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+This eBook, including all associated images, markup, improvements,
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+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #60972 (https://www.gutenberg.org/ebooks/60972)
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-The Project Gutenberg EBook of A Practical Hand-book of Drawing for Modern
-Methods of Reproduction, by Charles G. Harper
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: A Practical Hand-book of Drawing for Modern Methods of Reproduction
-
-Author: Charles G. Harper
-
-Release Date: December 20, 2019 [EBook #60972]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL HAND-BOOK OF DRAWING ***
-
-
-
-
-Produced by Chris Curnow, Paul Marshall and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-Transcriber’s Notes:
-
-  Underscores “_” before and after a word or phrase indicate _italics_
-    in the original text.
-  Small capitals have been converted to SOLID capitals.
-  Illustrations have been moved so they do not break up paragraphs.
-  Typographical errors have been silently corrected but other variations
-    in spelling and punctuation remain unaltered.
-  The use of “v” in REPRODVCTION and Illvstrations as they appear on the
-    title page and in the heading for the list of illustrations have been
-    retained.
-
-
-
-
-[Illustration]
-
-
-
-
-                A · PRACTICAL · HANDBOOK · OF · DRAWING
-                FOR MODERN METHODS · OF · REPRODVCTION
-
-                                  BY
-                          CHARLES G. HARPER,
-              AUTHOR OF “ENGLISH PEN ARTISTS OF TO-DAY.”
-
-                            [Illustration]
-
-    _Illustrated with Drawings by several Hands, and with Sketches
-       by the Author showing Comparative Results obtained by the
-             several Methods of Reproduction now in Use._
-
-                      LONDON: CHAPMAN & HALL, LD.
-                                 1894.
-
-
-
-
-_TO CHARLES MORLEY, ESQ._
-
-
-_DEAR MR. MORLEY_,
-
-_It is with a peculiar satisfaction that I inscribe this book to
-yourself, for to you more than to any other occupant of an editorial
-chair is due the position held by “process” in illustrating the hazards
-and happenings of each succeeding week._
-
-_Time was when the “Pall Mall Budget,” with a daring originality
-never to be forgotten, illustrated the news with diagrams fashioned
-heroically from the somewhat limited armoury of the compositor. Nor
-I nor my contemporaries, I think, have forgotten those weapons of
-offence—the brass rules, hyphens, asterisks, daggers, braces, and
-other common objects of the type-case—with which the Northumberland
-Street printers set forth the details of a procession, or the
-configuration of a country. There was in those days a world of
-meaning—apart from libellous innuendo—in a row of asterisks; for did
-they not signify a chain of mountains? And what Old Man Eloquent was
-ever so vividly convincing as those serpentine brass rules that served
-as the accepted hieroglyphics for rivers on type-set maps?_
-
-_These were the beginnings of illustration in the “Pall Mall Budget”
-when you first filled the editorial chair. The leaps and bounds
-by which you came abreast of (and, indeed, overlook) the other
-purveyors of illustrated news, hot and hot, I need not recount, nor
-is there occasion here to allude to the events which led to what some
-alliterative journalist has styled the Battle of the Budgets. Only
-this: that if others have reaped where you have sown, why! ’twas ever
-thus._
-
-_For the rest, I must needs apologize to you for a breach of an
-etiquette which demands that permission be first had and obtained
-before a Dedication may be printed. To print an unauthorized tribute to
-a private individual is wrong: when (as in the present case) an Editor
-is concerned I am not sure that the wrong-doing halts anything before_
-lèse majesté.
-
-                             _Yours very truly,
-                                        CHARLES G. HARPER._
-
-   LONDON,
-        _May, 1894_.
-
-
-
-
-[Illustration: PREFACE]
-
-
-Everywhere to-day is the Illustrator (artist he may not always
-be), for never was illustration so marketable as now; and the
-correspondence-editors of the Sunday papers have at length found a new
-outlet for the superfluous energies of their eager querists in advising
-them to “go in” for black and white: as one might advise an applicant
-to adventure upon a commercial enterprise of large issues and great
-risks before the amount of his capital (if any) had been ascertained.
-
-It is so very easy to make black marks upon white cardboard, is it not?
-and not particularly difficult to seize upon the egregious mannerisms
-of the accepted purveyors of “the picturesque”—that _cliché_ phrase,
-battered nowadays out of all real meaning.
-
-But for really serious art—personal, aggressive, definite and
-instructed—one requires something more than a _penchant_, or the
-stimulating impulsion of an empty pocket, or even the illusory
-magnetism of the _vie bohême_ of the lady-novelist, whose artists still
-wear velvet coats and aureoles of auburn hair, and marry the inevitable
-heiress in the third volume. Not that one really wishes to be one of
-those creatures, for the lady-novelists’ love-lorn embryonic Michael
-Angelos are generally great cads; but this by the way!
-
-What is wanted in the aspirant is the vocation: the feeling for beauty
-of line and for decoration, and the powers both of idealizing and of
-selection. Pen-drawing and allied methods are the chiefest means of
-illustration at this day, and these qualities are essential to their
-successful employ. Practitioners in pen-and-ink are already numerous
-enough to give any new-comer pause before he adds himself to their
-number, but certainly the greater number of them are merely journalists
-without sense of style; mannerists only of a peculiarly vicious
-parasitic type.
-
-“But,” ask those correspondents, “does illustration pay?” “Yes,” says
-that omniscient person, the Correspondence-Editor. Then those pixie-led
-wayfarers through life, filled with an inordinate desire to draw, to
-paint, to translate Nature on to canvas or cardboard (at a profit), set
-about the staining of fair paper, the wasting of good ink, brushes,
-pens, and all the materials with which the graphic arts are pursued,
-and lo! just because the greater number of them set out, not with the
-love of an art, but with the single idea of a paying investment of time
-and labour—it does _not_ pay! Remuneration in their case is Latin for
-three farthings.
-
-Publishers and editors, it is said, can now, with the cheapness
-of modern methods of reproduction as against the expense of
-wood-engraving, afford to pay artists better because they pay engravers
-less. Perhaps they can. But do they?
-
-Pen-drawing in particular has, by reason of these things, almost come
-to stand for exaggeration and a shameless license—a convention that
-sees and renders everything in a manner flamboyantly quaint. But this
-vein is being worked down to the bed-rock: it has plumbed its deepest
-depth, and everything now points to a period of instructed sobriety
-where now the untaught _abandon_ of these mannerists has rioted through
-the pages of illustrated magazines and newspapers to a final disrepute.
-
-Artists are now beginning to ask how they can dissociate themselves
-from that merely manufacturing army of frantic draughtsmen who never,
-or rarely, go beyond the exercise of pure line-work; and the widening
-power of process gives them answer. Results striking and unhackneyed
-are always to be obtained to-day by those who are not hag-ridden by
-that purely Philistine ideal of the clear sharp line.
-
-These pages are written as a plea for something else than the eternal
-round of uninspired work. They contain suggestions and examples of
-results obtained in striving to be at one with modern methods of
-reproduction, and perhaps I may be permitted to hope that in this
-direction they may be of some service.
-
-                                        CHARLES G. HARPER.
-
-
-
-
-               CONTENTS.
-
-                                PAGE
-  INTRODUCTORY                     1
-  THE RISE OF AN ART               9
-  COMPARATIVE PROCESSES           22
-  PAPER                           78
-  PENS                            92
-  INKS                            96
-  THE MAKING OF A PEN-DRAWING    102
-  WASH DRAWINGS                  121
-  STYLES AND MANNER              135
-  PAINTERS’ PEN-DRAWINGS         154
-
-
-
-
-WORKS BY THE SAME AUTHOR.
-
-
-    ENGLISH PEN ARTISTS OF TO-DAY: Examples of their work,
-        with some Criticisms and Appreciations. Super royal
-        4to, £3 3_s._ net.
-
-    THE BRIGHTON ROAD: Old Times and New on a Classic
-        Highway. With 95 Illustrations by the Author and
-        from old prints. Demy 8vo, 16_s._
-
-    FROM PADDINGTON TO PENZANCE: The Record of a Summer
-        Tramp. With 105 Illustrations by the Author. Demy
-        8vo, 16_s._
-
-[Illustration]
-
-
-
-
-[Illustration: List of Illvstrations]
-
-
-                                                                PAGE
-  VIGNETTE ON TITLE
-  KENSINGTON PALACE. Photogravure                      _Frontispiece_
-  THE HALL, BARNARD’S INN                                         25
-  A WINDOW, CHEPSTOW CASTLE                                       29
-  ON WHATMAN’S “NOT” PAPER                                        31
-  FROM A DRAWING ON ALLONGÉ PAPER                             31, 32
-  BOLT HEAD: A MISTY DAY. Bitumen process                         38
-  BOLT HEAD: A MISTY DAY. Swelled gelatine process                39
-  A NOTE AT GORRAN. Bitumen process                               43
-  A NOTE AT GORRAN. Swelled gelatine process                      43
-  CHARLWOOD. Swelled gelatine process                             45
-  CHARLWOOD. Reproduced by Chefdeville                            45
-  VIEW FROM THE TOWER BRIDGE WORKS. Bitumen process               48
-  VIEW FROM THE TOWER BRIDGE WORKS. Bitumen process.
-       Sky revised by hand-work                                   49
-  KENSINGTON PALACE                                               51
-  SNODGRASS FARM                                                  53
-  SUNSET, BLACK ROCK                                              55
-  DRAWING IN DILUTED INKS, REPRODUCED BY GILLOT                   57
-  CHEPSTOW CASTLE                                                 61
-  CLIFFORD’S INN: A FOGGY NIGHT                                   65
-  PENCIL AND PEN AND INK DRAWING REPRODUCED BY HALF-TONE
-      PROCESS                                                     68
-  THE VILLAGE STREET, TINTERN. NIGHT                              70
-  LEEBOTWOOD                                                      71
-  EXAMPLES OF DAY’S SHADING MEDIUMS                           75, 76
-  CHURCHYARD CROSS, RAGLAN                                        76
-  CANVAS-GRAIN CLAY-BOARD                                         84
-  PLAIN DIAGONAL GRAIN                                            85
-  PLAIN PERPENDICULAR GRAIN                                       85
-  DRAWING IN PENCIL ON WHITE AQUATINT GRAIN CLAY-BOARD            86
-  BLACK AQUATINT CLAY-BOARD AND TWO STAGES OF DRAWING             87
-  BLACK DIAGONAL-LINED CLAY-BOARD AND TWO STAGES OF
-     DRAWING                                                      87
-  BLACK PERPENDICULAR-LINED CLAY-BOARD AND TWO STAGES OF
-     DRAWING                                                      88
-  VENETIAN FÊTE ON THE SEINE, WITH THE TROCADERO ILLUMINATED      89
-  THE GATEHOUSE, MOYNES COURT                                    110
-  PORTRAIT SKETCHES                                         118, 119
-  THE HOUSES OF PARLIAMENT AT NIGHT, FROM THE RIVER              122
-  VICTORIA EMBANKMENT NEAR BLACKFRIARS BRIDGE: A FOGGY
-     NIGHT                                                       123
-  CORFE RAILWAY STATION                                          125
-  THE AMBULATORY, DORE ABBEY                                     127
-  MOONLIGHT: CONFLUENCE OF THE SEVERN AND THE WYE                131
-  DIAGRAM SHOWING METHOD OF REDUCING DRAWINGS FOR
-     REPRODUCTION                                                133
-  PAINTER’S PEN-DRAWING—PASTURAGE, BY MR. ALFRED HARTLEY         155
-      "           "     PORTRAIT, BY MR. BONNAT                  156
-  TOWING PATH, ABINGDON, BY MR. DAVID MURRAY                     158
-  A PORTRAIT FROM A DRAWING BY MR. T. BLAKE WIRGMAN              159
-  FINIS                                                          161
-
-
-
-
-A PRACTICAL HANDBOOK OF DRAWING FOR REPRODUCTION.
-
-
-
-
-INTRODUCTORY.
-
-
-Pen-drawing is the most spontaneous of the arts, and amongst the
-applied crafts the most modern. The professional pen-draughtsman was
-unknown but a few years since; fifteen years ago, or thereabouts,
-he was an obscure individual, working at a poorly considered craft,
-and handling was so seldom thought of that the illustrator who could
-draw passably well was rarely troubled by his publisher on the score
-of technique. For that which had deserved the name of technique was
-dead, so far as illustration was concerned, and “process,” which was
-presently to vivify it, was, although born already, but yet a sickly
-child. To-day the illustrators are numerous beyond computation, and the
-name of those who are impelled to the spoiling of good paper and the
-wasting of much ink is indeed legion.
-
-For uncounted years before the invention of photo-mechanical methods of
-engraving, there had been practised a method of drawing with the pen,
-which formed a pretty pastime wherewith to fleet the idle hours of the
-gentlemanly amateur, and this was, for no discoverable reason, called
-“etching.”
-
-It is needless at this time to go into the derivatives of that word,
-with the object of proving that the verb “to etch” means something
-very different from drawing in ink with a pen; it should have, long
-since, been demonstrated to everybody’s satisfaction that etching is
-the art of drawing on metal with a point, and of biting in that drawing
-with acids. But the manufacturers of pens long fostered the fallacy by
-selling so-called etching-pens: probably they do so even now.
-
-By whom pen-drawings were first called etchings none can say. Certainly
-the two arts have little or nothing in common: the terms are not
-interchangeable. Etching has its own especial characteristics, which
-may, to an extent, be imitated with the pen, but the quality and
-direction of line produced by a rigid steel point on metal are entirely
-different from the lines drawn with a flexible nib upon paper. The line
-produced by an etching needle has a uniform thickness, but with the
-needle you can work in any imaginable direction upon the copper plate.
-With a nib upon paper, a line varying in thickness with the pressure of
-the hand results, but there is not that entirely free use of the hand
-as with the etching point: you cannot with entire freedom draw from and
-toward yourself.
-
-The greatest exponents of pen-drawing have not entirely conquered
-the normal inability of the pen to express the infinite delightful
-waywardnesses of the etching-point. Again, the etched line is only less
-sharp than the line made by the graver upon wood; the line drawn with
-the pen upon the smoothest surface is ragged, viewed under a magnifying
-glass. This, of course, is not a plea for a clean line in pen-work—that
-is only the ideal of commercial draughtsmanship—but the man who can
-produce such a line with the pen at will, who can overcome the tendency
-to inflexible lines, has risen victorious over the stubbornness of a
-material.
-
-The sketch-books, gilt-lettered and india-rubber banded, of the
-bread-and-butter miss, and what one may be allowed, perhaps, to term
-the “pre-process” amateur generally, give no hint of handling, no
-foretaste of technique. They are barren of aught save ill-registered
-facts, and afford no pleasure to the eye, which is the end, the
-sensuous end, of all art. Rather did these artless folk almost
-invariably seek to adventure beyond the province of the pen by strokes
-infinitely little and microscopic, so that they might haply deceive the
-eye by similarity to wood engravings or steel prints. But in those days
-pen-drawing was only a pursuit; to-day it is a living art. Now, an art
-is not merely a storehouse of facts, nor a moral influence. If it was
-of these things, then the photographic camera would be all-powerful,
-and all that would be left to do with the hands would be the production
-of devotional pictures; and of those who produced them the best artist
-would infallibly be him with a character the most noted for piety.
-Art, to the contrary, is entirely independent of subject or morals.
-It is not sociology, nor ever shall be; and those who practise an art
-might be the veriest pariahs, and yet their works rank technically,
-artistically, among the best. Art is handling _in excelsis_, and its
-results lie properly in the pride of the eye and the satisfaction of
-the æsthetic sense, though Mr. Ruskin would have it otherwise.
-
-Is this the lashing of a dead horse, or thrice slaying the slain? No,
-I think not. The moral and literary fallacies remain. Open an art
-exhibition and give your exhibits technical, not subject titles, and
-you shall hear a mighty howl, I promise you. Mr. Hamerton, too, has
-recently found grudging occasion to say that, for artists, “it does
-not appear that a literary education would be necessary in all cases.”
-Whenever was it necessary? But then Mr. Hamerton is himself one of
-those philosophic writers of a winning literary turn who can practise
-an art in by no means a distinguished way, but who write dogma by
-the yard and fumble over every illustration of their precepts. His
-_Drawing and Engraving_—a reprint from his _Encyclopædia Britannica_
-article—is worse than useless to the student of illustration, and
-especially of pen-drawing, because Mr. Hamerton has long been left
-behind the times. He knows little of the admirable modern methods
-of reproducing line-work, but gives us etymologies of drawing and
-historical dissertations on engraving, which we do not want. Of such
-antiquated matter are even the current editions of encyclopædias
-fashioned. The fact is, the bulk of art criticism is written by men
-who can only string platitudes and stale studio slang together,
-without beginning to understand principles. The appalling journalese
-of much “art criticism” is hopelessly out of date; the slang of a
-half-forgotten _atélier_ is the lingo of would-be criticism to-day.
-
-It seems strange that a man who can write pretty _vers de société_ or
-another who writes essays (essays, truly, in the philological sense),
-should for such acquirements be amongst those to whom is delegated the
-criticism of art in painting, drawing, or engraving; but so it is.
-No one who has not surmounted the difficulties of a medium can truly
-appreciate technique in it, whether that medium be words, or paint, or
-ink. No one, for instance, would give a painter or a pen-artist the
-chance to review a poet’s new volume of poems. You would not send a
-plumber to pronounce upon a baker’s method of kneading his dough. No;
-but an ordinary reporter is judged capable of criticizing a gallery
-of pictures. You cannot get much artistic change out of his report,
-nor from the articles on art written by a man whose only claim to the
-standing of “art critic” is the possession of a second-class
-certificate in drawing from the Science and Art Department. But of such
-stuff are the neurotic Neros of the literary “art critique” fashioned,
-and equally unauthorized by works are the lectures on illustration with
-which the ingenious Mr. Blackburn at decent intervals tickles suburban
-audiences or the amiable _dilettante_ of the Society of Arts into the
-fallacious belief that they know all about it, “which,” to quote the
-Euclidian formula, “is absurd.” Indeed, not even the most industrious,
-the best-informed, nor the most catholic-minded man could ever lecture,
-or write articles, or publish an illustrated critical work upon
-illustration which should show an approximation to completeness in its
-examples of styles and methods. The thing has been attempted, but will
-never be done, because the quantity of work—even good work—that has
-been produced is so vast, the styles so varied. The great storehouses
-of the best pen-work are the magazines, and from them the eclectic will
-gather a rich harvest. The _Century_ and _Harper’s_ are now the chief
-of these. The _Magazine of Art_ and the _Portfolio_, which were used to
-be filled with good original work, are now busied in providing such
-_réchauffés_ as photographic blocks from paintings old and new, but
-chiefly old, because they cost nothing for copyright. As for newspaper
-work, the _Daily Graphic_ is creating a school of its own, which does
-far better work than ever its New York namesake (now defunct) ever
-printed.
-
-Some beautiful and most suggestive pen-drawings are to be found in
-the earlier numbers of _L’Art_ and many Parisian publications, such
-as the _Courier Français_, _Vie Moderne_, _Paris Illustré_, and _La
-Petit Journal pour Rire_. Many of the _Salon_ catalogues, too, contain
-admirable examples.
-
-
-
-
-THE RISE OF AN ART.
-
-
-Photo-mechanical processes of reproduction were invented by men who
-sought, not to create an art, not to help art in any way, but only to
-cheapen the cost of reproduction. “Line” processes—that is to say,
-processes for the reproduction of pure line—though not the first
-invented amongst modern methods, were the first to come into a state
-of practical utility; though even then their results were so crude
-that the artists whom necessity led to draw for them sank at once
-to a deeper depth than ever they had sounded when the _fac-simile_
-wood-cutter held them in bondage. They became the slaves of mechanical
-limitations and chemical formulæ, which was a worse condition than
-having been henchmen of a craftsman. So far as the æsthetic sense is
-concerned, the process illustration of previous date to (say) 1880
-might all be destroyed and no harm done, save, perhaps, the loss of
-much evidence of a documentary character toward the history of early
-days of processes.
-
-There have been two great factors in their gradual
-perfection—competition with the wood-engravers and of rival process
-firms one with another, and, perhaps more important still, the
-independency of a few artists who have found methods of drawing with
-the pen, and have followed them despite the temporary limitations of
-the process-man. The workmen have “drawn for process” in the worst and
-most commercial sense of the term; they have set down their lines after
-the hard-and-fast rules which were formulated for their guidance. For
-years after the invention of zincography, artists who were induced to
-make drawings for the new methods of engraving worked in a dull round
-of routine; for in those days the process-man was not less, but more,
-tyrannical than his predecessor, the wood-engraver; his yoke was, for a
-time, harder to bear.
-
-One was enjoined to make drawings with only the blackest of Indian ink,
-upon Bristol-board, the thickest and smoothest and whitest that could
-be obtained, and upon none other. It was impressed upon the draughtsman
-that he should draw lines thick and wide apart and firm, and that
-his drawings should be made with a view to, preferably, a reduction
-in scale of one-third. Also that by no means should his lines run
-together by any chance, except in the matter of a coarse and obvious
-cross-hatch. And so, by reason of these things, the pen-work of that
-time is become dreadful to look upon at this day. The man who then drew
-with a view to reproduction squirmed on the very edge of his chair,
-and with compressed lips, and his heart in his mouth, drew upon his
-Bristol-board slowly and carefully, and with so heavy a hand, that
-presently his wrist ached consumedly, and his drawing became stilted
-in the extreme. Not yet was pen-drawing a profession, for few men had
-learned these formulæ; and the zincography of that time made miserable
-all them that were translated by it into something appreciably
-different from their original work. Illustration, although already
-sensibly increased in volume, was artistically at the lowest ebb. It
-was a manufacture, an industry; but scarcely a profession, and most
-certainly it had not yet become an art.
-
-When technique in drawing for process began to appear as an individual
-technique opposed to the old _fac-simile_ wood-engraving needs, it was
-a handling entirely abominable and inartistic. If old-time drawing
-for the wood-engravers was pursued in grooves of convention, working
-for the zincographer proceeded in ruts. There have never been, before
-or since, such horribly uninspired things produced as in the first
-years of process-work in these islands. Such dull, scratchy, spotty,
-wiry-looking prints resulted: they were, as now, produced in zinc,
-and they proclaimed it unmistakably. Had not these new methods been
-about one-fifth the cost of wood-engraving, they would have had no
-chance whatever. But we are a commercial and an inartistic people, and
-publishers, careless of appearance, welcomed any results that gave them
-a typographic block at a fifth of its former cost.
-
-Process, in its beginnings, was not a promising method of reproduction.
-Men saw scarcely anything in it save cheap (and nasty) ways of
-multiplying diagrams, and the bald and generally artless elevations of
-new buildings issued from architects’ offices. But in course of time,
-better blocks, with practice, became possible, and freer use of the
-pen was obtained; although at every unhackneyed stroke the process-man
-shrieked disaster. It is incalculable how much time has been wasted,
-how many careers set back, by obedience to the hard-and-fast rules laid
-down for the guidance of artists by the process-people of years since.
-To those artists who, with an artistic recklessness of results entirely
-admirable and praiseworthy, set down their work as they pleased,
-we owe, more than to any others, the progress of process; by their
-immediate martyrdom was our eventual salvation earned. And in the sure
-and certain hope of a reproduction really and truly _fac-simile_, the
-draughtsman in the medium of pen-and-ink is to-day become a technician
-of a peculiar subtlety.
-
-To-day, with the exercise of knowledge and discrimination, drawings
-the most difficult of reproduction may be rendered faithfully; it is
-a matter only of choice of processes. But in the mass of reproduction
-at this time, this knowledge, this discrimination, are often seen to
-be lacking. It is a matter of commerce, of course, for a publisher, an
-editor, to send off originals in bulk to one firm, and to await from
-one source the resulting blocks. But unknowing, or reckless of their
-individual merits and needs, our typical editor has thus consigned some
-drawings to an unkind fate. There are many processes even for the
-reproduction of line, and drawings of varying characteristics are
-better reproduced by different methods; they should each be sent for
-reproduction on its own merits.
-
-It was in 1884 that there began to arise quite a number of original
-styles in pen-work, and then this new profession was by way of becoming
-an art. You will not find any English-printed book or magazine
-before this date showing a sign of this new art, but now it arose
-suddenly, and at once became an irresponsible, unreasoning welter of
-ill-considered mannerisms. Ever since 1884, until within the last year
-or two, pen-draughtsmen have rioted through every conceivable and
-inconceivable vagary of manner. The artists who by force of artistry
-and character have helped to spur on the process-man against his will,
-and have worked with little or no heed to the shortcomings of his
-science, have freed the hands of a dreadful rabble that has revelled
-merely in eccentricity. Thus has liberty for a space meant a licence
-so wild that to-day it has become quite refreshing to turn back to the
-sobriety of the old illustrators of from thirty to forty years ago, who
-drew for the _fac-simile_ wood-engraver.
-
-From 1857, through the ’60’s, and on to 1875, when it finally shredded
-out, there existed a fine convention in drawing for illustration and
-the wood-engraver. Among the foremost exponents of it were Millais,
-Sandys, Charles Green, Robert Barnes, Simeon Solomon, Mahony, J. D.
-Watson, and J. D. Linton. Pinwell and Fred Walker, too, produced
-excellent work in this manner, before they untimely died.
-
-The _Sunday Magazine_, _Once a Week_, _Good Words_, _Cornhill_, the
-first two years of the _Graphic_, and, where the drawings have not been
-drawn down to their humourous legends, the volumes of _Punch_ during
-this period, are a veritable storehouse of beautiful examples of this
-peculiarly English school. It was a convention that grew out of the
-wood-engraver’s imposed limits, and they became transcended by the art
-of the young artists of that day.
-
-There is a certain sweetness and grace in those old illustrations
-that seems to increase with the widening of that gulf between our
-day and the day of their production. It is not for the sake of their
-draughtsmanship alone (though that is excellent), but chiefly for their
-technical qualities, and their fine character-drawing, that those
-monumental achievements in illustration appeal so strongly to the
-artistic eye to-day. We have been accustomed during these last years
-to the stress of mannerism, the _bravura_ treatment of imported art,
-bringing with it strange atmospheres which have nothing in common with
-our duller skies, and, truth to tell, we want a change. Now, we might
-do much worse than hark back to the ’60’s, and study the peculiar style
-brought about by the needs of the wood-engraver, but transformed into
-an admirable school by men who wrought their trammels into a convention
-so great that it cannot fail, some day, to be revived.
-
-It is greatly to be deplored that we have not left to us the original
-drawings of that time and these men. In the majority of cases,
-and through a long series of years, the drawings from which these
-_fac-simile_ wood-engravings were made were drawn by the artists on
-the wood block, and engraved, so that we have left to us only the
-more or less successful engraver’s imitation of the artists’ original
-line-work. But when these blocks were the work of the Dalziels, or of
-Swain, we may generally take them as a close approximation to the
-original drawing. Pen and pencil both were used upon the wood blocks:
-some of these are to be seen at the South Kensington Museum, with the
-original drawings upon them still uncut, photography having in the mean
-while become applied to the use of transferring a drawing from paper to
-the wood surface.
-
-Unless you have practised etching on copper, in which you have to draw
-upon the plate in reverse, you can have little idea of the relief
-experienced by the artists of thirty years ago, when the necessity for
-drawing in reverse upon the wood was obviated.
-
-Now, I am not going to say that with pen and ink and
-process-reproduction you could obtain the sweetness of the
-wood-engraved line, but something of it should be possible, and
-the dignified, almost classic, reserve and repose of this style of
-draughtsmanship could be, in great measure, brought back to help
-assuage the worry of the ultra-clever pen-work of to-day, and to form
-a grateful relief from that peculiarly modern vice in illustration, of
-“making a hole in the page.”
-
-The great difficulty that would lie in the way of such a revival would
-be that those who would attempt it would need to be good draughtsmen;
-and of these there are not many. No tricks nor flashy treatment hid
-bad drawing in this technique, as in much of the slap-dashiness of
-to-day. And not only would sound draughtsmanship be essential, but also
-characterization of a peculiarly well-seen and graphic description. The
-illustrator of a generation ago worked under tremendous disadvantages.
-“Phiz” etched his inimitable illustrations of Dickens upon steel with
-all the attendant drawbacks of working in reverse, yet he would be
-a bold man or reckless who should decry him. He was, at his best,
-greater beyond comparison than THE Cruickshank—George, in the
-forefront of that artistic trinity—and he reached his highest point in
-the delightful composition of “Captain Cuttle consoles his Friend,” in
-_Dombey and Son_. Composition and characterization are beyond anything
-done before or since. It is distinctly, obviously, great, and it fits
-the author and his story like—like a glove. One cannot find a newer
-and better simile than that for good fitting. And (not to criticize
-modern work severely _because_ it is modern) the greater bulk of
-illustration to-day fits the stories it professes to elucidate like a
-Strand tailor.
-
-There are facilities now for buying electrotypes from magazines and
-illustrated periodicals, by which engravings that have already served
-one turn in illustrating a story can be purchased, to do duty again
-in illustrating another; and this is a practice very widely prevalent
-to-day. And why can this be so readily done? The answer is near to
-seek. It is because illustration is become so characterless that it is
-so readily interchangeable. Perhaps it may be sought to lay the blame
-upon the author; and certainly there is not at this time so ready a
-field for character-drawing as Dickens presented. But I have not seen
-any illustrations to Mr. Hardy’s tales, nor to Mr. Stevenson’s, that
-realize the excellently well-shown types in their works.
-
-If you should chance to see any early volumes (say from 1859 to 1863)
-of _Once a Week_ for sale, secure them: they should be the cherished
-possessions of every black and white artist. After this date their
-quality fell off. Charles Keene contributed to _Once a Week_ some
-of his best work, and the Mr. Millais of that date in line is more
-interesting than the Sir John Millais of to-day in paint. There is, in
-especial, a beautiful drawing by him, an illustration to the
-_Grandmother’s Apology_, in the volume for 1859, page 40. But, frankly,
-it is a mistake to instance one illustration where so very many
-are monumental productions. Fred Walker contributed many exquisite
-drawings; Mr. Whistler, few enough to make us ardently wish there were
-more; and the same may be said of Mr. Sandys’ decorative work—his
-_Rosamond, Queen of the Lombards_, his _Yet once more let the Organ
-play_, his _King Warwulf_, _Harald Harfagr_, or _The Old Chartist_.
-These things are a delight: the artist’s work so insistently good, the
-quality of the engraver’s lines so wonderfully fine.
-
-For all the talk and pother about illustration, there is nothing to-day
-that comes within miles of the work done in, say, 1862-1863 for _Once
-a Week_. It would be difficult to over-praise or to over-estimate
-the value of this fine period. It was the period of the abominable
-crinoline; but even that hideous fashion was transfigured by the
-artistry of these men. That is evident in the beautiful drawing,
-_If_, contributed by Sandys to the _Argosy_ for 1863, in which the
-grandly flowing lines of the dress show what may be done with the most
-unpromising material.
-
-The most interesting drawings in the _Cornhill Magazine_ range from
-1863 to 1867. Especially noteworthy are the illustrations by Fred
-Walker—_Maladetta_, May, 1863, page 621, and _Out of the Valley of
-the Shadow_, January, 1867, page 75. If you compare the first of these
-with the little pen-drawing by Charles Green, reproduced by process
-in _Harper’s Magazine_, May, 1891, page 894, entitled, “Give me those
-letters,” you will see how Mr. Green’s hand has retained the old
-technique he and his brother illustrators learnt in drawing for the
-wood-engraver, and you will observe how well that old handling looks,
-and how admirably it reproduces in the process-work of to-day. Two
-other most successful wood blocks from the _Cornhill Magazine_ may be
-noted—_Mother’s Guineas_, by Charles Keene, July, 1864, and _Molly’s
-New Bonnet_, August, 1864, by Mr. Du Maurier.
-
-
-
-
-COMPARATIVE PROCESSES.
-
-
-Processes, at first chiefly of the heliogravure or photogravure
-variety—processes, that is to say, of the intaglio or plate-printing
-description, printed in the same way as etchings and mezzotints, from
-dots and lines sunken in a metal plate instead of standing out in
-relief—date back almost to the invention of photography in 1834; and
-all modern processes of reproducing drawings have a photographic basis.
-Even at that time it was demonstrated that a glass negative could
-be used to reproduce the photographic image as an etched plate that
-would print in the manner of a mezzotint. Mr. H. Fox-Talbot, to whom
-belongs, equally with Daguerre, the invention of photography, was the
-first to show this. He devised an etched silver plate that reproduced a
-photograph direct.
-
-Photo-relief, or type-printing, blocks date from such comparatively
-recent times as 1860, when the _Photographic Journal_ showed an
-illustration printed from a block by the Pretsch process.
-
-At this present time there are three methods of primary importance for
-the reproduction of line drawings—
-
-    The swelled gelatine process,
-    The albumen process,
-    The bitumen process.
-
-The first of these three processes is the most expensive, and it has
-not so great a vogue as the less costly methods, which are employed for
-the illustration of journals or publications that do not rely chiefly
-upon the excellence of their work. It is employed almost exclusively by
-Messrs. A. and C. Dawson in this country, and it is in all essentials
-identical with the old Pretsch process that first saw the light
-thirty-three years ago.
-
-Acids do not enter into the practice of it at all. The procedure is
-briefly thus: A good dense negative is taken of the drawing to be
-reproduced to the size required. The glass plate is then placed in
-perfect contact with gelatine sensitized by an admixture of bichromate
-of potassium to the action of light. Placed in water, the gelatine thus
-printed upon from the negative, swells, excepting those portions that
-have received the image of the reduced drawing. These are now become
-sunken, and form a suitable matrix for electrotyping into. Copper
-is then deposited by electro-deposition. The copper skin receives a
-backing of type-metal, and is mounted on wood to the height of type,
-and the block, ready for printing, is completed.
-
-This process gives peculiar advantages in the reproduction of
-pen-drawings made with greyed or diluted inks. The photographic
-negative reproduces, of course, the varying intensities of such work
-with the most absolute accuracy, and they are repeated, with scarcely
-less fidelity, by the gelatine matrix. Pencil marks and pen-drawings
-with a slight admixture of pencil come excellently well by this method.
-
-Every pen-draughtsman who sketches from nature knows how, in re-drawing
-from his pencil sketches, the feeling and sympathy of his work are
-lost, wholly or in part; but if the finished pen-drawing is made over
-the original pencil sketch and the pencilling retained, the effect is
-generally a revelation. It is in these cases that the swelled gelatine
-process gives the best results.
-
-[Illustration: 4¾ × 7½. THE HALL, BARNARD’S INN.
-
-_Drawing in pale Indian ink on HP Whatman paper. Drawn without
-knowledge of process and reproduced by the swelled gelatine method._]
-
-This example (_The Hall, Barnard’s Inn_) of a pen-drawing not made for
-reproduction by process was made years ago. Now reproduced, it shows
-that almost everything is possible to mechanical reproduction to-day.
-This drawing, worked upon with never a thought or idea or knowledge of
-process, comes every whit as well as if it had been drawn scrupulously
-to that end. It is all pen-work, save the outline around it and the
-signature, and they are in black chalk. The reduction from the original
-is only three-quarters of an inch across, and the reproduction is in
-every respect exact. Of course it is only swelled gelatine that could
-perform this feat; but by that process it is clear that you get results
-at once sympathetic and faithful, without the necessity of caring
-overmuch about the purely mechanical drudgery of learning a convention
-in pen and ink that shall be suitable for the etched processes. That
-convention has been wrought—it may not be said by tears and blood,
-but certainly with prodigious labour—by the masters of the art of
-pen-drawing into something artistic and pleasing to the eye, while it
-satisfies photographic and chemical needs. But here is a process that
-demands no previous training in drawing for reproduction, and leaves
-the artist unfettered. True, it opens a vista of easy reproduction
-to the amateur, which is a thing terrible to think upon; but, on the
-other hand, to it we owe some delightful reproductions of “painters’”
-pen-drawings that make the earlier numbers of the illustrated
-exhibition catalogues worth having.
-
-[Illustration: 4½ × 8. A WINDOW, CHEPSTOW CASTLE.
-
-_Drawing in Conté crayon on rough paper._]
-
-The albumen process is perhaps the more widely used of the three.
-By it the vast majority of the blocks used in journalistic work are
-made. It is credibly reported that one firm alone delivers annually
-sixty-three thousand blocks made by this process, which (it will thus
-be seen) is particularly suited to reproduction of the most instant and
-straight-away nature. It is also the cheapest method of reproduction,
-which goes far toward explaining that gigantic output just quoted.
-But, on the other hand, the albumen process in the hands of an artist
-in reproduction (as, for instance, M. Chefdeville) is capable of the
-most sympathetic results. It gives a softer, more velvety line than one
-would think possible, a line of a different character entirely from
-the clear, cold, sharp, and formal line characteristic of processes
-in which bitumen is used. These two methods (albumen and bitumen) are
-incapable of reproducing scarcely anything in _fac-simile_ but pure
-line-work; pencil marks or greyed ink are either omitted or exaggerated
-to extremity, and they can only be corrected by the subsequent use of
-the graver upon the block. But black chalk or Conté crayon used upon
-slightly granulated drawing-papers, either by themselves or mixed with
-pen-work, come readily enough and help greatly to reinforce a sketch.
-This sketch of _A Window, Chepstow Castle_, was made with a Conté
-crayon. Unfortunately, these materials smear very easily, and have to
-be fixed before they can be trusted to the photo-engraver with perfect
-safety. Drawings made in this way may be fixed with a solution composed
-of gum mastic and methylated spirits of wine: one part of the former to
-seven parts of the latter. This fixing solution is best applied with a
-spray apparatus, as sold by chemists. But better than crayons, chalks,
-or charcoals are the lithographic chalks now coming somewhat into
-vogue. They have the one inestimable advantage of fixity, and cannot be
-readily smeared, even with intent. They are not fit for use upon
-smooth Bristol-board or glazed paper, but find their best mediums in
-HP and “not” makes of drawing-paper, and in the grained “scratch-out”
-cardboards, of which more hereafter. They give greater depth of colour
-than lead pencil, and reproduce more surely; and the drawings worked up
-with them readily stand as much reduction as an ordinary pen-drawing.
-The No. 1 Lemercier is the best variety of lithographic chalks for
-this admixture; it is harder than others, and can be better sharpened
-to a fine point. For detail it is to be used very sparingly or not at
-all, because it is incapable of producing a delicate line; but for
-giving force, for instance, to a drawing of crumbling walls, or to
-an impressionist sketch of landscape, it is invaluable. The effects
-produced by working with a No. 1 Lemercier litho-chalk are shown here.
-The first example was drawn upon Whatman’s “not” paper, which gives a
-fine, bold granulation. The two remaining examples are from sketches on
-Allongé paper, a fine-grained charcoal paper of French make.
-
-[Illustration: ON WHATMAN’S “NOT” PAPER (6½ × 4½).]
-
-[Illustration: ON ALLONGÉ PAPER, RIGHT SIDE (6¼ × 4½).]
-
-[Illustration: FROM THE DRAWING (4½ × 2½) ON ALLONGÉ PAPER (RIGHT
-SIDE).]
-
-It is also worth knowing that a good grained drawing may be made with
-litho-chalk, by taking a piece of dull-surfaced paper, like the kind
-generally used for type-writing purposes, pinning it tightly upon
-glass- or sand-paper and then working upon it, keeping it always in
-contact with the rough sand-paper underneath. A canvas-grain may be
-obtained by using the cover of a canvas-bound book in the same way.
-
-Both the albumen and the bitumen processes are practised with the
-aid of acids upon zinc. In the first named the zinc plate is coated
-with a ground composed of a solution of white of egg and bichromate
-of ammonia, soluble in cold water. A reversed photographic negative
-is taken of the drawing and placed in contact with the prepared zinc
-plate in a specially constructed printing-frame. When the drawing
-is sufficiently printed upon this albumen surface, the plate is
-rolled over with a roller charged with printing-ink thinned down with
-turpentine, and then, when this inking has been completed, the plate
-is carefully rubbed in cold water until the inked albumen has been
-rubbed off it, excepting those parts where the drawing appears. The
-lines composing the drawing remain fixed upon the plate, the peculiar
-property of the sensitized albumen rendering the lines that have been
-exposed to the action of light insoluble. The zinc plate is then dried
-and sponged with gum; dried again, and then the coating of gum washed
-off, and then inked again. The plate, now thoroughly prepared, is
-placed in the first etching bath, a rocking vessel filled with
-much-diluted nitric acid. There are generally three etchings performed
-upon a zinc block, each successive bath being of progressively stronger
-acid; and between these baths the plate is gummed, and powdered with
-resin, and warmed over a gas flame until the printing-ink and the
-half-melted resin run down the sides of the lines already partly
-etched; the object of these careful stages being to prevent what is
-technically termed “under-etching”—that is to say, the production of a
-relief line, whose section would be thus: [Upside down triangle] instead
-of [Tent shape, open bottom]. The result in the printing of an
-under-etched block would be that the lines would either break or wear
-down to nothingness, whereas a block showing the second section would
-grow stronger and the old lines thicker with prolonged use. The
-section of a wood engraving is according to this second diagram.
-
-In the case of the bitumen process, the photograph is taken as before,
-the negative placed upon the zinc plate in the same way, and the image
-printed upon the bitumen. When this has been done, the plate is flooded
-with turpentine, and all the bitumen dissolved away, with the exception
-of that upon the image. The subsequent proceedings are as in the case
-of the albumen process, and need not be recounted.
-
-It will be seen (if this outline can be followed) that the bitumen
-process differs from the albumen only in the composition of the
-ground (as an etcher would term it), but the quality of line is very
-different. The zinc plates used are cut from polished sheets of the
-metal, from one-sixteenth to one-eighth of an inch in thickness.
-
-A well-etched block should feel sharp yet smooth to the thumb and
-fingers, as if it were cut. A badly etched or over-etched block has
-an altogether different feel: scratchy, and repulsive to the touch.
-Frequently it happens that by carelessness or mischance the process-man
-will over-etch a block; that is to say, he will allow it to remain in
-the acid-bath a minute or so too long, so that the upstanding lines
-become partly eaten away by the fluid. The result, when printed, is a
-wretched ghost of the original drawing. An over-etched block, or a good
-block in which the lines appear too thin and the reproduction in
-consequence weak, can be remedied in degree by being rubbed down
-with oilstone. This, if the lines are not under-etched, thickens the
-upstanding metal and produces a heavier print. But some of the smaller
-process firms have an ingenious, if none too honest, practice of
-pulling a proof from the _unetched_ plate, and sending it along with
-the defective block. This can readily be done by inking up the image
-with a roller before printing, and then passing the thin plate of metal
-through a lithographic press, or through a transfer press, such as is
-to be found in every process establishment. Of course the print thus
-secured is a perfect replica in little of the original drawing, and
-looks eminently satisfactory. One can generally identify these proofs
-before etching by their backs, which have, of course, not the slightest
-marks of the pressure usually to be discerned upon even the most
-carefully prepared proofs of finished blocks. The surface of a zinc
-block sometimes becomes oxidized by the acid used in etching not having
-been thoroughly washed off. This may occur at once if the acid is
-strong, and then it generally happens that the block is irretrievably
-ruined; but if oxidation occurs after some time, it is generally
-superficial, and can be rubbed down. The process of oxidation begins
-with an efflorescence, which may be best rubbed down with a thick stick
-of charcoal, broken across the grain. But zinc blocks are frequently
-ruined by carelessness in the printing-office after printing. When the
-printing has been done it is customary to clean type and blocks from
-the printing-ink by scrubbing them with a brush dipped in what printers
-call “lye”—that is, a solution of pearl-ash—which, although it does
-not injure the leaden types, is apt to corrode the zinc of which most
-process blocks are made, if they are not carefully and immediately
-washed in water and dried. A block with its surface destroyed in this
-manner prints miserably, with a fuzzy appearance. The easiest way of
-protecting blocks from becoming oxidized is to allow the printing-ink
-to remain on them, or if you have none, rub them over with tallow.
-
-[Illustration: 12½ × 9. BOLT HEAD: A MISTY DAY.
-
-_Pen and pencil drawing, reproduced by the bitumen process._]
-
-[Illustration: 12½ × 9. BOLT HEAD: A MISTY DAY.
-
-_Pen and pencil drawing, reproduced by the swelled gelatine
-process._]
-
-Examples will now be shown of the varying results obtainable from the
-same drawings by different processes.
-
-The drawing representing a _Misty Day at Bolt Head_ was made upon
-common rough paper, such as is usually found in sailors’ log-books; in
-fact, it was a log-book the present writer used during the greater part
-of a tour in Devon, nothing else being obtainable in those parts save
-the cloth-bound, gold-lettered sketch-books whose porterage convicts
-one at once of amateurishness. And here let me say that a sailor’s
-log-book, though decidedly an unconventional medium for sketching in,
-seems to be entirely admirable. The paper takes pencil excellently
-well, and the faint blue parallel lines with which the pages are ruled
-need bother no one; they will not (being blue) reproduce. To save
-the freshness of the impression, the sketch was lightly finished in
-ink, and sent for reproduction uncleaned. The illustration shows the
-result. It is an example of the bitumen process, whose original sin
-of exaggerating all the pencil marks which it has been good enough to
-reproduce at all is partly cloaked by the intervention of hand-work all
-over the block. You can see how continually the graver has been put
-through the lines to produce a greyness, yet how unsatisfactory the
-result!
-
-The drawing was now sent for reproduction by the swelled gelatine
-process. The result is a much more satisfactory block. Everything that
-the original contained has been reproduced. The sullen blacknesses of
-the pinnacled rocks are nothing extenuated, as they were in the first
-example, where they seem comparatively insignificant, and the technical
-qualities of pen and pencil are retained throughout, and can readily
-be identified. The same remarks apply even more strongly to the small
-blocks from the _Note at Gorran_.
-
-[Illustration: _Pen and pencil drawing, reproduced by bitumen
-process._]
-
-[Illustration: 13¼ × 9½. A NOTE AT GORRAN.
-
-_Pen and pencil drawing, reproduced by swelled gelatine process._]
-
-But such a pure pen-drawing as that of _Charlwood_, shown here in
-blocks by (1) Messrs. Dawson’s swelled gelatine process, and (2) by Mr.
-Chefdeville’s sympathetic handling of the albumen process, would have
-come almost equally well by bitumen, or by an ordinary practitioner’s
-treatment of albumen. It offered no technical difficulties, and there
-is exceedingly little to choose between these two blocks. Careful
-examination would show that a very slight thickening of line had taken
-place throughout the block by the gelatine method, and this must ever
-be the distinguishing difference between that process and those in
-which acids are used to eat away the metal of the block—that the
-gelatine renders at its best every jot and tittle of a drawing, and
-would by the nature of the process rather exaggerate than diminish; and
-that in those processes in which acids play a part, the process-man
-must be ever watchful lest his zinc plate be “over-etched”—lest the
-upstanding metal lines be eaten away to a scratchy travesty of the
-original drawing. But you will see that although the lines in the
-swelled gelatine _Charlwood_ are appreciably thicker than in its
-albumen fellow, yet the latter prints darker. The explanation is in the
-metals of which the two blocks are composed. Zinc prints more heavily
-than copper.
-
-[Illustration: _Pen-drawing reproduced by swelled gelatine
-process._]
-
-[Illustration: 8¼ × 6¼.
-
-_Pen-drawing reproduced by Chefdeville._]
-
-It should not be forgotten that, to-day, hand-work upon process-blocks
-is become very usual. To paraphrase a well-worn political catch-phrase,
-the old methods have been called in to redress the vagaries of the
-new: the graver has been retained to correct the crudities of the
-rocking-bath. To be less cryptic, the graver is used nowadays to
-tone down the harsh and ragged edges of the etched zinc. Here is an
-illustration that will convey the idea to perfection. Here is, in this
-_View from the Tower Bridge Works_, a zincographic block, grounded
-with bitumen and etched by the aid of acids. The original drawing was
-made upon Bristol-board, with Stephens’ ebony stain, and an F nib of
-Mitchell’s make. The size of that drawing was twelve and a half inches
-across; the sky drawn in with much elaboration. A first proof showed a
-sky harsh and wanting in aërial perspective. A graver was put through
-it, cutting up the lines into dots, and thus putting the sky into
-proper relation with the rest of the picture.
-
-Another interesting and suggestive comparison is between photogravure,
-or heliogravure, as it is sometimes called, and type-printing processes
-for the reproduction of line. The frontispiece to this volume is a
-heliogravure plate by Dujardin, of Paris, from a pen-drawing that
-offered no obstacles to adequate reproduction by the bitumen process.
-In fact, you see it here, reproduced in that way, and of the same size.
-The copper intaglio plate is in every way superior to the relief block,
-as might have been expected. The hardness of the latter method gives
-way, in the heliogravure plate, to a delightful softness, even when the
-plate is clean-wiped and printed in as bald and artless a fashion as
-a tradesman’s business card; but now it is printed with care and with
-the _retroussage_ that is generally the meed of the etching, you could
-not have distinguished it _from_ an etching had you not been told its
-history.
-
-[Illustration: 12½ × 9. VIEW FROM THE TOWER BRIDGE WORKS.
-
-_Bitumen process._]
-
-[Illustration: 12½ × 9. VIEW FROM THE TOWER BRIDGE WORKS.
-
-_Bitumen process. Sky revised by hand-work._]
-
-The procedure in making a heliogravure is in this wise:—A copper
-plate, similar to the kind used by etchers, receives a ground of
-bichromatized bitumen. A photograph is taken of the drawing to be
-reproduced, and from the negative thus obtained a _positive_ is made.
-The positive, in reverse, is placed upon the grounded plate and printed
-upon it. The bitumen which has been printed upon by the action of light
-is thus rendered wholly insoluble, and the image of the drawing remains
-the only soluble portion of the ground. The plate is then treated with
-turpentine, and the soluble lines thus dissolved. Follows then the
-ordinary etching procedure. This is a more simple and ready process
-than the making of a relief block. It is, however, more expensive to
-commission, but then expense never is any criterion of original cost.
-The printing, though, is a heavy item, because, equally with etchings
-or mezzotints, it must be printed upon a copper-plate press, and
-this involves the cleaning and the re-inking of the plate with every
-impression.
-
-The subject which the present plate bears does not show the utmost
-capabilities of the heliogravure. It was chosen as a fair example
-to show the difference between two methods without straining the
-limitations of the relief block. But if the drawing had been most
-carefully graduated in intensity from the deepest black to the palest
-brown, the copper plate would have shown everything with perfect
-ease. Large editions of these plates are not to be printed without
-injury, because the constant wiping of the soft copper wears down the
-surface. But to obviate this defect a process of _acierage_ has been
-invented, by which a coating of iron is electrically deposited upon the
-surface of the plate, rendering it, practically, as durable as a steel
-engraving.
-
-[Illustration: 11½ × 7½. KENSINGTON PALACE.
-
-_Bitumen process._]
-
-It is by experiments we learn to achieve distinction; by immediate
-failure that we rise to ultimate success; and ofttimes by pure chance
-that we discover in these days some new trick of method by which
-process shall do for the illustrator something it has not done before.
-There is still, no doubt, in the memory of many, that musty anecdote of
-the painter who, fumbling over the proper rendering of foam, applied
-by some accident a sponge to the wet paint, and lo! there, by happy
-chance, was the foam which had before been like nothing so much as wool.
-
-[Illustration: SNODGRASS FARM.
-
-_From a drawing by Harry Fenn. An example of splatter-work._]
-
-In the same way, I suppose, some draughtsman discovered splatter-work.
-He may readily be imagined, prior to this lucky chance, painfully
-stippling little dots with his pen; pin-points of ink stilted and
-formal in effect when compared with the peculiarly informal concourse
-of spots produced by taking a small, stiff-bristled brush (say a
-toothbrush), inking it, and then, holding the bristles downwards and
-inclining toward the drawing, more or less vigorously stroking the inky
-bristles _towards_ one with a match-stick. Holding the brush thus, and
-stroking it in this way, the bristles send a shower of ink spots upon
-the drawing. Of course this trick requires an extended practice before
-it can be performed in workmanlike fashion, and even then the parts not
-required to be splattered have to be carefully covered with cut-paper
-masks. [_Mem._—To use a fixed ink for drawings on which you intend to
-splatter, because it is extremely probable that you will require to
-paint some portions out with Chinese white, and Chinese white upon any
-inks that are not fixed is the despair of the draughtsman.] Here is
-an excellent example of splatter. It is by that resourceful American
-draughtsman, Harry Fenn. Indeed, the greatest exponents of this method
-are Americans: few men in this country have rendered it with any
-frequency, or with much advantage. I have essayed its use to aid this
-sunset view of _Black Rock_, and to me it seems to come well. But the
-finer spots are very difficult of reproduction; some are lost here.
-There is a most ingenious contrivance, an American notion, I believe,
-for the better application of splatter. It is called the air-brush, and
-it consists of a tube filled with ink, and fitted with a description of
-nozzle through which the ink is projected on to paper by a pneumatic
-arrangement worked by the artist by means of a treadle. You aim the
-affair at your drawing, work your treadle, and the trick is done. The
-splatter is remarkably fine and equable, and its intensity can be
-regulated by the distance at which the nozzle is held from the drawing.
-The greater advantage, however, in the use of the air-brush would seem
-to lie with the lithographic draughtsmen, who have to cover immense
-areas of work.
-
-[Illustration: 6 × 8¼. SUNSET, BLACK ROCK.
-
-_Splatter-work._]
-
-Here follows an experiment with diluted inks: the drawing made upon
-HP Whatman with all manner of nibs. It is all pen-work, worked with
-black stain, and with writing ink watered down to different values.
-This is an attempt to render as truthfully as possible (and as
-unconventionally) the sunset shine and shadow of a lonely shore, blown
-upon with the wild winds of the Channel. A little stream, overgrown
-with bents and waving rushes, flows between a break in the low cliffs
-and loses itself in the sands. The sun sets behind the ruined house,
-and between it and the foreground is a clump of storm-bent trees,
-constrained to their uneasy inward pose not by present breezes, but to
-this shrinking habit of growth by long-continued stress of weather.
-The block is by Gillot, of Paris, who was asked to get the appearance
-of the original drawing in a line-block. This he has not altogether
-succeeded in doing: perhaps it was impossible; but the _feeling_ is
-here. It is a line-block, rouletted all over in the attempt to get
-the effect produced by watered inks. The roulettes, by which these
-greynesses are produced, are peculiar instruments, consisting of
-infinitesimal wheels of hard steel whose edges are fashioned into
-microscopically small points or facets. Mounted at the end of a stick
-more nearly resembling a penholder than anything else, the wheel is
-driven along (and into) the surface of the metal by pressure, making
-small indentations in it. There are varieties of roulettes, the
-differences between them lying in the patterns of the projections from
-the wheel. The varieties in the texture of rouletting seen in this
-print are thus explained.
-
-[Illustration: 10 × 6½. DRAWING IN DILUTED INKS, REPRODUCED BY GILLOT.
-
-_Block touched up by hand and freely rouletted._]
-
-Now come some experiments in mixtures. The mixed drawing has many
-possibilities of artistic expression, and here are some essays in
-mixtures, harnessed to tentative employments of process.
-
-First is this experiment in pen and pencil reproduced in half-tone.
-It is a view of _Chepstow Castle_—that really picturesque old border
-fortress—from across the river Wye, a river that comes rushing down
-from the uplands with an impetuous current full of swirls and eddies.
-The town of Chepstow lies at the back, represented in this drawing
-only by its lights. The huts and sheds that straggle down to the
-waterside, and the rotting pier, where small vessels load and unload
-insignificant cargoes, are commonplace enough, but they go to make a
-fine composition; and the last sunburst in the evening sky, the stars
-already brilliant, and the white gleams from the hurrying river, are
-immensely valuable, and things of joy to the practitioner in black and
-white. Rain had fallen during the day, and, when the present writer sat
-down to sketch, still lent a fine impending juicy air to the scene that
-seemed incapable of adequate translation into pure line; therefore,
-upon the pencil sketch was added pen-work, and to that more pencil,
-and, when finished, the drawing was sent to be processed, with special
-instructions that the white spaces in the sky should be preserved,
-together with those on the buildings, but that all else might acquire
-the light grey tint which the half-tone always gives, as of a drawing
-made upon paper of a silvery grey. In the result you can see this
-purely arbitrary, but delightful, ground tint everywhere; it gives
-absolutely the appearance of a drawing made upon tinted cardboard, but,
-truly, the only paper employed was a common, rough make, that would be
-despised of the lordly amateur. Here you see the half-tone process on
-its best behaviour, and I think it has secured a very notable result.
-
-[Illustration: 11¾ × 8¾. CHEPSTOW CASTLE.
-
-_Drawing in pen and ink and pencil made on rough paper. Reproduced by
-half-tone process._]
-
-Here is another experiment, _Clifford’s Inn: a Foggy Night_—a mixture
-of pen and ink and crayon worked upon with a stump, and then lightly
-brushed over with a damp, not a full, brush; the lights in the windows
-and the reflections taken out with the point of an eraser.
-
-It should be said that in drawing thus for half-tone reproduction the
-drawing should be made much more emphatic than the print is intended
-to appear; that is to say, the deepest shadows should be given an
-additional depth, and the fainter shading should be a shade lighter
-than you would give to a drawing not made with a view to publication.
-If these points are not borne in mind, the result is apt to be flat and
-featureless.
-
-If a half-tone block exhibits these disagreeable peculiarities, high
-lights can always be created by the aid of a chisel used upon the metal
-surface of the block. The more important process firms generally employ
-a staff of competent engravers, who, now that wood engraving is less
-widely used, have turned their attention to just this kind of work—the
-correcting of process-blocks. The artist has but to mark his proof with
-the corrections and alterations he requires. The two illustrations
-shown on page 68, from different states of the same block, give a
-notion of correcting the flatness of half-tone. The second block shows
-a good deal of retouching in the lights taken out upon the paper and
-the jug, and in the hatching upon the drinking-horn.
-
-[Illustration: 9½ × 6¾. CLIFFORD’S INN: A FOGGY NIGHT.
-
-_Drawn in pen and ink and crayon, and brushed over. Reproduced by
-half-tone process, medium grain._]
-
-Half-tone processes are practised in much the same way as the albumen
-and bitumen line methods already described, in so far as that they are
-worked with acids and upon zinc or copper. At first these half-tone
-blocks were made in zinc, but recently some reproductive firms have
-preferred to use copper. Messrs. Waterlow and Sons, in this country,
-generally employ copper for half-tone blocks from drawings or
-photographs. Copper prints a softer and more sympathetic line, and
-does not accumulate dirt so readily as zinc. All the half-tone blocks
-in this volume are in copper. By these processes the photographs
-that one sees reproduced direct from nature appear in print without
-the aid of the artist. They are often referred to as the Meisenbach
-process, because the Meisenbach Company was amongst the first to use
-these methods in this country. The essential difference in their
-working is that there is a ruled screen of glass interposed between
-the drawing or object to be photographed and the negative. Generally a
-screen of glass is closely ruled with lines crossing at right angles,
-and etched with hydrofluoric acid. Into the grooves thus produced,
-printing-ink is rubbed. The result is a close network of black lines
-upon glass. This screen, interposed between the sensitized plate
-in the camera and the object to be photographed, produces upon the
-negative the criss-cross appearance we see in the ultimate picture.
-In the half-tone reproductions by Angerer and Göschl, of Vienna, this
-appearance is singularly varied. The screen used by them is said to be
-made from white silk of the gauziest description, hung before a wall
-covered with black velvet in such a manner that the blackness of the
-velvet can be seen and photographed through the silken film. A negative
-is made, and from it a positive is produced, which exhibits a curiously
-varied arrangement of dots and meshes. The positive is used in the same
-way as the ruled-glass screens.
-
-[Illustration: 6¾ × 6¼. PENCIL AND PEN AND INK DRAWING REPRODUCED BY
-HALF-TONE PROCESS.]
-
-The network characteristic of half-tone relief blocks can be made fine,
-or medium, or coarse, as required. The fine-grained blocks are used for
-careful book and magazine printing, and the medium-grained for printing
-in the better illustrated weeklies; the coarse-grained are used for
-rougher printing, but still are nearly always too fine for newspaper
-work. The _Daily Graphic_, however, has solved the problem of printing
-them sufficiently well for the picture to be discerned. Beyond this the
-rotary steam-printing press has not yet advanced.
-
-In appearance somewhat similar to a half-tone block, but with the
-tint differently applied, is the illustration of _The Village Street,
-Tintern: Night_. Here is a pure pen-drawing, scratched and scribbled
-to blackness without much care for finesse, the great reduction and
-the tint being reckoned upon to assuage all angularities. The original
-drawing was then lightly scribbled over with blue pencil to indicate to
-the process-man that a mechanical tint was required to be applied upon
-the block, and word was specially sent that the tint was to be squarely
-cut, not vignetted. The result seems happy. This is a line block, not
-tone.
-
-[Illustration: 11½ × 9. THE VILLAGE STREET, TINTERN. NIGHT.
-
-_Application of shading medium._]
-
-In such a case the procedure is normal until the image is printed upon
-the sensitized ground of the zinc plate. Then the prescribed tint
-is transferred by pressure of thumb and fingers, or by means of a
-burnisher, from an engraved sheet of gelatine previously inked with a
-printing roller. The zinc plate is then etched in the familiar way.
-
-[Illustration: 11½ × 8¾. LEEBOTWOOD.
-
-_Showing application of shading medium to treatment of sky._]
-
-These tints are produced by Day’s shading mediums; thin sheets of
-gelatine engraved upon one side with lines or with a pattern of
-stipple. There are very many of these patterns. They can readily be
-applied, and with the greatest accuracy, because the gelatine is
-semi-transparent, and admits of the operator seeing what he is about.
-These mechanical tints are capable of exquisite application, but
-they have been more frequently regarded as labour-saving appliances,
-and have rarely been used with skill, and so have come to bear an
-altogether unmerited stigma. They can be used by a clever process-man,
-under the directions of the draughtsman, with great effect, and in
-remarkably diverse ways. For it is not at all necessary that the tint
-should come all over the block. It can be worked in most intricately.
-The illustration, _Leebotwood_, shows an application of shading medium
-to the sky. The proprietors (for it is a patent) of these devices
-have endeavoured to introduce their use amongst artists, with a view
-to their working the mediums upon the drawings themselves. It has
-been shown that the varieties of shading to be obtained by shifting
-and transposing the gelatine plates is illimitable, but as their use
-involves establishing a printing roller and printer’s ink in one’s
-studio, and as all artists are not printers born, it does not seem at
-all likely that Day’s shading mediums will be used outside lithographic
-offices or the offices of reproductive firms.
-
-Here are appended some examples of the shading mediums commonly used.
-
-The cost of reproduction by process varies very greatly. It is always
-calculated at so much the square inch, with a minimum charge ranging,
-for line-work, from two-and-sixpence to five shillings. For half-tone
-the minimum may be put at from ten shillings to sixteen shillings.
-Plain line blocks, by the bitumen or albumen processes, cost from
-twopence-halfpenny to sixpence per square inch, and handwork upon the
-block is charged extra. Some firms make a charge of one penny per
-square inch for the application of Day’s shading mediums. Line blocks
-by the swelled gelatine process are charged at one shilling per square
-inch, and reproductions of pencil or crayon work at one-and-threepence.
-Half-tone blocks from objects, photographs, or drawings range from
-eightpence to one-and-sixpence per square inch, and the cost of a
-photogravure plate may be put at two-and-sixpence for the same unit.
-The best work in any photographic process is infinitely less costly
-than wood engraving, which, although its cost is not generally
-calculated on the basis of the inch, as in all process work, may range
-approximately from three shillings to five shillings for engraving of
-average merit.
-
-[Illustration: EXAMPLES OF DAY’S SHADING MEDIUMS.]
-
-[Illustration: EXAMPLES OF DAY’S SHADING MEDIUM.]
-
-[Illustration: CHURCHYARD CROSS, RAGLAN.
-
-_Application of shading medium._]
-
-Electrotype copies of line blocks cost from three-farthings to
-three-halfpence per square inch, and from half-tone blocks, twopence,
-although it is not advisable to have electrotypes taken of these fine
-and delicate blocks. If duplicates are wanted of half-tones, the usual
-practice is to have two original blocks made, the process-engraver
-charging for the second block half the price of the first.
-
-
-
-
-PAPER.
-
-
-The process engraver will tell you, if you seek counsel of him, that
-you should use Bristol-board, and of that only the smoothest and most
-highly finished varieties. But, however easy it may render his work
-of reproduction, there is no necessity for you to draw upon cardboard
-or smooth-surfaced paper at all. Paper of a reasonable whiteness
-is, of course, necessary to any process of line engraving which has
-photography as a basis, but to say that stiff cardboards or papers of
-a blue-white, as opposed to the cream-laid variety, are necessary is
-merely to obscure what is, after all, a simple matter.
-
-Bristol-board is certainly a very favourite material, and the varieties
-of cardboards sold under that name are numerous enough to please
-anybody. Goodall’s sell as reliable a make as can be readily found. It
-is white enough to please the photo-engraver, and of a smooth, hard
-surface; and a hard surface you must have for pen-work. But it is an
-unsympathetic material, and it is an appreciably more difficult matter
-to make a pencil sketch upon it than upon such papers as Whatman’s HP.
-
-Mounting-boards are frequently used, chiefly for journalistic pen-work,
-when it may be supposed nobody cares anything about the _finesse_ of
-the art, but only that the drawing shall be up to a certain standard
-of excellence, and, more particularly, up to time. Mounting-boards are
-appreciably cheaper than good Bristol-board, but if erasures are to be
-made they are troublesome, because under the surface they are composed
-of the shoddiest of matter. They are convenient, indeed admirable, for
-studies carried out in a masculine manner with a quill pen, or for
-simple drawings made with an ordinary writing nib, with not too sharp a
-point. For delicate technique they are not to be recommended.
-
-Indeed, for anything but work done at home, cardboards of any sort are
-inexpedient; they are heavy, and take up too much space. If they were
-necessary, of course you would have to put up with the inconvenience of
-carrying two or more pounds’ weight of them about with you, but they
-are not necessary.
-
-Every one who makes drawings in pen and ink is continually looking
-out for an ideal paper; many have found their ideals in this
-respect; but that paper which one man swears by, another will, not
-inconceivably, swear at, so no recommendation can be trusted. Again,
-personal predilections change amazingly. One day you will be able to
-use Bristol-board with every satisfaction; another, you will find its
-smooth, dead white, immaculate surface perfectly dispiriting. No one’s
-advice can be implicitly followed in respect of papers, inks, or pens.
-Every one must find his own especial fancy, and when he has found it he
-will produce the better work.
-
-The pen-draughtsman who is a paper-fancier does not leave untried even
-the fly-leaves of his correspondence. Papers have been found in this
-way which have proved satisfactory. All you have to do is to go to some
-large stationer or wholesale papermaker’s and get your fancy matched.
-It would be an easy matter to obtain sheets larger than note-paper.
-
-Whatman’s HP, or hot-pressed drawing-paper, is good for pen-drawing,
-but its proper use is not very readily learnt. To begin with, the
-surface is full of little granulations and occasional fibres which
-catch the pen and cause splutterings and blots. Sometimes, too, you
-happen upon insufficiently sized Whatman, and then lines thicken almost
-as if the drawing were being made upon blotting-paper.
-
-A good plan is to select some good HP Whatman and have it calendered.
-Any good stationer could put you in the way of getting the calendering
-done, or possibly such a firm as Dickinsons’, manufacturers of paper,
-in Old Bailey, could be prevailed upon to do it. If you want a firm,
-hard, clear-cut line, you will of course use only Bristol-board or
-mounting-board, or papers with a highly finished surface. Drawings upon
-Whatman’s papers give in the reproductions broken and granulated lines
-which the process-man (but no one else) regards as defects. Should the
-block itself be defective, he will doubtless point to the paper as the
-cause, but there is no reason why the best results should not proceed
-from HP paper. Messrs. Reeves and Sons, of Cheapside, sell what they
-call London boards. These are sheets of Whatman mounted upon cardboard.
-They offer the advantages of the HP surface with the rigidity of the
-Bristol-board. The Art Tablets sold by the same firm are cardboards
-with Whatman paper mounted on either side. A drawing can be made upon
-both sides and the tablet split up afterwards.
-
-In connection with illustration, amongst the most remarkable inventions
-of late years are the prepared cardboards generally known amongst
-illustrators as “scratch-out cardboards,” introduced by Messrs. Angerer
-and Göschl of Vienna, and by M. Gillot of Paris. These cardboards are
-of several kinds, but are all prepared with a surface of kaolin, or
-china-clay. Reeves sell eight varieties of these clay-boards. They
-are somewhat expensive, costing two shillings a sheet of nineteen by
-thirteen inches, but when their use is well understood they justify
-their existence by the rich effects obtained, and by the saving of time
-effected in drawing upon them. Drawings made upon these preparations
-have all the fulness and richness of wash, pencil, or crayon, and may
-be reproduced by line processes at the same cost as a pen-drawing
-made upon plain paper. The simplest variety of clay-board is the one
-prepared with a plain white surface, upon which a drawing may be
-made with pen and ink, or with a brush, the lights taken out with
-a scraper or a sharp-pointed knife. It is advisable to work upon
-all clay-surfaced papers or cardboards with pigmental inks, as, for
-instance, lampblack, ivory-black, or Indian ink. Ebony stain is not
-suitable. The more liquid inks and stains have a tendency to soak
-_through_ the prepared surface of china-clay, rather than to rest only
-_upon_ it, thereby rendering the cardboard useless for “scratch-out”
-purposes, and of no more value than ordinary drawing-paper. A drawing
-made upon plain clay-board with pen and brush, using lampblack as a
-medium, can be worked upon very effectively with a sharp point. White
-lines of a character not to be obtained in any other way can be thus
-produced with happy effect. Mr. Heywood Sumner has made some of his
-most striking decorative drawings in this manner. It is a manner of
-working remarkably akin to the wood-engraver’s art—that is to say,
-drawing or engraving in white lines upon a black field—only of course
-the cardboard is more readily worked upon than the wood block. Indeed,
-wood-engravers have frequently used this plain clay-board. They have
-had the surface sensitized, the drawing photographed and printed upon
-it, and have then proceeded to take out lights, to cut out white lines,
-and to hatch and cross-hatch, until the result looks in every way
-similar to a wood engraving. This has then been photographed again, and
-a zinc block made that in the printing would defy even an expert to
-detect.
-
-Other kinds of clay-boards are impressed with a grain or with plain
-indented lines, or printed upon with black lines or reticulations,
-which may be scratched through with a point, or worked upon with brush
-or pen. Examples are given here:
-
-[Illustration: CANVAS-GRAIN CLAY-BOARD.]
-
-No. 1. White cardboard, impressed with a plain canvas grain.
-
-This gives a fine painty effect, as shown in the drawing of polled
-willows: a drawing made in pencil, with lights in foreground grass and
-on tree-trunks scratched out with a knife or with the curved-bladed
-eraser sold for use with these preparations.
-
-[Illustration: PLAIN DIAGONAL GRAIN.]
-
-[Illustration: PLAIN PERPENDICULAR GRAIN.]
-
-2. Plain white diagonal lines. Pencil drawing.
-
-3. Plain white perpendicular lines. Pencil drawing.
-
-4. Plain white aquatint grain. Pencil drawing.
-
-These four varieties require greater care and a lighter hand in working
-than the others, because their patterns are not very deeply stamped,
-and consequently the furrows between the upstanding lines are apt to
-become filled with pencil, and to give a broken and spotty effect in
-the reproduction.
-
-[Illustration: DRAWING IN PENCIL ON WHITE AQUATINT GRAIN CLAY-BOARD.]
-
-5. Black aquatint. This is not a variety in constant use. Three states
-are shown.
-
-6. Black diagonal lines. This is the pattern in greater requisition.
-The method of working is shown, but the possibilities of this pattern
-are seen admirably and to the best advantage in the illustration of
-_Venetian Fête on the Seine_.
-
-[Illustration: BLACK AQUATINT CLAY-BOARD AND TWO STAGES OF DRAWING.]
-
-[Illustration: BLACK DIAGONAL-LINED CLAY-BOARD AND TWO STAGES OF
-DRAWING.]
-
-7. Black perpendicular lines. Same as No. 6, except in direction of
-line.
-
-[Illustration: BLACK PERPENDICULAR-LINED CLAY-BOARD AND TWO STAGES OF
-DRAWING.]
-
-[Illustration: VENETIAN FÊTE ON THE SEINE, WITH THE TROCADERO
-ILLUMINATED.
-
-_Pen and ink on black diagonal-lined clay-board. Lights scratched out._]
-
-Drawings made upon these grained and ridged papers must not be stumped
-down or treated in any way that would fill up the interstices,
-which give the lined and granular effect capable of reproduction by
-line-process. Also, it is very important to note that drawings on these
-papers can only be subjected to a slight reduction of scale—say, a
-reduction at most by one quarter. The closeness of the printed grains
-and lines forbids a smaller scale that shall be perfect. Mr. C. H.
-Shannon has drawn upon lined “scratch-out” cardboard with the happiest
-effect.
-
-
-
-
-PENS.
-
-
-A common delusion as to pens for drawing is that only the finer-pointed
-kinds are suitable. To the contrary, most of the so-called “etching
-pens” and crow-quills and lilliputian affairs sold are not only
-unnecessary, but positively harmful. They encourage the niggling
-methods of the amateur, and are, besides, untrustworthy and dreadfully
-scratchy. You can but rarely depend upon them for the drawing of
-a continuous line; frequently they refuse to mark at all. I know
-very well that I shall be exclaimed against when I say that a good
-medium-pointed pen or fine-pointed school nib are far better than
-three-fourths of the pens especially made for draughtsmen, but that is
-the case.
-
-With practice, one can use almost any writing nib for the production of
-a pen-drawing. Even the broad-pointed J pen is useful. Quill pens are
-delightful to work with for the making of pen-studies in a bold, free
-manner. A well-cut quill flies over all descriptions of paper, rough or
-smooth, without the least catching of fibres or spluttering. It is the
-freest and least trammelling of pens, and seems almost to draw of its
-own volition.
-
-Brandauer’s pens are, generally, very good, chiefly for the reason
-that they have circular points that rarely become scratchy. They
-make a small nib, No. 515, which works and wears well; this last an
-unusual quality in the small makes. Perry & Co. sell two very similar
-nibs, No. 601 (a so-called “etching pen”) and No. 25; they are both
-scratchy. Gillott’s crowquill, No. 659, is a barrel pen, very small
-and very good, flexible, and capable of producing at once the finest
-and the boldest lines; but Brandauer’s Oriental pen, No. 342 EF, an
-ordinary fine-pointed writing pen, is just as excellent, and its use is
-more readily learnt. It takes some time and practice to discover the
-capabilities of the Gillott crowquill; the other pen’s possibilities
-are easier found. Besides, the tendency with a microscopic nib is
-to niggled work, which is not to be desired at the cost of vigour.
-Mitchell’s F pen is a fine-pointed school writing nib. It is not
-particularly flexible, but very reliable and lasts long. Gillott has
-recently introduced a very remarkable nib, No. 1000, frankly a drawing
-pen, flexible in the extreme, capable of producing at will the finest
-of hair-lines or the broadest of strokes.
-
-Some illustrators make line drawings with a brush. Mr. J. F. Sullivan
-works in this way, using a red sable brush with all superfluous hairs
-cut away, and fashioned to a point. Lampblack is the best medium for
-the brush.
-
-To draw in line with a brush requires long practice and great
-dexterity, but men who habitually work in this way say that its use
-once learnt, no one would exchange it for the pen. Of this I can
-express no opinion. Certainly there are some obvious advantages in
-using a brush. It does not ever penetrate the surface of the paper, and
-it is capable of producing the most solid and smooth lines.
-
-Stylographic and fountain pens, of whatever make, are of no use
-whatever. Glass pens are recommended by some draughtsmen for their
-quality of drawing an equable line; but they would seem to be chiefly
-useful in mathematical and engineering work, which demands the same
-thickness of line throughout. These pens would also prove very useful
-in architects’ offices, in drawing profiles of mouldings, tracery,
-and crockets, because, not being divided into two nibs, they make any
-variety of curve without the slightest alteration in the character of
-the line produced. Any one accustomed to use the ordinary divided nibs
-will know the difficulty of drawing such curves with them.
-
-
-
-
-INKS.
-
-
-It is, perhaps, more difficult to come by a thoroughly reliable ink
-than to be exactly suited with papers and pens; and yet greater
-attention has been given by manufacturers to inks than to those other
-necessaries.
-
-You can, often with advantage, use a writing pen; but no one, however
-clever he may be, can make a satisfactory drawing for reproduction
-with the aid of writing-inks. They are either not black enough, or
-else are too fluid, so that it is impossible to run lines close
-together, or to cross-hatch without the ink running the lines into one
-another. It may, perhaps, be remarked that this is an obvious error,
-since many of Keene’s most delightful drawings and studies were made
-in writing-inks—black, blue-black, or diluted, or even in red, and
-violet, and blue inks. Certainly Keene was a great man in whatever
-medium he used, but he was not accustomed to be reproduced in any other
-way than by so-called _fac-simile_ wood engraving. In this way all his
-greynesses and faint lines could have their relative values translated,
-but even in the cleverest surface-printing processes his work could not
-be adequately reproduced.
-
-Stephens’s ebony stain is perhaps the most widely used ink at this
-time. It is not made for the purpose of drawing, being a stain
-for wood; but its merits for pen-drawing have been known for some
-considerable time. It is certainly the best, cheapest, and least
-troublesome medium in the market. It is, when not diluted, an intensely
-black liquid with an appreciable body, but not too thick to flow
-freely. It dries with a certain but not very obtrusive glaze, which
-process-engravers at one time objected to most strongly, _because_ they
-wanted something to object to on principle; but they have at length
-become tired of remonstrating, and really there was never any objection
-to the stain upon that score. It flows readily from the pen, and when
-drying upon the nib is not gummy nor in any way adhesive, but powders
-easily—avoiding the abomination of a pen clogged with a sticky mess of
-half-dry mud, characteristic of the use of Indian ink. Ebony stain is
-sold in substantial stone bottles, and so does not readily become
-thick; but when, owing to any cause, it does not run freely enough, a
-sparing dilution with water restores its fluid properties. Diluted too
-often or too freely, it becomes of a decided purple-brown tint; but as
-a good-sized bottle costs only sixpence, and holds enough to last a
-year, it need not be repeatedly diluted on the score of its cost. It
-is not a fixed ink, and readily smudges when washed over or spotted
-with water—so cannot be used in combination with water-colour or
-flat-washes. Neither can Chinese white be used upon a drawing made in
-Ebony stain. These are disadvantages that would tell against its use by
-illustrators who make many alterations upon their work, or who paint in
-lights on a pen-drawing with body-colour; but for pure pen-drawing, and
-for straight-away journalistic work, it is invaluable.
-
-Indian ink is the traditional medium. It has the advantage of fixity;
-lines drawn with it, when once dry, will not smudge when washed over,
-and, at most, they give but a very slight grey or brown tint to the
-paper. Indian ink can be bought in sticks and ground with water in a
-saucer; but there seems to be no reason for any one to go to this
-trouble, as liquid Indian inks are to be bought in bottles from
-Messrs. Reeves. The best Indian ink, when freshly ground, gives a
-fine black line that dries with that bogey of the process-man, a
-glaze; but lampblack is of a more intense blackness, and dries with a
-dull surface. Lampblack is easily soluble, and therefore has not the
-stability of good Indian ink to recommend it. For ordinary use with
-the pen, it has too much of the pigmental nature, and is very apt to
-clog the nib and to cause annoyance and loss of time. Lampblack and
-Ivory-black are better suited to the brush. Hentschel, of 182, Fleet
-Street, sells an American preparation called “Whiting’s Process-Drawing
-Ink,” which professes to have all the virtues that should accompany
-a drawing-ink. It is very abominable, and has an immediate corrosive
-effect upon pens. The drawing-materials’ shop in King William Street,
-Strand, sells “Higgins’ American Drawing Ink,” done up in ingeniously
-contrived bottles. It is well spoken of.
-
-_Encre de Chine Liquide_ is the best liquid Indian ink sold, and is
-very largely used by draughtsmen. It can be obtained readily at any
-good colour-shop. It is far preferable to most of the liquid Indian
-inks prepared by English houses, which when left standing for a few
-minutes deposit a sediment, and at best are inadequate concoctions of a
-greenish-grey colour. Messrs. Reeves and Sons have recently introduced
-a special ink for pen-drawing, which they call “Artists’ Black.” It is
-as good as any. It is a liquid ink, sold in shilling bottles.
-
-Mr. Du Maurier uses blue-black writing-ink from an inkstand that
-is always allowed to stand open and receive dust and become half
-muddy. He prefers it in this condition. Also he generally works upon
-HP drawing-paper. It is interesting to know this, but to work in
-blue-black ink is an amiable eccentricity that might prove disastrous
-to any one following his example. His work is not reproduced by
-zincography, but by _fac-simile_ wood engraving. It may be laid down as
-an inflexible rule, if you are beginning the study of pen-drawing, if
-your work is for hurried newspaper production, or if you have not the
-control of the reproduction in your own hands, to draw for line-process
-in the blackest ink and on the whitest paper.
-
-Many architects and architectural draughtsmen, who are accustomed
-to exhibit pen-drawings of architecture at the Royal Academy, are
-accustomed to draw in brown inks. Prout’s Brown is generally used,
-and gives a very pleasing effect to a drawing. It photographs and
-reproduces readily, but it must always be borne in mind that, if
-printed in black ink, the reproduction will inevitably be much heavier.
-Scarlet inks, and even yellow inks, have been used by draughtsmen for
-special purposes, and are allowable from the photographic point of
-view; but blue must not be used, being an actinic colour and impossible
-to photograph.
-
-
-
-
-THE MAKING OF A PEN-DRAWING.
-
-
-It is not to be supposed that because the pen is so handy an
-instrument, and inks and paper, of sorts, are everywhere, that the
-making of a pen-drawing is a simple affair of a few uneducated strokes.
-The less you know of the art, the easier it seems, and they do but
-show their ignorance who speak of its simplicity. You will want as
-much power of draughtsmanship, and more, for drawing in this medium
-than in many others; because the difference between good drawing and
-bad is more readily seen in line-work than in other methods, and since
-in these days the standard of the art has been raised so high. You
-will want not less study in the open air, or with the life-class for
-figure-work, than the painter gives or should give to his preliminary
-studies for his art. This drudgery you will have to go through, whether
-in the schools of the Science and Art Department (which does not
-recognize this, the livest art of our time), or in the studio and
-under the care of some artist who receives pupils in the fashion of
-the _atélier_ system in France. But such studios are rare in England.
-It seems likely that the student of pen-drawing, who starts with
-learning draughtsmanship of any sort, must first go through much of
-the ordinary grind of the schools, and, when he has got some sort of
-proficiency, turn to and worry out the application of the pen to his
-already received teaching. No one will teach him pen-drawing as an
-individual art; of that there is no doubt. Perhaps the best course he
-could pursue would be to become acquainted with the books illustrated
-by the foremost men, and study them awhile to see in what manner they
-work with the pen, and with this knowledge set to work with models,
-in the same way as a painter would do. Or, if your work is of another
-branch beside the figure, go to the fields, the hedgerows, and all the
-glory of the country-side, and work first-hand. The sketch-book is a
-necessity, and should always be in the student’s pocket for the jotting
-down of notes and memoranda.
-
-I do not think many pen-draughtsmen are careful enough to make a
-thorough pencil study as the basis of their pen-drawing, although that
-is the best way to proceed, and their drawings would be all the better
-for the practice. It is to this absence of the preliminary pencil-work,
-this shirking of an undoubted drudgery, that is due the quantity of
-uninspired, fumbling drawing with the pen that we see nowadays. The
-omission of a carefully made original pencil-sketch, over which to work
-in pen and ink, renders commonplace the work of many artists which,
-if only they were less impatient of toil, would become transfigured.
-What is so injurious to the man who has learnt his art is fatal to one
-who is by way of beginning its study. Make, then, a pencil-drawing in
-outline, using an HB pencil, as carefully as if that only were the end
-and object of your work. Work lightly with this hard pencil upon the
-paper or cardboard you have selected, indicating shadows rather than
-filling them in. It is necessary to make only faint pencil lines, for
-they will have to be rubbed out eventually, after the pen-drawing has
-been made over them. If the marks were deep and strong, a great deal of
-rubbing would have to be done to get them out, and that injures the
-surface of the paper and greys the black lines of the ink used. On
-the other hand, if the pencil-marks were not rubbed out, they would
-very likely photograph and reproduce in the process-block. To a
-pen-draughtsman of experience the reproduction of his pencil-marks can
-be made an additional beauty; but the student had much better be, at
-first, a purist, and make for clean pen-strokes alone on his finished
-drawing.
-
-It must always be remembered, if you are working for reproduction (and
-consequent reduction of scale from the drawing to the process-block),
-that the pen-work you have seen printed in the books and papers and
-magazines was made on a much larger scale than you see it reproduced
-in their pages. Very frequently, as in the American magazines, the
-reduction is to about one quarter scale of the original drawing; but,
-working for process in England, the drawing should, generally speaking,
-be from two-thirds to one-half larger than the reproduction. These
-proportions will, as a rule, give excellent results.
-
-Seeing that your drawing is to be so much larger than the
-process-block, it follows that the pen-work can, with advantage, be
-correspondingly vigorous. It would help you better than any description
-to a notion of what an original drawing should be like, if you could
-obtain a glance at the originals of any good pen-draughtsmen. But
-unfortunately, there are few exhibitions in which pen-work has any
-place.
-
-When your pencil study is completed in an outline giving all details
-down to the minutest, you can set about the pen-drawing. Often, indeed,
-if carefully made, the pencil-sketch looks too good to be covered
-up with ink. If you wish to retain it, it can, if made upon thin
-paper, be traced upon cardboard with the aid of black carbon paper,
-or better still (since blue will not photograph) with blue transfer
-paper, which you can either purchase or make for yourself by taking
-thin smooth paper and rubbing powdered blue chalk upon one side of
-it, or scribbling closely upon it with blue pencil. There is another
-way of tracing the pencil-drawing: by pinning over it a sheet of thin
-correspondence paper (of the kind called Bank Post) and working upon
-that straight away.
-
-But, after all, it would, for the sake of retaining something of the
-freshness of first impressions, be best to sacrifice your pencil study
-and work away on that.
-
-Now the pen-drawing is begun, care should be taken to draw only clear
-and perfectly black lines, and not to run these together, but to keep
-the drawing what the process men call “open.”
-
-If details are put in without regard for the fining down which
-reduction gives, it is only too likely that the result will show only
-dirty, meaningless patches where was a great deal of delicate pen-work.
-Of course, the exact knowledge of how to draw with the pen to get the
-best results by process cannot properly be taught, but must be learned
-by experience, after many miscalculations.
-
-It will be found, too, that many things which it would be inadvisable
-for the beginner to do (especially if he cannot command his own
-choice of process-engraver) are perfectly legitimate to the practised
-artist who has studied process work. The student should not be at
-first encouraged to make experiments in diluted inks or retained
-pencil-marks, or any of those delightful practices by which one who is
-thoroughly conversant with photographic processes and pen-drawing
-varies the monotony of his medium. He should begin by making his
-drawings as simply as he can, so that they express his subject. And
-this simplicity, this quality of suggestion, is the true field of
-pen-work. The best work is reticent and sober, giving the greatest
-number of essential facts in the fewest strokes. If you can express a
-fact with sufficient intelligibility in half a dozen pen strokes, it is
-inartistic and inexpedient to worry it into any number of scratches.
-This is often done because the public likes to see that there has
-been plenty of manual labour put into the work it buys. It is greatly
-impressed with the knowledge that any particular drawing took days to
-complete, and it respects that drawing accordingly, and has nothing
-but contempt for a sketch which may have taken only an hour or so,
-although the first may be artless and overloaded with unnecessary
-detail, and the second instinct with actuality and suggestion. But if
-you are drawing a landscape with a pen, that is no reason for putting
-in an elaborate foreground of grass, carefully working up each square
-inch. Such a subject can be rendered by a master in a few strokes, and
-though, possibly, you may never equal the artistry of the master, you
-can follow his ideals. Another and allied point in pen-and-ink art is
-its adaptability to what is termed “selection.” You have, say, before
-you the view or object to be drawn. You do not need to make a drawing
-in which you shall niggle up every part of it, but you select (the
-trained eye readily does this) its salient feature and emphasize it
-and make it fall properly into the composition, leaving aught else
-either suggested or less thoroughly treated. Here is a pen-drawing
-made with a very special regard to a selection only of the essential.
-_The Gatehouse, Moynes Court_, is a singular structure near the shore
-of the Severn estuary, two miles below Chepstow. The singularity of
-its design, rarely paralleled in England, would give the artist the
-motive for sketching, and its tapering lines and curious roofs are
-best preserved in a drawing that deals chiefly in outline, and has
-but little shading wherewith to confuse the queer profile of these
-effective towers. This drawing was reproduced by the bitumen process.
-The lines in the foreground, suggestive of grass, were drawn in pencil.
-The pen-sketches and studies of the foremost artists which have been
-made, not for publication, but for practice, but which have sometimes
-been reproduced, as, for instance, some slight sketches of Charles
-Keene’s, delight the artist’s eye simply by reason of their suggestive
-and selective qualities. If you do not delight in these things,
-but have a desire to (as the untaught public might say) “see them
-finished,” then it seems likely either that you have not the artistic
-sense, or else you have not sufficient training; but I should suspect
-you were in the first category, and should then advise you to leave
-matters artistic alone.
-
-[Illustration: 7¼ × 9. THE GATEHOUSE, MOYNES COURT.
-
-_Bitumen process. Drawing showing value of selection._]
-
-You should not forget that in drawing for reproduction you are not
-working like the painter of a picture. The painter’s picture exists
-for its own sake, not, like a pen or wash drawing, as only the means
-to an end. The end of these drawings is illustration, and when this is
-frankly acknowledged, no one has any right to criticize the neatness or
-untidiness of the means, so long as the end is kept properly in view.
-
-We have not yet arrived at that stage of civilization when
-black-and-white art shall be appreciated as fully as colour. When we
-have won to that pinnacle of culture, then perhaps an original drawing
-in pen or monochrome will be cherished for its own sake; at present
-we are barbaric more than enough, and bright hues attract us only in
-lesser degree than our “friend and brother,” Quashee from the Congo.
-How nearly related we are these preferences may show more readily than
-the ranter’s impassioned oratory. As a drawing made for reproduction
-is only a stage on the way to the printed illustration, and is not
-the cynosure of collectors, it is successful or unsuccessful only
-in so far as it subserves this purpose. There is really no need for
-scrupulous neatness in the original; there is no necessity for it to
-have the appearance of a finished picture or of delicate execution, so
-only it will wear this appearance when reduced. That curious bugbear
-of neatness causes want of breadth and vigour, and is the cause of
-most of the tight and trammelled handling we see. Draughtsmen at the
-outset of their career are too much afraid of their mediums of white
-cardboard and ink, and too scrupulous in submitting their original
-drawings, beautifully cleaned up and trimmed round, to editors who, if
-they know their business, give no better consideration to them on that
-account. Mr. Ruskin has written, in his _Elements of Drawing_, some
-most misleading things with regard to drawing with the pen. True, his
-book was written in the ’50’s, before pen-drawing became an art, but it
-has been repeatedly reprinted even so lately as 1893, and consequently
-it is still actively dangerous. “Coarse art,” _i.e._ bold work, says
-Mr. Ruskin—he is speaking of pen-drawing—“is always bad art.” There
-you see Mr. Ruskin holding a brief for the British public which admires
-the ineffable artistry displayed in writing the Lord’s Prayer on a
-threepenny piece, but deplores the immorality shown in drawings done
-with a quill pen. The art of a pen-drawing is _not_ to be calculated
-on a sliding-scale graduated to microscopical fractions of an inch and
-applied to its individual strokes.
-
-The appearance a drawing will present when reduced may be approximately
-judged by the use of a “diminishing glass,” that is to say, a concave
-glass.
-
-Drawings should not be cleaned up with india-rubber, which destroys the
-surface of paper or cardboard and renders lines rotten; bread should
-be used, preferably stale bread two days old, crumbled and rubbed over
-the drawing with the palm of the hand. Mr. Ruskin says that in this way
-“you waste the good bread, which is wrong;” but you had better use a
-handful of “the good bread” in this way than injure a good drawing.
-
-The copying of wood engravings or steel prints, not for their subjects,
-but for their peculiar _techniques_, is a vicious and inartistic
-practice. Time used in this way is time wasted, and worse than wasted,
-because this practice is utterly at variance with the spirit of
-pen-work.
-
-It is not a proof of artistry or consummate draughtsmanship to be able
-to draw a straight line or a perfect circle, the absurd legend of
-Giotto and his circle notwithstanding.
-
-There are many labour-saving tricks in drawing for reproduction, but
-these have usually little connection with the purely artistic side
-of illustration. They have been devised chiefly to aid the new race
-of artist-journalists in drawing for the papers which cater for that
-well-known desire of the public to see its news illustrated hot and
-hot. Most of these methods and the larger proportion of the men who
-practice them are frankly journalistic, but some few draughtsmen have
-succeeded in resolving this sleight of hand into novel and interesting
-styles, and their hurried work has achieved a value all its own,
-scarcely legitimate, but aggressive and clamouring for attention.
-
-One of these tricks in illustration is a method which is largely
-practised for journalistic illustration in America—drawing in pen and
-ink upon photographs, which are afterwards bleached out, the outline
-drawings remaining to be processed. Although not a desirable practice
-from an artistic point of view, it is advantageously used for news work
-or upon any occasion in which expedition is essential. The photograph
-to be treated in this way is printed by the usual silver-print method,
-with the exception that the paper used is somewhat differently
-prepared. What is known as “plain salted paper” is used; that is
-to say, paper prepared without the albumen which gives to ordinary
-silver-prints their smooth, shiny appearance. The paper is prepared by
-being soaked in a solution made by the following formula:—
-
-    Chlorate of ammonia   100 grains.
-    Gelatine              10    "
-    Water                 10  ounces.
-
-The print is made and fixed without toning. It may now be drawn upon
-with pen and Indian ink. The ink should be perfectly black and fixed.
-The drawing, if it is to be worth anything artistically, must not aim
-at anything like the fulness of detail which the photograph possesses.
-An outline drawing is readily made in this way, and a considerable
-amount of detail may be achieved. Indeed, the temptation is always to
-go over the photograph in pen and ink too fully, and only draughtsmen
-of accomplishment can resist this almost irresistible inducement to do
-too much. Still, admirable results have been obtained in this way by
-artists who know and practise the very great virtue of reticence.
-
-When the drawing has been finished it is immersed in a solution of
-bichlorate of mercury dissolved in alcohol, which removes all traces of
-the photograph, leaving the drawing showing uninjured upon plain white
-paper. Omissions from the drawing may now be supplied and corrections
-made, and it is now ready for being processed. If very serious
-omissions are noticed, the photograph may be conjured back by immersing
-the paper in a solution of hyposulphite of soda.
-
-Another and readier way is to draw upon photographs printed on
-ferro-prussiate paper. This paper may be purchased at any good
-photographic materials shop, or it can be prepared by brushing a sheet
-of paper over with a sensitizing solution composed of the two following
-solutions, A and B, prepared separately and then mixed in equal
-volumes:—
-
-  A { Citrate of iron and ammonia   1⅞ ounces.
-    { Water                         8    "
-
-  B { Ferricyanide of potassium     1¼   "
-    { Water                         8    "
-
-The paper must be prepared thus in a dark room and quickly dried. It
-will remain in good condition for three or four months, and is best
-preserved in a calcium tube. Prints made upon ferro-prussiate paper are
-formed in Prussian blue, and are fixed in the simplest way, on being
-taken from the printing frame, by washing in cold water.
-
-An Indian ink drawing may now be made upon this blue photographic
-print, and sent for process without the necessity of bleaching, because
-blue will not reproduce. If, on the other hand, it is desired to see
-the drawing as black lines upon white paper, the blue print may be
-bleached out in a few seconds by immersing it in a dish of water in
-which a small piece of what chemists call carbonate of soda (common
-washing soda) has been dissolved.
-
-Outline drawings for reproduction by process may be made upon
-tracing-paper. Most of the rough illustrations and portrait sketches
-printed in the morning and evening newspapers are tracings made in
-this way from photographs or from other more elaborate illustrations.
-Although this is not at all a dignified branch of art, yet some of the
-little portrait heads that appear from time to time in the _St. James’s
-Gazette_, _Pall Mall Gazette_, and the _Westminster Gazette_ are models
-of selection and due economy of line, calculated to give all the
-essentials of portraiture, while having due regard to the exigencies of
-the newspaper printing press.
-
-[Illustration]
-
-The two outline portrait sketches shown here are reproduced from the
-_St. James’s Gazette_. Their thick lines have a tendency to become
-offensive when subjected to careful book-printing, but appearing as
-they originally did in the rapidly printed editions of an evening
-paper, this emphasis of line was exactly suited to the occasion.
-
-[Illustration]
-
-Translucent white tracing-paper should be used for tracing purposes,
-pinned securely through the corners of the photograph or drawing to be
-copied in this manner on to a drawing-board, so that the tracing may
-not be shifted while in progress. No pencilling is necessary, but the
-tracing should be made in ink, straight away. Fixed Indian ink should
-be used, because when the tracing is finished it will be necessary for
-process purposes to paste it upon cardboard, and, tracing-paper being
-so thin, the moisture penetrates, and would smudge a drawing made in
-soluble inks unless the very greatest care was taken. Old tracing-paper
-which has turned a yellow colour should on no account be used, and
-tracing-cloth is rarely available, because, although beautifully
-transparent, it is generally too greasy for pure line-work.
-
-Pen-drawings which are to be made and reproduced for the newspaper
-press at the utmost speed are made upon lithographic transfer paper
-in lithographic ink, a stubborn and difficult material of a fatty
-nature. Drawings made in this way are not photographed, but transferred
-direct to the zinc plate, and etched in a very short space of time. No
-reduction in scale is possible, and the original drawing is inevitably
-destroyed in the process of transferring.
-
-
-
-
-WASH DRAWINGS.
-
-
-Wash drawings for reproduction by half-tone process should be made upon
-smooth or finely grained cardboards. Reeves’ London board is very good
-for the purpose, and so is a French board they keep, stamped in the
-corner of each sheet with the initials A. L. in a circle. Wash drawings
-should be made in different gradations of the same colour if a good
-result is to be expected: thus a wash drawing in lampblack should be
-executed only in shades of lampblack, and not varied by the use of
-sepia in some parts, or of Payne’s grey in others. Lampblack is a
-favourite material, and excellent from the photographic point of view.
-Payne’s grey, or neutral tint, at one time had a great vogue, but it is
-too blue in all its shades for altogether satisfactory reproduction,
-although the illustration, _The Houses of Parliament_, shown on p.
-122, has come well with its use. Chinese white was freely used in the
-drawing, and its value is shown in putting in the swirls of fog.
-
-[Illustration: 11½ × 17½. THE HOUSES OF PARLIAMENT AT NIGHT, FROM THE
-RIVER.
-
-_Wash drawing in Payne’s grey. Half-tone process, medium grain._]
-
-[Illustration: 5¾ × 3¾. VICTORIA EMBANKMENT NEAR BLACKFRIARS BRIDGE: A
-FOGGY NIGHT.
-
-_Drawing on paper in charcoal-grey, lights put in with Chinese white.
-Medium grain._]
-
-Indian ink is capable of producing the greatest range of tone from
-light to dark, and successive washes with it are quite indelible. But
-it may be said at once that this great range is not necessary—nay,
-is not advisable in drawing for half-tone reproduction. In view of
-the unavoidable defects of the half-tone processes which tend to
-flatten out the picture, artists should not attempt many and delicate
-gradations. Half a dozen tones from black to white will generally
-suffice. Any attempt to secure the thousand-and-one gradations of a
-photograph will be at once needless and harmful.
-
-Pure transparent water-colour washes do not give such good effects
-in reproduction as work in body-colour. Chinese white mixed with
-lampblack comes beautifully. Charcoal-grey, of recent introduction,
-is not so well adapted to the admixture of body-colour. Altogether,
-charcoal-grey, although a very admirable colour, is a difficult
-material unless you know exactly at starting a drawing what you intend
-to do. The illustration, _Victoria Embankment: a Foggy Night_, was made
-in it on rough paper. The nature of the subject rendered the execution
-of the drawing easy, but in a drawing which runs the whole gamut of
-tone, its unstable qualities forbid its use by the novice.
-
-[Illustration: 13 × 10. CORFE RAILWAY STATION.
-
-_Drawing upon common rough scribbling paper in Indian ink, washes
-reinforced by pencil lines. Fine grain._]
-
-[Illustration: 10½ × 6½. THE AMBULATORY, DORE ABBEY.
-
-_Photograph painted in parts with body-colour._]
-
-The drawings made in wash by Myrbach and Rossi have set the fashion for
-much recent illustration. Vignettes made with a full brush and reduced
-to infinitesimal proportions have abounded since the illustrated
-editions of _Tartarin of Tarascon_ first charmed the eye; but now,
-reduced to the common denominator of the sixpenny magazines, they
-have lost all the qualities and retained all the defects the fashion
-ever had. The drawing of _Corfe Railway Station_ was made in washes
-of Indian ink with a full brush, each successive wash left to dry
-thoroughly before the next was laid on. Parts are reinforced with
-pencil strokes: these can readily be identified in the print. The block
-was then vignetted.
-
-Another method is used for half-tone work. A photograph is mounted upon
-cardboard, and may be worked upon in brushwork with body-colour to any
-extent, either for lightening the picture or for making it darker. For
-working upon the ordinary silver-print an admixture of ox-gall must be
-used or the pigments will not “take” upon the sensitized paper.[1]
-The illustration, _The Ambulatory, Dore Abbey_, is from a photograph,
-worked upon in this manner. The photo was so dark and indefinite that
-something was necessary to be done to show the springing of the arches
-and the relation of one pier to another. Chinese white was used in the
-manner described above, and the arches outlined in places by scratching
-with the sharp point of a penknife.
-
-[1] Refer to _The Real Japan_, by Henry Norman. Fisher Unwin, 1892. The
-book is freely illustrated with half-tone blocks made from photographs.
-The photographs were all extensively worked upon with body-colour in
-this manner. Indeed, the brushwork may clearly be discerned in the
-reproductions.
-
-Tinted cards may be used in drawing for half-tone, but yellow tints
-must be avoided, for obvious photographic reasons; and blue tints,
-photographically, are practically pure white. If tinted cardboard is
-used at all, it should be in tints of grey or brown.
-
-[Illustration: 14 × 12. MOONLIGHT: CONFLUENCE OF THE SEVERN AND THE WYE.
-
-_Oil sketch on canvas in Payne’s grey. Half-tone process. Fine
-grain._]
-
-A very satisfactory way of working for half-tone is to work in oil
-monochrome. The reproductions from oil sketches come very well indeed
-by half-tone processes: full and vigorous. The photo-engraver always
-objects to oil because of its gloss, but this can be obviated by
-mixing your colour with turpentine or benzine, which give a dull
-surface. The sketch shown on p. 130 was made in this way. It was a
-smoothly worked sketch, with no aggressive brush-marks, but it may be
-noted that brush-marks come beautifully by this process: if anything,
-rather stronger than in the original, because the shadows cast by them
-reproduce as well. But if you sketch in oils for reproduction, be chary
-of vigorous brushwork in white: it comes unpleasantly prominent in the
-block.
-
-In giving instructions for the reproduction, and reduction, of
-drawings, the measurement in one direction of the reproduction desired
-should be plainly indicated thus: ← 4½ inches →. Unless absolutely
-unavoidable, drawings should not be sent marked “½ size,” “⅓ scale,”
-and so on, because these terms are apt to mislead. People not
-accustomed to measurements are very uncertain in their understanding of
-them, and, absurd as it may seem to those who deal in mensuration, they
-very frequently take ½ scale and ½ size as synonymous terms; while ½
-scale is really ¼ size, and so on, in proportion.
-
-[Illustration]
-
-The proportions a drawing will assume when reduced may be ascertained
-in this way. You have, say, a narrow upright drawing, as shown in the
-above diagram, and you want the width reduced to a certain measurement,
-but having marked this off are at a loss to know what height the
-reproduction will be. Supposing it to be a pen-drawing, vignetted, as
-most pen-drawings are; in the first place, light pencil lines touching
-the farthest projections of the drawing should be ruled to each of its
-four sides, meeting accurately at the angles A, B, C, D. This frame
-being made, a diagonal line should be lightly ruled from upper to lower
-corner, either—as shown—from B to C, or from A to D. The measurement
-of the proposed reduction should then be marked off upon the base line
-at E, and a perpendicular line ruled from it to meet the diagonal. The
-point of contact, F, gives the height that was to be found, and a
-horizontal line from F to G completes the diagram, and gives the
-correct proportions of the block to be made.
-
-It will readily be seen that large copies of small sketches can be made
-in exact proportions by a further application of the diagonal, but care
-should be taken to have all these lines drawn scrupulously accurate,
-because the slightest deviation throws the proportions all out.
-
-
-
-
-STYLES AND MANNER.
-
-
-Pen-drawing is ruled by expediency more, perhaps, than any art. I shall
-not say that one method is more right than another in the management of
-textures, or in the elaboration or mere suggestion of detail, for line
-work is, to begin with, a purely arbitrary rendering of tones. There
-is nothing like line in nature. Take up an isolated brick; it does not
-suggest line in any way. Build it up with others into a wall, and you
-can in pen and ink render that wall in many ways that will be equally
-convincing and right. It may be expressed in terms of splatter-work,
-which can be made to represent admirably a wall where the bricks have
-become welded into an homogeneous mass, individually indistinguishable
-by age, or of vertical or horizontal lines that may or may not take
-account of each individual brick and the joints of the mortar that
-binds the courses together. Crosshatching, though a cheap expedient
-and a decaying convention, may be used. But to lose sight of ordinary
-atmospheric conditions is no more privileged in pen-work than in
-paint. This is not by any means unnecessary or untimely advice,
-though it should be. The fact of using a pen instead of a brush does
-not empower anybody to play tricks with the solar system, though one
-sees it constantly done. One continually sees in pen-drawing the laws
-of light and shade set at naught, and nobody says anything against
-it—perhaps it looks smart. Certainly the effect is novel, and novelty
-is a powerful factor in anything. But to draw a wall shining with a
-strong diffused light which throws a great black shadow, is contrary
-to art and nature both. “Nature,” according to Mr. Whistler, “may be
-‘creeping up,’ but she has not reached that point yet. When one sees
-suns setting behind the east ends of cathedrals, with other vagaries
-of that sort, one simply classes such things with that amusing erratum
-of Mr. Rider Haggard’s, in which he describes a ship ‘steaming out of
-the mouth of the Thames, shaping her course toward the red ball of the
-setting sun.’” But though the instance is amusing, the custom is apt to
-pall.
-
-Some of the American pen-draughtsmen who contribute to the _Century_
-are exceedingly clever, and their handling extremely personal; but
-after a time this excessive personality ceases to charm, and, for one
-thing, these young bloods are curiously narrow in their choice of the
-masters from whom they are only too pleased to derive. Mr. Brennan is,
-perhaps, the most curiously original of these men. He is the man who
-has shown most convincingly that the inked thumb is the most instant
-and effective instrument wherewith to render velvet in a pen-drawing.
-You cannot fail to be struck with his method; his manner is entirely
-personal, and yet, after a time, it worries one into intolerance.
-
-It is the same with that convention, founded, apparently, by Mr.
-Herbert Railton, which has had a long run of some nine or ten years.
-It was a convention in pictorial architecture that had nothing except
-a remarkably novel technique to recommend it. The illustrator invited
-us rather to see how “pretty” he could render an old building, than how
-nearly he could show it us as it stood. He could draw an elevation in
-a manner curiously feminine, but he could only repeat himself and his
-trees; his landscapes were insults to the imagination. Nothing inspired
-him to achievements beyond pictorial confectionery.
-
-This convention has had its day, although in the mean while so
-strikingly mannered was it that it appealed to almost all the young
-and undiscriminating men whose work lay in the rendering of pictorial
-architecture. “Go to,” said the Average Artist in “the picturesque,”
-“I will sit down and make a drawing in the manner of Mr. Railton.”
-And he did, generally, it may be observed, from a photograph, and in
-the undistracting seclusion of his own room. This sort of artistic
-influenza, which nearly all the younger men caught at one time or
-another, was very dangerous to true art. But it could not possibly
-last; it was so resourceless. Always we were invited to glance at the
-same sky and an unchanging rendering of buildings, whether old or new,
-in the same condition of supposedly picturesque decrepitude. Everything
-in this mannerism wore the romantic air of the Moated Grange and
-radiated Mrs. Radcliffe, dungeons, spectres, and death, whether the
-subject was a ruinated castle or a new warehouse. All this has grown
-offensive: we want more sobriety. This apotheosis of raging skies and
-falling smuts, of impending chimneys, crumbling stones, and tottering
-walls was only a personal manner. Its imitators have rendered it
-ridiculous.
-
-The chief merits of such topographical and archæological drawings are
-that they be truthful and reverent. If art is ever to approach the
-documentary stage, to be used as the record of facts, it is in this
-matter. To flood the country with representations of old buildings
-that are not so much pictures of them as exercises in an exaggerated
-personal manner, is to deserve ill at the hands of all who would have
-preserved to them the appearance of places that are passing away. The
-illustrations to such books, say, as Mr. Loftie’s _Inns of Court_ or
-his _Westminster Abbey_ are of no historic or artistic value whatever;
-they are merely essays in a wild and weird manner of which we are tired
-in the originator of it; which we loathe in those who imitate its worst
-faults. We require a sober style in this work, after being drunken so
-long with its so-called picturesqueness, which, rightly considered, is
-but impressionism, ill seen and uninstructed.
-
-No one has exercised so admirable a method, whether in landscape, in
-portraiture, or in architecture, as Sir George Reid, but his work
-is not readily accessible for the study it invites. It is scholarly
-and expressive, eloquent of the character of his subject, free from
-redundancies. It is elaborate or suggestive on due occasion, and,
-although the style is so distinguished, you always feel that every
-drawing by this stylist is really and truly a representation of the
-person, place, or thing he has drawn, and not a mere pretext for an
-individual handling; no braggart assumption of “side.”
-
-The dangers of following in a slavish manner the eccentricities of
-well-known men are exemplified in the work of those illustrators who
-ape the whimsies of the impressionist Degas. What Degas may do may
-nearly always be informed with distinction, but the illustrators who
-reproduce, not his genius, but an outstanding feature of it, are
-singularly narrow. If Degas has painted a picture of the play with the
-orchestra in the foreground and the bass-viol looming immensely up
-three parts of the composition, the third-rate impressionists also lug
-in a bass-viol; if he has shown a ballet-girl with apparently only one
-leg, they always draw one-legged _coryphées_, and remain incapable of
-conceiving them as bipeds.
-
-Caldecott is a dangerous man to copy. He was, first and last, a
-draughtsman, and a draughtsman whose every dot and line were eloquent.
-There is no technique that you can lay hold of in his work, but only
-characterization, which is more frequently caricature. Caldecott would
-never have made a serious illustrator; in burlesque he was immense, and
-no artist could desire a better monument than his _Picture Books_. His
-reputation has fallen greatly of late, notwithstanding the delightful
-_John Gilpin_ and the others of that inimitable series; but his repute
-had stood higher to-day if his private letters to his friends and
-other unconsidered trifles had never been collected and published,
-ghoul-like, after his death. Pandering to the market has almost killed
-Caldecott’s repute, for the undiscriminating public were invited to
-admire reproductions of hasty sketches never intended for publicity.
-
-There is character in Mr. Phil May’s work, and humour, surprisingly set
-forth with a marvellous economy of line. His is a gay and festive muse,
-that is most at home where the tide of life runs strongest and deepest,
-with wine-bubbles breaking “most notoriously,” as Mr. Kipling might
-say, upon its surface; with theatres, music-halls, and Gaiety bars
-ranged along its banks in profusion. There is much human nature in
-Mr. May. Also in Mr. Greiffenhagen; but a different kind. He has gone
-chiefly to the boudoir and the drawing-room for his subjects, and has
-rendered them with a resolute impressionism and a thorough discarding
-of cross-hatch that make a lasting impression with the beholder.
-There is a certain Christmas number, 1892, of the _Lady’s Pictorial_
-with memorable drawings by him; they are in wash and lithographic
-crayon, but may only be noted here in passing. He has a gift of novel,
-unhackneyed composition, and he sees the figure for himself, and draws
-it in with a daring but right and striking manner.
-
-There has arisen of late years a school of illustration peculiarly
-English—the so to call it “Decorative School.” It is a new and higher
-incarnation of the pre-Raphaelite movement. The brotherhood did good
-work, not at all commensurate with the amount of attention it received,
-but beyond all praise in the conventions it founded; and, historically
-considered, Rossetti and his fellows are great, and Blake is greater,
-because he was an inspired visionary with a kink in his brain, out of
-which flowed imaginings the most gorgeous and original. But the
-decorative men of to-day are doing even better work—masculine,
-convincing, racy of this soil. It is chiefly admirable because it gives
-us, in these days of “actuality,” of photography, and reproductions
-direct from photographs, a new outlook upon life. English decorative
-illustration is, with but few exceptions, possessed of a fine romantic
-fancy, poetic, and at the same time healthy and virile and eminently
-sane, and it will live. There is great hope for the future of this
-school, while the imported styles of Vierge and Rico and other masters
-used to sunnier skies, admirable beyond expression in their own places,
-droop and languish in the nor’-easterly winds of England, and their
-tradition becomes attenuated in passing through so many hands. Their
-descendants, from Abbey down to Pennell and the whole crowd of those
-who love not wisely but too well, have brought these fine exotic
-conventions down to the merest shadows of shades.
-
-Mr. Walter Crane has, any time these last ten years, been the great
-Apostle of Decoration _plus_ Socialism. It has been given him in this
-wise to make (in theory) the lion to lie down with the lamb (and yet
-for the lamb to remain outside the lion with his destiny of mutton
-still in perspective), and he has proclaimed in parables the
-possibility of mixing oil and water. He has perpetrated a cartoon for
-the Socialistic, if not Anarchist, First of May, and therein he has
-striven to decoratively treat the British Workman. But although Mr.
-Crane has a pretty trick of decoration, he was worsted in that bout,
-for the British Plumber or the Irish Hodman is stubborn material for
-decoration, and their spouses as festal nymphs are not convincing
-visions. Again, he has achieved a weird series of cartoons upon the
-walls of the Red Cross Hall in praise of Democratic Valour, in which he
-has unsuccessfully attempted to conventionalize rescuing firemen and
-heroic police. Such bravery deserved a better fate. Also Mr. Crane has
-written much revolutionary verse in praise of brotherhood and equality,
-and now he has accepted the mastership of a Governmental art school,
-under the direction of that not very revolutionary body, the Committee
-of Council for Education (Science and Art Department). Decoration
-should be made of sterner stuff! His industry has been prodigious. Even
-now a bibliography of him is in the making; and yet shall it be said
-that it is difficult in the great mass of his work to find many items
-altogether satisfactory? It may be feared it is so. For one thing,
-his anatomy is habitually at fault; and yet has he not informed an
-interviewer from the _Pall Mall Gazette_ that long years since he had
-ceased to draw from the model?
-
-That wheel within wheels, the so-called Birmingham School, is
-attracting attention just now, and men begin to prophesy of deeds from
-out the midlands. But once upon a time there was a Newlyn School, was
-there not? Where is that party now? Its foremost members have won to
-the honours of the Royal Academy, and its mission is done. But it is
-time to talk of schools when work has been done. Of course it is very
-logical that good work should come from Birmingham. The sense of beauty
-is stronger in those who live in midst of dirt and grime. Instance the
-Glasgow school of impressionists. But the evidence of Birmingham at
-present is but a touching follow-on to the styles of Mr. Crane and Mr.
-Sumner, and to the ornament of Mr. Lewis Day. Indeed, the decorative
-work of the students at the National Art Training Schools may be put in
-the formula of one-third Crane, and the remaining two-thirds Heywood
-Sumner and Lewis Day, an amalgam ill-considered and poorly wrought.
-
-But indeed Mr. Heywood Sumner’s work has a note of distinction. He
-does not confuse Socialist propaganda with ornament, and is not always
-striving to show with emphasis of line in pen and ink that Capital is
-the natural enemy of Labour, and that a silk hat on a rich man’s head
-may justly be defined as so many loaves of bread (or pots of beer) in
-the wrong place. That is for Mr. Crane and Mr. William Morris to prove;
-and, really, anything wicked can be proven of such a hideous object.
-But the onus of bringing the guilt home to it and the wearer of it does
-not produce good art. Indeed, decorative art is not catholic; it has
-no sort of commerce with everyday life or with the delineation of any
-times so recent as the early years of the Victorian era. Its field lies
-only in poetic imaginings, in fancy, and, most emphatically, not in
-fact. When Mr. Crane, for instance, takes to idealising the heroic acts
-of policemen, the impulse does credit to his heart, but the results
-are not flattering to his head. Fortunately he does not often go these
-lengths, and no one else of the decorative idea has been equally
-courageous, save indeed a Mr. Beardsley, who “decoratively” illustrated
-Orpheus at the Lyceum Theatre; and those illustrations in the _Pall
-Mall Budget_, March 16, 1893, certainly were very dreadful.
-
-An exception to the general beauty of recent decorative work is the
-incomprehensible and at the same time unlovely practice of this
-eccentric. Mr. Charles Ricketts’ work, although its meaning may often
-be so subtly symbolical that it is not to be understood except by the
-elect,—never without the aid of a glossary of symbolism,—is always
-graced with interesting technicalities, and his draughtsmanship is of
-the daintiest; but what of meaning is conveyed to the mind and what
-of beauty to the eye in this work of Mr. Beardsley’s, that has been
-somewhat spoken of lately? It has imagination certainly, but morbid and
-neurotic, with a savour of Bethlehem Hospital and the charnel-house;
-it is eccentric apparently with an eccentricity that clothes bad
-draughtsmanship, and incongruous with an incongruity that suggests
-the uninstructed enthusiasm of the provincial mind. It exhibits a
-patchwork-quilt kind of eclecticism, born of a fleeting glance at
-Durer; of a nodding acquaintance with all prominent modern decoration
-and an irrelevant _soupçon_ of Renaissance ornament; like the work of a
-lithographic draughtsman, a designer of bill-heads, roaming fancy free.
-
-The practice of Mr. Selwyn Image has a devotional and meditative cast.
-He has made some remarkable drawings for the _Hobby Horse_ in the
-manner of the missal-painters, both in spirit and execution, and he
-steadfastly keeps the art of the monkish scriptorium in view, and seems
-to echo the sentiments of the rapturous maidens in _Patience_, “Let
-us be Early English ere it is too late.” And he _is_ Early English to
-excellent purpose.
-
-It is a gross error to hold that decorative art is impossible under
-present social conditions, and unpardonable to attempt to link
-decoration and design to Socialist propaganda. Art of all possible
-application never flourished so well as under the feudal system, and
-never sank so low as it did when Democracy and the Trouser came in
-together.
-
-The great advantages of Art over Photography are its personal
-qualities. The camera is impersonal, and will ever be a scientific
-instrument. You can, like the ingenious Mr. H. P. Robinson, pose
-figures, and with a combination of negatives concoct a composition
-which is some sort of cousin-german to a picture; but if you can do all
-this, you might go a little farther and make a picture without the aid
-of a camera. It would be personal, and, without a signature, signed all
-over with the unmistakable mark of style or manner, like Constable’s
-paintings.
-
-It seems unlikely that any mechanical processes, save the strictly
-autographic, which reproduce line, will be of permanent artistic value.
-No photogravure will be sought for and prized in years to come as the
-old etchings and mezzotints are valued. Those elaborate photogravure
-plates from popular or artistic pictures (the terms are not synonymous)
-which crowd the print-sellers’ shops to-day, at five or ten guineas,
-will not long hence be accounted dear at so many shillings, simply
-because they lack the personal note. Meanwhile, mezzotints and
-etchings, other than the “commercial” etching, will become inversely
-expensive.
-
-In that brackish flood of “bitter cries” to which we have been
-subjected of late years, the wail of the wood-engraver was easily to be
-distinguished, and we heard that his occupation was gone. But has it?
-No, nor will it go. No tint nor half-tone process can ever render
-sufficiently well the wash drawings that the best engravers render
-so admirably, with an entire subjection of their own individuality
-unthought of twenty years ago. The wood-engraver, as one who imposes
-restrictions upon technique, has had his day; but as a conscientious
-and skilful workman, who renders faithfully the personality of the
-artist he engraves, he flourishes, and will continue to flourish.
-Otherwise, there is no hope for him, let Mr. Linton say what he will.
-He will remain because he can preserve the personal note.
-
-Half-tone processes are as tricky as Puck and as inconstant. You never
-know the exact result you will get from any given drawing. Half a dozen
-blocks from the same drawing will give, each one, a different result,
-because so much depends upon the fraction of a second, more or less,
-in making the negative; but all of them agree in presenting an aspect
-similar to that obtained on looking through the wire blind of some
-Philistine window upon the street. In all cases the edge, the poignancy
-of the subject, is taken off, and, in the case of the process-block,
-several intermediate tones go as well, with, frequently, the result of
-an unnatural lighting “that never was on land or sea,” and it may be
-hoped never will be.
-
-No doubt half-tone processes will continue to be more and more widely
-used, chiefly because they are several times cheaper than a good wood
-engraving, and because, so far as mere documentary evidence goes,
-they are good enough for illustrated journalism. But for bookwork,
-for anything that is not calculated for an ephemeral consideration,
-half-tone processes are only to be used with the most jealous care.
-
-As regards the half-tone processes employed to reproduce photographs, I
-take leave to say that no one will, a hundred years hence, prize them
-for any quality. The necessary reticulation of their surface subtracts
-from them something of the documentary value of the photograph, and,
-deriving directly from photographs, they have no personal or artistic
-interest.
-
-But their present use touches the professional draughtsman nearly,
-for in illustrated journalism half-tone is very frequently used in
-reproducing photographs of places and people without the aid of the
-artist, and it is no consolation for a man who finds his occupation
-going for him to consider that these direct photographic processes have
-no permanent interest. It is the new version of the old tale of the
-stage-coach _versus_ the railway engine, to his mind, and he is apt
-to think that as a craftsman he is fast following the wood-engraver.
-But it is safe to say that although the mediocrities will suffer, or
-be forced, like the miniature-painter who turned daguerrotypist and
-then blossomed forth as a photographer, to study practical evolution,
-the artists of style and distinction will rather gain than lose by a
-further popularity of cheap photographic blocks. The illustrated papers
-and magazines will not be so freely open to them as before, but in
-the illustration of books will lie their chief field, and who knows
-but that by such a time the pen-drawing and the drawing in wash will
-have won at last to the picture-frame and the art galleries. There’s
-distinction for you!
-
-So much to show the value of personality.
-
-Still it remains that, although the personal element will always be
-valued, the fact—to paraphrase a sounding Ruskinian anathema—gives no
-reason for flinging your identity in the face of your contemporaries,
-or even of posterity (this last a long shot which few, with all the will
-in the world, will be able to achieve). You may be startlingly original
-and brilliant in technique, and be received with the acclaim that
-always awaits a novelty; but if your personality be so exaggerated that
-you allow it to override the due presentment of your subject, why,
-then, your plaudits will not be of very long continuance.
-
-
-
-
-PAINTERS’ PEN-DRAWINGS.
-
-
-It is to the painters that we owe some curious and original effects in
-pen-drawing, that no professional pen-draughtsman who has studied the
-science of reproduction could have given us, however independent his
-attitude towards process.
-
-[Illustration: 7¾ × 5. PASTURAGE.
-
-_From a drawing by Mr. Alfred Hartley._]
-
-[Illustration: PORTRAIT OF MR. BONNAT, BY HIMSELF.]
-
-Painters who have known nothing whatever of processes have from time
-to time been called upon to make pen-drawings from their paintings for
-reproduction in illustrated exhibition catalogues, and their drawings
-have frequently been both of the most ludicrously impossible character
-from the process point of view, and bad from the independent penman’s
-standpoint. But a percentage of this painters’ pen-work, done as it was
-with a free hand and an unprejudiced brain, is curiously instructive. A
-very great number of painters’ pen-drawings have been made up to within
-the last few years (since which time half-tone process blocks produced
-from photos of their pictures have superseded them), and painters have
-in no small measure helped to advance the science of process-work,
-merely by reason of the difficulty of reproducing their drawings
-adequately, and the consequent renewed efforts of the process-man
-toward the adequate translation of their frequently untranslateable
-qualities. The graver has been pressed into the service of process
-partly on their account, and the roulette has been used freely to
-assuage the crudities resulting on the block from drawings utterly
-unsuitable for straight-away processing.
-
-In this connection half-tone processes have done inestimable harm,
-for, to-day, the catalogues and the illustrated papers are filled with
-photographic reproductions of paintings where in other days autographic
-sketches by the painters themselves were used to give a value that is
-now lacking to these records of exhibitions.
-
-They have frequently a heavy hand, these painters, and are prodigal
-of their ink; moreover, they have not the paralyzing dread of
-an immaculate sheet of white cardboard that seizes upon the
-black-and-white man (so to call the illustrator), who is brought up
-with the fear of the process-man before him.
-
-Thus you will find Mr. Wyllie make pen-sketches from his pictures
-with a masterful hand, and a pen (apparently a quill) that plumbs the
-deepest depths of the inkpot, and produces a robustious drawing that
-wrings conviction out of one by the thickness and surety of its lines;
-or again, Mr. Blake Wirgman shows equal vigour and directness with
-portraits in pen-and-ink, replicas in little of his oil-paintings. One
-could desire nothing more masculine than the accompanying illustration
-from his hand.
-
-[Illustration: 18 × 10½. TOWING PATH, ABINGDON.
-
-_From a drawing by Mr. David Murray._]
-
-[Illustration: A PORTRAIT FROM A DRAWING BY MR. T. BLAKE WIRGMAN.]
-
-A striking exception to these is seen in Mr. Alfred Hartley’s drawing
-of a pasturage. It is full of tender, pearly greys, and is drawn with
-the lightest of hands, but with a peculiar disposition of pen-strokes
-that no professional pen-draughtsman would employ, because of his
-constant care to give the process-man the easiest of problems. And
-the autocrat of the rocking-bath and the etching-room would veto such
-work as this; yet, you will observe, it comes excellently well by the
-ordinary zinc processes.
-
-But with Mr. David Murray’s large pen-drawing it was another matter.
-The greyness of the ink with which it was drawn and the extreme tenuity
-of its lines rendered it impossible of adequate reproduction except by
-the swelled gelatine process which has been employed. The result is
-admirable; all the fine grey lines in the sky are reproduced and give
-an excellent effect.
-
-The portrait of the painter, Mr. Bonnat, by himself, is one of the
-most suggestive pen-drawings that can be found anywhere. It shows what
-admirable effects of light and shade and modelling can be obtained even
-with the heavy hand, and it is worthy careful study.
-
-Unfortunately the illustrations in the long series of _Academy Notes_,
-in which so many autographic sketches by painters appear, are almost
-useless for study and comparison, because of the extreme reduction to
-which they have been subjected. This is greatly to be deplored, for
-the tendency of the times is more and more towards drawing for the
-limitations of process, not only in journalism, but in the more
-permanent illustrations of magazines and books. All this tends to bring
-about a hard and formal line, to establish a dry and unsatisfactory
-academic manner, of which the painter’s pen sketches are the very
-antithesis. It is always well to remember that the only valid reason
-why process should live is that it enables the draughtsman to live his
-life at first hand; that is the first and last argument in favour of
-modern methods of reproduction.
-
-[Illustration]
-
-             PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
-                          LONDON AND BECCLES.
-
-
-
-
-                         REEVES & SONS, Ltd.,
-        _SUPPLY ARTISTS WITH ALL REQUISITES FOR PROCESS._
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-               Telegraphic Address, “Likajoko, London.”
-
-
-                              23, ST. EDMUND’S TERRACE,
-                                               REGENT’S PARK.
-                              London, N.W. Nov 16th 1893. _189_
-
-[Illustration: Harry Furniss’s Illustrated Weekly London Letter]
-
-    Appearing in     Dear Sirs,
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-  St James’s Budget       After working exclusively with your “Artist’s
-     London.         Black” Ink for some weeks I have great pleasure in
-                     testifying to its excellence; indeed it is just
-  New York World     what is wanted by black and white artists now that
-                     they have to work almost solely for process.
-  Weekly Scotsman
-                                             Faithfully yours,
-  Yorkshire                                       Harry Furniss
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-              and 19, Lower Phillimore Place, Kensington.
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-                    London Boards.
-  Crayons
-   of all           Whatman
-  Descriptions.       Boards.
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-  Sable               Boards.
-  Brushes.
-                    Gillot Papers.
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-
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-
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-              AND EBONY STAIN
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-                 IN BOTTLES.
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-    Artists’ Black, in Tubes, Pans, and Sticks.
-
-               REEVES’ CHINESE WHITE.
-
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-                     BY ALL THE LATEST PROCESSES.
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-                       21, Essex Street, Strand,
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-           1st January, 1894.                  London, E.C.
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-[Illustration]
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-BUSINESS is conducted nowadays on many different principles. Ours
-is to supply only the highest class of artistic engraving of every
-description at the lowest price admitting of fair payment to all
-concerned in its production. All special methods are within our scope,
-and will be employed when called for by the exceptional requirements of
-any order entrusted to us.
-
-                 SWELLED GELATINE PHOTO-RELIEF BLOCKS.
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-                           WATERLOW & SONS,
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-                         Photo-Mechanical Printing.
-
-    _Collotype._—Hand and Machine Printing for Art
-        Publications, Scientific and Antiquarian
-        Periodicals, Machinery, Landscapes, Portraits,
-        Pottery, Furniture Designs, Trade Advertisements,
-        &c. The superior results given by this process, and
-        the rapidity and cheapness by which the prints are
-        produced, together with the advantage of printing
-        with or without margins, place it in the first rank
-        of processes for commercial purposes.
-
-    MESSRS. WATERLOW & SONS, LIMITED, have given this
-        branch of the Photo-Printing Department special
-        facilities for the production of good work, and
-        have introduced the most perfect machinery and
-        plant obtainable.
-
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-        equal in appearance to the best Silver Prints, of
-        Portraits, Landscapes, Furniture, Pottery, &c.
-        Prints may be obtained in almost any colour from
-        Customers’ own Negatives, or from the original
-        objects. These reproductions are specially suitable
-        for Portrait work, and are valuable for every
-        description of Artistic or Commercial Illustrations.
-
-    _Photo-Binco Engraving._—Blocks for Surface Printing,
-        from Line and Grained-paper Drawings, Steel
-        and Copper Plates, Wood Engravings, &c., &c.
-        Letter-press Blocks in “Half-tint” (stipple or
-        dot) direct from Photographs from Nature, without
-        drawing.
-
-    Accurately registered Blocks for Chromographic
-        Printing. Intaglio Engraving in Line and Half-tone
-        on Copper and Zinc.
-
-    The greatest care and skill is employed in the
-        production of these Blocks, and the results are the
-        finest which it is possible to obtain.
-
-    The new and extensive Photographic Works being fitted
-        with Modern Appliances, Machinery, Electric
-        Lighting, &c., rapid and accurate work is always
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-    THE THEORY AND PRACTICE OF DESIGN. An advanced
-        Text-book on Decorative Design. Being a sequel
-        to the Author’s “Lessons on Decorative Design.”
-        By FRANK G. JACKSON. With 700 Illustrations.
-        Large crown 8vo. 9_s._
-
-    A TEXT-BOOK OF ELEMENTARY DESIGN. By RICHARD G.
-        HATTON, Durham College of Science. Fully
-        Illustrated. Crown 8vo. 2_s._ 6_d._
-
-    EGYPTIAN ART. By CHARLES RYAN, late Head
-        Master of the Ventnor School of Art. With 56
-        Illustrations. Crown 8vo. 2_s._ 6_d._
-
-    THE STREET OF HUMAN HABITATIONS. By Mrs. RAY S.
-        LINEHAM. Fully Illustrated. Crown 8vo. 6_s._
-
-    ELEMENTARY ART TEACHING. By EDWARD R. TAYLOR,
-        Head Master of Birmingham Municipal School of
-        Art. With over 600 Diagrams and Examples. Second
-        Edition. 8vo. 10_s._ 6_d._
-
-    PRINCIPLES OF ORNAMENT. By JAMES WARD. Edited
-        by G. AITCHISON, A.R.A. Fully Illustrated.
-        Crown 8vo. 7_s._ 6_d._
-
-    ELEMENTARY PRINCIPLES OF ORNAMENT. By JAMES
-        WARD, Head Master of the Macclesfield School
-        of Art. 8vo. 5_s._
-
-    SCIOGRAPHY; or, Parallel and Radial Projection of
-        Shadows. Being a Course of Exercises for the use of
-        Students in Architectural and Engineering Drawing,
-        and for Candidates preparing for the Examinations
-        in this subject and in Third Grade Perspective
-        conducted by the Science and Art Department. By
-        ROBERT PRATT. With numerous Plates. Oblong
-        4to. 7_s._ 6_d._
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-    WOOD-CARVING IN PRACTICE AND THEORY, as applied to the
-        Home Arts, with Notes on Design having Special
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-        By FRANÇOIS LOUIS SCHAUERMANN. Preface
-        by WALTER CRANE. With 124 Illustrations.
-        Second Edition. 8vo. 5_s._
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-    DECORATIVE DESIGN. An Elementary Text-book of
-        Principles and Practice. By F. G. JACKSON.
-        Fully Illustrated. Second Edition. Large crown 8vo.
-        7_s._ 6_d._
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-    HANDBOOK OF PERSPECTIVE. By H. A. JAMES, M.A.
-        Cantab. With 75 Diagrams. Crown 8vo. 2_s._ 6_d._
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-    LIFE IN ANCIENT EGYPT AND ASSYRIA. By G.
-        MASPÉRO. Translated by A. P. MORTON.
-        With 188 Illustrations. Third Thousand. Crown 8vo.
-        5_s._
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-    RAPHAEL: His Life, Works, and Times. By EUGENE
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-    TEN LECTURES ON ART. By E. J. POYNTER, R.A.
-        Third Edition. Large crown 8vo. 9_s._
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-    THE SCULPTOR AND ART STUDENT’S GUIDE to the Proportions
-        of the Human Form, with Measurements in feet and
-        inches of Full-Grown Figures of Both Sexes and of
-        Various Ages. Translated by J. J. WRIGHT.
-        Plates reproduced by J. SUTCLIFFE. Oblong
-        Folio. 31_s._ 6_d._
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-    OUTLINES OF HISTORIC ORNAMENT. By G. REDGRAVE.
-        Translated from the German. Edited by G.
-        REDGRAVE. Crown 8vo. 4_s._
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-    THE CHARACTERISTICS OF STYLES. An Introduction to the
-        Study of the History of Ornamental Art. By R.
-        N. WORNUM. Ninth Edition. Royal 8vo. 8_s._
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-    THE MYTHOLOGY OF GREECE AND ROME, with Special
-        Reference to its Use in Art. From the German.
-        Edited by G. H. BIANCHI. 64 Illustrations.
-        New Edition. Crown 8vo. 5_s._
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-                       G. PERROT and C. CHIPIEZ.
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-        8vo. 42_s._
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-        AND ASIA MINOR. With 395 Illustrations. 2 vols.
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-        Illustrations, and 12 Steel and Coloured Plates.
-        Imperial 8vo. 21_s._
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-        CARIA-LYCIA. With 280 Illustrations. Imperial 8vo.
-        15_s._
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-<pre>
-
-The Project Gutenberg EBook of A Practical Hand-book of Drawing for Modern
-Methods of Reproduction, by Charles G. Harper
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: A Practical Hand-book of Drawing for Modern Methods of Reproduction
-
-Author: Charles G. Harper
-
-Release Date: December 20, 2019 [EBook #60972]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL HAND-BOOK OF DRAWING ***
-
-
-
-
-Produced by Chris Curnow, Paul Marshall and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
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-
-
-</pre>
-
-
-<div class="figcenter covernote">
-    <img src="images/cover.jpg" alt="Book Cover" width="500" height="745" />
-</div>
-
-<hr class="full" />
-<div class="figcenter">
-    <div><a name="FRONTIS" id="FRONTIS"></a></div>
-    <img src="images/i_051.jpg" alt=" " width="600" height="370" />
-</div>
-
-<hr class="full" />
-<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
-
-<h1>A · PRACTICAL · HANDBOOK · OF ·<br />DRAWING FOR MODERN METHODS<br />
-· OF · <a name="REPRODVCTION" id="REPRODVCTION">REPRODVCTION</a></h1>
-
-<p class="f90">BY</p>
-<p class="f120">CHARLES G. HARPER,</p>
-<p class="f90 space-below3">AUTHOR OF “ENGLISH PEN ARTISTS OF TO-DAY.”</p>
-
-<div class="figcenter">
-    <img src="images/illo1.jpg" alt=" " width="150" height="225" />
-</div>
-
-<p class="center space-above3"><i>Illustrated with Drawings by several Hands, and with Sketches<br />
-by the Author showing Comparative Results obtained by the<br />
-several Methods of Reproduction now in Use.</i></p>
-
-<p class="f120 space-above2">LONDON: CHAPMAN &amp; HALL, <span class="smcap">Ld.</span></p>
-<p class="center">1894.</p>
-
-<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p>
-
-<div class="nu_page"><p class="f120"><b><i>TO CHARLES MORLEY, ESQ.</i></b></p></div>
-
-<p><i><span class="smcap">Dear Mr. Morley</span></i>,</p>
-
-<p><i>It is with a peculiar satisfaction that I inscribe this book to
-yourself, for to you more than to any other occupant of an editorial
-chair is due the position held by “process” in illustrating the hazards
-and happenings of each succeeding week.</i></p>
-
-<p><i>Time was when the “Pall Mall Budget,” with a daring originality
-never to be forgotten, illustrated the news with diagrams fashioned
-heroically from the somewhat limited armoury of the compositor. Nor
-I nor my contemporaries, I think, have forgotten those weapons of
-offence—the brass rules, hyphens, asterisks, daggers, braces, and
-other common objects of the type-case—with which the Northumberland
-Street printers set forth the details of a procession, or the
-configuration of a country. There was in those days a world of
-meaning—apart from libellous innuendo—in a row of asterisks; for did
-<span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span>
-they not signify a chain of mountains? And what Old Man Eloquent was
-ever so vividly convincing as those serpentine brass rules that served
-as the accepted hieroglyphics for rivers on type-set maps?</i></p>
-
-<p><i>These were the beginnings of illustration in the “Pall Mall Budget”
-when you first filled the editorial chair. The leaps and bounds
-by which you came abreast of (and, indeed, overlook) the other
-purveyors of illustrated news, hot and hot, I need not recount, nor
-is there occasion here to allude to the events which led to what some
-alliterative journalist has styled the Battle of the Budgets. Only
-this: that if others have reaped where you have sown, why! ’twas ever
-thus.</i></p>
-
-<p><i>For the rest, I must needs apologize to you for a breach of an
-etiquette which demands that permission be first had and obtained
-before a Dedication may be printed. To print an unauthorized tribute to
-a private individual is wrong: when (as in the present case) an Editor
-is concerned I am not sure that the wrong-doing halts anything before</i>
-lèse majesté.</p>
-
-<p class="author"><i>Yours very truly,<span class="ws6">&nbsp;</span><br />
-CHARLES G. HARPER.</i></p>
-<p><span class="smcap">London</span>,<br /><span class="ws3"> <i>May, 1894</i>.</span></p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
-<div class="nu_page">
-<div class="figcenter">
-    <h2><img src="images/i_v.jpg" alt="PREFACE" width="600" height="220" /></h2>
-</div></div>
-
-<p>Everywhere to-day is the Illustrator (artist he may not always be),
-for never was illustration so marketable as now; and the
-correspondence-editors of the Sunday papers have at length found a
-new outlet for the superfluous energies of their eager querists in
-advising them to “go in” for black and white: as one might advise an
-applicant to adventure upon a commercial enterprise of large issues
-and great risks before the amount of his capital (if any) had been
-ascertained.</p>
-
-<p>It is so very easy to make black marks upon white cardboard, is it not?
-and not particularly difficult to seize upon the egregious mannerisms
-of the accepted purveyors of “the picturesque”—that <i>cliché</i> phrase,
-battered nowadays out of all real meaning.</p>
-
-<p>But for really serious art—personal, aggressive, definite and
-<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>
-instructed—one requires something more than a <i>penchant</i>, or the
-stimulating impulsion of an empty pocket, or even the illusory
-magnetism of the <i>vie bohême</i> of the lady-novelist, whose artists still
-wear velvet coats and aureoles of auburn hair, and marry the inevitable
-heiress in the third volume. Not that one really wishes to be one of
-those creatures, for the lady-novelists’ love-lorn embryonic Michael
-Angelos are generally great cads; but this by the way!</p>
-
-<p>What is wanted in the aspirant is the vocation: the feeling for beauty
-of line and for decoration, and the powers both of idealizing and of
-selection. Pen-drawing and allied methods are the chiefest means of
-illustration at this day, and these qualities are essential to their
-successful employ. Practitioners in pen-and-ink are already numerous
-enough to give any new-comer pause before he adds himself to their
-number, but certainly the greater number of them are merely journalists
-without sense of style; mannerists only of a peculiarly vicious
-parasitic type.</p>
-
-<p>“But,” ask those correspondents, “does illustration pay?” “Yes,” says
-that omniscient person, the Correspondence-Editor. Then those pixie-led
-wayfarers through life, filled with an inordinate desire to draw, to
-<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span>
-paint, to translate Nature on to canvas or cardboard (at a profit), set
-about the staining of fair paper, the wasting of good ink, brushes,
-pens, and all the materials with which the graphic arts are pursued,
-and lo! just because the greater number of them set out, not with the
-love of an art, but with the single idea of a paying investment of time
-and labour—it does <i>not</i> pay! Remuneration in their case is Latin for
-three farthings.</p>
-
-<p>Publishers and editors, it is said, can now, with the cheapness
-of modern methods of reproduction as against the expense of
-wood-engraving, afford to pay artists better because they pay engravers
-less. Perhaps they can. But do they?</p>
-
-<p>Pen-drawing in particular has, by reason of these things, almost come
-to stand for exaggeration and a shameless license—a convention that
-sees and renders everything in a manner flamboyantly quaint. But this
-vein is being worked down to the bed-rock: it has plumbed its deepest
-depth, and everything now points to a period of instructed sobriety
-where now the untaught <i>abandon</i> of these mannerists has rioted through
-the pages of illustrated magazines and newspapers to a final disrepute.
-<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></p>
-
-<p>Artists are now beginning to ask how they can dissociate themselves
-from that merely manufacturing army of frantic draughtsmen who never,
-or rarely, go beyond the exercise of pure line-work; and the widening
-power of process gives them answer. Results striking and unhackneyed
-are always to be obtained to-day by those who are not hag-ridden by
-that purely Philistine ideal of the clear sharp line.</p>
-
-<p>These pages are written as a plea for something else than the eternal
-round of uninspired work. They contain suggestions and examples of
-results obtained in striving to be at one with modern methods of
-reproduction, and perhaps I may be permitted to hope that in this
-direction they may be of some service.</p>
-
-<p class="author"><big>CHARLES G. HARPER</big>.</p>
-
-<div class="nu_page">
-<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
-<hr class="chap" />
-<p class="f150"><b>CONTENTS.</b></p>
-<hr class="r5" />
-<table border="0" cellspacing="0" summary="TOC" cellpadding="0" >
-  <tbody><tr>
-      <td class="tdl">&nbsp;</td> <td class="tdr"><small>PAGE</small></td>
-    </tr><tr>
-      <td class="tdl">INTRODUCTORY</td> <td class="tdr"><a href="#Page_1">&nbsp;1</a></td>
-    </tr><tr>
-      <td class="tdl">THE RISE OF AN ART</td> <td class="tdr"><a href="#Page_9">&nbsp;9</a></td>
-    </tr><tr>
-      <td class="tdl">COMPARATIVE PROCESSES</td> <td class="tdr"><a href="#Page_22">22</a></td>
-    </tr><tr>
-      <td class="tdl">PAPER</td> <td class="tdr"><a href="#Page_78">78</a></td>
-    </tr><tr>
-      <td class="tdl">PENS</td> <td class="tdr"><a href="#Page_92">92</a></td>
-    </tr><tr>
-      <td class="tdl">INKS</td> <td class="tdr"><a href="#Page_96">96</a></td>
-    </tr><tr>
-      <td class="tdl">THE MAKING OF A PEN-DRAWING<span class="ws3">&nbsp;</span></td>
-      <td class="tdr"><a href="#Page_102">102</a></td>
-    </tr><tr>
-      <td class="tdl">WASH DRAWINGS</td> <td class="tdr"><a href="#Page_121">121</a></td>
-    </tr><tr>
-      <td class="tdl">STYLES AND MANNER</td> <td class="tdr"><a href="#Page_135">135</a></td>
-    </tr><tr>
-      <td class="tdl">PAINTERS’ PEN-DRAWINGS</td> <td class="tdr"><a href="#Page_154">154</a></td>
-    </tr>
- </tbody>
-</table>
-</div>
-
-<div class="nu_page">
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p>
-<p class="f150"><b>WORKS BY THE SAME AUTHOR.</b></p>
-<hr class="r5" />
-
-<div class="blockquot2">
-<p class="neg-indent"><span class="bigger"><b>ENGLISH PEN ARTISTS OF
-TO-DAY:</b></span> Examples of their work, with some Criticisms and
-Appreciations. Super royal 4to, £3 3<i>s.</i> net.</p>
-
-<p class="neg-indent"><span class="bigger"><b>THE BRIGHTON ROAD:</b></span> Old
-Times and New on a Classic Highway. With 95 Illustrations by the Author
-and from old prints. Demy 8vo, 16<i>s.</i></p>
-
-<p class="neg-indent space-below2"><span class="bigger"><b>FROM PADDINGTON TO
-PENZANCE:</b></span> The Record of a Summer Tramp. With 105 Illustrations
-by the Author. Demy 8vo, 16<i>s.</i></p>
-</div></div>
-
-<div class="figcenter">
-    <img src="images/i_x.jpg" alt=" " width="75" height="74" />
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
-
-<div class="nu_page">
-<div class="figcenter"><div><a name="Illvstrations" id="Illvstrations"></a></div>
-    <h2><img src="images/i_xi.jpg" alt="List of Illvstrations." width="600" height="278" /></h2>
-</div></div>
-
-<table border="0" cellspacing="0" summary="LOI" cellpadding="0" >
-  <tbody><tr>
-      <td class="tdl">&nbsp;</td> <td class="tdr"><small>PAGE</small></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Vignette on Title</span></td> <td class="tdr">&nbsp;</td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Kensington Palace.</span>&emsp;Photogravure</td>
-      <td class="tdr"><a href="#FRONTIS"><i>Frontispiece</i></a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">The Hall, Barnard’s Inn</span></td>
-      <td class="tdr"><a href="#I_025">25</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">A Window, Chepstow Castle</span></td>
-      <td class="tdr"><a href="#I_029">29</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">On Whatman’s “Not” Paper</span></td>
-      <td class="tdr"><a href="#I_031A">31</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">From a Drawing on Allongé Paper</span></td>
-      <td class="tdr"><a href="#I_031B">31</a>,<a href="#I_032">32</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Bolt Head: A Misty Day.</span>&emsp;Bitumen process</td>
-      <td class="tdr"><a href="#I_038">38</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Bolt Head: A Misty Day.</span>&emsp;Swelled gelatine process</td>
-      <td class="tdr"><a href="#I_039">39</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">A Note at Gorran.</span>&emsp;Bitumen process</td>
-      <td class="tdr"><a href="#I_043A">43</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">A Note at Gorran.</span> Swelled gelatine process</td>
-      <td class="tdr"><a href="#I_043B">43</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Charlwood.</span>&emsp;Swelled gelatine process</td>
-      <td class="tdr"><a href="#I_045A">45</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Charlwood.</span>&emsp;Reproduced by Chefdeville</td>
-      <td class="tdr"><a href="#I_045B">45</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">View from the Tower Bridge Works.</span>&emsp;Bitumen process</td>
-      <td class="tdr"><a href="#I_048">48</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">View from the Tower Bridge Works.</span>&emsp;Bitumen process.</td>
-      <td class="tdr">&nbsp;</td>
-    </tr><tr>
-      <td class="tdl"><span class="ws2">Sky revised by hand-work</span></td>
-      <td class="tdr"><a href="#I_049">49</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Kensington Palace</span></td>
-      <td class="tdr"><a href="#I_051">51</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Snodgrass Farm</span></td>
-      <td class="tdr"><a href="#I_053">53</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Sunset, Black Rock</span></td>
-      <td class="tdr"><a href="#I_055">55</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Drawing in Diluted Inks, reproduced by Gillot</span></td>
-      <td class="tdr"><a href="#I_057">57</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Chepstow Castle</span></td>
-      <td class="tdr"><a href="#I_061">61</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Clifford’s Inn: a Foggy Night</span></td>
-      <td class="tdr"><a href="#I_065">65</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Pencil and Pen and Ink Drawing reproduced by Half-tone Process</span></td>
-      <td class="tdr"><a href="#I_068">68</a><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">The Village Street, Tintern. Night</span></td>
-      <td class="tdr"><a href="#I_070">70</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Leebotwood</span></td>
-      <td class="tdr"><a href="#I_071">71</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Examples of Day’s Shading Mediums</span></td>
-      <td class="tdr"><a href="#I_075">75</a>, <a href="#I_076A">76</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Churchyard Cross, Raglan</span></td>
-      <td class="tdr"><a href="#I_076B">76</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Canvas-grain Clay-board</span></td>
-      <td class="tdr"><a href="#I_084">84</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Plain Diagonal Grain</span></td>
-      <td class="tdr"><a href="#I_085A">85</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Plain Perpendicular Grain</span></td>
-      <td class="tdr"><a href="#I_085B">85</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Drawing in Pencil on White Aquatint Grain Clay-board</span></td>
-      <td class="tdr"><a href="#I_086">86</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Black Aquatint Clay-board and Two Stages of Drawing</span></td>
-      <td class="tdr"><a href="#I_087">87</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Black Diagonal-lined Clay-board and Two Stages of Drawing</span></td>
-      <td class="tdr"><a href="#I_087">87</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Black Perpendicular-lined Clay-board and Two Stages of Drawing</span></td>
-      <td class="tdr"><a href="#I_088">88</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Venetian Fête on the Seine, with the Trocadero illuminated</span></td>
-      <td class="tdr"><a href="#I_089">89</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">The Gatehouse, Moynes Court</span></td>
-      <td class="tdr"><a href="#I_110">110</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Portrait Sketches</span></td>
-      <td class="tdr"><a href="#I_118">118</a>, <a href="#I_119">119</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">The Houses of Parliament at Night, from the River</span></td>
-      <td class="tdr"><a href="#I_122">122</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Victoria Embankment near Blackfriars Bridge: a Foggy Night</span></td>
-      <td class="tdr"><a href="#I_123">123</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Corfe Railway Station</span></td>
-      <td class="tdr"><a href="#I_125">125</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">The Ambulatory, Dore Abbey</span></td>
-      <td class="tdr"><a href="#I_127">127</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Moonlight: Confluence of the Severn and the Wye</span></td>
-      <td class="tdr"><a href="#I_131">131</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Diagram showing Method of reducing Drawings for Reproduction</span></td>
-      <td class="tdr"><a href="#I_133">133</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Painter’s Pen-drawing—Pasturage, by Mr. Alfred Hartley</span></td>
-      <td class="tdr"><a href="#I_155">155</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="ws2">"</span><span class="ws3">"</span>
-                      <span class="ws5"><span class="smcap">Portrait, by Mr. Bonnat</span></span></td>
-      <td class="tdr"><a href="#I_156">156</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Towing Path, Abingdon, by Mr. David Murray</span></td>
-      <td class="tdr"><a href="#I_158">158</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">A Portrait from a Drawing by Mr. T. Blake Wirgman</span></td>
-      <td class="tdr"><a href="#I_159">159</a></td>
-    </tr><tr>
-      <td class="tdl"><span class="smcap">Finis</span></td>
-      <td class="tdr"><a href="#I_161">161</a></td>
-    </tr>
- </tbody>
-</table>
-
-<hr class="chap" />
-<div class="nu_page"><p class="f150"><b>A PRACTICAL HANDBOOK OF DRAWING<br /> FOR REPRODUCTION.</b></p></div>
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
-
-<h2>INTRODUCTORY.</h2>
-
-<p>Pen-drawing is the most spontaneous of the arts, and amongst the
-applied crafts the most modern. The professional pen-draughtsman was
-unknown but a few years since; fifteen years ago, or thereabouts,
-he was an obscure individual, working at a poorly considered craft,
-and handling was so seldom thought of that the illustrator who could
-draw passably well was rarely troubled by his publisher on the score
-of technique. For that which had deserved the name of technique was
-dead, so far as illustration was concerned, and “process,” which was
-presently to vivify it, was, although born already, but yet a sickly
-child. To-day the illustrators are numerous beyond computation, and the
-<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>
-name of those who are impelled to the spoiling of good paper and the
-wasting of much ink is indeed legion.</p>
-
-<p>For uncounted years before the invention of photo-mechanical methods of
-engraving, there had been practised a method of drawing with the pen,
-which formed a pretty pastime wherewith to fleet the idle hours of the
-gentlemanly amateur, and this was, for no discoverable reason, called “etching.”</p>
-
-<p>It is needless at this time to go into the derivatives of that word,
-with the object of proving that the verb “to etch” means something
-very different from drawing in ink with a pen; it should have, long
-since, been demonstrated to everybody’s satisfaction that etching is
-the art of drawing on metal with a point, and of biting in that drawing
-with acids. But the manufacturers of pens long fostered the fallacy by
-selling so-called etching-pens: probably they do so even now.</p>
-
-<p>By whom pen-drawings were first called etchings none can say. Certainly
-the two arts have little or nothing in common: the terms are not
-interchangeable. Etching has its own especial characteristics, which
-may, to an extent, be imitated with the pen, but the quality and
-<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>
-direction of line produced by a rigid steel point on metal are entirely
-different from the lines drawn with a flexible nib upon paper. The line
-produced by an etching needle has a uniform thickness, but with the
-needle you can work in any imaginable direction upon the copper plate.
-With a nib upon paper, a line varying in thickness with the pressure of
-the hand results, but there is not that entirely free use of the hand
-as with the etching point: you cannot with entire freedom draw from and
-toward yourself.</p>
-
-<p>The greatest exponents of pen-drawing have not entirely conquered
-the normal inability of the pen to express the infinite delightful
-waywardnesses of the etching-point. Again, the etched line is only less
-sharp than the line made by the graver upon wood; the line drawn with
-the pen upon the smoothest surface is ragged, viewed under a magnifying
-glass. This, of course, is not a plea for a clean line in pen-work—that
-is only the ideal of commercial draughtsmanship—but the man who can
-produce such a line with the pen at will, who can overcome the tendency
-to inflexible lines, has risen victorious over the stubbornness of a material.</p>
-
-<p>The sketch-books, gilt-lettered and india-rubber banded, of the
-<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
-bread-and-butter miss, and what one may be allowed, perhaps, to term
-the “pre-process” amateur generally, give no hint of handling, no
-foretaste of technique. They are barren of aught save ill-registered
-facts, and afford no pleasure to the eye, which is the end, the
-sensuous end, of all art. Rather did these artless folk almost
-invariably seek to adventure beyond the province of the pen by strokes
-infinitely little and microscopic, so that they might haply deceive the
-eye by similarity to wood engravings or steel prints. But in those days
-pen-drawing was only a pursuit; to-day it is a living art. Now, an art
-is not merely a storehouse of facts, nor a moral influence. If it was
-of these things, then the photographic camera would be all-powerful,
-and all that would be left to do with the hands would be the production
-of devotional pictures; and of those who produced them the best artist
-would infallibly be him with a character the most noted for piety.
-Art, to the contrary, is entirely independent of subject or morals.
-It is not sociology, nor ever shall be; and those who practise an art
-might be the veriest pariahs, and yet their works rank technically,
-artistically, among the best. Art is handling <i>in excelsis</i>, and its
-<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
-results lie properly in the pride of the eye and the satisfaction of
-the æsthetic sense, though Mr. Ruskin would have it otherwise.</p>
-
-<p>Is this the lashing of a dead horse, or thrice slaying the slain? No,
-I think not. The moral and literary fallacies remain. Open an art
-exhibition and give your exhibits technical, not subject titles, and
-you shall hear a mighty howl, I promise you. Mr. Hamerton, too, has
-recently found grudging occasion to say that, for artists, “it does
-not appear that a literary education would be necessary in all cases.”
-Whenever was it necessary? But then Mr. Hamerton is himself one of
-those philosophic writers of a winning literary turn who can practise
-an art in by no means a distinguished way, but who write dogma by
-the yard and fumble over every illustration of their precepts. His
-<i>Drawing and Engraving</i>—a reprint from his <i>Encyclopædia Britannica</i>
-article—is worse than useless to the student of illustration, and
-especially of pen-drawing, because Mr. Hamerton has long been left
-behind the times. He knows little of the admirable modern methods
-of reproducing line-work, but gives us etymologies of drawing and
-historical dissertations on engraving, which we do not want. Of such
-<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>
-antiquated matter are even the current editions of encyclopædias
-fashioned. The fact is, the bulk of art criticism is written by men
-who can only string platitudes and stale studio slang together,
-without beginning to understand principles. The appalling journalese
-of much “art criticism” is hopelessly out of date; the slang of a
-half-forgotten <i>atélier</i> is the lingo of would-be criticism to-day.</p>
-
-<p>It seems strange that a man who can write pretty <i>vers de société</i> or
-another who writes essays (essays, truly, in the philological sense),
-should for such acquirements be amongst those to whom is delegated the
-criticism of art in painting, drawing, or engraving; but so it is.
-No one who has not surmounted the difficulties of a medium can truly
-appreciate technique in it, whether that medium be words, or paint, or
-ink. No one, for instance, would give a painter or a pen-artist the
-chance to review a poet’s new volume of poems. You would not send a
-plumber to pronounce upon a baker’s method of kneading his dough. No;
-but an ordinary reporter is judged capable of criticizing a gallery
-of pictures. You cannot get much artistic change out of his report,
-nor from the articles on art written by a man whose only claim to the
-<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
-standing of “art critic” is the possession of a second-class
-certificate in drawing from the Science and Art Department. But of such
-stuff are the neurotic Neros of the literary “art critique” fashioned,
-and equally unauthorized by works are the lectures on illustration with
-which the ingenious Mr. Blackburn at decent intervals tickles suburban
-audiences or the amiable <i>dilettante</i> of the Society of Arts into the
-fallacious belief that they know all about it, “which,” to quote the
-Euclidian formula, “is absurd.” Indeed, not even the most industrious,
-the best-informed, nor the most catholic-minded man could ever lecture,
-or write articles, or publish an illustrated critical work upon
-illustration which should show an approximation to completeness in its
-examples of styles and methods. The thing has been attempted, but will
-never be done, because the quantity of work—even good work—that has
-been produced is so vast, the styles so varied. The great storehouses
-of the best pen-work are the magazines, and from them the eclectic will
-gather a rich harvest. The <i>Century</i> and <i>Harper’s</i> are now the chief
-of these. The <i>Magazine of Art</i> and the <i>Portfolio</i>, which were used to
-be filled with good original work, are now busied in providing such
-<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
-<i>réchauffés</i> as photographic blocks from paintings old and new, but
-chiefly old, because they cost nothing for copyright. As for newspaper
-work, the <i>Daily Graphic</i> is creating a school of its own, which does
-far better work than ever its New York namesake (now defunct) ever printed.</p>
-
-<p>Some beautiful and most suggestive pen-drawings are to be found in
-the earlier numbers of <i>L’Art</i> and many Parisian publications, such
-as the <i>Courier Français</i>, <i>Vie Moderne</i>, <i>Paris Illustré</i>,
-and <i>La Petit Journal pour Rire</i>. Many of the <i>Salon</i> catalogues,
-too, contain admirable examples.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
-<div class="nu_page"><h2>THE RISE OF AN ART.</h2></div>
-
-<p>Photo-mechanical processes of reproduction were invented by men who
-sought, not to create an art, not to help art in any way, but only to
-cheapen the cost of reproduction. “Line” processes—that is to say,
-processes for the reproduction of pure line—though not the first
-invented amongst modern methods, were the first to come into a state
-of practical utility; though even then their results were so crude
-that the artists whom necessity led to draw for them sank at once
-to a deeper depth than ever they had sounded when the <i>fac-simile</i>
-wood-cutter held them in bondage. They became the slaves of mechanical
-limitations and chemical formulæ, which was a worse condition than
-having been henchmen of a craftsman. So far as the æsthetic sense is
-concerned, the process illustration of previous date to (say) 1880
-might all be destroyed and no harm done, save, perhaps, the loss of
-<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
-much evidence of a documentary character toward the history of early
-days of processes.</p>
-
-<p>There have been two great factors in their gradual
-perfection—competition with the wood-engravers and of rival process
-firms one with another, and, perhaps more important still, the
-independency of a few artists who have found methods of drawing with
-the pen, and have followed them despite the temporary limitations of
-the process-man. The workmen have “drawn for process” in the worst and
-most commercial sense of the term; they have set down their lines after
-the hard-and-fast rules which were formulated for their guidance. For
-years after the invention of zincography, artists who were induced to
-make drawings for the new methods of engraving worked in a dull round
-of routine; for in those days the process-man was not less, but more,
-tyrannical than his predecessor, the wood-engraver; his yoke was, for a
-time, harder to bear.</p>
-
-<p>One was enjoined to make drawings with only the blackest of Indian ink,
-upon Bristol-board, the thickest and smoothest and whitest that could
-be obtained, and upon none other. It was impressed upon the draughtsman
-<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
-that he should draw lines thick and wide apart and firm, and that
-his drawings should be made with a view to, preferably, a reduction
-in scale of one-third. Also that by no means should his lines run
-together by any chance, except in the matter of a coarse and obvious
-cross-hatch. And so, by reason of these things, the pen-work of that
-time is become dreadful to look upon at this day. The man who then drew
-with a view to reproduction squirmed on the very edge of his chair,
-and with compressed lips, and his heart in his mouth, drew upon his
-Bristol-board slowly and carefully, and with so heavy a hand, that
-presently his wrist ached consumedly, and his drawing became stilted
-in the extreme. Not yet was pen-drawing a profession, for few men had
-learned these formulæ; and the zincography of that time made miserable
-all them that were translated by it into something appreciably
-different from their original work. Illustration, although already
-sensibly increased in volume, was artistically at the lowest ebb. It
-was a manufacture, an industry; but scarcely a profession, and most
-certainly it had not yet become an art.</p>
-
-<p>When technique in drawing for process began to appear as an individual
-<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
-technique opposed to the old <i>fac-simile</i> wood-engraving needs, it was
-a handling entirely abominable and inartistic. If old-time drawing
-for the wood-engravers was pursued in grooves of convention, working
-for the zincographer proceeded in ruts. There have never been, before
-or since, such horribly uninspired things produced as in the first
-years of process-work in these islands. Such dull, scratchy, spotty,
-wiry-looking prints resulted: they were, as now, produced in zinc,
-and they proclaimed it unmistakably. Had not these new methods been
-about one-fifth the cost of wood-engraving, they would have had no
-chance whatever. But we are a commercial and an inartistic people, and
-publishers, careless of appearance, welcomed any results that gave them
-a typographic block at a fifth of its former cost.</p>
-
-<p>Process, in its beginnings, was not a promising method of reproduction.
-Men saw scarcely anything in it save cheap (and nasty) ways of
-multiplying diagrams, and the bald and generally artless elevations of
-new buildings issued from architects’ offices. But in course of time,
-better blocks, with practice, became possible, and freer use of the
-pen was obtained; although at every unhackneyed stroke the process-man
-<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
-shrieked disaster. It is incalculable how much time has been wasted,
-how many careers set back, by obedience to the hard-and-fast rules laid
-down for the guidance of artists by the process-people of years since.
-To those artists who, with an artistic recklessness of results entirely
-admirable and praiseworthy, set down their work as they pleased,
-we owe, more than to any others, the progress of process; by their
-immediate martyrdom was our eventual salvation earned. And in the sure
-and certain hope of a reproduction really and truly <i>fac-simile</i>, the
-draughtsman in the medium of pen-and-ink is to-day become a technician
-of a peculiar subtlety.</p>
-
-<p>To-day, with the exercise of knowledge and discrimination, drawings
-the most difficult of reproduction may be rendered faithfully; it is
-a matter only of choice of processes. But in the mass of reproduction
-at this time, this knowledge, this discrimination, are often seen to
-be lacking. It is a matter of commerce, of course, for a publisher, an
-editor, to send off originals in bulk to one firm, and to await from
-one source the resulting blocks. But unknowing, or reckless of their
-individual merits and needs, our typical editor has thus consigned some
-<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
-drawings to an unkind fate. There are many processes even for the
-reproduction of line, and drawings of varying characteristics are
-better reproduced by different methods; they should each be sent for
-reproduction on its own merits.</p>
-
-<p>It was in 1884 that there began to arise quite a number of original
-styles in pen-work, and then this new profession was by way of becoming
-an art. You will not find any English-printed book or magazine
-before this date showing a sign of this new art, but now it arose
-suddenly, and at once became an irresponsible, unreasoning welter of
-ill-considered mannerisms. Ever since 1884, until within the last year
-or two, pen-draughtsmen have rioted through every conceivable and
-inconceivable vagary of manner. The artists who by force of artistry
-and character have helped to spur on the process-man against his will,
-and have worked with little or no heed to the shortcomings of his
-science, have freed the hands of a dreadful rabble that has revelled
-merely in eccentricity. Thus has liberty for a space meant a licence
-so wild that to-day it has become quite refreshing to turn back to the
-sobriety of the old illustrators of from thirty to forty years ago, who
-drew for the <i>fac-simile</i> wood-engraver.
-<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
-
-<p>From 1857, through the ’60’s, and on to 1875, when it finally shredded
-out, there existed a fine convention in drawing for illustration and
-the wood-engraver. Among the foremost exponents of it were Millais,
-Sandys, Charles Green, Robert Barnes, Simeon Solomon, Mahony, J. D.
-Watson, and J. D. Linton. Pinwell and Fred Walker, too, produced
-excellent work in this manner, before they untimely died.</p>
-
-<p>The <i>Sunday Magazine</i>, <i>Once a Week</i>, <i>Good Words</i>, <i>Cornhill</i>,
-the first two years of the <i>Graphic</i>, and, where the drawings have not been
-drawn down to their humourous legends, the volumes of <i>Punch</i> during
-this period, are a veritable storehouse of beautiful examples of this
-peculiarly English school. It was a convention that grew out of the
-wood-engraver’s imposed limits, and they became transcended by the art
-of the young artists of that day.</p>
-
-<p>There is a certain sweetness and grace in those old illustrations
-that seems to increase with the widening of that gulf between our
-day and the day of their production. It is not for the sake of their
-draughtsmanship alone (though that is excellent), but chiefly for their
-<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
-technical qualities, and their fine character-drawing, that those
-monumental achievements in illustration appeal so strongly to the
-artistic eye to-day. We have been accustomed during these last years
-to the stress of mannerism, the <i>bravura</i> treatment of imported art,
-bringing with it strange atmospheres which have nothing in common with
-our duller skies, and, truth to tell, we want a change. Now, we might
-do much worse than hark back to the ’60’s, and study the peculiar style
-brought about by the needs of the wood-engraver, but transformed into
-an admirable school by men who wrought their trammels into a convention
-so great that it cannot fail, some day, to be revived.</p>
-
-<p>It is greatly to be deplored that we have not left to us the original
-drawings of that time and these men. In the majority of cases,
-and through a long series of years, the drawings from which these
-<i>fac-simile</i> wood-engravings were made were drawn by the artists on
-the wood block, and engraved, so that we have left to us only the
-more or less successful engraver’s imitation of the artists’ original
-line-work. But when these blocks were the work of the Dalziels, or of
-<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
-Swain, we may generally take them as a close approximation to the
-original drawing. Pen and pencil both were used upon the wood blocks:
-some of these are to be seen at the South Kensington Museum, with the
-original drawings upon them still uncut, photography having in the mean
-while become applied to the use of transferring a drawing from paper to
-the wood surface.</p>
-
-<p>Unless you have practised etching on copper, in which you have to draw
-upon the plate in reverse, you can have little idea of the relief
-experienced by the artists of thirty years ago, when the necessity for
-drawing in reverse upon the wood was obviated.</p>
-
-<p>Now, I am not going to say that with pen and ink and
-process-reproduction you could obtain the sweetness of the
-wood-engraved line, but something of it should be possible, and
-the dignified, almost classic, reserve and repose of this style of
-draughtsmanship could be, in great measure, brought back to help
-assuage the worry of the ultra-clever pen-work of to-day, and to form
-a grateful relief from that peculiarly modern vice in illustration, of
-“making a hole in the page.”</p>
-
-<p>The great difficulty that would lie in the way of such a revival would
-<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
-be that those who would attempt it would need to be good draughtsmen;
-and of these there are not many. No tricks nor flashy treatment hid
-bad drawing in this technique, as in much of the slap-dashiness of
-to-day. And not only would sound draughtsmanship be essential, but also
-characterization of a peculiarly well-seen and graphic description. The
-illustrator of a generation ago worked under tremendous disadvantages.
-“Phiz” etched his inimitable illustrations of Dickens upon steel with
-all the attendant drawbacks of working in reverse, yet he would be
-a bold man or reckless who should decry him. He was, at his best,
-greater beyond comparison than <span class="smcap">the</span> Cruickshank—George,
-in the forefront of that artistic trinity—and he reached his highest point in
-the delightful composition of “Captain Cuttle consoles his Friend,” in
-<i>Dombey and Son</i>. Composition and characterization are beyond anything
-done before or since. It is distinctly, obviously, great, and it fits
-the author and his story like—like a glove. One cannot find a newer
-and better simile than that for good fitting. And (not to criticize
-modern work severely <i>because</i> it is modern) the greater bulk of
-illustration to-day fits the stories it professes to elucidate like a Strand tailor.
-<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
-
-<p>There are facilities now for buying electrotypes from magazines and
-illustrated periodicals, by which engravings that have already served
-one turn in illustrating a story can be purchased, to do duty again
-in illustrating another; and this is a practice very widely prevalent
-to-day. And why can this be so readily done? The answer is near to
-seek. It is because illustration is become so characterless that it is
-so readily interchangeable. Perhaps it may be sought to lay the blame
-upon the author; and certainly there is not at this time so ready a
-field for character-drawing as Dickens presented. But I have not seen
-any illustrations to Mr. Hardy’s tales, nor to Mr. Stevenson’s, that
-realize the excellently well-shown types in their works.</p>
-
-<p>If you should chance to see any early volumes (say from 1859 to 1863)
-of <i>Once a Week</i> for sale, secure them: they should be the cherished
-possessions of every black and white artist. After this date their
-quality fell off. Charles Keene contributed to <i>Once a Week</i> some
-of his best work, and the Mr. Millais of that date in line is more
-interesting than the Sir John Millais of to-day in paint. There is, in
-<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
-especial, a beautiful drawing by him, an illustration to the
-<i>Grandmother’s Apology</i>, in the volume for 1859, page 40. But, frankly,
-it is a mistake to instance one illustration where so very many
-are monumental productions. Fred Walker contributed many exquisite
-drawings; Mr. Whistler, few enough to make us ardently wish there were
-more; and the same may be said of Mr. Sandys’ decorative work—his
-<i>Rosamond, Queen of the Lombards</i>, his <i>Yet once more let the Organ
-play</i>, his <i>King Warwulf</i>, <i>Harald Harfagr</i>, or <i>The Old Chartist</i>.
-These things are a delight: the artist’s work so insistently good, the
-quality of the engraver’s lines so wonderfully fine.</p>
-
-<p>For all the talk and pother about illustration, there is nothing to-day
-that comes within miles of the work done in, say, 1862-1863 for <i>Once
-a Week</i>. It would be difficult to over-praise or to over-estimate
-the value of this fine period. It was the period of the abominable
-crinoline; but even that hideous fashion was transfigured by the
-artistry of these men. That is evident in the beautiful drawing,
-<i>If</i>, contributed by Sandys to the <i>Argosy</i> for 1863, in which the
-grandly flowing lines of the dress show what may be done with the most
-unpromising material.
-<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
-
-<p>The most interesting drawings in the <i>Cornhill Magazine</i> range from
-1863 to 1867. Especially noteworthy are the illustrations by Fred
-Walker—<i>Maladetta</i>, May, 1863, page 621, and <i>Out of the Valley of
-the Shadow</i>, January, 1867, page 75. If you compare the first of these
-with the little pen-drawing by Charles Green, reproduced by process
-in <i>Harper’s Magazine</i>, May, 1891, page 894, entitled, “Give me those
-letters,” you will see how Mr. Green’s hand has retained the old
-technique he and his brother illustrators learnt in drawing for the
-wood-engraver, and you will observe how well that old handling looks,
-and how admirably it reproduces in the process-work of to-day. Two
-other most successful wood blocks from the <i>Cornhill Magazine</i> may be
-noted—<i>Mother’s Guineas</i>, by Charles Keene, July, 1864, and <i>Molly’s
-New Bonnet</i>, August, 1864, by Mr. Du Maurier.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
-<div class="nu_page"><h2>COMPARATIVE PROCESSES.</h2></div>
-
-<p>Processes, at first chiefly of the heliogravure or photogravure
-variety—processes, that is to say, of the intaglio or plate-printing
-description, printed in the same way as etchings and mezzotints, from
-dots and lines sunken in a metal plate instead of standing out in
-relief—date back almost to the invention of photography in 1834; and
-all modern processes of reproducing drawings have a photographic basis.
-Even at that time it was demonstrated that a glass negative could
-be used to reproduce the photographic image as an etched plate that
-would print in the manner of a mezzotint. Mr. H. Fox-Talbot, to whom
-belongs, equally with Daguerre, the invention of photography, was the
-first to show this. He devised an etched silver plate that reproduced a
-photograph direct.
-<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
-
-<p>Photo-relief, or type-printing, blocks date from such comparatively
-recent times as 1860, when the <i>Photographic Journal</i> showed an
-illustration printed from a block by the Pretsch process.</p>
-
-<p>At this present time there are three methods of primary importance for
-the reproduction of line drawings—</p>
-
-<ul class="index">
-<li class="isub2">The swelled gelatine process,</li>
-<li class="isub2">The albumen process,</li>
-<li class="isub2">The bitumen process.</li>
-</ul>
-
-<p>The first of these three processes is the most expensive, and it has
-not so great a vogue as the less costly methods, which are employed for
-the illustration of journals or publications that do not rely chiefly
-upon the excellence of their work. It is employed almost exclusively by
-Messrs. A. and C. Dawson in this country, and it is in all essentials
-identical with the old Pretsch process that first saw the light
-thirty-three years ago.</p>
-
-<p>Acids do not enter into the practice of it at all. The procedure is
-briefly thus: A good dense negative is taken of the drawing to be
-reproduced to the size required. The glass plate is then placed in
-<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
-perfect contact with gelatine sensitized by an admixture of bichromate
-of potassium to the action of light. Placed in water, the gelatine thus
-printed upon from the negative, swells, excepting those portions that
-have received the image of the reduced drawing. These are now become
-sunken, and form a suitable matrix for electrotyping into. Copper
-is then deposited by electro-deposition. The copper skin receives a
-backing of type-metal, and is mounted on wood to the height of type,
-and the block, ready for printing, is completed.</p>
-
-<p>This process gives peculiar advantages in the reproduction of
-pen-drawings made with greyed or diluted inks. The photographic
-negative reproduces, of course, the varying intensities of such work
-with the most absolute accuracy, and they are repeated, with scarcely
-less fidelity, by the gelatine matrix. Pencil marks and pen-drawings
-with a slight admixture of pencil come excellently well by this method.</p>
-
-<p>Every pen-draughtsman who sketches from nature knows how, in re-drawing
-from his pencil sketches, the feeling and sympathy of his work are
-lost, wholly or in part; but if the finished pen-drawing is made over
-the original pencil sketch and the pencilling retained, the effect is
-generally a revelation. It is in these cases that the swelled gelatine
-process gives the best results.
-<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_025" id="I_025"></a></div>
-    <img src="images/i_025.jpg" alt=" " width="400" height="612" />
-    <p class="center">4¾ × 7½. <span class="ws2">THE HALL, BARNARD’S INN.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Drawing in pale Indian ink on HP Whatman paper.<br />
-                      Drawn without knowledge of process and reproduced<br /> by the swelled gelatine method.</i></p>
-</div>
-<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
-<hr class="r5" />
-
-<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
-This example (<a href="#I_025"><i>The Hall, Barnard’s Inn</i></a>) of a pen-drawing
-not made for reproduction by process was made years ago. Now reproduced, it shows
-that almost everything is possible to mechanical reproduction to-day.
-This drawing, worked upon with never a thought or idea or knowledge of
-process, comes every whit as well as if it had been drawn scrupulously
-to that end. It is all pen-work, save the outline around it and the
-signature, and they are in black chalk. The reduction from the original
-is only three-quarters of an inch across, and the reproduction is in
-every respect exact. Of course it is only swelled gelatine that could
-perform this feat; but by that process it is clear that you get results
-at once sympathetic and faithful, without the necessity of caring
-overmuch about the purely mechanical drudgery of learning a convention
-in pen and ink that shall be suitable for the etched processes. That
-convention has been wrought—it may not be said by tears and blood,
-but certainly with prodigious labour—by the masters of the art of
-pen-drawing into something artistic and pleasing to the eye, while it
-<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
-satisfies photographic and chemical needs. But here is a process that
-demands no previous training in drawing for reproduction, and leaves
-the artist unfettered. True, it opens a vista of easy reproduction
-to the amateur, which is a thing terrible to think upon; but, on the
-other hand, to it we owe some delightful reproductions of “painters’”
-pen-drawings that make the earlier numbers of the illustrated
-exhibition catalogues worth having.
-<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
-
-<div class="figcenter">
-<div><a name="I_029" id="I_029"></a></div>
-    <img src="images/i_029.jpg" alt=" " width="450" height="616" />
-    <p class="center">4½ × 8. <span class="ws2">A WINDOW, CHEPSTOW CASTLE.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Drawing in Conté crayon on rough paper.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
-The albumen process is perhaps the more widely used of the three.
-By it the vast majority of the blocks used in journalistic work are
-made. It is credibly reported that one firm alone delivers annually
-sixty-three thousand blocks made by this process, which (it will thus
-be seen) is particularly suited to reproduction of the most instant and
-straight-away nature. It is also the cheapest method of reproduction,
-which goes far toward explaining that gigantic output just quoted.
-But, on the other hand, the albumen process in the hands of an artist
-in reproduction (as, for instance, M. Chefdeville) is capable of the
-most sympathetic results. It gives a softer, more velvety line than one
-would think possible, a line of a different character entirely from
-the clear, cold, sharp, and formal line characteristic of processes
-in which bitumen is used. These two methods (albumen and bitumen) are
-incapable of reproducing scarcely anything in <i>fac-simile</i> but pure
-line-work; pencil marks or greyed ink are either omitted or exaggerated
-to extremity, and they can only be corrected by the subsequent use of
-the graver upon the block. But black chalk or Conté crayon used upon
-slightly granulated drawing-papers, either by themselves or mixed with
-pen-work, come readily enough and help greatly to reinforce a sketch.
-This sketch of <a href="#I_029"><i>A Window, Chepstow Castle</i></a>, was made
-with a Conté crayon. Unfortunately, these materials smear very easily, and have
-to be fixed before they can be trusted to the photo-engraver with perfect
-safety. Drawings made in this way may be fixed with a solution composed
-of gum mastic and methylated spirits of wine: one part of the former to
-seven parts of the latter. This fixing solution is best applied with a
-spray apparatus, as sold by chemists. But better than crayons, chalks,
-or charcoals are the lithographic chalks now coming somewhat into
-vogue. They have the one inestimable advantage of fixity, and cannot be
-<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
-readily smeared, even with intent. They are not fit for use upon
-smooth Bristol-board or glazed paper, but find their best mediums in
-HP and “not” makes of drawing-paper, and in the grained “scratch-out”
-cardboards, of which more hereafter. They give greater depth of colour
-than lead pencil, and reproduce more surely; and the drawings worked up
-<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
-with them readily stand as much reduction as an ordinary pen-drawing.
-The No. 1 Lemercier is the best variety of lithographic chalks for
-this admixture; it is harder than others, and can be better sharpened
-to a fine point. For detail it is to be used very sparingly or not at
-all, because it is incapable of producing a delicate line; but for
-giving force, for instance, to a drawing of crumbling walls, or to
-an impressionist sketch of landscape, it is invaluable. The effects
-produced by working with a No. 1 Lemercier litho-chalk are shown here.
-The first example was drawn upon <a href="#I_031A">Whatman’s “not” paper</a>, which
-gives a fine, bold granulation. The two remaining examples are from sketches on
-<a href="#I_031B">Allongé paper</a>, a fine-grained charcoal paper of French make.</p>
-
-<div class="figcenter">
-    <div><a name="I_031A" id="I_031A"></a></div>
-    <img src="images/i_031_a.jpg" alt=" " width="600" height="292" />
-    <p class="center">ON WHATMAN’S “NOT” PAPER&emsp;(6½ × 4½).</p>
-</div>
-<hr class="r5" />
-<div class="figcenter">
-    <div><a name="I_031B" id="I_031B"></a></div>
-    <img src="images/i_031_b.jpg" alt=" " width="600" height="360" />
-<p class="center">ON ALLONGÉ PAPER, RIGHT SIDE&emsp;(6¼ × 4½).</p>
-</div>
-<hr class="r5" />
-<div class="figcenter">
-    <div><a name="I_032" id="I_032"></a></div>
-    <img src="images/i_032.jpg" alt=" " width="600" height="312" />
-    <p class="center space-below2">FROM THE DRAWING (4½ × 2½) ON ALLONGÉ PAPER<br />(RIGHT SIDE).</p>
-</div>
-
-<p>It is also worth knowing that a good grained drawing may be made with
-litho-chalk, by taking a piece of dull-surfaced paper, like the kind
-<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
-generally used for type-writing purposes, pinning it tightly upon
-glass- or sand-paper and then working upon it, keeping it always in
-contact with the rough sand-paper underneath. A canvas-grain may be
-obtained by using the cover of a canvas-bound book in the same way.</p>
-
-<p>Both the albumen and the bitumen processes are practised with the
-aid of acids upon zinc. In the first named the zinc plate is coated
-with a ground composed of a solution of white of egg and bichromate
-of ammonia, soluble in cold water. A reversed photographic negative
-is taken of the drawing and placed in contact with the prepared zinc
-plate in a specially constructed printing-frame. When the drawing
-is sufficiently printed upon this albumen surface, the plate is
-rolled over with a roller charged with printing-ink thinned down with
-turpentine, and then, when this inking has been completed, the plate
-is carefully rubbed in cold water until the inked albumen has been
-rubbed off it, excepting those parts where the drawing appears. The
-lines composing the drawing remain fixed upon the plate, the peculiar
-property of the sensitized albumen rendering the lines that have been
-exposed to the action of light insoluble. The zinc plate is then dried
-<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
-and sponged with gum; dried again, and then the coating of gum washed
-off, and then inked again. The plate, now thoroughly prepared, is
-placed in the first etching bath, a rocking vessel filled with
-much-diluted nitric acid. There are generally three etchings performed
-upon a zinc block, each successive bath being of progressively stronger
-acid; and between these baths the plate is gummed, and powdered with
-resin, and warmed over a gas flame until the printing-ink and the
-half-melted resin run down the sides of the lines already partly
-etched; the object of these careful stages being to prevent what is
-technically termed “under-etching”—that is to say, the production of a
-relief line, whose section would be thus:
-<img src="images/i_034_a.jpg" alt="Upside down triangle" width="30" height="35" />
-instead of
-<img src="images/i_034_b.jpg" alt="Tent shape, open bottom" width="34" height="35" />.
-The result in the printing of an under-etched block would be that the lines
-would either break or wear down to nothingness, whereas a block showing
-the second section would grow stronger and the old lines thicker with
-prolonged use. The section of a wood engraving is according to this
-second diagram.</p>
-
-<p>In the case of the bitumen process, the photograph is taken as before,
-the negative placed upon the zinc plate in the same way, and the image
-<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
-printed upon the bitumen. When this has been done, the plate is flooded
-with turpentine, and all the bitumen dissolved away, with the exception
-of that upon the image. The subsequent proceedings are as in the case
-of the albumen process, and need not be recounted.</p>
-
-<p>It will be seen (if this outline can be followed) that the bitumen
-process differs from the albumen only in the composition of the
-ground (as an etcher would term it), but the quality of line is very
-different. The zinc plates used are cut from polished sheets of the
-metal, from one-sixteenth to one-eighth of an inch in thickness.</p>
-
-<p>A well-etched block should feel sharp yet smooth to the thumb and
-fingers, as if it were cut. A badly etched or over-etched block has
-an altogether different feel: scratchy, and repulsive to the touch.
-Frequently it happens that by carelessness or mischance the process-man
-will over-etch a block; that is to say, he will allow it to remain in
-the acid-bath a minute or so too long, so that the upstanding lines
-become partly eaten away by the fluid. The result, when printed, is a
-wretched ghost of the original drawing. An over-etched block, or a good
-<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
-block in which the lines appear too thin and the reproduction in
-consequence weak, can be remedied in degree by being rubbed down
-with oilstone. This, if the lines are not under-etched, thickens the
-upstanding metal and produces a heavier print. But some of the smaller
-process firms have an ingenious, if none too honest, practice of
-pulling a proof from the <i>unetched</i> plate, and sending it along with
-the defective block. This can readily be done by inking up the image
-with a roller before printing, and then passing the thin plate of metal
-through a lithographic press, or through a transfer press, such as is
-to be found in every process establishment. Of course the print thus
-secured is a perfect replica in little of the original drawing, and
-looks eminently satisfactory. One can generally identify these proofs
-before etching by their backs, which have, of course, not the slightest
-marks of the pressure usually to be discerned upon even the most
-carefully prepared proofs of finished blocks. The surface of a zinc
-block sometimes becomes oxidized by the acid used in etching not having
-been thoroughly washed off. This may occur at once if the acid is
-strong, and then it generally happens that the block is irretrievably
-ruined; but if oxidation occurs after some time, it is generally
-superficial, and can be rubbed down. The process of oxidation begins
-with an efflorescence, which may be best rubbed down with a thick stick
-of charcoal, broken across the grain. But zinc blocks are frequently
-ruined by carelessness in the printing-office after printing. When the
-printing has been done it is customary to clean type and blocks from
-the printing-ink by scrubbing them with a brush dipped in what printers
-call “lye”—that is, a solution of pearl-ash—which, although it does
-not injure the leaden types, is apt to corrode the zinc of which most
-process blocks are made, if they are not carefully and immediately
-washed in water and dried. A block with its surface destroyed in this
-manner prints miserably, with a fuzzy appearance. The easiest way of
-<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
-protecting blocks from becoming oxidized is to allow the printing-ink
-to remain on them, or if you have none, rub them over with tallow.
-<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_038" id="I_038"></a></div>
-    <img src="images/i_038.jpg" alt=" " width="600" height="351" />
-    <p class="center">12½ × 9. <span class="ws2">BOLT HEAD: A MISTY DAY.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Pen and pencil drawing, reproduced by the bitumen process.</i></p>
-</div>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_039" id="I_039"></a></div>
-    <img src="images/i_039.jpg" alt=" " width="600" height="358" />
-    <p class="center">12½ × 9. <span class="ws2">BOLT HEAD: A MISTY DAY.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Pen and pencil drawing, reproduced by the swelled gelatine process.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
-
-<p>Examples will now be shown of the varying results obtainable from the
-same drawings by different processes.
-<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
-
-<p>The drawing representing a <a href="#I_038"><i>Misty Day at Bolt Head</i></a>
-was made upon common rough paper, such as is usually found in sailors’ log-books;
-<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
-in fact, it was a log-book the present writer used during the greater part
-of a tour in Devon, nothing else being obtainable in those parts save
-the cloth-bound, gold-lettered sketch-books whose porterage convicts
-one at once of amateurishness. And here let me say that a sailor’s
-log-book, though decidedly an unconventional medium for sketching in,
-seems to be entirely admirable. The paper takes pencil excellently
-well, and the faint blue parallel lines with which the pages are ruled
-need bother no one; they will not (being blue) reproduce. To save
-the freshness of the impression, the sketch was lightly finished in
-ink, and sent for reproduction uncleaned. The illustration shows the
-result. It is an example of the bitumen process, whose original sin
-of exaggerating all the pencil marks which it has been good enough to
-reproduce at all is partly cloaked by the intervention of hand-work all
-over the block. You can see how continually the graver has been put
-through the lines to produce a greyness, yet how unsatisfactory the result!</p>
-
-<p>The drawing was now <a href="#I_039">sent for reproduction by the swelled gelatine
-process</a>. The result is a much more satisfactory block. Everything that
-the original contained has been reproduced. The sullen blacknesses of
-the pinnacled rocks are nothing extenuated, as they were in the first
-example, where they seem comparatively insignificant, and the technical
-qualities of pen and pencil are retained throughout, and can readily
-be identified. The same remarks apply even more strongly to the small
-blocks from the <a href="#I_043A"><i>Note at Gorran</i></a>.
-<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_043A" id="I_043A"></a></div>
-    <img src="images/i_043_a.jpg" alt=" " width="600" height="394" />
-    <p class="center"><i>Pen and pencil drawing, reproduced by bitumen process.</i></p>
-</div>
-<hr class="r5" />
-
-<div class="figcenter">
-    <div><a name="I_043B" id="I_043B"></a></div>
-    <img src="images/i_043_b.jpg" alt=" " width="600" height="378" />
-    <p class="center">13¼ × 9½. <span class="ws2">A NOTE AT GORRAN.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Pen and pencil drawing, reproduced by swelled gelatine process.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
-But such a pure pen-drawing as that of <i>Charlwood</i>, shown here in
-blocks by (1) <a href="#I_045A">Messrs. Dawson’s swelled gelatine process</a>,
-and (2) by <a href="#I_045B">Mr. Chefdeville’s sympathetic handling of the albumen process</a>,
-would have come almost equally well by bitumen, or by an ordinary practitioner’s
-treatment of albumen. It offered no technical difficulties, and there
-is exceedingly little to choose between these two blocks. Careful
-examination would show that a very slight thickening of line had taken
-place throughout the block by the gelatine method, and this must ever
-be the distinguishing difference between that process and those in
-which acids are used to eat away the metal of the block—that the
-gelatine renders at its best every jot and tittle of a drawing, and
-would by the nature of the process rather exaggerate than diminish; and
-that in those processes in which acids play a part, the process-man
-must be ever watchful lest his zinc plate be “over-etched”—lest the
-upstanding metal lines be eaten away to a scratchy travesty of the
-original drawing. But you will see that although the lines in the
-swelled gelatine <i>Charlwood</i> are appreciably thicker than in its
-albumen fellow, yet the latter prints darker. The explanation is in the
-metals of which the two blocks are composed. Zinc prints more heavily
-than copper.
-<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_045A" id="I_045A"></a></div>
-    <img src="images/i_045_a.jpg" alt=" " width="600" height="455" />
-    <p class="center"><i>Pen-drawing reproduced by swelled gelatine process.</i></p>
-</div>
-<hr class="r5" />
-
-<div class="figcenter">
-    <div><a name="I_045B" id="I_045B"></a></div>
-    <img src="images/i_045_b.jpg" alt=" " width="600" height="447" />
-    <p class="big_indent">8¼ × 6¼.</p>
-    <p class="center"><i>Pen-drawing reproduced by Chefdeville.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
-It should not be forgotten that, to-day, hand-work upon process-blocks
-is become very usual. To paraphrase a well-worn political catch-phrase,
-the old methods have been called in to redress the vagaries of the
-new: the graver has been retained to correct the crudities of the
-rocking-bath. To be less cryptic, the graver is used nowadays to
-tone down the harsh and ragged edges of the etched zinc. Here is an
-illustration that will convey the idea to perfection. Here is, in this
-<a href="#I_048"><i>View from the Tower Bridge Works</i></a>, a zincographic
-block, grounded with bitumen and etched by the aid of acids. The original drawing
-was made upon Bristol-board, with Stephens’ ebony stain, and an F nib of
-Mitchell’s make. The size of that drawing was twelve and a half inches
-across; the sky drawn in with much elaboration. A first proof showed a
-<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
-sky harsh and wanting in aërial perspective. A graver was put through
-it, cutting up the lines into dots, and thus <a href="#I_049">putting the
-sky into proper relation</a> with the rest of the picture.</p>
-
-<p>Another interesting and suggestive comparison is between photogravure,
-or heliogravure, as it is sometimes called, and type-printing processes
-for the reproduction of line. The <a href="#FRONTIS">frontispiece</a> to this
-volume is a heliogravure plate by Dujardin, of Paris, from a pen-drawing that
-offered no obstacles to adequate reproduction by the bitumen process.
-In fact, you see it here, reproduced in that way, and of the same size.
-The copper intaglio plate is in every way superior to the relief block,
-as might have been expected. The hardness of the latter method gives
-way, in the heliogravure plate, to a delightful softness, even when the
-plate is clean-wiped and printed in as bald and artless a fashion as
-a tradesman’s business card; but now it is printed with care and with
-the <i>retroussage</i> that is generally the meed of the etching, you could
-not have distinguished it <i>from</i> an etching had you not been told its history.
-<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_048" id="I_048"></a></div>
-    <img src="images/i_048.jpg" alt=" " width="600" height="426" />
-    <p class="center">12½ × 9. <span class="ws2">VIEW FROM THE TOWER BRIDGE WORKS.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Bitumen process.</i></p>
-</div>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_049" id="I_049"></a></div>
-    <img src="images/i_049.jpg" alt=" " width="600" height="407" />
-    <p class="center">12½ × 9. <span class="ws2">VIEW FROM THE TOWER BRIDGE WORKS.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Bitumen process. Sky revised by hand-work.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
-The procedure in making a heliogravure is in this wise:—A copper
-plate, similar to the kind used by etchers, receives a ground of
-bichromatized bitumen. A photograph is taken of the drawing to be
-reproduced, and from the negative thus obtained a <i>positive</i> is made.
-The positive, in reverse, is placed upon the grounded plate and printed
-upon it. The bitumen which has been printed upon by the action of light
-is thus rendered wholly insoluble, and the image of the drawing remains
-the only soluble portion of the ground. The plate is then treated with
-turpentine, and the soluble lines thus dissolved. Follows then the
-ordinary etching procedure. This is a more simple and ready process
-than the making of a relief block. It is, however, more expensive to
-commission, but then expense never is any criterion of original cost.
-The printing, though, is a heavy item, because, equally with etchings
-or mezzotints, it must be printed upon a copper-plate press, and this involves
-the cleaning and the re-inking of the plate with every impression.</p>
-
-<p>The subject which the present plate bears does not show the utmost
-capabilities of the heliogravure. It was chosen as a fair example
-to show the difference between two methods without straining the
-limitations of the relief block. But if the drawing had been most
-carefully graduated in intensity from the deepest black to the palest
-brown, the copper plate would have shown everything with perfect
-ease. Large editions of these plates are not to be printed without
-injury, because the constant wiping of the soft copper wears down the
-surface. But to obviate this defect a process of <i>acierage</i> has been
-invented, by which a coating of iron is electrically deposited upon the
-surface of the plate, rendering it, practically, as durable as a steel engraving.
-<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_051" id="I_051"></a></div>
-    <img src="images/i_051.jpg" alt=" " width="600" height="370" />
-    <p class="center">11½ × 7½. <span class="ws3">KENSINGTON PALACE.</span><span class="ws5">&nbsp;</span></p>
-    <p class="center"><i>Bitumen process.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
-It is by experiments we learn to achieve distinction; by immediate
-failure that we rise to ultimate success; and ofttimes by pure chance
-that we discover in these days some new trick of method by which
-process shall do for the illustrator something it has not done before.
-There is still, no doubt, in the memory of many, that musty anecdote of
-the painter who, fumbling over the proper rendering of foam, applied
-by some accident a sponge to the wet paint, and lo! there, by happy
-chance, was the foam which had before been like nothing so much as wool.
-<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_053" id="I_053"></a></div>
-    <img src="images/i_053.jpg" alt=" " width="600" height="372" />
-    <p class="center">SNODGRASS FARM.</p>
-    <p class="center"><i>From a drawing by Harry Fenn. An example of splatter-work.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
-In the same way, I suppose, some draughtsman discovered splatter-work.
-He may readily be imagined, prior to this lucky chance, painfully
-stippling little dots with his pen; pin-points of ink stilted and
-formal in effect when compared with the peculiarly informal concourse
-of spots produced by taking a small, stiff-bristled brush (say a
-toothbrush), inking it, and then, holding the bristles downwards and
-inclining toward the drawing, more or less vigorously stroking the inky
-bristles <i>towards</i> one with a match-stick. Holding the brush thus, and
-stroking it in this way, the bristles send a shower of ink spots upon
-the drawing. Of course this trick requires an extended practice before
-it can be performed in workmanlike fashion, and even then the parts not
-required to be splattered have to be carefully covered with cut-paper
-masks. [<i>Mem.</i>—To use a fixed ink for drawings on which you intend to
-splatter, because it is extremely probable that you will require to
-paint some portions out with Chinese white, and Chinese white upon any
-inks that are not fixed is the despair of the draughtsman.] Here is
-an <a href="#I_053">excellent example of splatter</a>. It is by that resourceful
-American draughtsman, Harry Fenn. Indeed, the greatest exponents of this method
-are Americans: few men in this country have rendered it with any
-frequency, or with much advantage. I have essayed its use to aid this
-sunset view of <a href="#I_055"><i>Black Rock</i></a>, and to me it seems to come
-well. But the finer spots are very difficult of reproduction; some are lost here.
-There is a most ingenious contrivance, an American notion, I believe,
-for the better application of splatter. It is called the air-brush, and
-it consists of a tube filled with ink, and fitted with a description of
-nozzle through which the ink is projected on to paper by a pneumatic
-arrangement worked by the artist by means of a treadle. You aim the
-affair at your drawing, work your treadle, and the trick is done. The
-splatter is remarkably fine and equable, and its intensity can be
-regulated by the distance at which the nozzle is held from the drawing.
-The greater advantage, however, in the use of the air-brush would seem
-to lie with the lithographic draughtsmen, who have to cover immense
-areas of work.
-<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_055" id="I_055"></a></div>
-    <img src="images/i_055.jpg" alt=" " width="450" height="601" />
-    <p class="center">6 × 8¼. <span class="ws3">SUNSET, BLACK ROCK.</span><span class="ws5">&nbsp;</span></p>
-    <p class="center"><i>Splatter-work.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
-Here follows <a href="#I_057">an experiment with diluted inks</a>: the drawing
-made upon HP Whatman with all manner of nibs. It is all pen-work, worked with
-black stain, and with writing ink watered down to different values.
-This is an attempt to render as truthfully as possible (and as
-unconventionally) the sunset shine and shadow of a lonely shore, blown
-upon with the wild winds of the Channel. A little stream, overgrown
-with bents and waving rushes, flows between a break in the low cliffs
-and loses itself in the sands. The sun sets behind the ruined house,
-and between it and the foreground is a clump of storm-bent trees,
-constrained to their uneasy inward pose not by present breezes, but to
-this shrinking habit of growth by long-continued stress of weather.
-The block is by Gillot, of Paris, who was asked to get the appearance
-of the original drawing in a line-block. This he has not altogether
-succeeded in doing: perhaps it was impossible; but the <i>feeling</i> is
-here. It is a line-block, rouletted all over in the attempt to get
-the effect produced by watered inks. The roulettes, by which these
-greynesses are produced, are peculiar instruments, consisting of
-infinitesimal wheels of hard steel whose edges are fashioned into
-microscopically small points or facets. Mounted at the end of a stick
-more nearly resembling a penholder than anything else, the wheel is
-driven along (and into) the surface of the metal by pressure, making
-small indentations in it. There are varieties of roulettes, the
-differences between them lying in the patterns of the projections from
-the wheel. The varieties in the texture of rouletting seen in this
-print are thus explained.
-<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_057" id="I_057"></a></div>
-    <img src="images/i_057.jpg" alt=" " width="600" height="398" />
-    <p class="center">10 × 6½. <span class="ws2">DRAWING IN DILUTED INKS, REPRODUCED BY GILLOT.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Block touched up by hand and freely rouletted.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
-Now come some experiments in mixtures. The mixed drawing has many
-possibilities of artistic expression, and here are some essays in
-<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
-mixtures, harnessed to tentative employments of process.</p>
-
-<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
-First is this experiment in pen and pencil reproduced in half-tone.
-It is a view of <a href="#I_061"><i>Chepstow Castle</i></a>—that really picturesque
-old border fortress—from across the river Wye, a river that comes rushing down
-from the uplands with an impetuous current full of swirls and eddies.
-The town of Chepstow lies at the back, represented in this drawing
-only by its lights. The huts and sheds that straggle down to the
-waterside, and the rotting pier, where small vessels load and unload
-insignificant cargoes, are commonplace enough, but they go to make a
-fine composition; and the last sunburst in the evening sky, the stars
-already brilliant, and the white gleams from the hurrying river, are
-immensely valuable, and things of joy to the practitioner in black and
-white. Rain had fallen during the day, and, when the present writer sat
-down to sketch, still lent a fine impending juicy air to the scene that
-seemed incapable of adequate translation into pure line; therefore,
-upon the pencil sketch was added pen-work, and to that more pencil,
-and, when finished, the drawing was sent to be processed, with special
-instructions that the white spaces in the sky should be preserved,
-together with those on the buildings, but that all else might acquire
-the light grey tint which the half-tone always gives, as of a drawing
-made upon paper of a silvery grey. In the result you can see this
-purely arbitrary, but delightful, ground tint everywhere; it gives
-absolutely the appearance of a drawing made upon tinted cardboard, but,
-truly, the only paper employed was a common, rough make, that would be
-despised of the lordly amateur. Here you see the half-tone process on
-its best behaviour, and I think it has secured a very notable result.
-<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_061" id="I_061"></a></div>
-    <img src="images/i_061.jpg" alt=" " width="600" height="438" />
-    <p class="center">11¾ × 8¾. <span class="ws3">CHEPSTOW CASTLE.</span><span class="ws5">&nbsp;</span></p>
-    <p class="center"><i>Drawing in pen and ink and pencil made on rough paper.<br />Reproduced by half-tone process.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>
-Here is another experiment, <a href="#I_065"><i>Clifford’s Inn: a Foggy Night</i></a>—a
-mixture of pen and ink and crayon worked upon with a stump, and then lightly
-brushed over with a damp, not a full, brush; the lights in the windows
-<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
-and the reflections taken out with the point of an eraser.</p>
-
-<p>It should be said that in drawing thus for half-tone reproduction the
-drawing should be made much more emphatic than the print is intended
-to appear; that is to say, the deepest shadows should be given an
-additional depth, and the fainter shading should be a shade lighter
-than you would give to a drawing not made with a view to publication.
-If these points are not borne in mind, the result is apt to be flat and featureless.
-<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
-
-<p>If a half-tone block exhibits these disagreeable peculiarities, high
-lights can always be created by the aid of a chisel used upon the metal
-surface of the block. The more important process firms generally employ
-a staff of competent engravers, who, now that wood engraving is less
-widely used, have turned their attention to just this kind of work—the
-correcting of process-blocks. The artist has but to mark his proof with
-the corrections and alterations he requires. The two illustrations
-shown on page 68, from different states of the same block, give a
-notion of correcting the flatness of half-tone. The second block shows
-a good deal of retouching in the lights taken out upon the paper and
-the jug, and in the hatching upon the drinking-horn.
-<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_065" id="I_065"></a></div>
-    <img src="images/i_065.jpg" alt=" " width="400" height="562" />
-    <p class="center">9½ × 6¾. <span class="ws3">CLIFFORD’S INN: A FOGGY NIGHT.</span><span class="ws5">&nbsp;</span></p>
-    <p class="center"><i>Drawn in pen and ink and crayon, and brushed over.<br />Reproduced by half-tone process, medium grain.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
-<a href="#I_068">Half-tone processes</a> are practised in much the same way as the
-albumen and bitumen line methods already described, in so far as that they are
-<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
-worked with acids and upon zinc or copper. At first these half-tone
-blocks were made in zinc, but recently some reproductive firms have
-preferred to use copper. Messrs. Waterlow and Sons, in this country,
-generally employ copper for half-tone blocks from drawings or
-photographs. Copper prints a softer and more sympathetic line, and
-does not accumulate dirt so readily as zinc. All the half-tone blocks
-in this volume are in copper. By these processes the photographs
-that one sees reproduced direct from nature appear in print without
-the aid of the artist. They are often referred to as the Meisenbach
-process, because the Meisenbach Company was amongst the first to use
-these methods in this country. The essential difference in their
-working is that there is a ruled screen of glass interposed between
-the drawing or object to be photographed and the negative. Generally a
-screen of glass is closely ruled with lines crossing at right angles,
-and etched with hydrofluoric acid. Into the grooves thus produced,
-printing-ink is rubbed. The result is a close network of black lines
-upon glass. This screen, interposed between the sensitized plate
-in the camera and the object to be photographed, produces upon the
-negative the criss-cross appearance we see in the ultimate picture.
-In the half-tone reproductions by Angerer and Göschl, of Vienna, this
-appearance is singularly varied. The screen used by them is said to be
-made from white silk of the gauziest description, hung before a wall
-covered with black velvet in such a manner that the blackness of the
-velvet can be seen and photographed through the silken film. A negative
-is made, and from it a positive is produced, which exhibits a curiously
-varied arrangement of dots and meshes. The positive is used in the same
-way as the ruled-glass screens.</p>
-
-<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_068" id="I_068"></a></div>
-    <img src="images/i_068_a.jpg" alt=" " width="500" height="444" />
-</div>
-<hr class="r5" />
-<div class="figcenter">
-    <img src="images/i_068_b.jpg" alt=" " width="500" height="440" />
-    <p class="center">6¾ × 6¼. <span class="ws2">PENCIL AND PEN AND INK DRAWING
-          REPRODUCED<br /><span class="ws4">&nbsp;</span>BY HALF-TONE PROCESS.</span><span class="ws4">&nbsp;</span></p>
-</div>
-
-<p class="space-above2"><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
-The network characteristic of half-tone relief blocks can be made fine,
-or medium, or coarse, as required. The fine-grained blocks are used for
-careful book and magazine printing, and the medium-grained for printing
-in the better illustrated weeklies; the coarse-grained are used for
-rougher printing, but still are nearly always too fine for newspaper
-work. The <i>Daily Graphic</i>, however, has solved the problem of printing
-them sufficiently well for the picture to be discerned. Beyond this the
-rotary steam-printing press has not yet advanced.</p>
-
-<p>In appearance somewhat similar to a half-tone block, but with the
-tint differently applied, is the illustration of <a href="#I_070"><i>The Village
-Street, Tintern: Night</i></a>. Here is a pure pen-drawing, scratched and scribbled
-to blackness without much care for finesse, the great reduction and
-the tint being reckoned upon to assuage all angularities. The original
-drawing was then lightly scribbled over with blue pencil to indicate to
-<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
-the process-man that a mechanical tint was required to be applied upon
-the block, and word was specially sent that the tint was to be squarely
-cut, not vignetted. The result seems happy. This is a line block, not tone.</p>
-
-<div class="figcenter">
-    <div><a name="I_070" id="I_070"></a></div>
-    <img src="images/i_070.jpg" alt=" " width="600" height="391" />
-    <p class="center">11½ × 9. <span class="ws2">THE VILLAGE STREET, TINTERN. NIGHT.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Application of shading medium.</i></p>
-</div>
-
-<p>In such a case the procedure is normal until the image is printed upon
-the sensitized ground of the zinc plate. Then the prescribed tint
-is transferred by pressure of thumb and fingers, or by means of a
-burnisher, from an engraved sheet of gelatine previously inked with a
-printing roller. The zinc plate is then etched in the familiar way.
-<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_071" id="I_071"></a></div>
-    <img src="images/i_071.jpg" alt=" " width="600" height="428" />
-    <p class="center">11½ × 8¾. <span class="ws3">LEEBOTWOOD.</span><span class="ws5">&nbsp;</span></p>
-    <p class="center"><i>Showing application of shading medium to treatment of sky.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
-These tints are produced by Day’s shading mediums; thin sheets of
-gelatine engraved upon one side with lines or with a pattern of
-stipple. There are very many of these patterns. They can readily be
-<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
-applied, and with the greatest accuracy, because the gelatine is
-semi-transparent, and admits of the operator seeing what he is about.
-These mechanical tints are capable of exquisite application, but
-they have been more frequently regarded as labour-saving appliances,
-and have rarely been used with skill, and so have come to bear an
-altogether unmerited stigma. They can be used by a clever process-man,
-under the directions of the draughtsman, with great effect, and in
-remarkably diverse ways. For it is not at all necessary that the tint
-should come all over the block. It can be worked in most intricately.
-The illustration, <a href="#I_071"><i>Leebotwood</i></a>, shows an application
-of shading medium to the sky. The proprietors (for it is a patent) of these
-devices have endeavoured to introduce their use amongst artists, with a view
-to their working the mediums upon the drawings themselves. It has
-been shown that the varieties of shading to be obtained by shifting
-and transposing the gelatine plates is illimitable, but as their use
-involves establishing a printing roller and printer’s ink in one’s
-<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
-studio, and as all artists are not printers born, it does not seem at
-all likely that Day’s shading mediums will be used outside lithographic
-offices or the offices of reproductive firms.</p>
-
-<p>Here are appended some <a href="#I_075">examples of the shading mediums</a>
-commonly used.</p>
-
-<p>The cost of reproduction by process varies very greatly. It is always
-calculated at so much the square inch, with a minimum charge ranging,
-for line-work, from two-and-sixpence to five shillings. For half-tone
-the minimum may be put at from ten shillings to sixteen shillings.
-Plain line blocks, by the bitumen or albumen processes, cost from
-twopence-halfpenny to sixpence per square inch, and handwork upon the
-block is charged extra. Some firms make a charge of one penny per
-square inch for the application of Day’s shading mediums. Line blocks
-by the swelled gelatine process are charged at one shilling per square
-inch, and reproductions of pencil or crayon work at one-and-threepence.
-Half-tone blocks from objects, photographs, or drawings range from
-eightpence to one-and-sixpence per square inch, and the cost of a
-photogravure plate may be put at two-and-sixpence for the same unit.
-The best work in any photographic process is infinitely less costly
-than wood engraving, which, although its cost is not generally
-calculated on the basis of the inch, as in all process work, may range
-approximately from three shillings to five shillings for engraving of average merit.
-<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_075" id="I_075"></a></div>
-    <img src="images/i_075_a.jpg" alt=" " width="600" height="291" />
-</div>
-<div class="figcenter">
-    <img src="images/i_075_b.jpg" alt=" " width="600" height="292" />
-</div>
-<div class="figcenter">
-    <img src="images/i_075_c.jpg" alt=" " width="600" height="293" />
-    <p class="center">EXAMPLES OF DAY’S SHADING MEDIUMS.</p>
-</div>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_076A" id="I_076A"></a></div>
-    <img src="images/i_076_a.jpg" alt=" " width="600" height="302" />
-    <p class="center">EXAMPLES OF DAY’S SHADING MEDIUM.</p>
-</div>
-<hr class="r5" />
-<div class="figcenter">
-    <div><a name="I_076B" id="I_076B"></a></div>
-    <img src="images/i_076_b.jpg" alt=" " width="400" height="582" />
-    <p class="center">CHURCHYARD CROSS, RAGLAN.<br /><i>Application of shading medium.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
-Electrotype copies of line blocks cost from three-farthings to
-three-halfpence per square inch, and from half-tone blocks, twopence,
-although it is not advisable to have electrotypes taken of these fine
-and delicate blocks. If duplicates are wanted of half-tones, the usual
-practice is to have two original blocks made, the process-engraver
-charging for the second block half the price of the first.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
-<div class="nu_page"><h2>PAPER.</h2></div>
-
-<p>The process engraver will tell you, if you seek counsel of him, that
-you should use Bristol-board, and of that only the smoothest and most
-highly finished varieties. But, however easy it may render his work
-of reproduction, there is no necessity for you to draw upon cardboard
-or smooth-surfaced paper at all. Paper of a reasonable whiteness
-is, of course, necessary to any process of line engraving which has
-photography as a basis, but to say that stiff cardboards or papers of
-a blue-white, as opposed to the cream-laid variety, are necessary is
-merely to obscure what is, after all, a simple matter.</p>
-
-<p>Bristol-board is certainly a very favourite material, and the varieties
-of cardboards sold under that name are numerous enough to please
-anybody. Goodall’s sell as reliable a make as can be readily found. It
-<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
-is white enough to please the photo-engraver, and of a smooth, hard
-surface; and a hard surface you must have for pen-work. But it is an
-unsympathetic material, and it is an appreciably more difficult matter
-to make a pencil sketch upon it than upon such papers as Whatman’s HP.</p>
-
-<p>Mounting-boards are frequently used, chiefly for journalistic pen-work,
-when it may be supposed nobody cares anything about the <i>finesse</i> of
-the art, but only that the drawing shall be up to a certain standard
-of excellence, and, more particularly, up to time. Mounting-boards are
-appreciably cheaper than good Bristol-board, but if erasures are to be
-made they are troublesome, because under the surface they are composed
-of the shoddiest of matter. They are convenient, indeed admirable, for
-studies carried out in a masculine manner with a quill pen, or for
-simple drawings made with an ordinary writing nib, with not too sharp a
-point. For delicate technique they are not to be recommended.</p>
-
-<p>Indeed, for anything but work done at home, cardboards of any sort are
-inexpedient; they are heavy, and take up too much space. If they were
-necessary, of course you would have to put up with the inconvenience of
-<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>
-carrying two or more pounds’ weight of them about with you, but they
-are not necessary.</p>
-
-<p>Every one who makes drawings in pen and ink is continually looking
-out for an ideal paper; many have found their ideals in this
-respect; but that paper which one man swears by, another will, not
-inconceivably, swear at, so no recommendation can be trusted. Again,
-personal predilections change amazingly. One day you will be able to
-use Bristol-board with every satisfaction; another, you will find its
-smooth, dead white, immaculate surface perfectly dispiriting. No one’s
-advice can be implicitly followed in respect of papers, inks, or pens.
-Every one must find his own especial fancy, and when he has found it he
-will produce the better work.</p>
-
-<p>The pen-draughtsman who is a paper-fancier does not leave untried even
-the fly-leaves of his correspondence. Papers have been found in this
-way which have proved satisfactory. All you have to do is to go to some
-large stationer or wholesale papermaker’s and get your fancy matched.
-It would be an easy matter to obtain sheets larger than note-paper.
-<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
-
-<p>Whatman’s HP, or hot-pressed drawing-paper, is good for pen-drawing,
-but its proper use is not very readily learnt. To begin with, the
-surface is full of little granulations and occasional fibres which
-catch the pen and cause splutterings and blots. Sometimes, too, you
-happen upon insufficiently sized Whatman, and then lines thicken almost
-as if the drawing were being made upon blotting-paper.</p>
-
-<p>A good plan is to select some good HP Whatman and have it calendered.
-Any good stationer could put you in the way of getting the calendering
-done, or possibly such a firm as Dickinsons’, manufacturers of paper,
-in Old Bailey, could be prevailed upon to do it. If you want a firm,
-hard, clear-cut line, you will of course use only Bristol-board or
-mounting-board, or papers with a highly finished surface. Drawings upon
-Whatman’s papers give in the reproductions broken and granulated lines
-which the process-man (but no one else) regards as defects. Should the
-block itself be defective, he will doubtless point to the paper as the
-cause, but there is no reason why the best results should not proceed
-from HP paper. Messrs. Reeves and Sons, of Cheapside, sell what they
-call London boards. These are sheets of Whatman mounted upon cardboard.
-<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
-They offer the advantages of the HP surface with the rigidity of the
-Bristol-board. The Art Tablets sold by the same firm are cardboards
-with Whatman paper mounted on either side. A drawing can be made upon
-both sides and the tablet split up afterwards.</p>
-
-<p>In connection with illustration, amongst the most remarkable inventions
-of late years are the prepared cardboards generally known amongst
-illustrators as “scratch-out cardboards,” introduced by Messrs. Angerer
-and Göschl of Vienna, and by M. Gillot of Paris. These cardboards are
-of several kinds, but are all prepared with a surface of kaolin, or
-china-clay. Reeves sell eight varieties of these clay-boards. They
-are somewhat expensive, costing two shillings a sheet of nineteen by
-thirteen inches, but when their use is well understood they justify
-their existence by the rich effects obtained, and by the saving of time
-effected in drawing upon them. Drawings made upon these preparations
-have all the fulness and richness of wash, pencil, or crayon, and may
-be reproduced by line processes at the same cost as a pen-drawing
-made upon plain paper. The simplest variety of clay-board is the one
-<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
-prepared with a plain white surface, upon which a drawing may be
-made with pen and ink, or with a brush, the lights taken out with
-a scraper or a sharp-pointed knife. It is advisable to work upon
-all clay-surfaced papers or cardboards with pigmental inks, as, for
-instance, lampblack, ivory-black, or Indian ink. Ebony stain is not
-suitable. The more liquid inks and stains have a tendency to soak
-<i>through</i> the prepared surface of china-clay, rather than to rest only
-<i>upon</i> it, thereby rendering the cardboard useless for “scratch-out”
-purposes, and of no more value than ordinary drawing-paper. A drawing
-made upon plain clay-board with pen and brush, using lampblack as a
-medium, can be worked upon very effectively with a sharp point. White
-lines of a character not to be obtained in any other way can be thus
-produced with happy effect. Mr. Heywood Sumner has made some of his
-most striking decorative drawings in this manner. It is a manner of
-working remarkably akin to the wood-engraver’s art—that is to say,
-drawing or engraving in white lines upon a black field—only of course
-the cardboard is more readily worked upon than the wood block. Indeed,
-wood-engravers have frequently used this plain clay-board. They have
-<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
-had the surface sensitized, the drawing photographed and printed upon
-it, and have then proceeded to take out lights, to cut out white lines,
-and to hatch and cross-hatch, until the result looks in every way
-similar to a wood engraving. This has then been photographed again, and
-a zinc block made that in the printing would defy even an expert to detect.</p>
-
-<p>Other kinds of clay-boards are impressed with a grain or with plain
-indented lines, or printed upon with black lines or reticulations,
-which may be scratched through with a point, or worked upon with brush
-or pen. Examples are given here:</p>
-
-<div class="figcenter">
-    <div><a name="I_084" id="I_084"></a></div>
-    <img src="images/i_084.jpg" alt=" " width="600" height="427" />
-    <p class="center">CANVAS-GRAIN CLAY-BOARD.</p>
-</div>
-
-<p>No. 1. White cardboard, impressed with a <a href="#I_084">plain canvas grain</a>.</p>
-
-<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
-This gives a fine painty effect, as shown in the drawing of polled
-willows: a drawing made in pencil, with lights in foreground grass and
-on tree-trunks scratched out with a knife or with the curved-bladed
-eraser sold for use with these preparations.</p>
-
-<div class="figcenter">
-    <div><a name="I_085A" id="I_085A"></a></div>
-    <img src="images/i_085_a.jpg" alt=" " width="600" height="434" />
-    <p class="center">PLAIN DIAGONAL GRAIN.</p>
-</div>
-<hr class="r5" />
-<div class="figcenter">
-    <div><a name="I_085B" id="I_085B"></a></div>
-    <img src="images/i_085_b.jpg" alt=" " width="600" height="433" />
-    <p class="center">PLAIN PERPENDICULAR GRAIN.</p>
-</div>
-
-<p>2. <a href="#I_085A">Plain white diagonal lines</a>. Pencil drawing.
-<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
-
-<p>3. <a href="#I_085B">Plain white perpendicular lines</a>. Pencil drawing.</p>
-
-<p>4. <a href="#I_086">Plain white aquatint grain</a>. Pencil drawing.</p>
-
-<p>These four varieties require greater care and a lighter hand in working
-than the others, because their patterns are not very deeply stamped,
-and consequently the furrows between the upstanding lines are apt to
-become filled with pencil, and to give a broken and spotty effect in
-the reproduction.</p>
-
-<div class="figcenter">
-    <div><a name="I_086" id="I_086"></a></div>
-    <img src="images/i_086.jpg" alt=" " width="600" height="447" />
-    <p class="center space-below2">DRAWING IN PENCIL ON WHITE AQUATINT GRAIN CLAY-BOARD.</p>
-</div>
-
-<p>5. <a href="#I_087">Black aquatint</a>. This is not a variety in constant use. Three states
-are shown.</p>
-
-<p>6. <a href="#I_087">Black diagonal lines</a>. This is the pattern in greater requisition.
-<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
-The method of working is shown,  but the possibilities of this pattern
-are seen admirably and to the best advantage in the illustration of
-<a href="#I_089"><i>Venetian Fête on the Seine</i></a>.</p>
-
-<div class="figcenter">
-    <div><a name="I_087" id="I_087"></a></div>
-    <img src="images/i_087_a.jpg" alt=" " width="600" height="284" />
-</div>
-<div class="figcenter">
-    <img src="images/i_087_b.jpg" alt=" " width="600" height="283" />
-</div>
-<div class="figcenter">
-    <img src="images/i_087_c.jpg" alt=" " width="600" height="286" />
-    <p class="f90">&nbsp;&emsp;BLACK AQUATINT CLAY-BOARD<span class="ws4"> BLACK DIAGONAL-LINED CLAY-BOARD</span></p>
-    <p class="f90">AND TWO STAGES OF DRAWING.<span class="ws4">AND TWO STAGES OF DRAWING.</span></p>
-</div>
-
-<p class="space-above2"><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>
-7. <a href="#I_088">Black perpendicular lines</a>. Same as <a href="#I_087">No. 6</a>,
-except in direction of line.</p>
-
-<div class="figcenter">
-    <div><a name="I_088" id="I_088"></a></div>
-    <img src="images/i_088_a.jpg" alt=" " width="600" height="290" />
-</div>
-<div class="figcenter">
-    <img src="images/i_088_b.jpg" alt=" " width="600" height="289" />
-    <p class="center">BLACK PERPENDICULAR-LINED CLAY-BOARD AND TWO STAGES OF DRAWING.</p>
-</div>
-<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
-<hr class="r5" />
-
-<div class="figcenter">
-    <div><a name="I_089" id="I_089"></a></div>
-    <img src="images/i_089.jpg" alt=" " width="600" height="456" />
-    <p class="center">VENETIAN FÊTE ON THE SEINE, WITH THE TROCADERO ILLUMINATED.</p>
-    <p class="center space-below2"><i>Pen and ink on black diagonal-lined clay-board. Lights scratched out.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span>
-Drawings made upon these grained and ridged papers must not be stumped
-down or treated in any way that would fill up the interstices,
-<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
-which give the lined and granular effect capable of reproduction by
-line-process. Also, it is very important to note that drawings on these
-papers can only be subjected to a slight reduction of scale—say, a
-reduction at most by one quarter. The closeness of the printed grains
-and lines forbids a smaller scale that shall be perfect. Mr. C. H.
-Shannon has drawn upon lined “scratch-out” cardboard with the happiest effect.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
-<div class="nu_page"><h2>PENS.</h2></div>
-
-<p>A common delusion as to pens for drawing is that only the finer-pointed
-kinds are suitable. To the contrary, most of the so-called “etching
-pens” and crow-quills and lilliputian affairs sold are not only
-unnecessary, but positively harmful. They encourage the niggling
-methods of the amateur, and are, besides, untrustworthy and dreadfully
-scratchy. You can but rarely depend upon them for the drawing of
-a continuous line; frequently they refuse to mark at all. I know
-very well that I shall be exclaimed against when I say that a good
-medium-pointed pen or fine-pointed school nib are far better than
-three-fourths of the pens especially made for draughtsmen, but that is
-the case.</p>
-
-<p>With practice, one can use almost any writing nib for the production of
-a pen-drawing. Even the broad-pointed J pen is useful. Quill pens are
-<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
-delightful to work with for the making of pen-studies in a bold, free
-manner. A well-cut quill flies over all descriptions of paper, rough or
-smooth, without the least catching of fibres or spluttering. It is the
-freest and least trammelling of pens, and seems almost to draw of its
-own volition.</p>
-
-<p>Brandauer’s pens are, generally, very good, chiefly for the reason
-that they have circular points that rarely become scratchy. They
-make a small nib, No. 515, which works and wears well; this last an
-unusual quality in the small makes. Perry &amp; Co. sell two very similar
-nibs, No. 601 (a so-called “etching pen”) and No. 25; they are both
-scratchy. Gillott’s crowquill, No. 659, is a barrel pen, very small
-and very good, flexible, and capable of producing at once the finest
-and the boldest lines; but Brandauer’s Oriental pen, No. 342 EF, an
-ordinary fine-pointed writing pen, is just as excellent, and its use is
-more readily learnt. It takes some time and practice to discover the
-capabilities of the Gillott crowquill; the other pen’s possibilities
-are easier found. Besides, the tendency with a microscopic nib is
-to niggled work, which is not to be desired at the cost of vigour.
-<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
-Mitchell’s F pen is a fine-pointed school writing nib. It is not
-particularly flexible, but very reliable and lasts long. Gillott has
-recently introduced a very remarkable nib, No. 1000, frankly a drawing
-pen, flexible in the extreme, capable of producing at will the finest
-of hair-lines or the broadest of strokes.</p>
-
-<p>Some illustrators make line drawings with a brush. Mr. J. F. Sullivan
-works in this way, using a red sable brush with all superfluous hairs
-cut away, and fashioned to a point. Lampblack is the best medium for
-the brush.</p>
-
-<p>To draw in line with a brush requires long practice and great
-dexterity, but men who habitually work in this way say that its use
-once learnt, no one would exchange it for the pen. Of this I can
-express no opinion. Certainly there are some obvious advantages in
-using a brush. It does not ever penetrate the surface of the paper, and
-it is capable of producing the most solid and smooth lines.</p>
-
-<p>Stylographic and fountain pens, of whatever make, are of no use
-whatever. Glass pens are recommended by some draughtsmen for their
-quality of drawing an equable line; but they would seem to be chiefly
-<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
-useful in mathematical and engineering work, which demands the same
-thickness of line throughout. These pens would also prove very useful
-in architects’ offices, in drawing profiles of mouldings, tracery,
-and crockets, because, not being divided into two nibs, they make any
-variety of curve without the slightest alteration in the character of
-the line produced. Any one accustomed to use the ordinary divided nibs
-will know the difficulty of drawing such curves with them.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
-<div class="nu_page"><h2>INKS.</h2></div>
-
-<p>It is, perhaps, more difficult to come by a thoroughly reliable ink
-than to be exactly suited with papers and pens; and yet greater
-attention has been given by manufacturers to inks than to those other
-necessaries.</p>
-
-<p>You can, often with advantage, use a writing pen; but no one, however
-clever he may be, can make a satisfactory drawing for reproduction
-with the aid of writing-inks. They are either not black enough, or
-else are too fluid, so that it is impossible to run lines close
-together, or to cross-hatch without the ink running the lines into one
-another. It may, perhaps, be remarked that this is an obvious error,
-since many of Keene’s most delightful drawings and studies were made
-in writing-inks—black, blue-black, or diluted, or even in red, and
-violet, and blue inks. Certainly Keene was a great man in whatever
-medium he used, but he was not accustomed to be reproduced in any other
-<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span>
-way than by so-called <i>fac-simile</i> wood engraving. In this way all his
-greynesses and faint lines could have their relative values translated,
-but even in the cleverest surface-printing processes his work could not
-be adequately reproduced.</p>
-
-<p>Stephens’s ebony stain is perhaps the most widely used ink at this
-time. It is not made for the purpose of drawing, being a stain
-for wood; but its merits for pen-drawing have been known for some
-considerable time. It is certainly the best, cheapest, and least
-troublesome medium in the market. It is, when not diluted, an intensely
-black liquid with an appreciable body, but not too thick to flow
-freely. It dries with a certain but not very obtrusive glaze, which
-process-engravers at one time objected to most strongly, <i>because</i> they
-wanted something to object to on principle; but they have at length
-become tired of remonstrating, and really there was never any objection
-to the stain upon that score. It flows readily from the pen, and when
-drying upon the nib is not gummy nor in any way adhesive, but powders
-easily—avoiding the abomination of a pen clogged with a sticky mess of
-half-dry mud, characteristic of the use of Indian ink. Ebony stain is
-<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
-sold in substantial stone bottles, and so does not readily become
-thick; but when, owing to any cause, it does not run freely enough, a
-sparing dilution with water restores its fluid properties. Diluted too
-often or too freely, it becomes of a decided purple-brown tint; but as
-a good-sized bottle costs only sixpence, and holds enough to last a
-year, it need not be repeatedly diluted on the score of its cost. It
-is not a fixed ink, and readily smudges when washed over or spotted
-with water—so cannot be used in combination with water-colour or
-flat-washes. Neither can Chinese white be used upon a drawing made in
-Ebony stain. These are disadvantages that would tell against its use by
-illustrators who make many alterations upon their work, or who paint in
-lights on a pen-drawing with body-colour; but for pure pen-drawing, and
-for straight-away journalistic work, it is invaluable.</p>
-
-<p>Indian ink is the traditional medium. It has the advantage of fixity;
-lines drawn with it, when once dry, will not smudge when washed over,
-and, at most, they give but a very slight grey or brown tint to the
-paper. Indian ink can be bought in sticks and ground with water in a
-<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
-saucer; but there seems to be no reason for any one to go to this
-trouble, as liquid Indian inks are to be bought in bottles from
-Messrs. Reeves. The best Indian ink, when freshly ground, gives a
-fine black line that dries with that bogey of the process-man, a
-glaze; but lampblack is of a more intense blackness, and dries with a
-dull surface. Lampblack is easily soluble, and therefore has not the
-stability of good Indian ink to recommend it. For ordinary use with
-the pen, it has too much of the pigmental nature, and is very apt to
-clog the nib and to cause annoyance and loss of time. Lampblack and
-Ivory-black are better suited to the brush. Hentschel, of 182, Fleet
-Street, sells an American preparation called “Whiting’s Process-Drawing
-Ink,” which professes to have all the virtues that should accompany
-a drawing-ink. It is very abominable, and has an immediate corrosive
-effect upon pens. The drawing-materials’ shop in King William Street,
-Strand, sells “Higgins’ American Drawing Ink,” done up in ingeniously
-contrived bottles. It is well spoken of.</p>
-
-<p><i>Encre de Chine Liquide</i> is the best liquid Indian ink sold, and is
-very largely used by draughtsmen. It can be obtained readily at any
-<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
-good colour-shop. It is far preferable to most of the liquid Indian
-inks prepared by English houses, which when left standing for a few
-minutes deposit a sediment, and at best are inadequate concoctions of a
-greenish-grey colour. Messrs. Reeves and Sons have recently introduced
-a special ink for pen-drawing, which they call “Artists’ Black.” It is
-as good as any. It is a liquid ink, sold in shilling bottles.</p>
-
-<p>Mr. Du Maurier uses blue-black writing-ink from an inkstand that
-is always allowed to stand open and receive dust and become half
-muddy. He prefers it in this condition. Also he generally works upon
-HP drawing-paper. It is interesting to know this, but to work in
-blue-black ink is an amiable eccentricity that might prove disastrous
-to any one following his example. His work is not reproduced by
-zincography, but by <i>fac-simile</i> wood engraving. It may be laid down as
-an inflexible rule, if you are beginning the study of pen-drawing, if
-your work is for hurried newspaper production, or if you have not the
-control of the reproduction in your own hands, to draw for line-process
-in the blackest ink and on the whitest paper.
-<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
-
-<p>Many architects and architectural draughtsmen, who are accustomed
-to exhibit pen-drawings of architecture at the Royal Academy, are
-accustomed to draw in brown inks. Prout’s Brown is generally used,
-and gives a very pleasing effect to a drawing. It photographs and
-reproduces readily, but it must always be borne in mind that, if
-printed in black ink, the reproduction will inevitably be much heavier.
-Scarlet inks, and even yellow inks, have been used by draughtsmen for
-special purposes, and are allowable from the photographic point of
-view; but blue must not be used, being an actinic colour and impossible
-to photograph.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span></p>
-<div class="nu_page"><h2>THE MAKING OF A PEN-DRAWING.</h2></div>
-
-<p>It is not to be supposed that because the pen is so handy an
-instrument, and inks and paper, of sorts, are everywhere, that the
-making of a pen-drawing is a simple affair of a few uneducated strokes.
-The less you know of the art, the easier it seems, and they do but
-show their ignorance who speak of its simplicity. You will want as
-much power of draughtsmanship, and more, for drawing in this medium
-than in many others; because the difference between good drawing and
-bad is more readily seen in line-work than in other methods, and since
-in these days the standard of the art has been raised so high. You
-will want not less study in the open air, or with the life-class for
-figure-work, than the painter gives or should give to his preliminary
-studies for his art. This drudgery you will have to go through, whether
-<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
-in the schools of the Science and Art Department (which does not
-recognize this, the livest art of our time), or in the studio and
-under the care of some artist who receives pupils in the fashion of
-the <i>atélier</i> system in France. But such studios are rare in England.
-It seems likely that the student of pen-drawing, who starts with
-learning draughtsmanship of any sort, must first go through much of
-the ordinary grind of the schools, and, when he has got some sort of
-proficiency, turn to and worry out the application of the pen to his
-already received teaching. No one will teach him pen-drawing as an
-individual art; of that there is no doubt. Perhaps the best course he
-could pursue would be to become acquainted with the books illustrated
-by the foremost men, and study them awhile to see in what manner they
-work with the pen, and with this knowledge set to work with models,
-in the same way as a painter would do. Or, if your work is of another
-branch beside the figure, go to the fields, the hedgerows, and all the
-glory of the country-side, and work first-hand. The sketch-book is a
-necessity, and should always be in the student’s pocket for the jotting
-down of notes and memoranda.
-<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
-
-<p>I do not think many pen-draughtsmen are careful enough to make a
-thorough pencil study as the basis of their pen-drawing, although that
-is the best way to proceed, and their drawings would be all the better
-for the practice. It is to this absence of the preliminary pencil-work,
-this shirking of an undoubted drudgery, that is due the quantity of
-uninspired, fumbling drawing with the pen that we see nowadays. The
-omission of a carefully made original pencil-sketch, over which to work
-in pen and ink, renders commonplace the work of many artists which,
-if only they were less impatient of toil, would become transfigured.
-What is so injurious to the man who has learnt his art is fatal to one
-who is by way of beginning its study. Make, then, a pencil-drawing in
-outline, using an HB pencil, as carefully as if that only were the end
-and object of your work. Work lightly with this hard pencil upon the
-paper or cardboard you have selected, indicating shadows rather than
-filling them in. It is necessary to make only faint pencil lines, for
-they will have to be rubbed out eventually, after the pen-drawing has
-been made over them. If the marks were deep and strong, a great deal of
-<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
-rubbing would have to be done to get them out, and that injures the
-surface of the paper and greys the black lines of the ink used. On
-the other hand, if the pencil-marks were not rubbed out, they would
-very likely photograph and reproduce in the process-block. To a
-pen-draughtsman of experience the reproduction of his pencil-marks can
-be made an additional beauty; but the student had much better be, at
-first, a purist, and make for clean pen-strokes alone on his finished
-drawing.</p>
-
-<p>It must always be remembered, if you are working for reproduction
-(and consequent reduction of scale from the drawing to the process-block),
-that the pen-work you have seen printed in the books and papers and
-magazines was made on a much larger scale than you see it reproduced
-in their pages. Very frequently, as in the American magazines, the
-reduction is to about one quarter scale of the original drawing; but,
-working for process in England, the drawing should, generally speaking,
-be from two-thirds to one-half larger than the reproduction. These
-proportions will, as a rule, give excellent results.</p>
-
-<p>Seeing that your drawing is to be so much larger than the
-<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>
-process-block, it follows that the pen-work can, with advantage, be
-correspondingly vigorous. It would help you better than any description
-to a notion of what an original drawing should be like, if you could
-obtain a glance at the originals of any good pen-draughtsmen. But
-unfortunately, there are few exhibitions in which pen-work has any place.</p>
-
-<p>When your pencil study is completed in an outline giving all details
-down to the minutest, you can set about the pen-drawing. Often, indeed,
-if carefully made, the pencil-sketch looks too good to be covered
-up with ink. If you wish to retain it, it can, if made upon thin
-paper, be traced upon cardboard with the aid of black carbon paper,
-or better still (since blue will not photograph) with blue transfer
-paper, which you can either purchase or make for yourself by taking
-thin smooth paper and rubbing powdered blue chalk upon one side of
-it, or scribbling closely upon it with blue pencil. There is another
-way of tracing the pencil-drawing: by pinning over it a sheet of thin
-correspondence paper (of the kind called Bank Post) and working upon
-that straight away.</p>
-
-<p>But, after all, it would, for the sake of retaining something of the
-<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
-freshness of first impressions, be best to sacrifice your pencil study
-and work away on that.</p>
-
-<p>Now the pen-drawing is begun, care should be taken to draw only clear
-and perfectly black lines, and not to run these together, but to keep
-the drawing what the process men call “open.”</p>
-
-<p>If details are put in without regard for the fining down which
-reduction gives, it is only too likely that the result will show only
-dirty, meaningless patches where was a great deal of delicate pen-work.
-Of course, the exact knowledge of how to draw with the pen to get the
-best results by process cannot properly be taught, but must be learned
-by experience, after many miscalculations.</p>
-
-<p>It will be found, too, that many things which it would be inadvisable
-for the beginner to do (especially if he cannot command his own
-choice of process-engraver) are perfectly legitimate to the practised
-artist who has studied process work. The student should not be at
-first encouraged to make experiments in diluted inks or retained
-pencil-marks, or any of those delightful practices by which one who is
-<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
-thoroughly conversant with photographic processes and pen-drawing
-varies the monotony of his medium. He should begin by making his
-drawings as simply as he can, so that they express his subject. And
-this simplicity, this quality of suggestion, is the true field of
-pen-work. The best work is reticent and sober, giving the greatest
-number of essential facts in the fewest strokes. If you can express a
-fact with sufficient intelligibility in half a dozen pen strokes, it is
-inartistic and inexpedient to worry it into any number of scratches.
-This is often done because the public likes to see that there has
-been plenty of manual labour put into the work it buys. It is greatly
-impressed with the knowledge that any particular drawing took days to
-complete, and it respects that drawing accordingly, and has nothing
-but contempt for a sketch which may have taken only an hour or so,
-although the first may be artless and overloaded with unnecessary
-detail, and the second instinct with actuality and suggestion. But if
-you are drawing a landscape with a pen, that is no reason for putting
-in an elaborate foreground of grass, carefully working up each square
-inch. Such a subject can be rendered by a master in a few strokes, and
-<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
-though, possibly, you may never equal the artistry of the master, you
-can follow his ideals. Another and allied point in pen-and-ink art is
-its adaptability to what is termed “selection.” You have, say, before
-you the view or object to be drawn. You do not need to make a drawing
-in which you shall niggle up every part of it, but you select (the
-trained eye readily does this) its salient feature and emphasize it
-and make it fall properly into the composition, leaving aught else
-either suggested or less thoroughly treated. Here is a pen-drawing
-made with a very special regard to a selection only of the essential.
-<a href="#I_110"><i>The Gatehouse, Moynes Court</i></a>, is a singular structure
-near the shore of the Severn estuary, two miles below Chepstow. The singularity
-of its design, rarely paralleled in England, would give the artist the
-motive for sketching, and its tapering lines and curious roofs are
-best preserved in a drawing that deals chiefly in outline, and has
-but little shading wherewith to confuse the queer profile of these
-effective towers. This drawing was reproduced by the bitumen process.
-The lines in the foreground, suggestive of grass, were drawn in pencil.
-The pen-sketches and studies of the foremost artists which have been
-made, not for publication, but for practice, but which have sometimes
-been reproduced, as, for instance, some slight sketches of Charles
-Keene’s, delight the artist’s eye simply by reason of their suggestive
-and selective qualities. If you do not delight in these things,
-but have a desire to (as the untaught public might say) “see them
-finished,” then it seems likely either that you have not the artistic
-sense, or else you have not sufficient training; but I should suspect
-you were in the first category, and should then advise you to leave
-matters artistic alone.
-<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_110" id="I_110"></a></div>
-    <img src="images/i_110.jpg" alt=" " width="500" height="588" />
-    <p class="center">7¼ × 9. <span class="ws2">THE GATEHOUSE, MOYNES COURT.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Bitumen process. Drawing showing value of selection.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
-You should not forget that in drawing for reproduction you are not
-working like the painter of a picture. The painter’s picture exists
-for its own sake, not, like a pen or wash drawing, as only the means
-to an end. The end of these drawings is illustration, and when this is
-frankly acknowledged, no one has any right to criticize the neatness or
-untidiness of the means, so long as the end is kept properly in view.</p>
-
-<p>We have not yet arrived at that stage of civilization when
-black-and-white art shall be appreciated as fully as colour. When we
-have won to that pinnacle of culture, then perhaps an original drawing
-in pen or monochrome will be cherished for its own sake; at present
-we are barbaric more than enough, and bright hues attract us only in
-lesser degree than our “friend and brother,” Quashee from the Congo.
-How nearly related we are these preferences may show more readily than
-<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
-the ranter’s impassioned oratory. As a drawing made for reproduction
-is only a stage on the way to the printed illustration, and is not
-the cynosure of collectors, it is successful or unsuccessful only
-in so far as it subserves this purpose. There is really no need for
-scrupulous neatness in the original; there is no necessity for it to
-have the appearance of a finished picture or of delicate execution, so
-only it will wear this appearance when reduced. That curious bugbear
-of neatness causes want of breadth and vigour, and is the cause of
-most of the tight and trammelled handling we see. Draughtsmen at the
-outset of their career are too much afraid of their mediums of white
-cardboard and ink, and too scrupulous in submitting their original
-drawings, beautifully cleaned up and trimmed round, to editors who, if
-they know their business, give no better consideration to them on that
-account. Mr. Ruskin has written, in his <i>Elements of Drawing</i>, some
-most misleading things with regard to drawing with the pen. True, his
-book was written in the ’50’s, before pen-drawing became an art, but it
-has been repeatedly reprinted even so lately as 1893, and consequently
-<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>
-it is still actively dangerous. “Coarse art,” <i>i.e.</i> bold work, says
-Mr. Ruskin—he is speaking of pen-drawing—“is always bad art.” There
-you see Mr. Ruskin holding a brief for the British public which admires
-the ineffable artistry displayed in writing the Lord’s Prayer on a
-threepenny piece, but deplores the immorality shown in drawings done
-with a quill pen. The art of a pen-drawing is <i>not</i> to be calculated
-on a sliding-scale graduated to microscopical fractions of an inch and
-applied to its individual strokes.</p>
-
-<p>The appearance a drawing will present when reduced may be approximately
-judged by the use of a “diminishing glass,” that is to say, a concave glass.</p>
-
-<p>Drawings should not be cleaned up with india-rubber, which destroys the
-surface of paper or cardboard and renders lines rotten; bread should
-be used, preferably stale bread two days old, crumbled and rubbed over
-the drawing with the palm of the hand. Mr. Ruskin says that in this way
-“you waste the good bread, which is wrong;” but you had better use a
-handful of “the good bread” in this way than injure a good drawing.
-<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
-
-<p>The copying of wood engravings or steel prints, not for their subjects,
-but for their peculiar <i>techniques</i>, is a vicious and inartistic
-practice. Time used in this way is time wasted, and worse than wasted,
-because this practice is utterly at variance with the spirit of pen-work.</p>
-
-<p>It is not a proof of artistry or consummate draughtsmanship to be able
-to draw a straight line or a perfect circle, the absurd legend of
-Giotto and his circle notwithstanding.</p>
-
-<p>There are many labour-saving tricks in drawing for reproduction, but
-these have usually little connection with the purely artistic side
-of illustration. They have been devised chiefly to aid the new race
-of artist-journalists in drawing for the papers which cater for that
-well-known desire of the public to see its news illustrated hot and
-hot. Most of these methods and the larger proportion of the men who
-practice them are frankly journalistic, but some few draughtsmen have
-succeeded in resolving this sleight of hand into novel and interesting
-styles, and their hurried work has achieved a value all its own,
-scarcely legitimate, but aggressive and clamouring for attention.
-<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
-
-<p>One of these tricks in illustration is a method which is largely
-practised for journalistic illustration in America—drawing in pen and
-ink upon photographs, which are afterwards bleached out, the outline
-drawings remaining to be processed. Although not a desirable practice
-from an artistic point of view, it is advantageously used for news work
-or upon any occasion in which expedition is essential. The photograph
-to be treated in this way is printed by the usual silver-print method,
-with the exception that the paper used is somewhat differently
-prepared. What is known as “plain salted paper” is used; that is
-to say, paper prepared without the albumen which gives to ordinary
-silver-prints their smooth, shiny appearance. The paper is prepared by
-being soaked in a solution made by the following formula:—</p>
-
-<table border="0" cellspacing="0" summary=" " cellpadding="0" >
-  <tbody><tr>
-      <td class="tdl">Chlorate of ammonia&nbsp;&emsp;&nbsp;</td> <td class="tdr">100 grains.</td>
-    </tr><tr>
-      <td class="tdl">Gelatine</td> <td class="tdr">10<span class="ws2">"</span>&emsp;</td>
-    </tr><tr>
-      <td class="tdl">Water</td> <td class="tdr">10 ounces.</td>
-    </tr>
- </tbody>
-</table>
-
-<p>The print is made and fixed without toning. It may now be drawn upon
-with pen and Indian ink. The ink should be perfectly black and fixed.
-The drawing, if it is to be worth anything artistically, must not aim
-<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
-at anything like the fulness of detail which the photograph possesses.
-An outline drawing is readily made in this way, and a considerable
-amount of detail may be achieved. Indeed, the temptation is always to
-go over the photograph in pen and ink too fully, and only draughtsmen
-of accomplishment can resist this almost irresistible inducement to do
-too much. Still, admirable results have been obtained in this way by
-artists who know and practise the very great virtue of reticence.</p>
-
-<p>When the drawing has been finished it is immersed in a solution of
-bichlorate of mercury dissolved in alcohol, which removes all traces of
-the photograph, leaving the drawing showing uninjured upon plain white
-paper. Omissions from the drawing may now be supplied and corrections
-made, and it is now ready for being processed. If very serious
-omissions are noticed, the photograph may be conjured back by immersing
-the paper in a solution of hyposulphite of soda.</p>
-
-<p>Another and readier way is to draw upon photographs printed on
-ferro-prussiate paper. This paper may be purchased at any good
-photographic materials shop, or it can be prepared by brushing a sheet
-<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
-of paper over with a sensitizing solution composed of the two following
-solutions, A and B, prepared separately and then mixed in equal volumes:—</p>
-
-<table border="0" cellspacing="0" summary=" " cellpadding="0" >
-  <tbody><tr>
-      <td class="tdc" rowspan="2">A&nbsp;</td> <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt=" " width="9" height="32" /></td>
-      <td class="tdl">Citrate of iron and ammonia&emsp;&nbsp;</td> <td class="tdr">1⅞ ounces.</td>
-    </tr><tr>
-      <td class="tdl">Water</td> <td class="tdr">8<span class="ws2">"</span>&nbsp;&emsp;&nbsp;</td>
-    </tr><tr>
-      <td class="tdc" rowspan="2">B&nbsp;</td> <td class="tdc" rowspan="2"><img src="images/cbl-2.jpg" alt=" " width="9" height="32" /></td>
-      <td class="tdl">Ferricyanide of potassium</td> <td class="tdr">1¼&nbsp;&emsp;&nbsp;"&nbsp;&emsp;&nbsp;</td>
-    </tr><tr>
-      <td class="tdl">Water</td> <td class="tdr">8<span class="ws2">"</span>&nbsp;&emsp;&nbsp;</td>
-    </tr>
- </tbody>
-</table>
-
-<p>The paper must be prepared thus in a dark room and quickly dried. It
-will remain in good condition for three or four months, and is best
-preserved in a calcium tube. Prints made upon ferro-prussiate paper are
-formed in Prussian blue, and are fixed in the simplest way, on being
-taken from the printing frame, by washing in cold water.</p>
-
-<p>An Indian ink drawing may now be made upon this blue photographic
-print, and sent for process without the necessity of bleaching, because
-blue will not reproduce. If, on the other hand, it is desired to see
-the drawing as black lines upon white paper, the blue print may be
-bleached out in a few seconds by immersing it in a dish of water in
-which a small piece of what chemists call carbonate of soda (common
-washing soda) has been dissolved.
-<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
-
-<p>Outline drawings for reproduction by process may be made upon
-tracing-paper. Most of the rough illustrations and portrait sketches
-printed in the morning and evening newspapers are tracings made in
-this way from photographs or from other more elaborate illustrations.
-Although this is not at all a dignified branch of art, yet some of the
-little portrait heads that appear from time to time in the <i>St. James’s
-Gazette</i>, <i>Pall Mall Gazette</i>, and the <i>Westminster Gazette</i> are
-models of selection and due economy of line, calculated to give all the
-essentials of portraiture, while having due regard to the exigencies of
-the newspaper printing press.</p>
-
-<div class="figcenter">
-    <div><a name="I_118" id="I_118"></a></div>
-    <img src="images/i_118.jpg" alt=" " width="400" height="462" />
-</div>
-
-<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
-The <a href="#I_118">two outline</a> <a href="#I_119">portrait sketches</a>
-shown here are reproduced from the <i>St. James’s Gazette</i>. Their thick
-lines have a tendency to become offensive when subjected to careful
-book-printing, but appearing as they originally did in the rapidly
-printed editions of an evening paper, this emphasis of line was exactly
-suited to the occasion.</p>
-
-<div class="figcenter">
-    <div><a name="I_119" id="I_119"></a></div>
-    <img src="images/i_119.jpg" alt=" " width="400" height="446" />
-</div>
-
-<p>Translucent white tracing-paper should be used for tracing purposes,
-pinned securely through the corners of the photograph or drawing to be
-copied in this manner on to a drawing-board, so that the tracing may
-not be shifted while in progress. No pencilling is necessary, but the
-<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
-tracing should be made in ink, straight away. Fixed Indian ink should
-be used, because when the tracing is finished it will be necessary for
-process purposes to paste it upon cardboard, and, tracing-paper being
-so thin, the moisture penetrates, and would smudge a drawing made in
-soluble inks unless the very greatest care was taken. Old tracing-paper
-which has turned a yellow colour should on no account be used, and
-tracing-cloth is rarely available, because, although beautifully
-transparent, it is generally too greasy for pure line-work.</p>
-
-<p>Pen-drawings which are to be made and reproduced for the newspaper
-press at the utmost speed are made upon lithographic transfer paper
-in lithographic ink, a stubborn and difficult material of a fatty
-nature. Drawings made in this way are not photographed, but transferred
-direct to the zinc plate, and etched in a very short space of time. No
-reduction in scale is possible, and the original drawing is inevitably
-destroyed in the process of transferring.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
-<div class="nu_page"><h2>WASH DRAWINGS.</h2></div>
-
-<p>Wash drawings for reproduction by half-tone process should be made upon
-smooth or finely grained cardboards. Reeves’ London board is very good
-for the purpose, and so is a French board they keep, stamped in the
-corner of each sheet with the initials A. L. in a circle. Wash drawings
-should be made in different gradations of the same colour if a good
-result is to be expected: thus a wash drawing in lampblack should be
-executed only in shades of lampblack, and not varied by the use of
-sepia in some parts, or of Payne’s grey in others. Lampblack is a
-favourite material, and excellent from the photographic point of view.
-Payne’s grey, or neutral tint, at one time had a great vogue, but it is
-too blue in all its shades for altogether satisfactory reproduction,
-although the illustration, <a href="#I_122"><i>The Houses of Parliament</i></a>, shown
-on p. 122, has come well with its use. Chinese white was freely used in the
-drawing, and its value is shown in putting in the swirls of fog.
-<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_122" id="I_122"></a></div>
-    <img src="images/i_122.jpg" alt=" " width="400" height="604" />
-    <p class="center">11½ × 17½. <span class="ws2">THE HOUSES OF PARLIAMENT AT NIGHT,</span><span class="ws2">&nbsp;</span></p>
-    <p class="center">FROM THE RIVER.</p>
-    <p class="center"><i>Wash drawing in Payne’s grey.<br /> Half-tone process, medium grain.</i></p>
-</div>
-<p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
-<hr class="r5" />
-<div class="figcenter">
-    <div><a name="I_123" id="I_123"></a></div>
-    <img src="images/i_123.jpg" alt=" " width="600" height="406" />
-    <p class="center">5¾ × 3¾. <span class="ws2">VICTORIA EMBANKMENT NEAR BLACKFRIARS BRIDGE:</span><span class="ws2">&nbsp;</span></p>
-    <p class="center"> A FOGGY NIGHT.</p>
-    <p class="center space-below2"><i>Drawing on paper in charcoal-grey, lights put in with Chinese white.<br /> Medium grain.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
-Indian ink is capable of producing the greatest range of tone from
-light to dark, and successive washes with it are quite indelible. But
-it may be said at once that this great range is not necessary—nay,
-is not advisable in drawing for half-tone reproduction. In view of
-the unavoidable defects of the half-tone processes which tend to
-flatten out the picture, artists should not attempt many and delicate
-gradations. Half a dozen tones from black to white will generally
-suffice. Any attempt to secure the thousand-and-one gradations of a
-photograph will be at once needless and harmful.</p>
-
-<p>Pure transparent water-colour washes do not give such good effects
-in reproduction as work in body-colour. Chinese white mixed with
-lampblack comes beautifully. Charcoal-grey, of recent introduction,
-is not so well adapted to the admixture of body-colour. Altogether,
-charcoal-grey, although a very admirable colour, is a difficult
-material unless you know exactly at starting a drawing what you intend
-to do. The illustration, <a href="#I_123"><i>Victoria Embankment: a Foggy Night</i></a>,
-was made in it on rough paper. The nature of the subject rendered the execution
-of the drawing easy, but in a drawing which runs the whole gamut of
-tone, its unstable qualities forbid its use by the novice.
-<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_125" id="I_125"></a></div>
-    <img src="images/i_125.jpg" alt=" " width="600" height="402" />
-    <p class="center">13 × 10. <span class="ws3">CORFE RAILWAY STATION.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Drawing upon common rough scribbling paper in Indian ink,<br />
-                           washes reinforced by pencil lines. Fine grain.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_127" id="I_127"></a></div>
-    <img src="images/i_127.jpg" alt=" " width="400" height="596" />
-    <p class="center">10½ × 6½. <span class="ws3">THE AMBULATORY, DORE ABBEY.</span><span class="ws4">&nbsp;</span></p>
-    <p class="center"><i>Photograph painted in parts with body-colour.</i></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>
-The drawings made in wash by Myrbach and Rossi have set the fashion for
-much recent illustration. Vignettes made with a full brush and reduced
-to infinitesimal proportions have abounded since the illustrated
-<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
-editions of <i>Tartarin of Tarascon</i> first charmed the eye; but now,
-reduced to the common denominator of the sixpenny magazines, they
-have lost all the qualities and retained all the defects the fashion
-ever had. The drawing of <a href="#I_125"><i>Corfe Railway Station</i></a> was
-made in washes of Indian ink with a full brush, each successive wash left to dry
-thoroughly before the next was laid on. Parts are reinforced with
-pencil strokes: these can readily be identified in the print. The block
-was then vignetted.</p>
-
-<p>Another method is used for half-tone work. A photograph is mounted upon
-cardboard, and may be worked upon in brushwork with body-colour to any
-extent, either for lightening the picture or for making it darker. For
-working upon the ordinary silver-print an admixture of ox-gall must be
-<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>
-used or the pigments will not “take” upon the sensitized
-paper.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>
-The illustration, <a href="#I_127"><i>The Ambulatory, Dore Abbey</i></a>, is from a photograph,
-worked upon in this manner. The photo was so dark and indefinite that
-something was necessary to be done to show the springing of the arches
-and the relation of one pier to another. Chinese white was used in the
-manner described above, and the arches outlined in places by scratching
-with the sharp point of a penknife.</p>
-
-<hr class="full" />
-<div class="footnote"><p class="no-indent">
-<a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a>
-Refer to <i>The Real Japan</i>, by Henry Norman. Fisher Unwin, 1892. The
-book is freely illustrated with half-tone blocks made from photographs.
-The photographs were all extensively worked upon with body-colour in
-this manner. Indeed, the brushwork may clearly be discerned in the reproductions.</p></div>
-<hr class="full" />
-
-<p>Tinted cards may be used in drawing for half-tone, but yellow tints
-must be avoided, for obvious photographic reasons; and blue tints,
-photographically, are practically pure white. If tinted cardboard is
-used at all, it should be in tints of grey or brown.
-<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_131" id="I_131"></a></div>
-    <img src="images/i_131.jpg" alt=" " width="600" height="509" />
-    <p class="center">14 × 12. <span class="ws2">MOONLIGHT: CONFLUENCE OF THE SEVERN AND THE WYE.</span><span class="ws3">&nbsp;</span></p>
-    <p class="center"><i>Oil sketch on canvas in Payne’s grey. Half-tone process. Fine grain.</i></p>
-</div>
-
-<p>A very satisfactory way of working for half-tone is to work in oil
-monochrome. The reproductions from <a href="#I_131">oil sketches</a> come very
-well indeed by half-tone processes: full and vigorous. The photo-engraver always
-objects to oil because of its gloss, but this can be obviated by
-mixing your colour with turpentine or benzine, which give a dull
-surface. The sketch shown on p. 130 was made in this way. It was a
-smoothly worked sketch, with no aggressive brush-marks, but it may be
-noted that brush-marks come beautifully by this process: if anything,
-rather stronger than in the original, because the shadows cast by them
-reproduce as well. But if you sketch in oils for reproduction, be chary
-<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
-of vigorous brushwork in white: it comes unpleasantly prominent in the block.</p>
-
-<p>In giving instructions for the reproduction, and reduction, of
-drawings, the measurement in one direction of the reproduction desired
-should be plainly indicated thus: ← 4½ inches →. Unless absolutely
-unavoidable, drawings should not be sent marked “½ size,” “⅓ scale,”
-and so on, because these terms are apt to mislead. People not
-accustomed to measurements are very uncertain in their understanding of
-them, and, absurd as it may seem to those who deal in mensuration, they
-very frequently take ½ scale and ½ size as synonymous terms; while ½
-scale is really ¼ size, and so on, in proportion.
-<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_133" id="I_133"></a></div>
-    <img src="images/i_133.jpg" alt=" " width="400" height="588" />
-</div>
-
-<p>The proportions a drawing will assume when reduced may be ascertained
-in this way. You have, say, a narrow upright drawing, as shown in the
-<a href="#I_133">above diagram</a>, and you want the width reduced to a certain
-measurement, but having marked this off are at a loss to know what height the
-reproduction will be. Supposing it to be a pen-drawing, vignetted, as
-most pen-drawings are; in the first place, light pencil lines touching
-the farthest projections of the drawing should be ruled to each of its
-four sides, meeting accurately at the angles A, B, C, D. This frame
-being made, a diagonal line should be lightly ruled from upper to lower
-corner, either—as shown—from B to C, or from A to D. The measurement
-of the proposed reduction should then be marked off upon the base line
-at E, and a perpendicular line ruled from it to meet the diagonal. The
-<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>
-point of contact, F, gives the height that was to be found, and a
-horizontal line from F to G completes the diagram, and gives the
-correct proportions of the block to be made.</p>
-
-<p>It will readily be seen that large copies of small sketches can be made
-in exact proportions by a further application of the diagonal, but care
-should be taken to have all these lines drawn scrupulously accurate,
-because the slightest deviation throws the proportions all out.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
-<div class="nu_page"><h2>STYLES AND MANNER.</h2></div>
-
-<p>Pen-drawing is ruled by expediency more, perhaps, than any art. I shall
-not say that one method is more right than another in the management of
-textures, or in the elaboration or mere suggestion of detail, for line
-work is, to begin with, a purely arbitrary rendering of tones. There
-is nothing like line in nature. Take up an isolated brick; it does not
-suggest line in any way. Build it up with others into a wall, and you
-can in pen and ink render that wall in many ways that will be equally
-convincing and right. It may be expressed in terms of splatter-work,
-which can be made to represent admirably a wall where the bricks have
-become welded into an homogeneous mass, individually indistinguishable
-by age, or of vertical or horizontal lines that may or may not take
-account of each individual brick and the joints of the mortar that
-<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
-binds the courses together. Crosshatching, though a cheap expedient
-and a decaying convention, may be used. But to lose sight of ordinary
-atmospheric conditions is no more privileged in pen-work than in
-paint. This is not by any means unnecessary or untimely advice,
-though it should be. The fact of using a pen instead of a brush does
-not empower anybody to play tricks with the solar system, though one
-sees it constantly done. One continually sees in pen-drawing the laws
-of light and shade set at naught, and nobody says anything against
-it—perhaps it looks smart. Certainly the effect is novel, and novelty
-is a powerful factor in anything. But to draw a wall shining with a
-strong diffused light which throws a great black shadow, is contrary
-to art and nature both. “Nature,” according to Mr. Whistler, “may be
-‘creeping up,’ but she has not reached that point yet. When one sees
-suns setting behind the east ends of cathedrals, with other vagaries
-of that sort, one simply classes such things with that amusing erratum
-of Mr. Rider Haggard’s, in which he describes a ship ‘steaming out of
-the mouth of the Thames, shaping her course toward the red ball of the
-setting sun.’” But though the instance is amusing, the custom is apt to pall.
-<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
-
-<p>Some of the American pen-draughtsmen who contribute to the <i>Century</i>
-are exceedingly clever, and their handling extremely personal; but
-after a time this excessive personality ceases to charm, and, for one
-thing, these young bloods are curiously narrow in their choice of the
-masters from whom they are only too pleased to derive. Mr. Brennan is,
-perhaps, the most curiously original of these men. He is the man who
-has shown most convincingly that the inked thumb is the most instant
-and effective instrument wherewith to render velvet in a pen-drawing.
-You cannot fail to be struck with his method; his manner is entirely
-personal, and yet, after a time, it worries one into intolerance.</p>
-
-<p>It is the same with that convention, founded, apparently, by Mr.
-Herbert Railton, which has had a long run of some nine or ten years.
-It was a convention in pictorial architecture that had nothing except
-a remarkably novel technique to recommend it. The illustrator invited
-us rather to see how “pretty” he could render an old building, than how
-nearly he could show it us as it stood. He could draw an elevation in
-a manner curiously feminine, but he could only repeat himself and his
-<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>
-trees; his landscapes were insults to the imagination. Nothing inspired
-him to achievements beyond pictorial confectionery.</p>
-
-<p>This convention has had its day, although in the mean while so
-strikingly mannered was it that it appealed to almost all the young
-and undiscriminating men whose work lay in the rendering of pictorial
-architecture. “Go to,” said the Average Artist in “the picturesque,”
-“I will sit down and make a drawing in the manner of Mr. Railton.”
-And he did, generally, it may be observed, from a photograph, and in
-the undistracting seclusion of his own room. This sort of artistic
-influenza, which nearly all the younger men caught at one time or
-another, was very dangerous to true art. But it could not possibly
-last; it was so resourceless. Always we were invited to glance at the
-same sky and an unchanging rendering of buildings, whether old or new,
-in the same condition of supposedly picturesque decrepitude. Everything
-in this mannerism wore the romantic air of the Moated Grange and
-radiated Mrs. Radcliffe, dungeons, spectres, and death, whether the
-subject was a ruinated castle or a new warehouse. All this has grown
-offensive: we want more sobriety. This apotheosis of raging skies and
-<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
-falling smuts, of impending chimneys, crumbling stones, and tottering
-walls was only a personal manner. Its imitators have rendered it ridiculous.</p>
-
-<p>The chief merits of such topographical and archæological drawings are
-that they be truthful and reverent. If art is ever to approach the
-documentary stage, to be used as the record of facts, it is in this
-matter. To flood the country with representations of old buildings
-that are not so much pictures of them as exercises in an exaggerated
-personal manner, is to deserve ill at the hands of all who would have
-preserved to them the appearance of places that are passing away. The
-illustrations to such books, say, as Mr. Loftie’s <i>Inns of Court</i> or
-his <i>Westminster Abbey</i> are of no historic or artistic value whatever;
-they are merely essays in a wild and weird manner of which we are tired
-in the originator of it; which we loathe in those who imitate its worst
-faults. We require a sober style in this work, after being drunken so
-long with its so-called picturesqueness, which, rightly considered, is
-but impressionism, ill seen and uninstructed.</p>
-
-<p>No one has exercised so admirable a method, whether in landscape, in
-<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
-portraiture, or in architecture, as Sir George Reid, but his work
-is not readily accessible for the study it invites. It is scholarly
-and expressive, eloquent of the character of his subject, free from
-redundancies. It is elaborate or suggestive on due occasion, and,
-although the style is so distinguished, you always feel that every
-drawing by this stylist is really and truly a representation of the
-person, place, or thing he has drawn, and not a mere pretext for an
-individual handling; no braggart assumption of “side.”</p>
-
-<p>The dangers of following in a slavish manner the eccentricities of
-well-known men are exemplified in the work of those illustrators who
-ape the whimsies of the impressionist Degas. What Degas may do may
-nearly always be informed with distinction, but the illustrators who
-reproduce, not his genius, but an outstanding feature of it, are
-singularly narrow. If Degas has painted a picture of the play with the
-orchestra in the foreground and the bass-viol looming immensely up
-three parts of the composition, the third-rate impressionists also lug
-in a bass-viol; if he has shown a ballet-girl with apparently only one
-leg, they always draw one-legged <i>coryphées</i>, and remain incapable of
-conceiving them as bipeds.
-<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
-
-<p>Caldecott is a dangerous man to copy. He was, first and last, a
-draughtsman, and a draughtsman whose every dot and line were eloquent.
-There is no technique that you can lay hold of in his work, but only
-characterization, which is more frequently caricature. Caldecott would
-never have made a serious illustrator; in burlesque he was immense, and
-no artist could desire a better monument than his <i>Picture Books</i>. His
-reputation has fallen greatly of late, notwithstanding the delightful
-<i>John Gilpin</i> and the others of that inimitable series; but his repute
-had stood higher to-day if his private letters to his friends and
-other unconsidered trifles had never been collected and published,
-ghoul-like, after his death. Pandering to the market has almost killed
-Caldecott’s repute, for the undiscriminating public were invited to
-admire reproductions of hasty sketches never intended for publicity.</p>
-
-<p>There is character in Mr. Phil May’s work, and humour, surprisingly set
-forth with a marvellous economy of line. His is a gay and festive muse,
-that is most at home where the tide of life runs strongest and deepest,
-with wine-bubbles breaking “most notoriously,” as Mr. Kipling might
-<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span>
-say, upon its surface; with theatres, music-halls, and Gaiety bars
-ranged along its banks in profusion. There is much human nature in
-Mr. May. Also in Mr. Greiffenhagen; but a different kind. He has gone
-chiefly to the boudoir and the drawing-room for his subjects, and has
-rendered them with a resolute impressionism and a thorough discarding
-of cross-hatch that make a lasting impression with the beholder.
-There is a certain Christmas number, 1892, of the <i>Lady’s Pictorial</i>
-with memorable drawings by him; they are in wash and lithographic
-crayon, but may only be noted here in passing. He has a gift of novel,
-unhackneyed composition, and he sees the figure for himself, and draws
-it in with a daring but right and striking manner.</p>
-
-<p>There has arisen of late years a school of illustration peculiarly
-English—the so to call it “Decorative School.” It is a new and higher
-incarnation of the pre-Raphaelite movement. The brotherhood did good
-work, not at all commensurate with the amount of attention it received,
-but beyond all praise in the conventions it founded; and, historically
-considered, Rossetti and his fellows are great, and Blake is greater,
-because he was an inspired visionary with a kink in his brain, out of
-<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
-which flowed imaginings the most gorgeous and original. But the
-decorative men of to-day are doing even better work—masculine,
-convincing, racy of this soil. It is chiefly admirable because it gives
-us, in these days of “actuality,” of photography, and reproductions
-direct from photographs, a new outlook upon life. English decorative
-illustration is, with but few exceptions, possessed of a fine romantic
-fancy, poetic, and at the same time healthy and virile and eminently
-sane, and it will live. There is great hope for the future of this
-school, while the imported styles of Vierge and Rico and other masters
-used to sunnier skies, admirable beyond expression in their own places,
-droop and languish in the nor’-easterly winds of England, and their
-tradition becomes attenuated in passing through so many hands. Their
-descendants, from Abbey down to Pennell and the whole crowd of those
-who love not wisely but too well, have brought these fine exotic
-conventions down to the merest shadows of shades.</p>
-
-<p>Mr. Walter Crane has, any time these last ten years, been the great
-Apostle of Decoration <i>plus</i> Socialism. It has been given him in this
-wise to make (in theory) the lion to lie down with the lamb (and yet
-<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span>
-for the lamb to remain outside the lion with his destiny of mutton
-still in perspective), and he has proclaimed in parables the
-possibility of mixing oil and water. He has perpetrated a cartoon for
-the Socialistic, if not Anarchist, First of May, and therein he has
-striven to decoratively treat the British Workman. But although Mr.
-Crane has a pretty trick of decoration, he was worsted in that bout,
-for the British Plumber or the Irish Hodman is stubborn material for
-decoration, and their spouses as festal nymphs are not convincing
-visions. Again, he has achieved a weird series of cartoons upon the
-walls of the Red Cross Hall in praise of Democratic Valour, in which he
-has unsuccessfully attempted to conventionalize rescuing firemen and
-heroic police. Such bravery deserved a better fate. Also Mr. Crane has
-written much revolutionary verse in praise of brotherhood and equality,
-and now he has accepted the mastership of a Governmental art school,
-under the direction of that not very revolutionary body, the Committee
-of Council for Education (Science and Art Department). Decoration
-should be made of sterner stuff! His industry has been prodigious. Even
-<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>
-now a bibliography of him is in the making; and yet shall it be said
-that it is difficult in the great mass of his work to find many items
-altogether satisfactory? It may be feared it is so. For one thing,
-his anatomy is habitually at fault; and yet has he not informed an
-interviewer from the <i>Pall Mall Gazette</i> that long years since he had
-ceased to draw from the model?</p>
-
-<p>That wheel within wheels, the so-called Birmingham School, is
-attracting attention just now, and men begin to prophesy of deeds from
-out the midlands. But once upon a time there was a Newlyn School, was
-there not? Where is that party now? Its foremost members have won to
-the honours of the Royal Academy, and its mission is done. But it is
-time to talk of schools when work has been done. Of course it is very
-logical that good work should come from Birmingham. The sense of beauty
-is stronger in those who live in midst of dirt and grime. Instance the
-Glasgow school of impressionists. But the evidence of Birmingham at
-present is but a touching follow-on to the styles of Mr. Crane and Mr.
-Sumner, and to the ornament of Mr. Lewis Day. Indeed, the decorative
-work of the students at the National Art Training Schools may be put in
-<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span>
-the formula of one-third Crane, and the remaining two-thirds Heywood
-Sumner and Lewis Day, an amalgam ill-considered and poorly wrought.</p>
-
-<p>But indeed Mr. Heywood Sumner’s work has a note of distinction. He
-does not confuse Socialist propaganda with ornament, and is not always
-striving to show with emphasis of line in pen and ink that Capital is
-the natural enemy of Labour, and that a silk hat on a rich man’s head
-may justly be defined as so many loaves of bread (or pots of beer) in
-the wrong place. That is for Mr. Crane and Mr. William Morris to prove;
-and, really, anything wicked can be proven of such a hideous object.
-But the onus of bringing the guilt home to it and the wearer of it does
-not produce good art. Indeed, decorative art is not catholic; it has
-no sort of commerce with everyday life or with the delineation of any
-times so recent as the early years of the Victorian era. Its field lies
-only in poetic imaginings, in fancy, and, most emphatically, not in
-fact. When Mr. Crane, for instance, takes to idealising the heroic acts
-of policemen, the impulse does credit to his heart, but the results
-are not flattering to his head. Fortunately he does not often go these
-<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
-lengths, and no one else of the decorative idea has been equally
-courageous, save indeed a Mr. Beardsley, who “decoratively” illustrated
-Orpheus at the Lyceum Theatre; and those illustrations in the <i>Pall
-Mall Budget</i>, March 16, 1893, certainly were very dreadful.</p>
-
-<p>An exception to the general beauty of recent decorative work is the
-incomprehensible and at the same time unlovely practice of this
-eccentric. Mr. Charles Ricketts’ work, although its meaning may often
-be so subtly symbolical that it is not to be understood except by the
-elect,—never without the aid of a glossary of symbolism,—is always
-graced with interesting technicalities, and his draughtsmanship is of
-the daintiest; but what of meaning is conveyed to the mind and what
-of beauty to the eye in this work of Mr. Beardsley’s, that has been
-somewhat spoken of lately? It has imagination certainly, but morbid and
-neurotic, with a savour of Bethlehem Hospital and the charnel-house;
-it is eccentric apparently with an eccentricity that clothes bad
-draughtsmanship, and incongruous with an incongruity that suggests
-the uninstructed enthusiasm of the provincial mind. It exhibits a
-patchwork-quilt kind of eclecticism, born of a fleeting glance at
-<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
-Durer; of a nodding acquaintance with all prominent modern decoration
-and an irrelevant <i>soupçon</i> of Renaissance ornament; like the work of a
-lithographic draughtsman, a designer of bill-heads, roaming fancy free.</p>
-
-<p>The practice of Mr. Selwyn Image has a devotional and meditative cast.
-He has made some remarkable drawings for the <i>Hobby Horse</i> in the
-manner of the missal-painters, both in spirit and execution, and he
-steadfastly keeps the art of the monkish scriptorium in view, and seems
-to echo the sentiments of the rapturous maidens in <i>Patience</i>, “Let
-us be Early English ere it is too late.” And he <i>is</i> Early English to
-excellent purpose.</p>
-
-<p>It is a gross error to hold that decorative art is impossible under
-present social conditions, and unpardonable to attempt to link
-decoration and design to Socialist propaganda. Art of all possible
-application never flourished so well as under the feudal system, and
-never sank so low as it did when Democracy and the Trouser came in
-together.</p>
-
-<p>The great advantages of Art over Photography are its personal
-qualities. The camera is impersonal, and will ever be a scientific
-<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
-instrument. You can, like the ingenious Mr. H. P. Robinson, pose
-figures, and with a combination of negatives concoct a composition
-which is some sort of cousin-german to a picture; but if you can do all
-this, you might go a little farther and make a picture without the aid
-of a camera. It would be personal, and, without a signature, signed all
-over with the unmistakable mark of style or manner, like Constable’s
-paintings.</p>
-
-<p>It seems unlikely that any mechanical processes, save the strictly
-autographic, which reproduce line, will be of permanent artistic value.
-No photogravure will be sought for and prized in years to come as the
-old etchings and mezzotints are valued. Those elaborate photogravure
-plates from popular or artistic pictures (the terms are not synonymous)
-which crowd the print-sellers’ shops to-day, at five or ten guineas,
-will not long hence be accounted dear at so many shillings, simply
-because they lack the personal note. Meanwhile, mezzotints and etchings,
-other than the “commercial” etching, will become inversely expensive.</p>
-
-<p>In that brackish flood of “bitter cries” to which we have been
-subjected of late years, the wail of the wood-engraver was easily to be
-<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
-distinguished, and we heard that his occupation was gone. But has it?
-No, nor will it go. No tint nor half-tone process can ever render
-sufficiently well the wash drawings that the best engravers render
-so admirably, with an entire subjection of their own individuality
-unthought of twenty years ago. The wood-engraver, as one who imposes
-restrictions upon technique, has had his day; but as a conscientious
-and skilful workman, who renders faithfully the personality of the
-artist he engraves, he flourishes, and will continue to flourish.
-Otherwise, there is no hope for him, let Mr. Linton say what he will.
-He will remain because he can preserve the personal note.</p>
-
-<p>Half-tone processes are as tricky as Puck and as inconstant. You never
-know the exact result you will get from any given drawing. Half a dozen
-blocks from the same drawing will give, each one, a different result,
-because so much depends upon the fraction of a second, more or less,
-in making the negative; but all of them agree in presenting an aspect
-similar to that obtained on looking through the wire blind of some
-Philistine window upon the street. In all cases the edge, the poignancy
-of the subject, is taken off, and, in the case of the process-block,
-<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
-several intermediate tones go as well, with, frequently, the result of
-an unnatural lighting “that never was on land or sea,” and it may be
-hoped never will be.</p>
-
-<p>No doubt half-tone processes will continue to be more and more widely
-used, chiefly because they are several times cheaper than a good wood
-engraving, and because, so far as mere documentary evidence goes,
-they are good enough for illustrated journalism. But for bookwork,
-for anything that is not calculated for an ephemeral consideration,
-half-tone processes are only to be used with the most jealous care.</p>
-
-<p>As regards the half-tone processes employed to reproduce photographs, I
-take leave to say that no one will, a hundred years hence, prize them
-for any quality. The necessary reticulation of their surface subtracts
-from them something of the documentary value of the photograph, and,
-deriving directly from photographs, they have no personal or artistic
-interest.</p>
-
-<p>But their present use touches the professional draughtsman nearly,
-for in illustrated journalism half-tone is very frequently used in
-reproducing photographs of places and people without the aid of the
-artist, and it is no consolation for a man who finds his occupation
-<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
-going for him to consider that these direct photographic processes have
-no permanent interest. It is the new version of the old tale of the
-stage-coach <i>versus</i> the railway engine, to his mind, and he is apt
-to think that as a craftsman he is fast following the wood-engraver.
-But it is safe to say that although the mediocrities will suffer, or
-be forced, like the miniature-painter who turned daguerrotypist and
-then blossomed forth as a photographer, to study practical evolution,
-the artists of style and distinction will rather gain than lose by a
-further popularity of cheap photographic blocks. The illustrated papers
-and magazines will not be so freely open to them as before, but in
-the illustration of books will lie their chief field, and who knows
-but that by such a time the pen-drawing and the drawing in wash will
-have won at last to the picture-frame and the art galleries. There’s
-distinction for you!</p>
-
-<p>So much to show the value of personality.</p>
-
-<p>Still it remains that, although the personal element will always be
-valued, the fact—to paraphrase a sounding Ruskinian anathema—gives no
-reason for flinging your identity in the face of your contemporaries,
-or even of posterity (this last a long shot which few, with all the will
-<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
-in the world, will be able to achieve). You may be startlingly original
-and brilliant in technique, and be received with the acclaim that
-always awaits a novelty; but if your personality be so exaggerated that
-you allow it to override the due presentment of your subject, why,
-then, your plaudits will not be of very long continuance.</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
-<div class="nu_page"><h2>PAINTERS’ PEN-DRAWINGS.</h2></div>
-
-<p>It is to the painters that we owe some curious and original effects in
-pen-drawing, that no professional pen-draughtsman who has studied the
-science of reproduction could have given us, however independent his
-attitude towards process.
-<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_155" id="I_155"></a></div>
-    <img src="images/i_155.jpg" alt=" " width="600" height="380" />
-<p class="center">7¾ × 5. <span class="ws8">PASTURAGE.</span><span class="ws12">&nbsp;</span></p>
-<p class="center"><i>From a drawing by Mr. Alfred Hartley.</i></p>
-</div>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_156" id="I_156"></a></div>
-    <img src="images/i_156.jpg" alt=" " width="450" height="610" />
-<p class="center space-below2">PORTRAIT OF MR. BONNAT, BY HIMSELF.</p>
-</div>
-
-<p>Painters who have known nothing whatever of processes have from time
-to time been called upon to make pen-drawings from their paintings for
-reproduction in illustrated exhibition catalogues, and their drawings
-have frequently been both of the most ludicrously impossible character
-from the process point of view, and bad from the independent penman’s
-standpoint. But a percentage of this painters’ pen-work, done as it was
-with a free hand and an unprejudiced brain, is curiously instructive. A
-very great number of painters’ pen-drawings have been made up to within
-the last few years (since which time half-tone process blocks produced
-from photos of their pictures have superseded them), and painters have
-in no small measure helped to advance the science of process-work,
-merely by reason of the difficulty of reproducing their drawings
-<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>
-adequately, and the consequent renewed efforts of the process-man
-toward the adequate translation of their frequently untranslateable
-qualities. The graver has been pressed into the service of process
-partly on their account, and the roulette has been used freely to
-assuage the crudities resulting on the block from drawings utterly
-unsuitable for straight-away processing.</p>
-
-<p>In this connection half-tone processes have done inestimable harm,
-for, to-day, the catalogues and the illustrated papers are filled with
-photographic reproductions of paintings where in other days autographic
-sketches by the painters themselves were used to give a value that is
-now lacking to these records of exhibitions.</p>
-
-<p>They have frequently a heavy hand, these painters, and are prodigal
-of their ink; moreover, they have not the paralyzing dread of
-an immaculate sheet of white cardboard that seizes upon the
-black-and-white man (so to call the illustrator), who is brought up
-with the fear of the process-man before him.</p>
-
-<p>Thus you will find Mr. Wyllie make pen-sketches from his pictures
-with a masterful hand, and a pen (apparently a quill) that plumbs the
-deepest depths of the inkpot, and produces a robustious drawing that
-wrings conviction out of one by the thickness and surety of its lines;
-or again, <a href="#I_159">Mr. Blake Wirgman</a> shows equal vigour and directness with
-portraits in pen-and-ink, replicas in little of his oil-paintings. One
-could desire nothing more masculine than the accompanying illustration
-from his hand.
-<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_158" id="I_158"></a></div>
-    <img src="images/i_158.jpg" alt=" " width="600" height="344" />
-<p class="center">18 × 10½. <span class="ws8">TOWING PATH, ABINGDON.</span><span class="ws12">&nbsp;</span></p>
-<p class="center"><i>From a drawing by Mr. David Murray.</i></p>
-</div>
-<hr class="r5" />
-<p><span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
-
-<div class="figcenter">
-    <div><a name="I_159" id="I_159"></a></div>
-    <img src="images/i_159.jpg" alt=" " width="500" height="538" />
-<p class="center space-below2">A PORTRAIT FROM A DRAWING BY MR. T. BLAKE WIRGMAN.</p>
-</div>
-
-<p>A striking exception to these is seen in <a href="#I_155">Mr. Alfred Hartley’s
-drawing of a pasturage</a>. It is full of tender, pearly greys, and is drawn with
-the lightest of hands, but with a peculiar disposition of pen-strokes
-that no professional pen-draughtsman would employ, because of his
-<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span>
-constant care to give the process-man the easiest of problems. And
-the autocrat of the rocking-bath and the etching-room would veto such
-work as this; yet, you will observe, it comes excellently well by the
-ordinary zinc processes.</p>
-
-<p>But with <a href="#I_158">Mr. David Murray’s large pen-drawing</a> it was another
-matter. The greyness of the ink with which it was drawn and the extreme tenuity
-of its lines rendered it impossible of adequate reproduction except by
-the swelled gelatine process which has been employed. The result is
-admirable; all the fine grey lines in the sky are reproduced and give
-an excellent effect.</p>
-
-<p>The <a href="#I_159">portrait of the painter, Mr. Bonnat, by himself</a>, is one of the
-most suggestive pen-drawings that can be found anywhere. It shows what
-admirable effects of light and shade and modelling can be obtained even
-with the heavy hand, and it is worthy careful study.</p>
-
-<p class="space-below2">Unfortunately the illustrations in the long series of
-<i>Academy Notes</i>, in which so many autographic sketches by painters appear,
-are almost useless for study and comparison, because of the extreme reduction to
-<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span>
-which they have been subjected. This is greatly to be deplored, for
-the tendency of the times is more and more towards drawing for the
-limitations of process, not only in journalism, but in the more
-permanent illustrations of magazines and books. All this tends to bring
-about a hard and formal line, to establish a dry and unsatisfactory
-academic manner, of which the painter’s pen sketches are the very
-antithesis. It is always well to remember that the only valid reason
-why process should live is that it enables the draughtsman to live his
-life at first hand; that is the first and last argument in favour of
-modern methods of reproduction.</p>
-
-<div class="figcenter">
-    <div><a name="I_161" id="I_161"></a></div>
-    <img src="images/i_161.jpg" alt="Finis" width="500" height="299" />
-</div>
-<hr class="chap" />
-<p class="center space-above2">PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,<br />
-LONDON AND BECCLES.</p>
-<hr class="chap" />
-
-<div class="nu_page"><div class="figcenter">
-    <img src="images/i_163.jpg" alt=" " width="400" height="641" />
-</div></div>
-
-<div class="advertisement-text hide-hand">
-<p class="ad-text">REEVES and SONS, Ltd.,
-<i>SUPPLY ARTISTS WITH ALL REQUISITES FOR PROCESS.</i>
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-
-<div class="nu_page"><div class="figcenter">
-    <img src="images/i_164.jpg" alt=" " width="400" height="628" />
-</div></div>
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-</div></div>
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-<p class="ad-text">
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-<p class="center u space-below2"><span class="bigger"><b>Photo-Mechanical Printing.</b></span></p>
-
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-Advertisements, &amp;c. The superior results given by this process, and
-the rapidity and cheapness by which the prints are produced, together
-with the advantage of printing with or without margins, place it in the
-first rank of processes for commercial purposes.</p>
-
-<p class="neg-indent"><span class="ws3">MESSRS. WATERLOW &amp; SONS,
-LIMITED,</span> have given this branch of the Photo-Printing Department
-special facilities for the production of good work, and have introduced
-the most perfect machinery and plant obtainable.</p>
-
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-copies, equal in appearance to the best Silver Prints, of Portraits,
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-objects. These reproductions are specially suitable for Portrait work,
-and are valuable for every description of Artistic or Commercial
-Illustrations.</p>
-
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-Copper Plates, Wood Engravings, &amp;c., &amp;c. Letter-press Blocks
-in “Half-tint” (stipple or dot) direct from Photographs from Nature,
-without drawing.</p>
-
-<p class="neg-indent"><span class="ws3">Accurately</span> registered Blocks for Chromographic Printing. Intaglio
-Engraving in Line and Half-tone on Copper and Zinc.</p>
-
-<p class="neg-indent"><span class="ws3">The</span> greatest care and skill is employed in the production of
-these Blocks, and the results are the finest which it is possible to
-obtain.</p>
-
-<p class="neg-indent"><span class="ws3">The</span> new and extensive Photographic Works being fitted with Modern
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-<hr class="chap" />
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-<p class="neg-indent"><b>THE THEORY AND PRACTICE OF DESIGN</b>. An advanced
-Text-book on Decorative Design. Being a sequel to the Author’s “Lessons
-on Decorative Design.” By <span class="smcap">Frank G. Jackson</span>.
-With 700 Illustrations. Large crown 8vo. 9<i>s.</i></p>
-
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-Fully Illustrated. Crown 8vo. 2<i>s.</i> 6<i>d.</i></p>
-
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-late Head Master of the Ventnor School of Art. With 56
-Illustrations. Crown 8vo. 2<i>s.</i> 6<i>d.</i></p>
-
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-Crown 8vo. 6<i>s.</i></p>
-
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-
-<p class="neg-indent"><b>ELEMENTARY PRINCIPLES OF ORNAMENT</b>.
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-With 124 Illustrations. Second Edition. 8vo. 5<i>s.</i></p>
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-Third Thousand. Crown 8vo. 5<i>s.</i></p>
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-<p class="neg-indent"><b>THE SCULPTOR AND ART STUDENT’S GUIDE</b> to
-the Proportions of the Human Form, with Measurements in feet and inches
-of Full-Grown Figures of Both Sexes and of Various Ages. Translated by
-<span class="smcap">J. J. Wright</span>. Plates reproduced by
-<span class="smcap">J. Sutcliffe</span>. Oblong Folio. 31<i>s.</i> 6<i>d.</i></p>
-
-<p class="neg-indent"><b>OUTLINES OF HISTORIC ORNAMENT</b>.
-By <span class="smcap">G. Redgrave</span>. Translated from the German.
-Edited by <span class="smcap">G. Redgrave</span>. Crown 8vo. 4<i>s.</i></p>
-
-<p class="neg-indent"><b>THE CHARACTERISTICS OF STYLES</b>.
-An Introduction to the Study of the History of Ornamental Art.
-By <span class="smcap">R. N. Wornum</span>. Ninth Edition. Royal 8vo. 8<i>s.</i></p>
-
-<p class="neg-indent"><b>THE MYTHOLOGY OF GREECE AND ROME</b>, with
-Special Reference to its Use in Art. From the German. Edited by
-<span class="smcap">G. H. Bianchi</span>. 64 Illustrations. New Edition.
-Crown 8vo. 5<i>s.</i></p>
-
-<p class="center space-above2">G. PERROT and C. CHIPIEZ.</p>
-
-<p class="neg-indent"><b> A HISTORY OF ANCIENT ART IN GREECE</b>.
-With about 500 Illustrations. 2 vols.</p>
-
-<p class="neg-indent"><b>A HISTORY OF ANCIENT ART IN PHŒNICIA, CYPRUS,
-AND ASIA MINOR</b>. 500 Illustrations. 2 vols. Imperial 8vo. 42<i>s.</i></p>
-
-<p class="neg-indent"><b>A HISTORY OF ART IN ANCIENT EGYPT</b>.
-With 616 Illustrations. 2 vols. Imperial 8vo. 42<i>s.</i></p>
-
-<p class="neg-indent"><b>A HISTORY OF ART IN CHALDÆA AND ASSYRIA</b>.
-With 452 Illustrations. 2 vols. Imperial 8vo. 42<i>s.</i></p>
-
-<p class="neg-indent"><b>A HISTORY OF ANCIENT ART IN SARDINIA, JUDÆA,
-SYRIA, AND ASIA MINOR</b>. With 395 Illustrations. 2 vols. Imperial 8vo. 36<i>s.</i></p>
-
-<p class="neg-indent"><b>A HISTORY OF ANCIENT ART IN PERSIA</b>. With
-254 Illustrations, and 12 Steel and Coloured Plates. Imperial 8vo. 21<i>s.</i></p>
-
-<p class="neg-indent space-below2"><b>A HISTORY OF ANCIENT ART IN PHRYGIA-LYDIA AND
-CARIA-LYCIA</b>. With 280 Illustrations. Imperial 8vo. 15<i>s.</i></p>
-</div>
-
-<hr class="r25" />
-<p class="f120">LONDON: CHAPMAN &amp; HALL, LD.</p>
-<hr class="chap" />
-
-<div class="nu_page">
-<div class="transnote bbox">
-<p class="f120 space-above1">Transcriber’s Notes:</p>
-<hr class="r5" />
-<p class="indent">The cover image was created by the transcriber, and is in the public domain.</p>
-<p class="indent">The illustrations have been moved so that they do not break up
-    paragraphs and so that they are near the text they illustrate.</p>
-<p class="indent">Typographical errors have been silently corrected but other variations
-    in spelling and punctuation remain unaltered.</p>
-<p class="indent">The use of “v” in <a href="#REPRODVCTION">REPRODVCTION</a>
-and <a href="#Illvstrations">Illvstrations</a> as they appear on the
-title page and in the heading for the list of illustrations have been
-retained.</p>
-</div>
-</div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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