by which different tones and +effects may be produced by the line processes; +there is too much tendency already with the +artist to be interested in the mechanical side. +I have not recommended the use of “clay board,” +for instance, for the line draughtsman, although it +is much used for giving a crisp line to process +work, and has a useful surface for scraping out +lights, &c. The results are nearly always +mechanical looking.<a name="FnAnchor_10" id="FnAnchor_10" href="#Footnote_10"><span class="sp">10</span></a></p> + +<p>On the next page are two simple, straightforward +drawings, which, it will be observed, are well suited +to the method of reproduction for the type press. +The first is by Mr. H. S. Marks, R. A. (which I +<span class="pagenum"><a name="page100" id="page100"></a>100</span> +take from the pages of <i>Academy Notes</i>), skilfully +drawn upon Bristol board, about 7 × 5 in.</p> + +<p>Here every line tells, and none are superfluous; +the figure of the monk, the texture of his dress, +the old stone doorway, the creeper growing on +the wall, and the basket of provisions, all form a +picture, the lines of which harmonise well with +the type of a book.</p> + +<div class="figcenter"> +<img style="border:0; width:208px; height:300px" src="images/img117.jpg" alt="" /> +<p class="caption">“THE STOPPED KEY.” (H. S. MARKS, R. A.)</p></div> + +<p>In this deliberate, careful drawing, in which +white paper plays by far the principal part, the +<span class="pagenum"><a name="page101" id="page101"></a>101</span> +background and lighting of the picture are considered, +also the general balance of a decorative +page.<a name="FnAnchor_11" id="FnAnchor_11" href="#Footnote_11"><span class="sp">11</span></a></p> + +<div class="figcenter"> +<img style="border:0; width:235px; height:300px" src="images/img118.jpg" alt="" /> +<p class="caption">“NYMPH AND CUPID.” SMALL BAS-RELIEF. (H. HOLIDAY.) +<br />(<i>From “Academy Notes.”</i>)</p></div> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_7" id="Footnote_7" href="#FnAnchor_7"><span class="fn">7</span></a> No one artist can teach drawing in line without a tendency +to mannerism, especially in art classes.</p> + +<p><a name="Footnote_8" id="Footnote_8" href="#FnAnchor_8"><span class="fn">8</span></a> One of the most accomplished of English painters told me +the other day that when he first drew for illustration, the wood +engraver dictated the angle and style of cross-hatching, &c., so as +to fit the engraver’s tools.</p> + +<p><a name="Footnote_9" id="Footnote_9" href="#FnAnchor_9"><span class="fn">9</span></a> Special interest attaches to the examples in this book from +the fact that they have nearly all been <i>drawn on different kinds of +paper</i>, and <i>with different materials</i>; and yet nearly all, as will be +seen, have come out successfully, and give the spirit of the +original.</p> + +<p><a name="Footnote_10" id="Footnote_10" href="#FnAnchor_10"><span class="fn">10</span></a> For description of the various grained papers, &c., see +page 113, also <i>Appendix</i>.</p> + +<p><a name="Footnote_11" id="Footnote_11" href="#FnAnchor_11"><span class="fn">11</span></a> The young “pen-and-ink artist” of to-day generally avoids +backgrounds, or renders them by a series of unmeaning +scratches; he does not consider enough the true “lighting of a +picture,” as we shall see further on. The tendency of much +modern black-and-white teaching is to ignore backgrounds.</p> +</div> + +<hr class="art" /> +<p><span class="pagenum"><a name="page102" id="page102"></a>102</span></p> + +<div class="center"> +<img style="border:0; width:438px; height:350px" src="images/img119.jpg" alt="" /> +<p class="caption"></p></div> + +<h3>CHAPTER IV.</h3> + +<h5>PHOTO-ZINC PROCESS.<a name="FnAnchor_12" id="FnAnchor_12" href="#Footnote_12"><span class="sp">12</span></a></h5> + +<p>IN order to turn any of these drawings into +blocks for the type press, the first process is +to have it photographed to the size required, +and to transfer a print of it on to a sensitized +zinc plate. This print, or photographic image +of the drawing lying upon the zinc plate, is +of greasy substance (bichromate of potash and +gelatine), and is afterwards inked up with a roller; +the plate is then immersed in a bath of nitric acid +and ether, which cuts away the parts which were +<span class="pagenum"><a name="page103" id="page103"></a>103</span> +left white upon the paper, and leaves the lines of the +drawing in relief. This “biting in,” as it is called, +requires considerable experience and attention, +according to the nature of the drawing. Thus, the +lines are turned into metal in a few hours, and the +plate when mounted on wood to the height of type-letters, +is ready to be printed from, if necessary, at +the rate of several thousands an hour.</p> + +<div class="figcenter"> +<img style="border:0; width:294px; height:340px" src="images/img120.jpg" alt="" /> +<p class="caption">PORTRAIT. (T. BLAKE WIRGMAN.) +<br />(<i>From “Academy Notes.”</i>)</p></div> + +<div class="capd"> +<p>[This portrait was exhibited in the Royal Academy +in 1880. I reproduce Mr. Wirgman’s sketch for the +sake of his powerful treatment of line.]</p></div> + +<p><span class="pagenum"><a name="page104" id="page104"></a>104</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page105" id="page105"></a>105</span></p> + +<div class="figcenter"> +<img style="border:0; width:513px; height:720px" src="images/img122.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XV.</p> +<p class="center">“<i>Forget-Me-Not</i>,” by <span class="sc">Henry Ryland</span>. +<br />(<i>From the “English Illustrated Magazine.”</i>)</p> +<p>An unusually fine example of reproduction in line, +by zinc process, from a large pen-and-ink drawing. It +serves to show how clearly writing can be reproduced +if done by a trained hand. Students should notice +the variety of “colour” and delicacy of line, also +the brightness and evenness of the process block +throughout.</p> + +<p>This illustration suggests possibilities in producing +decorative pages in modern books without the aid +of printers’ type, which is worth consideration in art +schools. It requires, of course, knowledge of the +figure and of design, and a trained hand for process. +One obvious preparation for such work, is an examination +of decorative pages in the Manuscript Department +of the British Museum. (<i>See Appendix.</i>)</p> + +<p>It would be difficult, I think, to show more clearly +the scope and variety of line work by process than +in the contrast between this and the two preceding +illustrations. Each artist is an expert in black and +white in his own way.</p></div> + +<p><span class="pagenum"><a name="page106" id="page106"></a>106</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page107" id="page107"></a>107</span></p> + +<div class="figcenter"> +<img style="border:0; width:320px; height:400px" src="images/img124.jpg" alt="" /> +<p class="caption">“BABY’S OWN.” (G. HILLYARD SWINSTEAD.) +<br />(<i>From “Academy Notes,” 1890.</i>)</p></div> + +<p>A wonderful and startling invention is here, +worthy of a land of enchantment, which, without +labour, with little more than a wave of the hand, +transfixes the artist’s touch, and turns it into +concrete; by which the most delicate and hasty +strokes of the pen are not merely recorded in +fac-simile for the eye to decipher, but are brought +out in sharp relief, as bold and strong as if hewn +out of a rock! Here is an argument for doing “the +best and truest work we can,” a process that renders +<span class="pagenum"><a name="page108" id="page108"></a>108</span> +indestructible—so indestructible that nothing short +of cremation would get rid of it—every line that we +put upon paper; an argument for learning for +purposes of illustration the touch and method +best adapted for reproduction by the press.<a name="FnAnchor_13" id="FnAnchor_13" href="#Footnote_13"><span class="sp">13</span></a></p> + +<div class="figcenter"> +<img style="border:0; width:318px; height:450px" src="images/img125.jpg" alt="" /> +<p class="caption">“A SILENT POOL.” (ED. W. WAITE.) +<br />(<i>From “Academy Notes,” 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page109" id="page109"></a>109</span></p> + +<p class="center pt1 f90">GELATINE PROCESS.</p> + +<p>By this process a more delicate and sensitive +method has been used to obtain a relief block.</p> + +<p>The drawing is photographed to the required size +(as before), and the <i>negative</i> laid upon a glass plate +(previously coated with a mixture of gelatine and +bichromate of potash). The part of this thin, sensitive +film not exposed to the light, is absorbent, and +when immersed in water swells up. The part +exposed to the light (<i>i.e.</i>, the lines of the drawing) +remains near the surface of the glass. Thus we +have a sunk mould from which a metal cast can be +taken, leaving the lines in relief as in the zinc +process. In skilful hands this process admits of +more delicate gradations, and pale, uncertain lines +can be reproduced with tolerable fidelity. The +blocks take longer to make, and are double the price +of the photo-zinc process first described. There is +no process yet invented which gives better results +from a pen-and-ink drawing for the type-press. +These blocks when completed have a copper surface. +The reproductions of pencil, chalk, or charcoal drawings +by the zinc, or “biting-in” processes are nearly +always failures, as we may see in some of the best +artistic books and magazines to-day.</p> + +<p><span class="pagenum"><a name="page110" id="page110"></a>110</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page111" id="page111"></a>111</span></p> + +<div class="figcenter"> +<img style="border:0; width:432px; height:610px" src="images/img128.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XVI.</p> +<p class="center">“<i>The Miller’s Daughter</i>,” by <span class="sc">E. K. Johnson</span>.</p> +<p>Another very interesting example of Mr. E. K. +Johnson’s drawing in pen and ink. Nearly every +line has the value intended by the artist.</p> + +<p>The drawing has been largely reduced, and +reproduced by the gelatine relief process.</p></div> + +<p><span class="pagenum"><a name="page112" id="page112"></a>112</span></p> + +<div class="figcenter"> +<img style="border:0; width:420px; height:610px" src="images/img129.jpg" alt="" /> +<p class="caption">“THE END OF THE CHAPTER.” (FROM THE PAINTING BY W. RAINEY.) +<br /><i>Royal Academy, 1886.</i> +<br />(<i>Reproduced by the old Dawson process.</i>)</p></div> + +<p><span class="pagenum"><a name="page113" id="page113"></a>113</span></p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:380px" src="images/img130.jpg" alt="" /> +<p class="caption">“IN THE PAS DE CALAIS.” (JAS. PRINSEP BEADLE.)<a name="FnAnchor_14" id="FnAnchor_14" href="#Footnote_14"><span class="sp">14</span></a></p></div> + +<p class="center pt1 f90">GRAINED PAPERS.</p> + +<p>For those who cannot draw easily with the pen, +there are several kinds of grained papers which +render drawings suitable for reproduction. The +first is a paper with <i>black lines</i> imprinted upon it on +a material suitable for scraping out to get lights, +and strengthening with pen or pencil to get solid +blacks. On some of these papers black lines are +<span class="pagenum"><a name="page114" id="page114"></a>114</span> +imprinted horizontally, some vertically, some +diagonally, some in dots, and some with lines of +several kinds, one under the other, so that the +artist can get the tint required by scraping out. +Drawings thus made can be reproduced in +relief like line drawings, taking care not to reduce +a fine black grain too much or it will become +“spotty” in reproduction.</p> + +<div class="figcenter"> +<img style="border:0; width:550px; height:370px" src="images/img131.jpg" alt="" /> +<p class="caption">“GOLDEN DAYS.” (F. STUART RICHARDSON.) +<br />(<i>Black-grained paper.</i>)</p></div> + +<p>This drawing and the one opposite by Mr. Hume +Nisbet show the skilful use of paper with vertical +and horizontal black lines; also, in the latter drawing, +the different qualities of strength in the sky, +and the method of working over the grained paper +in pen and ink.</p> + +<p><span class="pagenum"><a name="page115" id="page115"></a>115</span></p> + +<div class="figcenter"> +<img style="border:0; width:457px; height:600px" src="images/img132.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XVII.</p> +<p class="center">“TWILIGHT.” (SPECIMEN OF BLACK-GRAINED PAPER.)</p> +<p class="center">(<i>From “Lessons in Art,” by Hume Nisbet, published by Chatto & Windus.</i>)</p> +</div> + +<p><span class="pagenum"><a name="page116" id="page116"></a>116</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page117" id="page117"></a>117</span></p> + +<div class="figcenter"> +<img style="border:0; width:620px; height:374px" src="images/img134.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XVIII.</p> +<p class="center">“<i>Le Dent du Géant</i>,” by <span class="sc">E. T. Compton</span>.</p> +<p>Another skilful use of the black-grained paper to represent +snow, glacier, and drifting clouds. The original tone of the +paper may be seen in the sky and foreground.</p> +<div class="center"> +<img style="border:0; width:430px; height:255px" src="images/img133.jpg" alt="" /></div> +<p>The effect is obtained by scraping out the lighter parts on +the paper and strengthening the dark with pen and pencil.</p> + +<p>It is interesting to compare the two blocks made from the +same drawing. (Size of drawing 7¾ × 4 in.)</p></div> + +<p><span class="pagenum"><a name="page118" id="page118"></a>118</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page119" id="page119"></a>119</span></p> + +<div class="figcenter"> +<img style="border:0; width:429px; height:610px" src="images/img136.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XIX.</p> +<p class="center"><i>Landscape</i>, by <span class="sc">A. M. Lindstrom</span>.</p> +<p>Example of bold effect by scraping out on the +black-lined paper, and free use of autographic chalk.</p> + +<p>This drawing shows, I think, the artistic limitations +of this process in the hands of an experienced +draughtsman.</p> + +<p>The original drawing by Mr. Lindstrom (from his +painting in the Royal Academy) was the same size +as the reproduction.</p></div> + +<p><span class="pagenum"><a name="page120" id="page120"></a>120</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page121" id="page121"></a>121</span></p> + +<p>Other papers largely used for illustration in the +type press have a <i>white grain</i>, a good specimen of +which is on page 123; and there are variations of +these white-grained papers, of which what is known +in France as <i>allongé</i> paper is one of the best for +rough sketches in books and newspapers.</p> + +<p>The question may arise in many minds, are these +contrivances with their mechanical lines for producing +effect, worthy of the time and attention +which has been bestowed upon them? I think it is +very doubtful if much work ought to be produced +by means of the black-grained papers; certainly, in +the hands of the unskilled, the results would prove +disastrous. A painter may use them for sketches, +especially for landscape. Mr. Compton (as on p. 116) +can express very rapidly and effectively, by scraping +out the lights and strengthening the darks, a snowdrift +or the surface of a glacier. In the drawing +on page 123, Mr. C. J. Watson has shown us how +the grained paper can be played with, in artistic +hands, to give the effect of a picture.</p> + +<p>The difference, artistically speaking, between +sketches made on black-grained and white-grained +papers seems to me much in favour of the latter.</p> + +<p><span class="pagenum"><a name="page122" id="page122"></a>122</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page123" id="page123"></a>123</span></p> + +<div class="figcenter"> +<img style="border:0; width:458px; height:610px" src="images/img140.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XX.</p> +<p class="center">“<i>Volendam</i>,” by <span class="sc">C. J. Watson</span>.</p> +<p>Example of white-lined paper, treated very +skilfully and effectively—only the painter of the +picture could have given so much breadth and +truth of effect.</p> + +<p>This <i>white</i> paper has a strong vertical grain which +when drawn upon with autographic chalk has the +same appearance as black-lined paper; and is often +taken for it.</p> + +<p>(Size of drawing 6 × 4½ in.)</p></div> + +<p><span class="pagenum"><a name="page124" id="page124"></a>124</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page125" id="page125"></a>125</span></p> + +<p>But at the best, blocks made from drawings on +these papers are apt to be unequal, and do not +print with the ease and certainty of pure line work; +they require good paper and careful printing, which +is not always to be obtained. The artist who +draws for the processes in this country must not +expect (excepting in very exceptional cases) to +have his work reproduced and printed as in +America, or even as well as in this book.</p> + +<div class="figcenter"> +<img style="border:0; width:325px; height:450px" src="images/img142.jpg" alt="" /> +<p class="caption">“AND WEE PEERIE WINKIE PAYED FOR A’.” (FROM THE PAINTING BY HUGH CAMERON.) +<br /><i>Example of a good chalk drawing too largely reduced.</i></p></div> + +<p><span class="pagenum"><a name="page126" id="page126"></a>126</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page127" id="page127"></a>127</span></p> + +<div class="figcenter"> +<img style="border:0; width:429px; height:610px" src="images/img144.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXI.</p> +<p class="center">“<i>An Arrest</i>,” by <span class="sc">Melton Prior</span>.</p> +<p>This is a remarkable example of the reproduction +of a pencil drawing. It is seldom that the soft grey +effect of a pencil drawing can be obtained on a +“half-tone” relief block, or the lights so successfully +preserved.</p> + +<p>This is only a portion of a picture by Mr. Melton +Prior, the well-known special artist, for which I am +indebted to the proprietors of <i>Sketch</i>.</p> + +<p>The reproduction is by Carl Hentschel.</p></div> + +<p><span class="pagenum"><a name="page128" id="page128"></a>128</span></p> + +<p>The reproduction on the previous page owes +its success not only to good process, paper, and +printing, but also to <i>the firm, decisive touch of an +experienced illustrator</i> like Mr. Melton Prior. A +pencil drawing in less skilful hands is apt to “go to +pieces” on the press.</p> + +<p>Mr. C. G. Harper, in his excellent book on +<i>English Pen Artists</i>, has treated of other ways +in which drawings on prepared papers may be +manipulated for the type press; but not always +with success. In that interesting publication, +<i>The Studio</i>, there have appeared during the past +year many valuable papers on this subject, but +in which the <i>mechanism</i> of illustration is perhaps +too much insisted on. Some of the examples +of “mixed drawings,” and of chalk-and-pencil +reproductions, might well deter any artist from +adopting such aids to illustration.</p> + +<p>The fact is, that the use of grained papers is, at +the best, a makeshift and a degradation of the art of +illustration, if judged by the old standards. It will +be a bad day for the art of England when these +mechanical appliances are put into the hands of +young students in art schools.</p> + +<p>For the purposes of ordinary illustrations we +should keep to the simpler method of line. All +<span class="pagenum"><a name="page129" id="page129"></a>129</span> +these contrivances require great care in printing, +and the blocks have often to be worked up by an +engraver. <i>The material of the process blocks is +unsuited to the purpose.</i> In a handbook to students +of illustration this requires repeating on nearly +every page.</p> + +<p>As a contrast to the foregoing, let us look at +a sketch in pure line by the landscape painter, +Mr. M. R. Corbet, who, with little more than a +scribble of the pen, can express the feeling of +sunrise and the still air amongst the trees.</p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:343px" src="images/img146.jpg" alt="" /> +<p class="caption">“SUNRISE IN THE SEVERN VALLEY.” (MATTHEW R. CORBET.)</p></div> + +<p><span class="pagenum"><a name="page130" id="page130"></a>130</span></p> + +<p class="center pt1 f90">MECHANICAL DOTS.</p> + +<p>Amongst the modern inventions for helping the +hurried or feeble illustrator, is the system of laying +on mechanical dots to give shadow and colour to +a pure line drawing, by process. It is a practice +always to be regretted; whether applied to a +necessarily hasty newspaper sketch, or to one of +Daniel Vierge’s elaborately printed illustrations in +the <i>Pablo de Segovia</i>. One cannot condemn too +strongly this system, so freely used in continental +illustrated sheets, but which, in the most skilful +hands, seems a degradation of the art of illustration. +These dots and lines, used for shadow, or tone, +are laid upon the plate by the maker of the block, +the artist indicating, by a blue pencil mark, the +parts of a drawing to be so manipulated; and as +the illustrator <i>has not seen the effect on his own +line drawing</i>, the results are often a surprise to +everyone concerned. I wish these ingenious +contrivances were more worthy of an artist’s +attention.</p> + +<p>On the opposite page is an example taken from +an English magazine, by which it may be seen +that all daylight has been taken ruthlessly from the +principal figure, and that it is no longer in tone +with the rest of the picture, as an open air sketch. +The system is tempting to the hurried illustrator; +he has only to draw in line (or outline, which is +worse) and then mark where the tint is to appear, +and the dots are laid on by the maker of the blocks.</p> + +<p><span class="pagenum"><a name="page131" id="page131"></a>131</span></p> + +<div class="figcenter"> +<img style="border:0; width:598px; height:600px" src="images/img148.jpg" alt="" /></div> +<div class="capd"> +<p class="center">“THE ADJUTANT’S LOVE STORY.” (H. R. MILLAR.)</p> +<p class="center">(<i>Example of mechanical grain.</i>)</p> +<p class="center">No. XXII.</p> +</div> + +<p><span class="pagenum"><a name="page132" id="page132"></a>132</span></p> + +<p>In the illustration on the last page (I have chosen +an example of fine-grain dots; those used in newspapers +and common prints are much more unsightly, +as everyone knows), it is obvious that the artist’s +sketch is injured by this treatment, that, in fact, +the result is not artistic at all. Nothing but +high pressure or incompetence on the part of +the illustrator can excuse this mechanical addition +to an incomplete drawing; and it must be +remembered that these inartistic results are not +the fault of the process, or of the “process man.” +But the system is growing in every direction, to +save time and trouble, and is lowering the standard +of topical illustrations. And it is this system (<i>inter +alia</i>) which is taught in technical schools, where the +knowledge of process is taking the place of wood +engraving.</p> + +<p>The question is again uppermost in the mind, +are such mechanical appliances (“dodges,” I venture +to call them) worthy the serious attention of +artists; and can any good arise by imparting such +knowledge to youthful illustrators in technical +<span class="pagenum"><a name="page133" id="page133"></a>133</span> +schools? Wood engraving was a craft to be +learned, with a career for the apprentice. <i>There is +no similar career for a lad by learning the +“processes;” and nothing but disappointment before +him if he learns the mechanism before he is an +educated and qualified artist.</i></p> + +<p>Mention should be made here (although I do not +wish to dwell upon it) of drawing in line on +prepared transfer paper with autographic ink, which +is transferred to zinc without the aid of photography, +a process very useful for rapid and +common work; but it is seldom used for good +book illustration, as it is irksome to the artist and +not capable of very good results; moreover, the +drawing has often to be minute, as the reproduction +will be the same size as the original. It is one +of the processes which I think the student of art +had better not know much about.<a name="FnAnchor_15" id="FnAnchor_15" href="#Footnote_15"><span class="sp">15</span></a></p> + +<p>That it is possible, by the common processes, to +obtain strong effects almost equal to engraving, +<span class="pagenum"><a name="page134" id="page134"></a>134</span> +may be seen in some process illustrations by +Mr. Lancelot Speed, in which many technical +experiments have been made, including the free +use of white lining.</p> + +<p>Mr. Speed is very daring in his experiments, and +students may well puzzle over the means by which +he obtains his effects by the line processes.</p> + +<div class="figcenter1"> +<img style="border:0; width:450px; height:408px" src="images/img151.jpg" alt="" /></div> + +<p>The illustration opposite from Andrew Lang’s +<i>Blue Poetry Book</i>, shows a very ingenious treatment +of the black-lined papers. Technically it is +one of the best examples I know of,—the result of +much study and experiment.</p> + +<p><span class="pagenum"><a name="page135" id="page135"></a>135</span></p> + +<div class="figcenter"> +<img style="border:0; width:306px; height:630px" src="images/img152.jpg" alt="" /></div> +<div class="capd"> +<p class="center"><i>From Andrew Lang’s “Blue Poetry Book.”</i> (<span class="scs">LANCELOT SPEED.</span>)</p> +<p class="center">No. XXIII.</p> +</div> + +<p><span class="pagenum"><a name="page136" id="page136"></a>136</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page137" id="page137"></a>137</span></p> + +<div class="figcenter"> +<img style="border:0; width:452px; height:610px" src="images/img154.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXIV.</p> +<p class="center">“<i>The Armada</i>,” by <span class="sc">Lancelot Speed</span>.</p> +<p>This extraordinary example of line drawing for +process was taken from Andrew Lang’s <i>Blue Poetry +Book</i>, published by Messrs. Longmans.</p> + +<p>In this illustration no wash has been used, nor +has there been any “screening” or engraving on +the block. The methods of lining are, of course, to +a great extent the artist’s own invention. This +illustration and the two preceding lead to the conclusion +that there is yet much to learn in <i>drawing +for process</i> by those who will study it. The +achievements of the makers of the blocks, with +difficult drawings to reproduce, is quite another +matter. Here all is easy for the reproducer, the +common zinc process only being employed, and the +required effects obtained without much worrying of +the printer, or of the maker of the blocks.</p> + +<hr class="short" /> + +<p>Thus far all the illustrations in this book have +been produced by the common line process.</p></div> + +<p><span class="pagenum"><a name="page138" id="page138"></a>138</span></p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:348px" src="images/img155.jpg" alt="" /> +<p class="caption">“SEINE BOATS.” (FROM THE PAINTING BY LOUIS GRIER.)</p></div> + +<p class="center scs pt2">“HALF-TONE” PROCESS.</p> + +<p>The next process to consider is the method of +reproducing wash drawings and photographs on +blocks suitable for printing at the type press, commonly +known as the Meisenbach or “half-tone +process;” a most ingenious and valuable invention, +which, in clever hands, is capable of artistic results, +but which in common use has cast a gloom over +illustrations in books and newspapers.</p> + +<p>First, as to the method of making the blocks. +As there are no lines in a wash drawing or in a +photograph from nature, it is necessary to obtain +some kind of grain, or interstices of white, on the +<span class="pagenum"><a name="page139" id="page139"></a>139</span> +zinc plate, as in a mezzotint; so between the drawing +or photograph to be reproduced and the camera, +glass screens, covered with lines or dots, are interposed, +varying in strength according to the light +and shade required; thus turning the image of the +wash drawing practically into “line,” with sufficient +interstices of white for printing purposes.</p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:516px" src="images/img156.jpg" alt="" /> +<p class="caption">“THERE IS THE PRIORY!”</p></div> + +<p><span class="pagenum"><a name="page140" id="page140"></a>140</span></p> + +<p>Thus, all drawings in wash, chalk, pencil, etc., +that will not reproduce by the direct line processes, +already referred to, are treated for printing at the +type press; and thus the uniform, monotonous +dulness, with which we are all familiar, pervades the +page.</p> + +<p>The conditions of drawing for this process have +to be carefully studied, to prevent the meaningless +smears and blotches (the result generally of making +too hasty sketches in wash) which disfigure nearly +every magazine and newspaper we take up. There +is no necessity for this degradation of illustration.</p> + +<p>The artist who draws in wash with body colour, +or paints in oils in monochrome, for this process, +soon learns that his high lights will be lost and +his strongest effects neutralised, under this effect of +gauze; and so for pictorial purposes he has to <i>force +his effect</i> and exaggerate lights and shades; avoiding +too delicate gradations, and in his different tones +keeping, so to speak, to one octave instead of two. +Thus, also for this process, to obtain brightness and +cheap effect, the illustrator of to-day often avoids +backgrounds altogether.</p> + +<p>In spite of the uncertainty of this system of +reproduction, it has great attractions for the skilful +or the hurried illustrator.</p> + +<p><span class="pagenum"><a name="page141" id="page141"></a>141</span></p> + +<div class="figcenter"> +<img style="border:0; width:600px; height:381px" src="images/img158.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXV.</p> +<p class="center">“Helga rode without a saddle as if she had grown to her horse—at full speed.”</p> +<p class="center">(“<i>Hans Andersen’s Fairy Tales.</i>”)</p></div> + +<p><span class="pagenum"><a name="page142" id="page142"></a>142</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page143" id="page143"></a>143</span></p> + +<div class="figcenter"> +<img style="border:0; width:570px; height:585px" src="images/img160.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXVI.</p> +<p class="center">“<i>The Storks</i>,” by <span class="sc">J. R. Weguelin</span>.</p> +<p class="f90">“And high through the air came the first stork and the +second stork; a pretty child sat on the back of each.”</p> + +<p>Example of half-tone process applied to a slight +wash drawing. The illustration is much relieved by +vignetting and <i>leaving out</i>: almost the only chance +for effect that the artist has by the screened process. +It suggests, as so many of the illustrations in this +book do, not the limits but the scope and possibilities +of process work for books.</p> + +<p>This and the preceding illustration by Mr. +Weguelin are taken from <i>Hans Andersen’s Fairy +Tales</i> (Lawrence & Bullen, 1893).</p></div> + +<p><span class="pagenum"><a name="page144" id="page144"></a>144</span></p> + +<p>That this “half-tone” process is susceptible of +a variety of effects and results, good and bad, every +reader must be aware.</p> + +<p>The illustrations in this book, from pages 138 to +165, are all practically by the same process of +“screening,” a slight difference only in the grain +being discernible.</p> + +<p>The wash drawing on page 139 suffers by the +coarse grain on it, but the values, it will be seen, +are fairly well preserved. The lights which are +out of tone appear to have been taken out on the +plate by the maker of the block, a dangerous +proceeding with figures on a small scale. Mr. Louis +Grier’s clever sketch of his picture in wash, at the +head of this chapter, gives the effect well.</p> + +<p>Mr. Weguelin’s illustrations to <i>Hans Andersen’s +Fairy Tales</i> have been, I understand, a great +success, the public caring more for the spirit of +poetry that breathes through them than for more +finished drawings. This is delightful, and as it +should be, although, technically, the artist has not +considered his process enough, and from the +educational point of view it has its dangers. The +“process” has been blamed roundly, in one or two +criticisms of Mr. Weguelin’s illustrations, whereas +<i>the process used is the same as on pages 149 and 157</i>.</p> + +<p><span class="pagenum"><a name="page145" id="page145"></a>145</span></p> + +<p>However, the effect on a wash drawing is not +satisfactory in the best hands. So uncertain and +gloomy are the results that several well-known +illustrators decline to use it as a substitute for wood +engraving. We shall have to improve considerably +before wood engraving is abandoned. We <i>are</i> +improving every day, and by this half-tone process +numberless wash drawings and photographs from +nature are now presented to the public in our +daily prints.</p> + +<p>Great advances have been made lately in the +“screening” of pencil drawings, and in taking out +the lights of a sketch (as pointed out on page +127), and results have been obtained by careful +draughtsmen during the last six months which a +year ago would have been considered impossible. +These results have been obtained principally by +good printing and paper—allowing of a fine grain +on the block—but where the illustration has to be +prepared for printing, say 5,000 an hour, off rotary +machines, a coarser grain has to be used, producing +the “Berlin wool pattern” effect on the page, +with which we are all familiar in newspapers.</p> + +<p>Let us now look at two examples of wash +drawing by process, lent by the proprietors of +<i>Black and White</i>.</p> + +<p><span class="pagenum"><a name="page146" id="page146"></a>146</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page147" id="page147"></a>147</span></p> + +<div class="figcenter"> +<img style="border:0; width:458px; height:610px" src="images/img164.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXVII.</p> +<p>This is a good average example of what to expect +by the half-tone process from a wash drawing. That +the result is tame and monotonous is no fault of the +artist, whose work could have been more brightly +rendered by wood engraving.</p> + +<p>That “it is better to have this process than bad +wood engraving” is the opinion of nearly all illustrators +of to-day. The artist <i>sees his own work</i>, at +any rate, if through a veil of fog and gloom which is +meant for sunshine!</p> + +<p>But the time is coming when the public will +hardly rest content with such results as these.</p></div> + +<p><span class="pagenum"><a name="page148" id="page148"></a>148</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page149" id="page149"></a>149</span></p> + +<div class="figcenter"> +<img style="border:0; width:429px; height:610px" src="images/img166.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXVIII.</p> +<p class="center"><i>Illustration from</i> “<i>Black and White</i>,” by +<br /><span class="sc">G. G. Manton.</span></p> +<p>This is a good example of wash drawing for +process; that is to say, a good example from the +“process man’s” point of view.</p> + +<p>Here the artist has used his utmost endeavours +to meet the process half-way; he has been careful +to use broad, clear, firm washes, and has done them +with certainty of hand, the result of experience. If, +in the endeavour to get strength, and the <i>best results +out of a few tones</i>, the work lacks some artistic +qualities, it is almost a necessity.</p> + +<p>Mr. Manton has a peculiar method of lining, or +stippling, over his wash work, which lends itself +admirably for reproduction; but the practice can +hardly be recommended to the attention of students. +It is as difficult to achieve artistic results by these +means, as in the combination of line and chalk in +one drawing, advocated by some experts.</p> + +<p>At the same time, Mr. Manton’s indication of +surfaces and textures by process are both interesting +and valuable.</p></div> + +<p><span class="pagenum"><a name="page150" id="page150"></a>150</span></p> + +<div class="figcenter"> +<img style="border:0; width:600px; height:418px" src="images/img167.jpg" alt="" /> +<p class="caption">“A SUNNY LAND.” (FROM THE PAINTING BY GEORGE WETHERBEE.) +<br />(<i>New Gallery, 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page151" id="page151"></a>151</span></p> + +<div class="figcenter"> +<img style="border:0; width:520px; height:266px" src="images/img168.jpg" alt="" /> +<p class="caption">DECORATIVE DESIGN BY RANDOLPH CALDECOTT. +<br /><br /><span class="f90">(The above design, from the <i>Memoir of R. Caldecott</i>, is lent by +Messrs. Sampson Low & Co.)</span></p></div> + +<p>One of the many uses which artists may make of +the half-tone process is suggested by the reproduction +of one of Mr. Caldecott’s decorative designs, +drawn freely with a brush full of white, on brown +paper on a large scale (sometimes two or even +three feet long), and reduced as above; the +reduction refining and improving the design.</p> + +<p>This is a most legitimate and practical use of +“process” for illustrating books, architectural and +others, which in artistic hands might well be further +developed.</p> + +<p><span class="pagenum"><a name="page152" id="page152"></a>152</span></p> + +<p>Of the illustrators who use this process in a more +free-and-easy way we will now take an example, cut +out of the pages of <i>Sketch</i> (<i>see</i> overleaf, p. 155).</p> + +<p>Here truths of light and shade are disregarded, +the figure stands out in unnatural darkness against +white paper, and flat mechanical shadows are cast +upon nothing. Only sheer ability on the part of a +few modern illustrators has saved these coarse ungainly +sketches from universal condemnation. But +the splashes, and spots, and stains, which are taking +the place of more serious work in illustration, have +become a vogue in 1894. The sketch is made in +two or three hours, instead of a week; the process +is also much cheaper to the publisher than wood +engraving, and the public seems satisfied with a +sketch where formerly a finished illustration was +required, if the subject be treated dramatically and +in a lively manner. If the sketch comes out an unsightly +smear on the page, it at least answers the +purpose of topical illustration, and apparently suits +the times. It is little short of a revolution in +illustration, of which we do not yet see the end.<a name="FnAnchor_16" id="FnAnchor_16" href="#Footnote_16"><span class="sp">16</span></a></p> + +<p><span class="pagenum"><a name="page153" id="page153"></a>153</span></p> + +<p>The bookstalls are laden with the daring achievements +of Phil May, Raven Hill, Dudley Hardy, +and others, but it is not the object of this book to +exhibit the works of genius, either for emulation or +imitation. It is rather to suggest to the average +student what he may legitimately attempt, and to +show him the possibilities of the process block in +different hands. It may be said, without disparagement +of the numerous clever and experienced +illustrators of the day, that they are only adapting +themselves to the circumstances of the time. There +is a theory—the truth of which I do not question—that +the reproductions of rapid sketches from the +living model by the half-tone process have more +vitality and freedom, more feeling and artistic +qualities than can be obtained by any other means. +But the young illustrator should hesitate before +adapting these methods, and should <i>never have +anything reproduced for publication which was +“drawn to time” in art classes</i>.</p> + +<p>One thing cannot be repeated too often in this +connection: that the hastily produced blotches +called “illustrations,” which disfigure the pages of +so many books and magazines, are generally the +result of want of care on the part of the artist +rather than of the maker of the blocks.</p> + +<p><span class="pagenum"><a name="page154" id="page154"></a>154</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page155" id="page155"></a>155</span></p> + +<div class="figcenter"> +<img style="border:0; width:335px; height:630px" src="images/img172.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXIX.</p> +<p>This is part of a page illustration lent by the +proprietors of <i>Sketch</i>. It does not do justice to the +talent (or the taste, we will hope), of the illustrator, +and is only inserted here to record the kind of work +which is popular in 1894. (Perhaps in a second +edition we may have other exploits of genius to +record.)</p> + +<p>It should be noted that this and the illustration +on p. 149 are both reproduced by the same half-tone +process, the difference of result being altogether +in the handling of the brush. This sketch would +have been intolerable in less artistic hands. Artists +will doubtless find more feeling and expression in +the broad washes and splashes before us, than in the +most careful stippling of Mr. Manton.</p> + +<p>Students of wash drawing for process may take +a middle course.</p></div> + +<p><span class="pagenum"><a name="page156" id="page156"></a>156</span></p> + +<p>A word here on the influence of</p> + +<p class="center scs">PROCESS-BLOCK MAKERS</p> + +<p class="noind">on the young illustrator. The “process man,” the +teacher and inciter to achievements by this or that +process, is not usually an “artist” in the true sense +of the word. He knows better than anyone else +what lines he can reproduce, and especially what +kind of drawing is best adapted for his own process. +He will probably tell the young draughtsman what +materials to use, what amount of reduction his +drawings will bear, and other things of a purely +technical not to say businesslike character. Let me +not be understood to disparage the work of photo-engravers +and others engaged on these processes; +on the contrary, the amount of patience, industry, +activity, and anxious care bestowed upon the +reproduction of drawings and paintings is astonishing, +and deserves our gratitude.<a name="FnAnchor_17" id="FnAnchor_17" href="#Footnote_17"><span class="sp">17</span></a> This work is a +new industry of an important kind, in which art and +craft are bound up together. The day has past +when “process work” is to be looked down upon +as only fit for the cheapest, most inferior, and +inartistic results.</p> + +<p><span class="pagenum"><a name="page157" id="page157"></a>157</span></p> + +<div class="figcenter"> +<img style="border:0; width:530px; height:364px" src="images/img174.jpg" alt="" /> +<p class="caption">“THE BROOK.” (FROM A PAINTING BY ARNOLD HELCKÉ.)</p></div> + +<p class="center scs">PHOTOGRAPHIC ILLUSTRATIONS.</p> + +<p>One result of hasty work in making drawings, and +the uncertainty of reproduction, promises to be a +very serious one to the illustrator, as far as we can +see ahead, viz.: the gradual substitution of photographs +from life for other forms of illustration. +The “Meisenbach” reproduction of a photograph from +life, say a full length figure of an actress in some +elaborate costume, seems to answer the purpose of +the editor of a newspaper to fill a page, where +formerly artists and engravers would have been +employed. One reason for this is that the details +of the dress are so well rendered by photography on +<span class="pagenum"><a name="page158" id="page158"></a>158</span> +the block as to answer the purpose of a fashion +plate, an important matter in some weekly newspapers. +The result is generally unsatisfactory from +an artist’s point of view, but the picture is often +most skilfully composed and the values wonderfully +rendered, direct from the original.</p> + +<p>In the case of the reproduction of photographs, +which we are now considering, much may be done +by working up a platinotype print before giving it +out to be made into a block. Much depends here +upon the artistic knowledge of editors and publishers, +who have it in their power to have produced good +or bad illustrations from the same original. The +makers of the blocks being confined to time and +price, are practically powerless, and seldom have +an opportunity of obtaining the best results. It +should be mentioned that blocks made from wash +drawings, being shallower than those made from +line drawings, suffer more from bad printing and +paper.</p> + +<p>A good silver print (whether from a photograph +from life or from a picture), full of delicate gradations +and strong effects, appears on the plate +through the film of gauze, dull, flat, and comparatively +uninteresting; but <i>the expression of the +original is given with more fidelity</i> than could be +<span class="pagenum"><a name="page159" id="page159"></a>159</span> +done by any ordinary wood engraving. This is the +best that can be said for it, it is a dull, mechanical +process, requiring help from the maker of the blocks; +and so a system of touching on the negative (before +making the block) to bring out the lights and accents +of the picture is the common practice. This is a +hazardous business at the best, especially when dealing +with the copy of a painting. I mention it to +show where “handwork” in the half-tone process +first comes in. The block, when made, is also often +touched up by an engraver in places, especially where +spotty or too dark; and on this work many who were +formerly wood-engravers now find employment.</p> + +<p>There is no doubt that the makers of process +blocks are the best instructors as to the results +to be obtained by certain lines and combinations +of lines; but in the majority of cases they will tell +the artist too much, and lead him to take too much +interest in the mechanical side of the business. +The illustrator’s best protection against this tendency, +his whole armour and coat of mail, is to be <i>an artist +first and an illustrator afterwards</i>.</p> + +<p>This is the sum of the matter. Perhaps some +of the examples in this book may help us, and lead +to a more thorough testing of results by capable +men.</p> + +<p><span class="pagenum"><a name="page160" id="page160"></a>160</span></p> + +<p class="center scs pt2">“SKETCH.”</p> + +<p>It will be interesting here to consider the material +of which one number of an illustrated paper (<i>Sketch</i>) +is made up, and how far the artist and wood engraver +have part in it. From an economic point of view it +will be instructive. I take this “newspaper” as an +example, because it is a typical and quite “up-to-date” +publication, vieing, in circulation and importance, +with the <i>Illustrated London News</i>, both published +by the same proprietors. In one number there are +upwards of 30 pages, 10 being advertisements. There +are in all 151 illustrations, of which 63 appear in +the text part, and 88 in the advertisement pages. +Out of the text illustrations, 24 only are from +original drawings or sketches. Next are 26 <i>photographs +from life</i> (several being full pages), and 13 +reproductions from engravings, etc., reproduced +by mechanical processes—in all 63. Some of the +pages reproduced from photographs are undeniably +good, and interesting to the public, as is evidenced +by the popularity of this paper alone. In the +advertisement portion are 88 illustrations (including +many small ones), 85 of which have been engraved +on wood; a number of them are electrotypes from +old blocks, but there are many new ones every +week. The reason for using wood engraving +largely for advertisements is, that wood blocks print +more easily than “process,” when mixed with the +type, and print better (being cut deeper on the +block) where inferior paper and ink are employed. +But this class of wood engraving may be summed +up in the words of one of the craft to me lately:—“It +is not worth <i>£</i>2 a week to anybody.”</p> + +<p><span class="pagenum"><a name="page161" id="page161"></a>161</span></p> + +<div class="figcenter"> +<img style="border:0; width:450px; height:610px" src="images/img178.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXX.</p> +<p class="center">MISS KATE RORKE. (FROM “SKETCH.”)</p> +<p class="center"><i>Photographed from life by H. S. Mendelssohn</i>. <i>Reproduced by half-tone process</i>)</p> +</div> + +<p><span class="pagenum"><a name="page162" id="page162"></a>162</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page163" id="page163"></a>163</span></p> + +<p>Thus it will be seen that in the “text” part of +this newspaper two-thirds of the illustrations are produced +without the aid of artist or wood engraver!</p> + +<p>To turn to one of the latest instances where the +photographer is the illustrator. A photographer, +Mr. Burrows, of Camborne, goes down a lead mine +in Cornwall with his apparatus, and takes a series +of views of the workings, which could probably +have been done by no other means. Under most +difficult conditions he sets his camera, and by the +aid of the magnesium “flash-light,” gives us groups +of figures at work amidst gloomy and weird surroundings. +The results are exceptionally valuable +as “illustrations” in the true meaning of the word, +on account of the clear and accurate definition of +details. The remarkable part, artistically, is the +good colour and grouping of the figures.<a name="FnAnchor_18" id="FnAnchor_18" href="#Footnote_18"><span class="sp">18</span></a></p> + +<p><span class="pagenum"><a name="page164" id="page164"></a>164</span></p> + +<p>Another instance of the use of photography in +illustration. Mr. Villiers, the special artist of <i>Black +and White</i>, made a startling statement lately. He +said that out of some 150 subjects which he took at +the Chicago Exhibition, not more than half-a-dozen +were drawn by him; all the rest being “snap-shot” +photographs. Some were very good, could hardly +be better, the result of many hours’ waiting for the +favourable grouping of figures. That he would +re-draw some of them with his clever pencil for a +newspaper is possible, but observe the part photography +plays in the matter.</p> + +<p>In America novels have been thus illustrated +both in figure and landscape; the weak point being +the <i>backgrounds</i> to the figure subjects. I draw +attention to this movement because the neglect of +composition, of appropriate backgrounds, and of the +true lighting of the figures by so many young +artists, is throwing illustrations more and more into +the hands of the photographer. Thus the rapid +“pen-and-ink artist,” and the sketcher in wash from +an artificially lighted model in a crowded art school, +is hastening to his end.</p> + +<p><span class="pagenum"><a name="page165" id="page165"></a>165</span></p> + +<div class="figcenter"> +<img style="border:0; width:452px; height:610px" src="images/img182.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXI.</p> +<p class="center">(<i>A Photograph from life, by Messrs. Cameron & Smith. Reproduced by half-tone process.</i>)</p> +</div> + +<p><span class="pagenum"><a name="page166" id="page166"></a>166</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page167" id="page167"></a>167</span></p> + +<p>The time is coming fast when cheap editions of +popular novels will be illustrated—and many in the +following way. The artist, instead of being called +upon to draw, will occupy himself in setting and +composing pictures through the aid of models +trained for the purpose, and the ever-ready photographer. +The “process man” and the clever manipulator +on the plates, will do the rest, producing pictures +vignetted, if desired, as overleaf. Much more the +makers of blocks can do—and will do—with the +photographs now produced, for they are earnest, untiring, +ready to make sacrifices of time and money.</p> + +<p>The cheap dramatic illustrations, just referred to, +which artists’ models in America know so well how +to pose for, may be found suitable from the commercial +point of view for novels of the butterfly +kind; but they will seldom be of real artistic interest. +And here, for the present, we may draw the line +between the illustrator and the photographer. But +the “black and white man” will obviously have to +do his best in every branch of illustration to hold his +own in the future. It may be thought by some artists +that these things are hardly worth consideration; +but we have only to watch the illustrations appearing +week by week to see whither we are tending.<a name="FnAnchor_19" id="FnAnchor_19" href="#Footnote_19"><span class="sp">19</span></a></p> + +<p><span class="pagenum"><a name="page168" id="page168"></a>168</span></p> + +<p>The last example of the photographer as +illustrator, which can be given here, is where a +photograph from life engraved on wood is published +as a vignette illustration.<a name="FnAnchor_20" id="FnAnchor_20" href="#Footnote_20"><span class="sp">20</span></a> It is worth observing, +because it has been turned into line by the wood +engraver, and serves for printing purposes as a +popular illustration. The original might have been +more artistically posed, but it is pretty as a vignette, +and pleases the public. (<i>See</i> opposite page.)</p> + +<p>There are hundreds of such subjects now produced +by the joint aid of the photographer and the +process engraver. It is not the artist and the wood +engraver who are really “working hand-in-hand” +in these days in the production of illustrations, but +<i>the photographer and the maker of process blocks</i>. +This is significant. Happily for us there is much +that the photographer cannot do pictorially. But +the photographer is, as I said, marching on and +on, and the line of demarcation between handwork +and photographic illustrations becomes less marked +every day.</p> + +<p>The photographer’s daughter goes to an art +school, and her influence is shown annually in +the exhibitions of the photographic societies.</p> + +<p><span class="pagenum"><a name="page169" id="page169"></a>169</span></p> + +<div class="figcenter"> +<img style="border:0; width:583px; height:600px" src="images/img186.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXII.</p> +<p class="center">(<i>A Photograph from life, engraved on wood.</i>)</p> +</div> + +<p><span class="pagenum"><a name="page170" id="page170"></a>170</span></p> + +<p>This influence and this movement is so strong—and +vital to the artist—that it cannot be emphasised +too much. The photographer is ever in our +midst, correcting our drawing with facts and +details which no human eye can see, and no one +mind can take in at once.</p> + +<p>On the obligations of artists to photographers +a book might be written. The benefits are not, +as a rule, unacknowledged; nor are the bad +influences of photography always noticed. That +is to say, that before the days of photography, +the artist made himself acquainted with many +things necessary to his art, for which he now +depends upon the photographic lens; in short, +he uses his powers of observation less than he +did a few years ago. That the photographer +leads him astray sometimes is another thing to +remember.</p> + +<p>The future of the illustrator being uppermost in +our thoughts, let us consider further the influences +with which he is surrounded. As to photography, +Mr. William Small, the well-known illustrator (who +always draws for wood engraving), says:—“it will +never take good work out of a good artist’s hands.” +He speaks as an artist who has taken to illustration +seriously and most successfully, having devoted the +<span class="pagenum"><a name="page171" id="page171"></a>171</span> +best years of his life to its development. The moral +of it is, that in whatever material or style newspaper +illustrations are done, to hold their own they must +be of the best. Let them be as slight as you please, +if they be original and good. In line work (the best +and surest for the processes) photography can only +be the servant of the artist, not the competitor—and +in this direction there is much employment to +be looked for. At present the influence is very +much the other way; we are casting off—ungratefully +it would seem—the experience of the lifetime +of the wood engraver, and are setting in its place an +art half developed, half studied, full of crudities and +discords. The illustrations which succeed in books +and newspapers, succeed for the most part from +sheer ability on the part of the artist; <i>they are full +of ability</i>, but, as a rule, are bad examples for +students to copy. “Time is money” with these +brilliant executants; they have no time to study the +value of a line, nor the requirements of the processes, +and so a number of drawings are handed +to the photo-engravers—which are often quite unfitted +for mechanical reproduction—to be produced +literally in a few hours. It is an age of vivacity, +daring originality, and reckless achievement in +illustration. “Take it up, look at it, and throw it +<span class="pagenum"><a name="page172" id="page172"></a>172</span> +down,” is the order of the day. There is no reason +but an economic one why the work done “to look at” +should not be as good as the artist can afford to +make it. The manufacturer of paperhangings or +printed cottons will produce only a limited quantity +of one design, no matter how beautiful, and then go +on to another. So much the better for the designer, +who would not keep employment if he did not do +his best, no matter whether his work was to last for +a day or for a year. The life of a single number of +an illustrated newspaper is a week, and of an illustrated +book about a year.</p> + +<p>The young illustrators on the <i>Daily Graphic</i>—notably +Mr. Reginald Cleaver—obtain the maximum +of effect with the minimum of lines. Thus +Caldecott worked, spending hours sometimes studying +the art of leaving out. Charles Keene’s +example may well be followed, making drawing after +drawing, no matter how trivial the subject, until he +was satisfied that it was right. “Either right or +wrong,” he used to say; “’right enough’ will not +do for me.”</p> + +<p><span class="pagenum"><a name="page173" id="page173"></a>173</span></p> + +<div class="figcenter"> +<img style="border:0; width:426px; height:610px" src="images/img190.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXIII.</p> +<p class="center scs">“PROUD MAIRIE.” (LANCELOT SPEED.) +<br />(<i>From “The Blue Poetry Book.” London: Longmans.</i>) +<br />Pen-and-ink drawing by line process.</p> +</div> + +<p><span class="pagenum"><a name="page174" id="page174"></a>174</span></p> + +<p>Another influence on modern illustration—for +good or bad—is the electric light. It enables the +photographic operator to be independent of dark +and foggy days, and to put a search-light upon +objects which otherwise could not be utilised. So +far good. To the illustrator this aid is often a +doubtful advantage. The late Charles Keene (with +whom I have had many conversations on this +subject) predicted a general deterioration in the +quality of illustrations from what he called “unnatural +and impossible effects,” and he made one or +two illustrations in <i>Punch</i> of figures seen under the +then—(10 or 15 years ago)—novel conditions of +electric street lighting, one of which represented +a man who has been “dining” returning home +through a street lighted up by electric lamps, tucking +up his trowsers to cross a black shadow which +he takes for a stream. Charles Keene’s predictions +have come true, we see the glare of the magnesium +light on many a page, and the unthinking public is +dazzled every week in the illustrated sheets with +these “unnatural and impossible effects.”</p> + +<p>Thus it has come about that what was looked +upon by Charles Keene as garish, exaggerated, and +untrue in effect, is accepted to-day by the majority +of people as a lively and legitimate method of +illustration.</p> + +<p><span class="pagenum"><a name="page175" id="page175"></a>175</span></p> + +<p class="center scs pt2">DANIEL VIERGE.</p> + +<p>One of the influences on the modern illustrator—a +decidedly adverse influence on the unlearned—is +the prominence which has lately been given to the +art of Daniel Vierge.</p> + +<p>There is probably no illustrator of to-day who +has more originality, style, and versatility—in short +more genius—than Vierge, and none whose work, +for practical reasons, is more misleading to students.</p> + +<p>As to his illustrations, from the purely literary +and imaginative side, they are as attractive to the +scholar as drawings by Holbein or Menzell are to +the artist. Let us turn to the illustration on the +next page, from the <i>Pablo de Segovia</i> by Quevedo; +an example selected by the editor, or publisher, +of the book as a specimen page.</p> + +<p>First, as to the art of it. Nothing in its own +way could be more fascinating in humour, vivacity, +and character than this grotesque duel with long +ladles at the entrance to an old Spanish posada. +The sparkle and vivacity of the scene are inimitable; +the bounding figure haunts the memory with its +diaphanous grace, touched in by a master of +expression in line. In short, we are in the presence +of genius.</p> + +<p><span class="pagenum"><a name="page176" id="page176"></a>176</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page177" id="page177"></a>177</span></p> + +<div class="figcenter"> +<img style="border:0; width:610px; height:555px" src="images/img194.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXIV.</p> +<p>Example of <span class="sc">Daniel Vierge’s</span> illustrations to +<i>Pablo de Segovia</i>, the Spanish Sharper, by Francisco +de Quevedo-Villegas, first published in Paris, in +1882; afterwards translated into English (with an +Essay on Quevedo, by H. E. Watts, and comments +on Vierge’s work by Joseph Pennell), and published +by Mr. T. Fisher Unwin, in 1892.</p> + +<p>Vierge was born in 1851, and educated in Madrid, +where he spent the early years of his life. Since +1869 he has lived in Paris, and produced numerous +illustrations for <i>Le Monde Illustré</i> and <i>La Vie Moderne</i>, +and other works. His fame was made in 1882 by +Quevedo’s <i>Pablo de Segovia</i>, the illustrations to which +he was unable to complete owing to illness and +paralysis. About twenty of these illustrations were +drawn with the left hand, owing to paralysis of the +right side. His career, full of romantic interest, +suggests the future illustrator of <i>Don Quixote</i>.</p> + +<p>These drawings were made upon white paper—Bristol +board or drawing paper—with a pen and +Indian ink; but Vierge now uses a glass pen, like an +old stylus. The drawings were then given to Gillot, +the photo-engraver of Paris, who, by means of +photography and <i>handwork</i>, produced metal blocks +to be printed with the type.</p></div> + +<p><span class="pagenum"><a name="page178" id="page178"></a>178</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page179" id="page179"></a>179</span></p> + +<p>But the whole effect is obviously untrue to nature, +and the tricks—of black spots, of exaggerated +shadows on the ground, of scratchings (and of carelessness, +which might be excused in a hasty sketch +for <i>La Vie Moderne</i>)—are only too apparent.</p> + +<p>In nearly every illustration in the <i>Pablo de Segovia</i> +(of which there are upwards of one hundred), +the artist has relied for brilliancy and effect on +patches of black (sometimes ludicrously exaggerated) +and other mannerisms, which we accept from a +genius, but which the student had better not +attempt to imitate. To quote a criticism from the +<i>Spectator</i>, “There is almost no light and shade in +Vierge. There is an ingenious effect of dazzle, but +there is no approach attempted to truth of tone, +shadows being quite capriciously used for decoration +and supplied to figures that tell as light objects +against the sky which throws the shadows.” And +yet in these handsome pages there are gems of +draughtsmanship and extraordinary <i>tours de force</i> +in illustration.</p> + +<p>In the reproduction of these drawings, I think +the maker of the blocks, M. Gillot, of Paris, would +seem to have had a difficult task to perform. +The fact is, that Vierge’s wonderful line drawings +are sometimes as difficult to reproduce for the +<span class="pagenum"><a name="page180" id="page180"></a>180</span> +type press as those of Holbein or Menzell, and +could only be done satisfactorily by one of the +intaglio processes, such as that employed by the +Autotype Company in <i>éditions de luxe</i>. That +Vierge’s drawings were worthy of this anyone who +saw the originals when exhibited at Barnard’s Inn +would, I think, agree.</p> + +<p>It is the duty of any writer or instructor in +illustration, to point out these things, once for all. +That Vierge could adapt himself to almost any +process if he pleased, is demonstrated repeatedly in +the <i>Pablo de Segovia</i>, where (as on pages 63 and 67 +of that book) the brilliancy and “colour” of pure +line by process has hardly ever been equalled. That +some of his illustrations are impossible to reproduce +well, and have been degraded in the process is also +demonstrated on page 199 of the same book, where +a mechanical grain has been used to help out the +drawing, and the lines have had to be cut up and “rouletted” +on the block to make them possible to print.</p> + +<p>Of the clever band of illustrators of to-day who +owe much of their inspiration (and some of their +tricks of method) to Vierge, it is not necessary to +speak here; we are in an atmosphere of genius in +this chapter, and geniuses are seldom safe guides to +students of art.</p> + +<p><span class="pagenum"><a name="page181" id="page181"></a>181</span></p> + +<p>Speaking generally (and these remarks refer to +editors and publishers as well as draughtsmen), the +art of illustration as practised in England is far from +satisfactory; we are too much given to imitating +the tricks and prettinesses of other nations, and +it is quite the exception to find either originality or +individuality on the pages which are hurled from +the modern printing press; individuality as seen +in the work of Adolphe Menzell, and, in a different +spirit, in that of Gustave Doré and Vierge.</p> + +<div class="center"> +<img style="border:0; width:400px; height:421px" src="images/img198.jpg" alt="" /></div> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_12" id="Footnote_12" href="#FnAnchor_12"><span class="fn">12</span></a> The heading to this chapter was drawn in line and reproduced +by photo-zinc process. (See page 134.)</p> + +<p><a name="Footnote_13" id="Footnote_13" href="#FnAnchor_13"><span class="fn">13</span></a> The mechanical processes, neglected and despised by the +majority of illustrators for many years, have, by a sudden freak of +fashion, apparently become so universal that, it is estimated, +several thousand blocks are made in London alone every week.</p> + +<p><a name="Footnote_14" id="Footnote_14" href="#FnAnchor_14"><span class="fn">14</span></a> This excellent drawing was made on rough white paper +with autographic chalk; the print being much reduced in size. +It is seldom that such a good grey block can be obtained by this +means.</p> + +<p><a name="Footnote_15" id="Footnote_15" href="#FnAnchor_15"><span class="fn">15</span></a> The young artist would be much better occupied in learning +<i>drawing on stone</i> direct, a branch of art which does not come +into the scope of this book, as it is seldom used in book +illustration, and cannot be printed at the type press. Drawing +on stone is well worthy of study now, for the art is being revived +in England on account of the greater facilities for printing than +formerly.</p> + +<p><a name="Footnote_16" id="Footnote_16" href="#FnAnchor_16"><span class="fn">16</span></a> The evil of it is that <i>we are becoming used to black blots</i> in +the pages of books and newspapers, and take them as a matter of +course; just as we submit to the deformity of the outward man +in the matter of clothing.</p> + +<p><a name="Footnote_17" id="Footnote_17" href="#FnAnchor_17"><span class="fn">17</span></a> On the opposite page is an excellent reproduction of a +painting from a photograph by the half-tone process.</p> + +<p><a name="Footnote_18" id="Footnote_18" href="#FnAnchor_18"><span class="fn">18</span></a> “<i>’Mongst Mines and Miners</i>,” by J. C. Burrows and +W. Thomas. (London: Simpkin, Marshall & Co.)</p> + +<p><a name="Footnote_19" id="Footnote_19" href="#FnAnchor_19"><span class="fn">19</span></a> Both Mr. Cameron’s and Mr. Mendelssohn’s photographs +have had to be slightly cut down to fit these pages. But as +illustrations they are, I think, remarkable examples of the +photographer’s and the photo-engraver’s art.</p> + +<p><a name="Footnote_20" id="Footnote_20" href="#FnAnchor_20"><span class="fn">20</span></a> From the <i>Graphic</i> newspaper, 28th October, 1893.</p> +</div> + +<hr class="art" /> +<p><span class="pagenum"><a name="page182" id="page182"></a>182</span></p> + +<div class="figcenter"> +<img style="border:0; width:470px; height:154px" src="images/img199.jpg" alt="" /> +<p class="caption">FROM “GRIMM’S HOUSEHOLD STORIES.” (WALTER CRANE.)</p></div> + + +<h3>CHAPTER V.</h3> + +<h5>WOOD ENGRAVINGS.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:61px" src="images/img199b.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">O turn to a more practical side of book +illustration. The first principle of +illustration is to <i>illustrate</i>, and yet it is +a fact that few illustrations in books or +magazines are to be found in their proper places in +the text.</p> + +<p>It is seldom that the illustration (so called) is in +artistic harmony with the rest of the page, as it +is found in old books. One of the great charms +of Bewick’s work is its individuality and expressive +character. Here the artist and engraver were one, +and a system of illustration was founded in England +a hundred years ago which we should do well not +to forget.<a name="FnAnchor_21" id="FnAnchor_21" href="#Footnote_21"><span class="sp">21</span></a></p> + +<p><span class="pagenum"><a name="page183" id="page183"></a>183</span></p> + +<p>We are fast losing sight of first principles and aiming +rather at catching the eye and the public purse +with a pretty page; and in doing this we are but +imitators. In the English magazines it is strange +to find a slavish, almost childish imitation of the +American system of illustration; adopting, for +instance, the plan of pictures turned over at the +corners or overlapping each other with exaggerated +black borders and other devices of the album of the +last generation. This is what we have come to in +England in 1894 (with excellent wood engravers +still), and the kind of art by which we shall be +remembered at the end of the nineteenth century! +I am speaking of magazines like <i>Good Words</i> and +<i>Cassell’s Magazine</i>, where wood engraving is still +largely employed.</p> + +<p>It may be as well to explain here that the reasons +for employing the medium of wood engraving for +elaborate illustrations which, such as we see in +American magazines, were formerly only engraved +on copper or steel, are—(1) rapidity of production, +and (2) the almost illimitable number of copies that +can be produced from casts from wood blocks. +The broad distinction between the old and new +methods of wood engraving is, that in early days +the lines were drawn clearly on the wood block and +<span class="pagenum"><a name="page184" id="page184"></a>184</span> +the part not drawn cut away by the engraver, who +endeavoured to make a perfect fac-simile of the +artist’s lines. It is now a common custom to +transfer a photograph from life on to the wood +block (<i>see p. 167</i>), also to draw on the wood with a +brush in tint, and even to photograph a water-colour +drawing on to the wood, leaving the engraver to +turn the tints into lines in his own way.</p> + +<p>In the very earliest days of book illustration, +before movable type-letters were invented, the +illustration and the letters of the text were all +engraved on the wood together, and thus, of +necessity (as in the old block books produced in +Holland and Belgium in the fifteenth century), +there was character and individuality in every page; +the picture, rough as it often was, harmonising with +the text in an unmistakable manner. From an +artistic point of view, there was a better balance of +parts and more harmony of effect than in the more +elaborate illustrations of the present day. The +illustration was an illustration in the true sense of +the word. It interpreted something to the reader +that words were incapable of doing; and even when +movable type was first introduced, the simple +character of the engravings harmonised well with +the letters. There is a broad line of demarcation, +<span class="pagenum"><a name="page185" id="page185"></a>185</span> +indeed, between these early wood engravings (such, +for instance, as the “Ars Moriendi,” purchased +for the British Museum in 1872, from the Weigel +collection at Leipsic, and recently reproduced by +the Holbein Society) and the last development +of the art in the American magazines. The +movement is important, because the Americans, +with an energy and <i>naïveté</i> peculiar to them, have +set themselves the task of outstripping all nations +in the beauty and quality of magazine illustrations. +That they have succeeded in obtaining delicate +effects, and what painters call colour, through the +medium of wood-engraving, is well known, and it +is common to meet people in England asking, +“Have you seen the last number of <i>Harper’s</i> or +the <i>Century Magazine</i>?” The fashion is to admire +them, and English publishers are easily found to +devote time and capital to distributing American +magazines (which come to England free of duty), +to the prejudice of native productions. The reason +for the excellence (which is freely admitted) of +American wood-engraving and printing is that, in +the first place, more capital is employed upon the +work. The American wood-engraver is an artist in +every sense of the word, and his education is not +considered complete without years of foreign study. +The American engraver is always <i>en rapport</i> with +the artist—an important matter—working often, +as I have seen them at <i>Harper’s</i>, the <i>Century +Magazine</i>, and <i>Scribner’s</i> in New York, in the same +studio, side by side. In England the artist, as a +rule, does not have any direct communication with +the wood engraver. In America the publisher, +having a very large circulation for his works, is able +to bring the culture of Europe and the capital of +his own country to the aid of the wood-engraver, +spending sometimes five or six hundred pounds on +the illustrations of a single number of a monthly +magazine. The result is <i>an engraver’s success</i> of a +very remarkable kind.</p> + +<p><span class="pagenum"><a name="page186" id="page186"></a>186</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page187" id="page187"></a>187</span></p> + +<div class="figcenter"> +<img style="border:0; width:437px; height:610px" src="images/img204.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXV.</p> +<p class="center f90">(<i>Photograph from life, engraved on wood. From the Century Magazine.</i>)</p> +<p class="center"><i>A Portrait</i> engraved on wood at the Office of the +<br /><span class="sc">Century Magazine</span>.</p> +<p>Example of portraiture from the <i>Century Magazine</i>. +It is interesting to note the achievements of the +American engravers at a time when wood engraving +in England is under a cloud.</p> + +<p>This portrait was photographed from life and +afterwards worked up by hand and most skilfully +engraved in New York.</p></div> + +<p><span class="pagenum"><a name="page188" id="page188"></a>188</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page189" id="page189"></a>189</span></p> + +<p>A discussion of the merits of the various styles +of wood engraving, and of the different methods +of drawing on wood, such as that initiated by the +late Frederick Walker, A. R. A.; the styles of Mr. +William Small, E. A. Abbey, Alfred Parsons, etc.—does +not come into the scope of this publication, +but it will be useful to refer to one or two +opinions on the American system.</p> + +<div class="quote"> +<p>“Book illustration as an art,” as Mr. Comyns Carr pointed +out in his lectures at the Society of Arts ten years ago, “is +founded upon wood engraving, and it is to wood engraving that +we must look if we are to have any revival of the kind of beauty +which early-printed books possess. In the mass of work now +<span class="pagenum"><a name="page190" id="page190"></a>190</span> +produced, there is very little trace of the principles upon which +Holbein laboured. Instead of proceeding by the simplest +means, our modern artist seems rather by preference to take the +most difficult and complex way of expressing himself. A wood +engraving, it is not unjust to say, has become scarcely distinguishable +from a steel engraving excepting by its inferiority.”</p></div> + +<p>Mr. Hubert Herkomer, R. A., who has had a +very wide experience in the graphic arts, says:—</p> + +<div class="quote"> +<p>“In modern times a body of engravers has been raised up who +have brought the art of engraving on wood to such a degree +of perfection, that the most modern work, especially that of the +Americans, is done to show <i>the skill of the engraver</i> rather than +the art of the draughtsman. This, I do not hesitate to say, is a +sign of decadence. Take up any number of the <i>Century</i> or +<i>Harper’s</i> magazines, and you will see that effect is the one aim. +You marvel at the handling of the engraver, and forget the +artist. Correct, or honest, drawing is no longer wanted. This +kind of illustration is most pernicious to the student, and <i>will +not last</i>....</p> + +<p>“America is a child full of promise in art—a child that is +destined to be a great master; so let us not imitate its youthful +efforts or errors. Americans were the first to foster this style of +art, and they will be the first to correct it.”</p></div> + +<p>Mr. W. J. Linton, the well-known wood engraver, +expresses himself thus strongly on the modern +system, and his words come with great force from +the other side of the Atlantic:—</p> + +<div class="quote"> +<p>“Talent is misapplied when it is spent on endeavours to rival +steel-line engraving or etching, in following brush-marks, in +pretending to imitate crayon-work, charcoal, or lithography, and +in striving who shall scratch the greatest number of lines on a +<span class="pagenum"><a name="page191" id="page191"></a>191</span> +given space without thought of whether such multiplicity of lines +adds anything to the expression of the picture or the beauty of +the engraving. How much of talent is here thrown away! How +much of force that should have helped towards growth is wasted +in this slave’s play for a prize not worth having—the fame of +having well done the lowest thing in the engraver’s art, and +having for that neglected the study of the highest! For it is the +lowest and the last thing about which an artist should concern +himself, this excessive fineness and minuteness of work.... +In engraving, as in other branches of art, <i>the first thing is +drawing, the second drawing, the third drawing</i>.”</p></div> + +<p>This is the professional view, ably expressed, of +a matter which has been exercising many minds +of late; and is worth quoting, if only to show the +folly of imitating a system acknowledged by experts +to be founded on false principles.</p> + +<p>But there is another view of the matter which +should not be lost sight of. Whatever the opinion +of the American system of illustration may be, there +is, on the other side of the Atlantic, an amount of +energy, enterprise, cultivation of hand and eye, +delicacy of manipulation, and individual industry, +cleverly organised to provide a wide continent +with a better art than anything yet attempted in +any country. Some fine engravings, which the +Americans have lately been distributing amongst +the people, such, for instance, as the portraits (engraved +from photographs from life) which have +<span class="pagenum"><a name="page192" id="page192"></a>192</span> +appeared in <i>Harper’s</i> and the <i>Century</i> magazines, +only reach the cultivated few in Europe in expensive +books. It is worth considering what the ultimate +art effect of this widespread distribution will be. +The “prairie flower” holds in her hand a better +magazine, as regards illustrations, than anything +published in England at the same price; and a +taste for delicate and refined illustration is being +fostered amongst a variety of people on the western +continent, learned and unlearned. That there is a +want of sincerity in the movement, that “things +are not exactly what they seem,” that something +much better might be done, may be admitted; +but it will be well for our illustrators and art +providers to remember that the Americans are +advancing upon us with the power of capital and +ever-increasing knowledge and cultivation. In the +<i>Century</i> magazine, ten years ago, there was an +article on “The Pupils of Bewick,” with illustrations +admirably reproduced from proofs of early wood +engravings, by “photo-engraving.”</p> + +<p>This is noteworthy, as showing that the knowledge +of styles is disseminated everywhere in +America; and also, how easy it is to reproduce +engravings by “process,” and how <i>important to +have a clear copyright law on this subject</i>.</p> + +<p><span class="pagenum"><a name="page193" id="page193"></a>193</span></p> + +<p>Of the English wood engravers, and of the +present state of the profession in England much +has been written. I believe the fact remains that +commercial wood engraving is still relied on by +many editors and publishers, as it prints with more +ease and certainty than any of the process blocks.</p> + +<p>That there are those in England (like Mr. +Biscombe Gardner and others, whose work I am +unable to reproduce here), that believe in wood +engraving still as a vital art, capable of the highest +results, I am also well aware. But at the moment +of writing it is difficult to get many publishers to +expend capital upon it for ordinary illustrations.</p> + +<p>On the next page is an example of good wood +engraving.</p> + +<div class="figcenter"> +<img style="border:0; width:500px; height:298px" src="images/img210.jpg" alt="" /> +<p class="caption">“DRIVING HOME THE PIGS.” (JOHN PEDDER.) +<br />(<i>Academy Notes, 1891.</i>)</p></div> + +<p><span class="pagenum"><a name="page194" id="page194"></a>194</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page195" id="page195"></a>195</span></p> + +<div class="figcenter"> +<img style="border:0; width:442px; height:610px" src="images/img212.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXVI.</p> +<p class="center"><i>Joan of Arc’s House at Rouen</i>, by the late +<br /><span class="sc">Samuel Prout</span>.</p> +<p>Engraved on wood by Mr. J. D. Cooper, from a +water-colour drawing by Samuel Prout.</p> + +<p>The original drawing, made with a reed pen and +flat washes of colour, was photographed on to the +wood block, and the engraver interpreted the various +tints into line. The method is interesting, and the +tones obtained in line show the resources of the +engraver’s art, an art rather carelessly set aside in +these days.</p> + +<p>This engraving is from <i>Normandy Picturesque</i>. +(London: Sampson Low & Co.)</p></div> + +<p><span class="pagenum"><a name="page196" id="page196"></a>196</span></p> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_21" id="Footnote_21" href="#FnAnchor_21"><span class="fn">21</span></a> In <i>The Life and Works of Thomas Bewick</i>, by D. C. +Thomson; in <i>The Portfolio</i>, <i>The Art Journal</i>, <i>The Magazine of +Art</i>, and in <i>Good Words</i>, Bewick’s merits as artist and engraver +have been exhaustively discussed.</p> +</div> + +<hr class="art" /> +<p><span class="pagenum"><a name="page197" id="page197"></a>197</span></p> + + +<div class="figcenter"> +<img style="border:0; width:320px; height:333px" src="images/img214a.jpg" alt="" /> +<p class="caption">DESIGN BY WALTER CRANE.</p></div> + +<h3>CHAPTER VI.</h3> + +<h5>THE DECORATIVE PAGE.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img214b.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">To turn next to the more decorative side +of modern illustration, where design +and the <i>ensemble</i> of a printed page +are more considered, it is pleasant to +be able to draw attention to the work of an art +school, where an educated and intelligent mind +seems to have been the presiding genius; where +the illustrators, whilst they are fully imbued with +the spirit of the past, have taken pains to adapt +their methods to modern requirements. I refer to +the Birmingham Municipal School of Art.</p> + +<p><span class="pagenum"><a name="page198" id="page198"></a>198</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page199" id="page199"></a>199</span></p> + +<div class="figcenter"> +<img style="border:0; width:391px; height:620px" src="images/img216.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXVII.</p> +<p class="center"><i>Decorative Page</i>, by <span class="sc">A. J. Gaskin</span>. +<br /><span class="f90">(From Hans Andersen’s <i>Fairy Tales</i>. London: George Allen.)</span></p> +<p>This is a good example of the appropriate +decoration of a page without any illustration in the +ordinary sense of the word. The treatment of +ornament harmonises well with old-faced type letter.</p> + +<p>The original was drawn in pen and ink, about +<i>the same size</i> as the reproduction. The ground +is excellent in colour, almost equal to a wood +engraving.</p> + +<p>This is another example of the possibilities of +process, rightly handled, and also of effect produced +<i>without reduction</i> of the drawing.</p></div> + +<p><span class="pagenum"><a name="page200" id="page200"></a>200</span></p> + +<p>Whilst using wood engraving freely, the illustrators +of Birmingham (notably Mr. Gaskin), are +showing what can be done in line drawing by the +relief processes, to produce colour and ornament +which harmonise well with the letterpress of a book. +This seems an important step in the right direction, +and if the work emanating from this school were +less, apparently, confined to an archaic style, to +heavy outline and mediæval ornament (I speak +from what I see, not knowing the school personally), +there are possibilities for an extended popularity for +those who have worked under its influence.<a name="FnAnchor_22" id="FnAnchor_22" href="#Footnote_22"><span class="sp">22</span></a></p> + +<p>The examples of decorative pages by experienced +illustrators like Mr. Walter Crane and others, +will serve to remind us of what some artists are +doing. But the band of illustrators who consider +design is much smaller than it should be, and than +it will be in the near future. A study of the past, +if it be only in the pages of mediæval books, will +greatly aid the student of design. In the Appendix +I have mentioned a few fine examples of decorative +pages, with and without illustrations, which may be +usefully studied at the British Museum.</p> + +<p><span class="pagenum"><a name="page201" id="page201"></a>201</span></p> + +<div class="figcenter"> +<img style="border:0; width:384px; height:620px" src="images/img218.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXVIII.</p> +</div> + +<p><span class="pagenum"><a name="page202" id="page202"></a>202</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page203" id="page203"></a>203</span></p> + +<p>In all these pages, it will be observed, what is +called “colour” in black and white is preserved +throughout; showing that a page can be thoroughly +decorative without illustrations to the text. Closely +criticised, some of the old block designs may appear +crude and capable of more skilful treatment, but the +pages, as a rule, show the artistic sense—unmistakably, +mysteriously, wonderfully.</p> + +<p>In these and similar pages, such, for instance, as +<i>Le Mer des Histoires</i>, produced in Paris by Pierre +le Rouge in 1488 (also in the British Museum), +the harmony of line drawing with the printed letters +is interesting and instructive. (<i>See Appendix.</i>)</p> + +<p>It is in the production of the decorative page that +wood engraving asserts its supremacy still in some +quarters, as may be seen in the beautiful books +produced in England during the past few years by +Mr. William Morris, where artist, wood engraver, +typefounder, papermaker, printer, and bookbinder +work under the guiding spirit (when not the actual +handwork) of the author. They are interesting to +us rather as exotics; an attempt to reproduce the +exact work of the past under modern conditions, +conditions which render the price within reach only +of a few, but they are at least a protest against the +modern shams with which we are all familiar.</p> + +<p><span class="pagenum"><a name="page204" id="page204"></a>204</span></p> + +<p>The nineteenth-century author’s love for the +literature of his past has led him to imitate not +only the style, but the outward aspect of old books; +and by a series of frauds (to which his publisher +has lent himself only too readily) to produce something +which appears to be what it is not.</p> + +<p>The genuine outcome of mediæval thought and +style—of patience and leisure—seems to be treated +at the end of the nineteenth century as a fashion +to be imitated in books, such as are to be seen +under glass cases in the British Museum. It is +to be feared that the twentieth-century reader, +looking back, will see few traces worth preserving, +either of originality or of individuality in the work +of the present.</p> + +<p>What are the facts? The typefounder of to-day +takes down a Venetian writing-master’s copybook +of the fifteenth century, and, imitating +exactly the thick downward strokes of the reed +pen, forms a set of movable type, called in +printer’s language “old face”; a style of letter +much in vogue in 1894, but the style and character +of which belongs altogether to the past. Thus, +with such aids, the man of letters of to-day—living +in a whirl of movement and discovery—clothes +himself in the handwriting of the Venetian +scholar as deliberately as the Norwegian dons a +bear-skin.</p> + +<p><span class="pagenum"><a name="page205" id="page205"></a>205</span></p> + +<div class="figcenter"> +<img style="border:0; width:466px; height:600px" src="images/img222.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XXXIX.</p> +<p class="center">DESIGN FOR THE TITLE PAGE OF THE “HOBBY-HORSE.” (SELWYN IMAGE.) +<br />(<i>This is a reduction by process from a large quarto wood engraving</i>.)</p> +</div> + +<p><span class="pagenum"><a name="page206" id="page206"></a>206</span></p> + +<p>The next step is to present in his book a series +of so-called “engravings,” which are not engravings +but reproductions by process of old prints. +The “advance of science” in producing photo-relief +blocks from steel and other <i>intaglio</i> plates +for the type printing press, at a small cost per +square inch, is not only taking from the artistic +value of the modern <i>édition de luxe</i>, but also +from its interest and genuineness.</p> + +<p>The next step is to manufacture rough-edged, +coarse-textured paper, purporting to be carefully +“hand-made.” The rough edge, which was a +necessity when every sheet of paper was finished +by hand labour, is now imitated successfully by +machinery, and is handled lovingly by the bookworm +of to-day, regardless of the fact that these +roughened sheets can be bought by the pound in +Drury-lane. The worst, and last fraud (I can +call it no less) that can be referred to here is, +that the clothing—the “skin of vellum”—that +appropriately encloses our modern <i>édition de luxe</i> +is made from pulp, rags, and other <i>débris</i>. That +the gold illuminations on the cover are no longer +real gold, and that the handsomely bound book, +<span class="pagenum"><a name="page207" id="page207"></a>207</span> +with its fair margins, cracks in half with a “bang,” +when first opened, are other matters connected with +the discoveries of science, and the substitution of +machinery for hand labour, which we owe to +modern enterprise and invention.<a name="FnAnchor_23" id="FnAnchor_23" href="#Footnote_23"><span class="sp">23</span></a></p> + +<p>Looking at the “decorative pages” in most books, +and remembering the achievements of the past, one +is inclined to ask—Is the “setting-out of a page” one +of the lost arts, like the designing of a coin? What +harmony of style do we see in an ordinary book? +How many authors or illustrators of books show +that they care for the “look” of a printed page? +The fact is, that the modern author shirks his +responsibilities, following the practice of the greatest +writers of our day. There are so many “facilities”—as +they are called—for producing books that the +author takes little interest in the matter. Mr. +Ruskin, delicate draughtsman as he is known to be, +has contributed little to the <i>ensemble</i> or appearance +of the pages that flow from the printing press of +Mr. Allen, at Orpington. His books are well +printed in the modern manner, but judged by examples +of the past, a deadly monotony pervades the +<span class="pagenum"><a name="page208" id="page208"></a>208</span> +page; the master’s noblest thoughts are printed +exactly like his weakest, and are all drawn out +in lines together as in the making of macaroni! +Mr. Hamerton, artist as well as author, is content to +describe the beauty of forest trees, ferns and flowers, +the variety of underwood and the like (nearly every +word, in an article in the <i>Portfolio</i>, referring to +some picturesque form or graceful line), without +indicating the varieties pictorially on the printed +page. The late Lord Tennyson and other poets +have been content for years to sell their song by the +line, little heeding, apparently, in what guise it was +given to the world.</p> + +<p>In these days the monotony of uniformity +seems to pervade the pages, alike of great and +small, and a letter from a friend is now often +printed by a machine!</p> + +<div class="center"> +<img style="border:0; width:450px; height:157px" src="images/img225.jpg" alt="" /></div> + +<p><span class="pagenum"><a name="page209" id="page209"></a>209</span></p> + +<div class="figcenter"> +<img style="border:0; width:496px; height:600px" src="images/img226.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XL.</p> +<p class="center">“SCARLET POPPIES.” (W. J. MUCKLEY.)</p> +<p>This beautiful piece of pen work by Mr. Muckley (from his picture in the +Royal Academy, 1885) was too delicate in the finer passages to reproduce well +by any relief process (the pale lines having come out black); but as an +example of breadth, and indication of surfaces in pen and ink, it could hardly +be surpassed.</p></div> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_22" id="Footnote_22" href="#FnAnchor_22"><span class="fn">22</span></a> I mention this school as a representative one; there are +many others where design and wood engraving are studied under +the same roof with success in 1894.</p> + +<p><a name="Footnote_23" id="Footnote_23" href="#FnAnchor_23"><span class="fn">23</span></a> Mr. Cobden Sanderson’s lecture on <span class="sc">Bookbinding</span>, read +before the “Arts and Crafts Society,” is well worth the attention +of book lovers.</p> +</div> + +<p><span class="pagenum"><a name="page210" id="page210"></a>210</span></p> +<hr class="art" /> +<p><span class="pagenum"><a name="page211" id="page211"></a>211</span></p> + + +<h3>CHAPTER VII.</h3> + +<h5>AUTHOR, ILLUSTRATOR, AND PUBLISHER.</h5> + +<table class="nobctr" style="float: left; width: 80px;" summary="Illustration"> +<tr><td class="figleft1"><img style="width:60px; height:61px" src="images/img228.jpg" alt="" /></td></tr> +</table> + +<p class="chaps">ET us now consider shortly the Author, +the Illustrator, and the Publisher, and +their influence on the appearance and +production of a book. If it be impossible +in these days (and, in spite of the efforts +of Mr. William Morris and others, it seems to be +impossible) to produce a genuine book in all its +details, it seems worth considering in what way the +author can stamp it with his own individuality; +also to what extent he is justified in making use of +modern appliances.</p> + +<p>How far, then, may the author be said to be +responsible for the state of things just quoted? +Theoretically, he is the man of taste and culture +<i>par excellence</i>; he is, or should be, in most cases, +the arbiter, the dictator to his publisher, the chooser +of style. The book is his, and it is his business to +<span class="pagenum"><a name="page212" id="page212"></a>212</span> +decide in what form his ideas should become +concrete; the publisher aiding his judgment with +experience, governing the finance, and carrying out +details. How comes it then that, with the present +facilities for reproducing anything that the hand can +put upon paper, the latter-day nineteenth-century +author is so much in the hands of others as to the +appearance of his book? It is because the so-called +educated man has not been taught to use his +hands as the missal-writers and authors of mediæval +times taught themselves to use theirs. The modern +author, who is, say, fifty years old, was born in an +age of “advanced civilisation,” when the only +method of expression for the young was one—“pothooks +and hangers.” The child of ten years +old, whose eye was mentally forming pictures, taking +in unconsciously the facts of perspective and the +like, had a pencil tied with string to his two first +fingers until he had mastered the ups and downs, +crosses and dashes, of modern handwriting, which +has been accepted by the great, as well as the little, +ones of the earth, as the best medium of communication +between intelligent beings; and so, regardless +of style, character, or picturesqueness, +he scribbles away! So much for our generally +straggling style of penmanship.</p> + +<p><span class="pagenum"><a name="page213" id="page213"></a>213</span></p> + +<p>There is no doubt that the author of the future +will have to come more into personal contact with +the artist than he has been in the habit of doing, +and that the distinction I referred to in the first +chapter, between illustrations which are to be (1) +records of facts, and (2) works of art, will have to +be more clearly drawn.</p> + +<p>Amongst the needs in the community of book +producers is one that I only touch upon because it +affects the illustrator:—That there should be an +expert in every publishing house to determine +(1) whether a drawing is suitable for publication; +and (2) by what means it should be reproduced. +The resources of an establishment will not always +admit of such an arrangement; but the editors and +publishers who are informed on these matters can +easily be distinguished by the quality of their publications. +By the substitution of process blocks for +wood engravings in books, publishers are deprived +to a great extent of the fostering care of the master +wood engraver, to which they have been accustomed.</p> + +<p>Amongst the influences affecting the illustrator, +none, I venture to say, are more prejudicial than +the acceptance by editors and publishers of +inartistic drawings.</p> + +<p>It would be difficult, I think, to point to a period +<span class="pagenum"><a name="page214" id="page214"></a>214</span> +when so much bad work was produced as at present. +The causes have already been pointed out, the +beautiful processes for the reproduction of drawings +are scarcely understood by the majority of artists, +publishers, authors, or critics. It is the <i>misuse</i> of +the processes in these hurrying days, which is +dragging our national reputation in the mire and +perplexing the student.</p> + +<p>The modern publisher, it may be said without +offence, understands the manufacture and the commerce +of a book better than the art in it. And +how should it be otherwise? The best books that +were ever produced, from an artistic point of view, +were inspired and designed by students of art and +letters, men removed from the commercial scramble +of life, and to whom an advertisement was a thing +unknown! The ordinary art education of a publisher, +and the multitude of affairs requiring his +attention, unfit him generally, for the task of deciding +whether an illustration is good or bad, or how far—when +he cheapens the production of his book by +using photographic illustrations (“snap-shots” from +nature)—he is justified in calling them “art.” The +deterioration in the character of book illustration +in England is a serious matter, and public attention +may well be drawn to it.</p> + +<p><span class="pagenum"><a name="page215" id="page215"></a>215</span></p> + +<p>Here we look for the active co-operation of +the author. The far-reaching spread of education—especially +technical art education—is tending to +bring together, as they were never brought before +in this century, the author and the illustrator. The +author of a book will give more attention to the +appearance of his pages, to the decorative character +of type and ornament, whilst the average artist +will be better educated from a literary point of view; +and, to use a French word for which there is no +equivalent, will be more <i>en rapport</i> with both author +and publisher.</p> + +<p>For the illustrator by profession there seems no +artistic leisure; no time to do anything properly +in this connection.</p> + +<p>“It is a poor career, Blackburn,” said a well-known +newspaper illustrator to me lately (an artist +of distinction and success in his profession who +has practised it for twenty years), “you seldom +give satisfaction—not even to yourself.”</p> + +<p>“It is an <i>ideal career</i>,” says another, a younger +man, who is content with the more slap-dash +methods in vogue to-day—and with the income he +receives for them.</p> + +<p>Referring again to the question in the <i>Athenæum</i>, +“Why is not drawing for the press taught in our +<span class="pagenum"><a name="page216" id="page216"></a>216</span> +Government schools of art?” I think the principal +reasons why the art of illustration by the processes +is not generally taught in art schools are—</p> + +<p>(1) drawing for reproduction requires more personal +teaching than is possible in art classes in +public schools; (2) the art masters throughout +the country, with very few exceptions, <i>do not +understand the new processes</i>—which is not to be +wondered at.</p> + +<p>It is not the fault of the masters in our schools +of art that students are taught in most cases as +if they were to become painters, when the only +possible career for the majority is that of illustration, +or design. The masters are, for the most +part, well and worthily occupied in giving a good +groundwork of knowledge to every student, as +to drawing for the press. There is no question +that the best preparation for this work is +the <i>best general art teaching that can be obtained</i>. +The student must have drawn from the antique and +from life; he must have learned composition and +design; have studied from nature the relative values +of light and shade, aërial perspective and the like; +in short, have followed the routine study for a +painter whose first aim should be to be a master +of monochrome.</p> + +<p><span class="pagenum"><a name="page217" id="page217"></a>217</span></p> + +<p>In the more technical parts, which the young +illustrator by process will require to know, he +needs personal help. He will have a multitude of +questions to ask “somebody” as to the reasons for +what he is doing; <i>for what style of process work +he is by touch and temperament best fitted</i>, and so +on. All this has to be considered if we are to keep +a good standard of art teaching for illustration.</p> + +<p>The fact that <i>a pen-and-ink drawing which looks +well scarcely ever reproduces well</i>, must always be +remembered. Many drawings for process, commended +in art schools for good draughtsmanship +or design, will not reproduce as expected, for want of +exact knowledge of the requirements of process; +whereas a drawing by a trained hand will often +<i>look better in the reproduction</i>. These remarks refer +especially to ornament and design, to architectural +drawings and the like.</p> + +<p>The topical illustrator and sketcher in weekly +prints has, of course, more licence, and it matters +less what becomes of his lines in their rapid transit +through the press. Still the illustrator, of whatever +rank or style, has a right to complain if his drawing +is reproduced on a scale not intended by him, or by +a process for which it is not fitted, or if printed +badly, and with bad materials.</p> + +<p><span class="pagenum"><a name="page218" id="page218"></a>218</span></p> + +<p>But the sketchy style of illustration seems to be +a little overdone at present, and—being tolerable +only when allied to great ability—remains consequently +in the hands of a few. There is plenty +of talent in this country which is wasted for want of +control. It plays about us like summer lightning +when we want the precision and accuracy of the +telegraph.</p> + +<p>The art of colour printing (whether it be by the +intaglio processes, or by chromo-lithography, or on +relief blocks) has arrived at such proficiency and +has become such an important industry that it +should be mentioned here. By its means, a +beautiful child-face, by Millais, is scattered over +the world by hundreds of thousands; and the +reputation of a young artist, like Kate Greenaway, +made and established. The latter owes much of +her prestige and success to the colour-printer. +Admitting the grace, taste, and invention of Kate +Greenaway as an illustrator, there is little doubt that, +without the wood engraver and the example and +sympathetic aid of such artists as H. S. Marks, R.A., +Walter Crane, and the late Randolph Caldecott, +she would never have received the praise bestowed +upon her by M. Ernest Chesneau, or Mr. Ruskin. +These things show how intimately the arts of +<span class="pagenum"><a name="page219" id="page219"></a>219</span> +reproduction affect reputations, and how important +it is that more sympathy and communication should +exist between all producers. In the mass of +illustrated publications issuing from the press the +expert can discern clearly where this sympathy and +knowledge exist, and where ability, on the part of +the artist, has been allied to practical knowledge +of the requirements of illustration.</p> + +<p>The business of many will be to contribute, in +some form, to the making of pictures and designs +to be multiplied in the press; and, in order to learn +the technique and obtain employment, some of the +most promising pupils have to fall into the ways of +the producers of cheap illustrations, Christmas cards, +and the like. On the other hand, a knowledge of +the mechanical processes for reproducing drawings +(as it is being pressed forward in technical schools) +is leading to disastrous consequences, as may be seen +on every railway bookstall in the kingdom.</p> + +<p>In the “book of the future” we hope to see +less of the “lath and plaster” style of illustration, +produced from careless wash drawings by the cheap +processes; fewer of the blots upon the page, which +the modern reader seems to take as a matter of +course. In books, as in periodicals, the illustrator by +process will have to divest himself, as far as possible, +<span class="pagenum"><a name="page220" id="page220"></a>220</span> +of that tendency to scratchiness and exaggeration +that injures so many process illustrations. In short, +he must be more careful, and give more thought +to the meaning of his lines and washes, and to the +adequate expression of textures.</p> + +<p>There is a great deal yet to learn, for neither +artists nor writers have mastered the subject. Few +of our best illustrators have the time or the inclination +to take to the new methods, and, as regards +criticism, it is hardly to be expected that a reviewer +who has a pile of illustrated books to pronounce +upon, should know the reason of the failures that +he sees before him. Thus the public is often +misled by those who should be its guides as to +the value and importance of the new systems of +illustration.<a name="FnAnchor_24" id="FnAnchor_24" href="#Footnote_24"><span class="sp">24</span></a></p> + +<p>In conclusion, let us remember that everyone +who cultivates a taste for artistic beauty in books, +be he author, artist, or artificer, may do something +towards relieving the monotony and confusion +in style, which pervades the outward aspect of so +<span class="pagenum"><a name="page221" id="page221"></a>221</span> +many books. It is a far cry from the work of the +missal writer in a monastery to the pages of a +modern book, but the taste and feeling which was +shown in the fifteenth and sixteenth centuries in +the production of books, exists in the nineteenth, +under difficult conditions.</p> + +<p>In the “book of the future” the author will +help personally, more than he has ever done, as I +have already suggested. The subject is not half-ventilated +yet, nor can I touch upon it further, but +the day is not far distant when the power of the +hand of the author will be tested to the utmost, +and lines of all kinds will appear in the text. +There is really no limit to what may be done with +modern appliances, if only the idea is seized with +intelligence.</p> + +<p>Two questions, however, remain unanswered—(1) +Whether, as a matter of language and history, +we are communicating information to each other +much better than the ancients did in cuneiform +inscriptions, on stones and monuments. (2) +Whether, as a matter of illustrative art, we are +making the best use of modern appliances.</p> + +<p>Let us, then, cultivate more systematically the +art of drawing for the press, and treat it as a +worthy profession. Let it not be said again, +<span class="pagenum"><a name="page222" id="page222"></a>222</span> +as it was to me lately by one who has devoted +half a lifetime to these things, “The processes +of reproduction are to hand, but where are our +artists?” Let it not be said that the chariot-wheels +of the press move too fast for us—that +chemistry and the sun’s rays have been +utilised too soon—that, in short, the processes of +reproduction have been perfected before their +time! I think not, and that an art—the art of +pictorial expression—which has existed for ages +and is now best understood by the Japanese, may +be cultivated amongst us to a more practical end.</p> + +<div class="figcenter"> +<img style="border:0; width:300px; height:246px" src="images/img239.jpg" alt="" /> +<p class="caption">“TAKE CARE.” (W. B. BAIRD.) +<br />(<i>Royal Academy, 1891.</i>)</p></div> + +<hr class="foot" /><div class="note"> + +<p><a name="Footnote_24" id="Footnote_24" href="#FnAnchor_24"><span class="fn">24</span></a> There seems but one rule of criticism in this connection. If +a book illustration comes out coarsely and (as is often the case) +a mere smudge, the process is blamed, when the drawing or +photograph may have been quite unsuitable for the process +employed.</p> +</div> + +<hr class="art" /> +<p><span class="pagenum"><a name="page223" id="page223"></a>223</span></p> + +<h3>STUDENTS’ DRAWINGS.</h3> + +<p>The following four examples of drawing from life, by +students at Victoria Street, fresh from art schools, are +interesting as tentative work. The object has been to +test their powers and <i>adaptability for line work</i>; avoiding +outline in the experiment as much as possible.</p> + +<p>Nos. 1, 3, and 4, it will be observed, evade backgrounds +altogether—the too ready solution of a difficult +problem in line.</p> + +<p>These drawings were made direct from life, in line; +a system not to be recommended, excepting as an experiment +of powers.</p> + +<p>Examples of students’ wash drawings, &c., will appear +in future editions of this book.</p> + +<p><span class="pagenum"><a name="page224" id="page224"></a>224</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page225" id="page225"></a>225</span></p> + +<div class="figcenter"> +<img style="border:0; width:415px; height:600px" src="images/img242.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XLI.</p> +<p class="center">“<i>Spanish Woman</i>.” A Study from Life. +<br />By <span class="sc">Ina Bidder</span>.</p> +<p>This is a clever sketch with pen and ink and brush, +and drawn with a bold free hand, reproduced on +an (untouched) process block. It shows originality +of treatment and courage on the part of the student; +also the value of great reduction to give strength and +effect.</p> + +<p>(Size of drawing, 16 × 11½ in.)</p></div> + +<p><span class="pagenum"><a name="page226" id="page226"></a>226</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page227" id="page227"></a>227</span></p> + +<div class="figcenter"> +<img style="border:0; width:417px; height:610px" src="images/img244.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XLII.</p> +<p class="center">“<i>Sketch from Life</i>,” by <span class="sc">Estelle d’Avigdor</span>.</p> +<p>This student was the winner in a prize competition +lately in <i>The Studio</i>. She has undoubted ability, +but not clearly in the direction of line drawing. +After considerable success in painting, this student +writes: “I still find the pen a difficult instrument to +wield.”</p> + +<p>In this sketch we see the influence of Aubrey +Beardsley and others of the dense-black, reckless +school of modern illustrators.</p> + +<p>(Size of drawing, 10 × 6¾ in.) Zinc process.</p></div> + +<p><span class="pagenum"><a name="page228" id="page228"></a>228</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page229" id="page229"></a>229</span></p> + +<div class="figcenter"> +<img style="border:0; width:479px; height:610px" src="images/img246.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XLIII.</p> +<p class="center"><i>Sketch from Life</i>, by <span class="sc">G. C. Marks</span>.</p> +<p>This pen-and-ink drawing is interesting for colour, +especially in the hair; it would have been better +modelled if drawn first in pencil or chalk.</p> + +<p>This student has an obvious aptitude for line +work; the touch is very good for a beginner.</p> + +<p>(Size of drawing, 10½ × 8 in.) Zinc process.</p></div> + +<p><span class="pagenum"><a name="page230" id="page230"></a>230</span></p> +<div class="pt1"> </div> +<p><span class="pagenum"><a name="page231" id="page231"></a>231</span></p> + +<div class="figcenter"> +<img style="border:0; width:494px; height:600px" src="images/img248.jpg" alt="" /></div> +<div class="capd"> +<p class="center">No. XLIV.</p> +<p class="center"><i>Bough of Common Furze</i>, by <span class="sc">William French</span>.</p> +<p>A most careful study from nature in pen and ink. +(Size of original drawing, 14 × 11½ in.) Reproduced +by zinc process.</p> + +<p>This artist learned the method of line work for +process in a month.</p></div> + + +<hr class="art" /> +<p><span class="pagenum"><a name="page232" id="page232"></a>232</span></p> + +<h3>CANTOR LECTURES.</h3> + +<p>The <span class="sc">Illustrations</span> in this Volume are, for the most +part, reproductions of drawings which—for purposes +of study and comparison—are shown by Mr. +Blackburn at his Lectures in Art Schools, enlarged +to a scale of 15 to 20 ft.</p> + +<p>Students who may be unable to attend these +lectures can see some of the original drawings on +application (by letter) to “The Secretary, at Mr. +<span class="sc">Henry Blackburn’s Studio</span>, 123, Victoria Street, +Westminster.”</p> + +<hr class="art" /> +<p><span class="pagenum"><a name="page233" id="page233"></a>233</span></p> + +<h3>APPENDIX.</h3> + +<hr class="short" /> +<p style="text-indent: -1.5em; padding-left: 1.5em;">1. <span class="sc">Photo-zinc Process.</span>—2. <span class="sc">Gelatine Process.</span>—3. <span class="sc">Half-tone.</span>—4. +<span class="sc">Intaglio Processes.</span>—5. <span class="sc">Drawing Materials.</span>—6. <span class="sc">Books for +Students.</span>—7. <span class="sc">Decorative Pages.</span>—8. <span class="sc">List of Photo-engravers.</span></p> +<hr class="short" /> + +<p class="center pt2">PHOTO-ZINC PROCESS.</p> + +<p class="center scs">FOR THE REPRODUCTION OF LINE DRAWINGS IN RELIEF, SUITABLE FOR +PRINTING AT THE TYPE PRESS.</p> + +<p><span class="sc">Description of the Process.</span>—The first stage is to have the +drawing photographed to the size required, and to transfer a print +of it on to a sensitized zinc plate. This print, or photographic +image of the drawing lying upon the zinc plate, is of greasy substance +(bichromate of potash and gelatine), and is afterwards +inked up with a roller; the plate is then immersed in a bath of +nitric acid and ether, which cuts away the parts which were left +white upon the paper, and leaves the lines of the drawing in +relief. This “biting in,” as it is called, requires considerable +experience and attention, according to the nature of the drawing. +Thus, the lines are turned into metal in a few hours, and the +plate, when mounted on wood to the height of type-letters, is +ready to be printed from, if necessary, at the rate of several +thousands an hour.</p> + +<p><span class="sc">The cost</span> of these blocks averages 6d. the square inch where +a number are made at one time, the minimum price being 5/-.</p> + +<p>Small book illustrations by this process, by firms who make +a specialty of producing single illustrations, are often charged 9d. +the square inch, with a minimum of 7/6; but the cost should +never be more than this for a single block by the zinc process.</p> + +<p><span class="pagenum"><a name="page234" id="page234"></a>234</span></p> + +<p class="center pt2">GELATINE PROCESS.</p> + +<p class="center scs">FOR THE REPRODUCTION OF DRAWINGS IN LINE IN RELIEF, SUITABLE +FOR PRINTING AT THE TYPE PRESS.</p> + +<p>This is a more delicate and sensitive method of obtaining a +relief block. It is called the “gelatine,” or “Gillot” process.</p> + +<p>The drawing is photographed to the required size (as before), +and the <i>negative</i> laid upon a glass plate (previously coated with a +mixture of gelatine and bichromate of potash). The part of this +thin, sensitive film not exposed to the light is absorbent, and +when immersed in water swells up. The part exposed to the +light, <i>i.e.</i>, the lines of the drawing, remains near the surface of +the glass. Thus we have a sunk mould from which a metal +cast can be taken, leaving the lines in relief as in the zinc process. +In skilful hands this process admits of more delicate gradations, +and pale, uncertain lines can be reproduced with tolerable fidelity. +There is no process yet invented which gives better results from a +pen-and-ink drawing for the type press.</p> + +<p>Reproductions of pencil, chalk, and charcoal are also possible +by this process; but <i>they are not suited for it</i>, and there is +generally too much working up by hand on the block to suit +rapid printing. These blocks when completed have a copper +surface. The blocks take longer to make, and are about double +the price of the photo-zinc process. <span class="sc">The cost</span> varies from 9d. to +1/6 the square inch.</p> + +<p>M. Gillot, in Paris, may be said to be the inventor or perfector +of this process, now used by many photo engravers in London, +notably by Mr. Alfred Dawson, of Hogarth Works, Chiswick.</p> + +<p><span class="pagenum"><a name="page235" id="page235"></a>235</span></p> + +<p class="center pt2">HALF-TONE PROCESS.</p> + +<p class="center scs">FOR THE REPRODUCTION OF WASH DRAWINGS, PHOTOGRAPHS, ETC., +BY THE SCREENED PHOTO-ZINC RELIEF PROCESS.</p> + +<p>This method of making the blocks is more complicated. +As there are no lines in a wash drawing, or in a photograph +from nature, or in a painting, it is necessary to obtain some kind +of grain, or interstices of white, on the zinc plate, as in a +mezzotint; so between the drawing or photograph to be reproduced +and the camera, glass screens covered with lines or +dots, are interposed, varying in strength according to the light +and shade required; thus turning the image of the wash drawing +or photograph practically into “line,” with sufficient interstices of +white for printing purposes.</p> + +<p>The coarseness or fineness of grain on these blocks varies +according to circumstances. Thus, for rapid printing on cylinder +machines, with inferior paper and ink, a wider grain and a deeper +cut block is necessary.</p> + +<p>The examples in this book may be said to show these process +blocks at their best, with good average printing. The results +from wash drawings, as already pointed out, are uncertain, and +generally gloomy and mechanical-looking.</p> + +<p>The reproductions of pencil, chalk, or charcoal drawings by +this process are generally unsatisfactory, even when printed under +good conditions. The blocks are shallow as compared with the +zinc line process, and are double the cost.</p> + +<p><span class="pagenum"><a name="page236" id="page236"></a>236</span></p> + +<p class="center pt2">INTAGLIO PROCESSES.</p> + +<p class="center scs">PHOTOGRAVURE, AUTOTYPE, DALLASTYPE, ETC.</p> + +<p><span class="sc">Photogravure.</span>—First, a photographic negative is taken direct +from the picture to be reproduced, and from this an autotype carbon +print is taken and transferred on to glass or silvered copper, +instead of on the paper used in making carbon prints for sale. +This picture is in delicate relief, and forms the mould, upon +which copper is electrically deposited. After being made “conductive,” +the carbon mould is placed in a galvanic bath, the +deposit of copper upon it taking the impression perfectly.</p> + +<p>Another method is to transfer the same mould upon pure, +clean copper, and then operate with a powerful biting solution, +which is resisted more or less according to the varying thickness +of carbon mould to be penetrated. Thus the parts to be left +smoothest are thick of carbon, and the parts to be dark are bare, +so that the mordant may act unresisted. This, it will be perceived, +is the opposite way to the process above given, and is therefore +worked from a “transparency,” or photographic “positive,” +instead of a negative. This is the Klick and Fox Talbot method, +and is very commonly in use at present.</p> + +<p>The process of “photogravure” is well known, as employed by +Messrs. Boussod, Valadon, & Co. (Goupil), of Paris, and is +adapted for the reproduction of wash drawings, paintings, also +drawings where the lines are pale and uncertain, pencil, chalk, +etc.; the greys and gradations of pencil being wonderfully interpreted. +In London the intaglio processes are used by many of +the firms mentioned on page 240. They are now much used for +the reproduction of photographic portraits in books, taking place +of the copperplate engraving.</p> + +<p><span class="sc">The cost</span> of these plates is, roughly, 5/- the square inch. The +makers of these plates generally supply paper, and print, charging +by the 100 copies. But engravings thus produced are comparatively +little used in modern book illustration, as they cannot be +printed simultaneously with the letter-press of a book; they are +suitable only for limited editions and “<i>éditions de luxe</i>.”</p> + +<p><span class="pagenum"><a name="page237" id="page237"></a>237</span></p> + +<p class="center pt2">DRAWING MATERIALS FOR REPRODUCTION.</p> + +<p class="ind2">1.—<span class="sc">For Drawings in Line.</span>—For general use, liquid Indian +ink and Bristol board; or hard paper of similar surface. +“Clay board,” the surface of which can easily be removed +with a scraper, is useful for some purposes, but the pen +touch on clay board is apt to become mechanical.</p> + +<p class="ind2">2.—<span class="sc">For Drawings in Pencil and Chalk</span>, grained papers are +used (see p. 113 and following). These papers are made +of various textures, with black or white lines and dots +vertical, horizontal, and diagonal. As a matter of fact, +grained papers are little used in book and newspaper +illustration in this country, and unless artistically treated +the results are very unsatisfactory. They are most +suitable for landscape work and sketches of effect.</p> + +<p class="ind2">3.—<span class="sc">For Wash Drawings.</span>—Prepared boards for wash drawings, +varying in surface and texture according to the scale of +the drawing, the brush handling of the artist, and the +nature of the work to be reproduced. These must be +decided by the teacher. Lamp black and opaque white +are commonly used. A combination of line and wash is +generally to be avoided.</p> + +<p>The materials for drawing for reproduction are to be obtained +from the following amongst other artists’ colourmen.</p> + +<table class="reg" summary="poem"><tr><td> +<div class="poemr"> +<p><span class="sc">A. Ackerman</span>, 191, Regent Street, W.</p> + +<p><span class="sc">J. Barnard & Son</span>, 19, Berners Street, W.</p> + +<p><span class="sc">Cornelissen & Son</span>, 22, Great Queen Street, W.C.</p> + +<p><span class="sc">Lechertier, Barbe</span>, & Co., 60, Regent Street, W.</p> + +<p><span class="sc">Jas. Newman</span>, 24, Soho Square, W.</p> + +<p><span class="sc">Reeves & Sons</span>, 113, Cheapside, E.C.</p> + +<p><span class="sc">Chas. Roberson & Co.</span>, 99, Long Acre, W.C.</p> + +<p><span class="sc">Geo. Rowney & Co.</span>, 64, Oxford Street, W.</p> + +<p><span class="sc">Winsor & Newton</span>, 37, Rathbone Place, W.</p> + +<p><span class="sc">Percy Young</span>, 137, Gower Street, W.C.</p> +</div> +</td></tr></table> + +<p><span class="pagenum"><a name="page238" id="page238"></a>238</span></p> + + +<p class="center pt2">BOOKS FOR STUDENTS.</p> + +<p>The following will be found useful:—</p> + +<p class="ind2">1.—“<i>The Graphic Arts</i>,” by <span class="sc">P. G. Hamerton</span> (London: Macmillan +& Co.).</p> + +<p class="ind2">2.—“<i>Pen and Pencil Artists</i>,” by <span class="sc">Joseph Pennell</span> (London: +Macmillan & Co.).</p> + +<p class="ind2">3.—“<i>English Pen Artists of To-Day</i>,” by <span class="sc">J. G. Harper</span> (London: +Rivington, Percival & Co.).</p> + +<p>The value and comprehensive character of Mr. Hamerton’s +book is well known, but it reaches into branches of the art of +illustration far beyond the scope of this book. Of the second it +may be said that Mr. Joseph Pennell’s book is most valuable to +students of “black and white,” with the caution that many of the +illustrations in it were <i>not drawn for reproduction</i>, and would +not reproduce well by the processes we have been considering. +The third volume seems more practical for elementary and +technical teaching. It is to be regretted that these books are so +costly as to be out of the reach of most of us; but they can be +seen in the library of the South Kensington Museum.</p> + +<p>Mr. Hamerton’s “Drawing and Engraving, a Brief Exposition +of Technical Principles and Practice” (London: Adam and +Charles Black, 1892), “The Photographic Reproduction of +Drawings,” by Col. J. Waterhouse (Kegan, Paul, & Co., 1890), +“Lessons in Art,” by Hume Nisbet (Chatto & Windus, 1891), +are portable and useful books, full of technical information. Sir +Henry Trueman Wood’s “Modern Methods of Illustrating +Books,” and Mr. H. R. Robertson’s “Pen and Ink Drawing” +(Winsor & Newton) are both excellent little manuals, but their +dates are 1886.</p> + +<p><span class="pagenum"><a name="page239" id="page239"></a>239</span></p> + +<p class="center pt2">DECORATIVE PAGES.</p> + +<p class="center f80">(FROM OLD MSS. AND BOOKS TO BE SEEN IN THE BRITISH MUSEUM.)<br /> +(<i>Reprinted from the Cantor Lectures</i>.)</p> + +<p>1. “Example of early Venetian writing, from a copybook of the +15th century, written with a reed pen. Note the clearness and +picturesqueness of the page; also the similarity to the type letters +used to-day—what are called ‘old face,’ and of much (good and +bad) letter in modern books.”</p> + +<p>2. “A beautiful example of Gothic writing and ornament, from +a French illuminated manuscript in the British Museum; date +1480. Here the decorative character and general balance of the +page is delightful to modern eyes.”</p> + +<p>3. “<i>Fac-simile</i> of a printed page, from Polydore Vergil’s +“History of England,” produced in Basle, in 1556. The style +of type is again familiar to us in books published in 1894; but +the setting out of the page, the treatment of ornament (with +little figures introduced, but subservient to the general effect), is +not familiar, because it is seldom that we see a modern decorative +page. The printer of the past had a sense of beauty, and +of the fitness of things apparently denied to all but a few to-day.”</p> + +<p>4. “An illuminated printed page, 1521, with engraved borders, +after designs by Holbein; figures again subordinate to the +general effect.”</p> + +<p>5. “Examples of Italian, 14th century; ornament, initial, and +letters forming a brilliant and harmonious combination.”</p> + +<p><span class="sc">Illustrations</span> of the above and other decorative pages (which +could not be reproduced in this book) are shown at the lectures +on a large scale.</p> + +<p>Of the many modern books on decoration and ornament, the +handbooks by Mr. Lewis Foreman Day (London: Batsford) are +recommended to students of “the decorative page”; also +“<i>English Book Plates</i>,” by Egerton Castle (G. Bell & Sons).</p> + +<p><span class="pagenum"><a name="page240" id="page240"></a>240</span></p> + +<p class="center pt2">LIST OF PROCESS BLOCK MAKERS.</p> + +<p>From a long list of photo-engravers, the following are mentioned +from personal knowledge of their work:—</p> + +<p class="center"><span class="sc">Relief Blocks.</span></p> + +<table class="reg" summary="poem"><tr><td> +<div class="poemr"> +<p><span class="sc">André & Sleigh</span>, Bushey, Herts.</p> + +<p><span class="sc">The Art Reproduction Company</span>, Clairville Grove, South Kensington.</p> + +<p><span class="sc">Mr. Dallas</span>, 5, Furnival Street, E.C.</p> + +<p><span class="sc">A. & C. Dawson</span>, Hogarth Works, Chiswick.</p> + +<p><span class="sc">Dellagana & Co.</span>, Gayton Road, Hampstead, N.W.</p> + +<p><span class="sc">Direct Photographic Company</span>, 38, Farringdon Street, E.C.</p> + +<p><span class="sc">Hare & Sons, Ltd.</span>, Bride Court, Fleet Street.</p> + +<p><span class="sc">Carl Hentschel</span>, 182, Fleet Street, E.C.</p> + +<p><span class="sc">Chas. Geard</span> (Agent for Krakow), MacLean’s Bldgs., New St. Sq., E.C.</p> + +<p><span class="sc">Meisenbach Co.</span>, Ltd., Wolfington Road, West Norwood, S.E.</p> + +<p><span class="sc">John Swain & Son</span>, 58, Farringdon Street, E.C.</p> + +<p><span class="sc">Swan Electric Light Co.</span>, 114, Charing Cross Road, W.C.</p> + +<p><span class="sc">Typographic Etching Co.</span>, 3, Ludgate Circus Buildings, E.C.</p> + +<p><span class="sc">Walker & Boutall</span>, Clifford’s Inn, Fleet Street, E.C.</p> + +<p><span class="sc">Waterlow & Sons</span>, Ltd., London Wall, E.C.</p> + +<p><span class="sc">Vincent & Hahn</span>, 34, Barbican, E.C.</p> +</div> +</td></tr></table> + +<p class="center"><span class="sc">Intaglio</span>.</p> + +<p>Several of the firms mentioned above are makers of “Intaglio” +plates; some are also wood-engravers, photo-lithographers, etc.; +and agents for French, German, and Austrian photo-engravers.</p> + +<p>Amongst leading firms who make “Intaglio” plates are Messrs. +Boussod, Valadon, & Co. (London and Paris); and Messrs. +Angerer & Göschl, of Vienna.</p> + +<p>The Autotype Company’s admirable reproductions of photographs +and drawings should also be mentioned in this connection.</p> + +<hr class="art" /> + +<div style="border: 3px solid; border-color: #800517; padding: 5px;"> +<p class="center verd f120">“Black and White.”</p> + +<p>NOTICE.—MR. HENRY BLACKBURN’S STUDIO is +open five days a week for the Study and Practice of DRAWING +FOR THE PRESS with Technical Assistants. Students join +at any time.</p> + +<hr class="short" /> + +<p class="center f80"><b><i>Private Instruction and by Correspondence.</i></b></p> + +<p class="center"><span class="sc">123, Victoria Street, Westminster</span> (<i>near Army & Navy stores</i>).</p> +</div> + +<div class="pt3"> </div> + +<h3>OPINIONS OF THE PRESS</h3> + +<h5>On the First Edition.</h5> +<hr class="short" /> + +<p>“‘The Art of Illustration’ is a brightly written account, by a +man who has had large experience of the ways in which books +and newspapers are illustrated nowadays.... As a collection +of typical illustrations by artists of the day, Mr. Blackburn’s +book is very attractive.”—<i>The Times.</i></p> + +<p>“Mr. Blackburn explains the processes—line, half-tone, and +so forth—exemplifying each by the drawings of artists more +or less skilled in the modern work of illustration. They are +well chosen as a whole, to show the possibilities of process +work in trained hands.”—<i>Saturday Review.</i></p> + +<p>“We thoroughly commend this book to all whom it may +concern.”—<i>Athenæum.</i></p> + +<p>“Mr. Henry Blackburn, perhaps our greatest expert on the +subject of the book illustrator’s art, has written a most +interesting volume, which no young black-and-white artist can +very well afford to do without. Nearly a hundred splendid and +instructive illustrations.”—<i>Black and White.</i></p> + +<p>“The author’s purpose in this book is to show how drawing +for the press may be best adapted to its purpose.... Many +of Mr. Blackburn’s instructions are technical, but all are beautifully +illustrated by choice reproductions from some of the best black-and-white +work of the time.”—<i>Daily News.</i></p> + +<p>“Mr. Blackburn’s interesting and practical manual is designed, +in the first instance, for the guidance of students who intend +to become illustrators in black-and-white, but for the general +reader it contains a large quantity of readable and attractive +matter.”—<i>The Literary World.</i></p> + +<p>“We must express our admiration for the contents of ‘The +Art of Illustration,’ and its fund of technical information.”—<i>Bookseller.</i></p> + +<p>“The book is full of interest, containing close upon a +hundred varied examples of illustrations of the day. A work +of unquestionable value.”—<i>Publishers’ Circular.</i></p> + +<p>“Mr. Blackburn knows from experience what is best for the +processes; his volume is illustrated with nearly one hundred +drawings, most of them good examples of what is being done. +’The Art of Illustration’ is an entirely safe guide.”—<i>Art Journal.</i></p> + +<p>“Mr. Henry Blackburn has written an able book on ‘The +Art of Illustration,’ which, it is not overpraise to say, should be +in the hands of every artist who draws for reproduction.”—<i>The +Gentlewoman.</i></p> + +<p>“‘The Art of Illustration’ is perhaps the most satisfactory +work of art of its kind that has yet been published.”—<i>Sunday +Times.</i></p> + +<p>“A very clear exposition of the various methods of reproduction.”—<i>Guardian.</i></p> + +<p>“Mr. Blackburn sails his book under the flag of Sir John +Gilbert, and justly expounds the all-importance of line.”—<i>National +Observer.</i></p> + +<p>“‘The Art of Illustration’ contains a vast amount of +valuable artistic information, and should be on every student’s +bookshelf.”—<i>Court Circular.</i></p> + +<p>“Mr. Henry Blackburn is a well-known authority on the +technical aspects of painting and design, and this circumstance +lends value to his exposition of ‘The Art of Illustration.’... +He writes with admirable clearness and force.”—<i>Leeds Mercury.</i></p> + +<p>“The excellent series of reproductions in this book show +(<i>inter alia</i>) the variety of effects to be obtained by the common +zinc process. Mr. Blackburn’s book will prove of great value to +the student and interest to the general reader.”—<i>Manchester +Guardian.</i></p> + +<p>“This volume is full of good criticism, and takes a survey +of the many processes by which books may be beautified.... +A charming and instructive volume.”—<i>Birmingham Gazette.</i></p> + +<p>“’The Art of Illustration’ will have the deepest interest for +artists and others concerned in the illustration of books.”—<i>Yorkshire +Post.</i></p> + +<p>“A very interesting quarto, worth having for its typical +illustrations.”—<i>British Architect.</i></p> + +<p>“Mr. Blackburn’s volume should be very welcome to artists, +editors, and publishers.”—<i>The Artist.</i></p> + +<p>“A most useful book.”—<i>Studio.</i></p> + +<hr class="art" /> +<div class="pt2"> </div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Art of Illustration, by Henry Blackburn + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION *** + +***** This file should be named 32320-h.htm or 32320-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/3/2/32320/ + +Produced by Marius Masi, Chris Curnow and the Online +Distributed Proofreading Team at http://www.pgdp.net. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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