In the variety of half-tone blocks, known as Typogravure, a different method of breaking up the surface is adopted; no intervening screen is used, but the surface of the metal has imparted to it a preliminary roughness or grain, and the image is printed and etched on this rough surface. These blocks, when carefully printed from, yield exceedinglynice results, the grain having something of an "aquatint" character, which appears to be more discriminating than that derived through the use of the ruled screen. The softness of outline and freedom from anything like a mechanical texture is well seen in blocks made by this method. The remarkable difference obtained from the same block by different printers will at once suggest that a very great deal depends upon the printing quite irrespective of the quality of the block itself. Many letterpress printers make a specialty of block-printing, the chief art being in the "making-ready" and "underlaying," by which terms is understood the careful adjusting of the block, so that its surface be at exactly the proper elevation to secure the proper amount of pressure, neither more nor less, when on the printing machine. Some further remarks on this subject will be found in Chapter X.
UNTOUCHED HALF-TONE FROM PHOTOGRAM.(Original 4 x 3.)
UNTOUCHED HALF-TONE FROM PHOTOGRAM.(Original 4 x 3.)
UNTOUCHED HALF-TONE FROM PHOTOGRAM.
(Original 4 x 3.)
I trust, however, enough has been said to give a general idea to the uninitiated of how we arrive at the dotted ink print, which we recognise as a reproduction from a photogram, or wash-drawing, or indeed anything which is similarly made up of flat tints.
HALF-TONE FROM PHOTOGRAM—THE BLOCK ENGRAVED ON BY HAND.(Original 4 x 3.)
HALF-TONE FROM PHOTOGRAM—THE BLOCK ENGRAVED ON BY HAND.(Original 4 x 3.)
HALF-TONE FROM PHOTOGRAM—THE BLOCK ENGRAVED ON BY HAND.
(Original 4 x 3.)
It will, of course, have been understood that the ruled "screen," which is interposed between the picture to be copied and the plate on which it is copied, will appear overthe wholeof the copy negative, whether the image extend so far or not, so that, in the reproduction, even what should be blank whites will be covered with the fine black dots or grain, though more widely separated by little white spaces.
ON SLAPTON LEY, SOUTH DEVON.Photogram touched up by hand—block untouched.(Original 4 x 3.)
ON SLAPTON LEY, SOUTH DEVON.Photogram touched up by hand—block untouched.(Original 4 x 3.)
ON SLAPTON LEY, SOUTH DEVON.
Photogram touched up by hand—block untouched.
(Original 4 x 3.)
If the accompanying reproductions be examined, this will be found to be the case.
To any one who has given pictorial matters much thought, the disadvantage of this will be at once apparent.
In black-and-white pictures, white is the highest expression of light, and yet how far the whitest paper is from sunlight, and how much shorter the whole gamut of tones, from blackest ink to whitest paper, is when compared with the scale of Nature, have often been pointed out and are now generally understood. But our half-tone process makes therange of tones still shorter by curtailing it at the top of the scale and cutting off the white: the pervading "tint," or "grain," reducing white to a light grey, and not even the deepest blacks and intermediate tones are nicely rendered except by very careful printing. The printing of half-tone process blocks has received great attention amongst better-class printers of late, with the result that marked improvement has taken place, and it is clearly seen that be a half-tone block ever so well made it is only admirable when special ink and special paper (notably a fine clay surface paper) are used, and more than ordinary knowledge and care expended in the machining.
While the ideal process block is one in which, when the process is completed, the block is ready for the press (and many process houses pride themselves upon turning out "untouched" blocks), yet there are few houses who do not employ some hands who are constantly working with engraver's tools to "improve" the blocks after the last etching is done.
Much brilliancy of contrast and effect may be accomplished if the engraver cut away the grain altogether on that part of the surface of the block where it should print white; but this must necessarily be done by men of instinctive taste and good judgment, for immediately hand carving be admitted the essential character of anautomatic facsimileprocess is lost. The illustrator or artist will, therefore, unless he give careful and precise instruction as to what parts are to be cut away, or can superintend the work himself, feel considerable hesitation in entrusting such a delicate task to a stranger. One little touch in the wrong place, one bit of plain white too many, and the harmony of the whole illustration will be upset; so that many will reasonably prefer a weak flat print to the uncertainty which must attend the leaving of a block to a mechanic's mercies.
In the accompanying three illustrations we have, first, an untouched "half-tone" block from an ordinary photogram; secondly, a block fromthe same original, "fine etched" or with the etching controlled so as to brighten the effect; and thirdly, a block made from the same photogram which, in order to compensate for any failings of the process, has been worked onby the artist, strengthening the shadows and brightening the lights.
This brings us to consider the subject of working on photograms by hand, and the preparation of illustrations generally, which is dealt with in a separate chapter.
THE PREPARATION OF ORIGINALS FOR REPRODUCTION BY HALF-TONE PROCESS.
It will be understood from the foregoing chapter that in every case where the original to be reproduced is of such a nature that before a print in ink can be made the image must be broken up, the reproduction will have to be effected by means of the half-tone process.
Of the various kinds of originals thus utilised, probably the two most common are photograms and wash-drawings.
The rapidity, comparative ease, and absence of the draughtsman's skill, with which photograms can now be made, has placed a wonderful power in the hands of author or illustrator. But a short series of photograms of some subject of interest with a very little descriptive letterpress will often form an acceptable contribution to magazine or newspaper, and yet a thoughtful consideration of such illustrations can hardly fail to impress any one with the drawbacks and defects of the method.
Such illustrations too often strike us as dull, misty, grey, and lacking brilliancy, when compared with black and white reproductions of another kind.
This dulness is attributable to a great extent to the gauze-like screen through which the copy is made, as described in our last chapter. Thebright lights are grained over with fine dots reducing white to grey, and the soft finely graduated half-tones are often lost altogether.
In order to counteract these defects, the process worker will often take upon himself to "doctor" the negative made from the original before proceeding to make the block, a practice to be condemned because such an operator is rarely possessed of artistic judgment, and his "touching up" may often produce a result unexpected and unacceptable to the artist.
A similar "touching up" may also be effected on the block itself, as previously suggested, which is only preferable because the artist may more directly control the engraver's tool by giving definite instructions.
As far as possible, however, the block should not be meddled with by any one, if the originals have been produced in such a manner as to ensure the best possible effect by the mere mechanical process.
In making photograms especially for reproduction a clear, bright negative, with good strong contrasts, should be aimed at. Probably the kind of negatives which it was customary to strive after in the older days of wet-plate photography would be the best; but, as wet-plate photography is hardly practicable for the illustrator of to-day, similar results with dry-plates should be sought.
Unhappily, the extreme softness and exquisite gradations of some of the most modern and artistic work of photographers is thrown away in the process of reproduction, and little more than a flat, meaningless smudge is the best the process block can make of it. For this reason our photograms for illustration should somewhat exaggerate the effect we wish to reproduce: a matter which has led to the working on photograms with the brush to heighten the effect, of which I shall have more to say anon.
Given the proper kind of negative the next care will be to make such a photographic print as shall not detract from the qualities secured in the negative, and shall in every possible way assist the "process."
Many of the best and most pleasing photograms of our day are printed upon coarse-grained, rough-surfaced paper, presenting a difficulty to the reproductive process almost certain to prove disastrous to the result; for if, whilst being copied, the original is not very skilfully lighted, the inequalities of the surface reproduce as little lights and shadows in a very unpleasing manner, and the texture of even a comparatively smooth paper seems remarkably exaggerated.
Almost as undesirable will be the very highly enamelled surfaces of some photographic papers, the surface gloss producing reflections which interfere with the copying. The best for general use will be the smoothest platinotype paper, or a not too highly-glazedwhitealbumenised paper, either of which are obtainable at most chemists and all photographic dealers. The print should be of a medium depth, not so dark as to give heavy solid shadows, nor so light as to omit all detail from the lightest portions. The various manipulations necessary for "toning" and "fixing" the print should be carried out carefully, especially avoiding staining or discoloration of the white paper. The print thus made, when mounted on card, is as far as an ordinary photogram can go for this purpose.
It now remains to be seen, bearing in mind what we know of the method by which it is to be reproduced, what may be done to improve it, never forgetting, however, that the chief value of a photogram for illustrative purposes is its unimpeachable fidelity to truth. Additional hand-work should not violate this truthfulness by the introduction of any fresh matter, or the painting out of any characteristic detail, unless, of course, the illustration is merely for pictorial or decorative purposes. The inscription "From a photogram" usually possesses a charm over the popular mind, inspiring confidence and carrying conviction, and if the hand-work be discreetly introduced, only to improve the effect and counteract the inherent defects of the final process, the legend may be honestly used.
In the first place, a photogram in which there are some large very dark objects, which by reason of their dark colour are disagreeably heavy,or obtrusive masses of deep shadow, may be made to reproduce better if a thin transparent wash of blue be applied to such portions. The great photogenic power of blue is, of course, the reason of this, but until some experience be gained as to the proper amount of blue required, I should recommend that a duplicate untouched photogram be sent in as well, with a few words of explanation and instruction to the process man. If the photogram be upon a glossy surface paper, a few drops of ox gall, procurable in bottles from the artists' colourman, will make the water-colour wash flow readily over the slimy surface.
For working with a brush upon the photogram, the materials are simple and few. Our purpose is to strengthen the lights and deepen the darks, for which purpose Chinese white and two or three water-colours respectively will be used.
The surface and general character of a platinotype or matt paper print will be pleasantest to work on; with an albumenised paper, ox gall will again be essential.
If a liberal amount of hand-work is intended, the print had better be a light one, and it can then be built up to any degree.
Chinese white, when applied thinly, has a bluish hue, and will consequently reproduce somewhat lighter than it appears. Therefore to produce a grey, it will sometimes be better, instead of using thin Chinese white, to make an admixture of Chinese white and Indian ink, or some suitable pigment, and apply it as a grey where grey is wanted. Such portions of the Chinese white which, when dry, appear harsh, may be softened with a clean almost dry sable brush; or the soft part of the finger, with little more than its natural moisture, carefully rubbed over the harsh parts may have the desired effect. By such and any tricks which may suggest themselves it is advisable to blend the hand-work with the actual photographic image.
In applying pigment to the dark parts, to make them darker or sharper, it will be desirable to match the colour of the photographic printas nearly as possible. With platinotypes this may easily be done with Indian ink, with a little blue added according to whether the print is a warm or cold black. The precise colour of a silver print, whether on matt or albumenised paper, is not so easy to match, but may be best accomplished with sepia and cobalt, with a trace of crimson lake; one or two other colours, such as burnt umber, vandyke brown, sienna, &c., being kept in reserve for emergencies. Fine-pointed small sable-hair brushes will be found the best for all purposes.
"STOPPED OUT" PHOTOGRAM.(Original 6 x 4.)
"STOPPED OUT" PHOTOGRAM.(Original 6 x 4.)
"STOPPED OUT" PHOTOGRAM.
(Original 6 x 4.)
In the process of reproduction the original may be enlarged upon or reduced. The former is not often attended with happy results, especially if there is much hand-work, but reduction may to some extent be relied on to clear away any trifling blemishes, should such exist. I should,however, lay emphasis upon making the original as perfect as possible; the "improving" effect of the process is an altogether too uncertain and unknown factor to be trusted.
Having thus given particulars as to the preparation of photograms for reproduction, we may now suggest some various applications thereof.
There is a great charm about illustrations which possess a spontaneous and a suggestive character, and in this direction photograms are too often painfully deficient. On rare occasions only, and in the hands of a few artistic workers alone, does photography rise above a certain mechanical and laboured impression, and the rare exceptions are of a character ill-suited for "half-tone" reproduction.
For complete whole-page illustrations a photogram has few drawbacks; but when inserted with letterpress, and required for chapter headings and odd corners, the fact that the picture occupies the whole space enclosed within the boundary lines, and includes a great deal of detail which is not required, makes them less attractive. Their form and style is dull and monotonous.
The accompanying illustration will suggest the manner in which I would recommend photograms to be sometimes employed—especially when the illustrator does not possess the requisite skill to produce the same thing with his brush.
The "Little Gate-keepers" may be taken as an example of what I will call a "stopped-out" photogram; practically no hand-work has been employed upon it beyond the "stopping out" of the original negative. The figures of the children holding open the gate appear in the foreground of a large negative, a landscape near Dunster Castle; the background is composed of trees of an unpleasing form, and, beyond the topographical interest, the bulk of the subject has little to recommend it.
The method of stopping-out is as follows:—The negative should be placed in such a position as to secure a strong transmitted light; it may be fastened to the window, so as to be able to look through it towards the sky, or may be placed in a retouching desk, as used byphotographers, if very large plates. In my own practice I use an ordinary easel, sitting to it with my face to the window. On the film side of the negative carefully draw round the more critical outlines, such as figures, faces, trees, &c., with a very fine-pointed brush, or a pen, dipped in opaque black varnish, gradually broadening the line to about a quarter of an inch. Now on the reverse, or glass side of the negative, paint out with black varnish all the rest as required; the effect of painting-out on the reverse side being to give a slightly softer or vignetted effect as is seen in the ground and gate-posts of the accompanying illustration.
Where it is desired to carry the vignetted effect to a greater length, some oil colour, red by preference (which may be thinned with copal varnish), may be used, and when partially dry the finger may be used as a dabber to remove just sufficient to admit of the plate printing very faintly.
In such a practice as this a little resourcefulness and ingenuity will stand the operator in good stead, and many modifications and "dodges" will occur as the work proceeds. Thus, for instance, if the whole of the painting out be done on the film side, the bare outline of the background and surroundings may be scratched in with a needle so as to give a sketchy appearance in the print; such sketched outline may adhere to the original form or may be entirely invented. Some taste must be exercised to prevent the elaborate photographic image from appearing incongruous with the sketched outline.
In the accompanying "Boy gathering Wortleberries," two children have been taken out of an unfortunately grouped trio, a badly developed transparent sky has been converted into a hill in the background, and some little details of landscape have been painted on to the print.
A good deal has been said of the modern illustrator shirking or ignoring backgrounds in his illustrations, yet I am inclined to think that in such cases as these, and very many others, the background is best only suggested or omitted altogether. In an illustration which purposes totell us some little fact, or is designed to beautify and enliven a page, we do not want a whole chapter from nature's book, but just such selected passages which the judgment of the artist illustrator shall select.
In utilising photograms in this or any similar manner, it is difficult to place such methods in the hands of those unlearned in art matters without a word of caution and advice on the subject of composition and arrangement; but as it is not within the province of the present work to instruct my readers in art principles, such remarks must be of the briefest.
It will be at once seen that whatever be the arrangement or "composition" of nature (as photographed), as soon as the illustrator commences stopping-out certain portions, the form or composition is at once entirely under his control, and the pleasing effect of the finished result will very greatly depend upon a nice arrangement of lines. Thus in my "Little Gate-keepers" the upper outline of the gate forms a striking line running obliquely upward from left to right, and so, to counteract this, I have let the ground take an oblique form in an opposite direction. To have done otherwise and repeated the first-named line would have given the whole thing a one-sided, running-upwards, effect. As a general rule (subject, as all such rules must be, to numerous exceptions), strong oblique lines should converge towards an imaginary centre some distance outside the picture, with some lesser opposing lines to form contrast and promote a balance. Neither should the sketched-in or created background repeat the form of the chief object. Thus in the "Boy gathering Wortleberries" the figure forms a vertical line; there are no strong oblique lines, and therefore the middle distance takes the form of a horizontal line. The summit of the hill, had it come directly over the boy's head, would have too evidently repeated his outline, and is therefore placed a little to the right. These are matters of taste, rather than the obedience to prescribed rules, but the reader who desires guidance can hardly dobetter than read Burnett's "Essays on Art." There are several handbooks to artistic photography which treat of this subject, such as "Pictorial Effect in Photography" and "Picture-making by Photography," both by H.P. Robinson; also "Studies in Photography," by J. Andrews; and many books for the art student.
WORKED-UP PHOTOGRAM.(Original 6 x 4.)
WORKED-UP PHOTOGRAM.(Original 6 x 4.)
WORKED-UP PHOTOGRAM.
(Original 6 x 4.)
But, as already said, these are matters of individual taste and artistic instinct, and although I hope by this little book to make the path easy for those who have no especial artistic aptitude, yet, in such things as this, the possessor of such instinctive sense of form is at an advantage, lacking which the attentive study of other people's work and some amountof imitation seems to be the only possible substitute. Much knowledge may be gained from analysing, to this end, illustrations which greet the eye on nearly every page of current literature. While many methods of illustrationmaybe learned and practised in a mechanical manner, the course is beset with difficulties and pitfalls, and, to the artistically unlearned, the alternative dangers of gross error and sheer imitation are ever present. Mr. Henry Blackburn has justly said, "The illustrator's best protection against this tendency, his whole armour and coat of mail, is to be an artist first and an illustrator afterwards." Yet men have won battles without armour, and when the stripling slew the giant it was the latter who wore the coat of mail. Zeal and patient application will do much.
In speaking of the application of the photogram to illustrative and decorative purposes, we can hardly leave the subject without making reference to the use to which they may be put for decorative initials, chapter headings, and the like. Some very excellent examples of initials were given in Mr. Gleeson White's articles on "Photographing the Nude," published inThe Photogram, one of which we reproduce (see p. 48). The subject must be selected so as to harmonise in character and form with the letter required, and such letter may then be pasted, or painted, on the original negative, in which case it will print white; or it may be worked on the photogram with brush and pigment. In only a few cases would the initial, if represented in deep black, have any other than an overpowering and heavy effect. The "tail-piece" on page 56 is a further example which needs little explanation. Photograms cut to certain form, and arranged suitably, may make a great variety of chapter headings or tail-pieces.
In the example here given, the background or distance was painted out on the negative, and ink lines were drawn around the print before reproduction.
In order to ensure a symmetrical and sharp outline, a paper mask may be attached to the negative, and a scroll design painted on the negative, details being drawn in ink on the resulting print.
THE BATTLE OF ALEXANDRIA; 42ND HIGHLANDERS GUARDING FRENCH PRISONERS.By permission of the proprietors of "The Illustrated London News." Engraved from a wash drawing in black and white by The Meisenbach Co., Ltd., West Norwood.
THE BATTLE OF ALEXANDRIA; 42ND HIGHLANDERS GUARDING FRENCH PRISONERS.By permission of the proprietors of "The Illustrated London News." Engraved from a wash drawing in black and white by The Meisenbach Co., Ltd., West Norwood.
THE BATTLE OF ALEXANDRIA; 42ND HIGHLANDERS GUARDING FRENCH PRISONERS.
By permission of the proprietors of "The Illustrated London News." Engraved from a wash drawing in black and white by The Meisenbach Co., Ltd., West Norwood.
THE PREPARATION OF ORIGINALS FOR HALF-TONE REPRODUCTION.
II.Wash Drawings, Oil Paintings, Pencil and Other Drawings.
OF the remaining methods, whereby originals for reproduction by half-tone process may be made, much less need be said. The same principles of avoiding too fine and delicate gradations of tone apply as when making a simple photogram, and the methods of brush and pencil appeal almost exclusively to the naturally artistic.
The wash drawing, which is practically water-colour painting in monochrome, is the most popular, and, in the hands of those artists who have applied themselves to illustration for photo-reproduction, some very wonderful achievements are possible. Avoiding blue, green, red, orange, or colours approaching thereto, it matters little what colour is used, but probably black, such as Indian ink, or a good neutral grey or sepia, is the best to use. In any case, body colour reproduces better than transparent washes, the delicacy of which are wasted. Hence a liberal use of Chinese white to lighten the tints is preferable to making the colour thinner with water. Lamp black and Chinese white work well together and reproduce excellently. In using Indian ink, or indeed any colour,successive washes should not be made until each preceding one is dry, thereby escaping a "messy" effect and securing greater vigour.
The brush-work must be bold and strong, and, as was said with regard to photograms, include as little of the softer half-tones as possible, the contrasts of light and shade must be accentuated and effect exaggerated to compensate for the degradation of contrast brought about by the process. Unless this be remembered, the result can hardly fail to give anything but a very flat poor copy of the original. The artist should hold himself under restraint, and instead of blending one tone with another keep them nicely distinct, limiting himself to some half-dozen different shades or tones between the extremes of white and black, and even then some portions of the white may require to be cut away on the block.
Many illustrations from wash drawings of to-day are of a daring, spirited style in which figures are drawn with or without backgrounds, and whenwelldone they are undeniably attractive, and may be abundantly met with in such publications asThe Graphic,Illustrated London News,Sketch,In Town,St. Paul's, and many others. Were we considering the subject of art in illustrations, comment on this sort of work not wholly in approbation might be made, but that it is thoroughly up to date, effective, and in ready demand cannot be denied, and it should be carefully studied by the student, who will no doubt profit by the suggestions of technique without necessarily copying or being unduly influenced by the style.
Some capital effects may be obtained by making a wash drawing on grey-tinted paper and putting in the lights with white, an example of which is here given. Decorative designs done in Chinese white on dark-brown paper may be successfully produced, but should be made several times larger than required; the reduction in size usually improving the effect.
Painting in oil in monochrome will offer a welcome field for illustration work to those who are more accustomed to use this medium. A smoothsurface canvas or board should be chosen, however, and the painting should be smooth, allstrongbrush marks, especially in the whites, being omitted or softened out with a badger. In thus softening, however, care should be exercised not to graduate one tone into another, but leave everything firm and distinct, the same restriction of tones being observed as in the other methods referred to previously. In using oil colours, turpentine must be liberally used, or benzine, as this will destroy the excessive gloss on the surface, a feature not liked by the process worker.
ON THE RIVER ROTHER.Half-tone from Indian-ink wash drawing on grey paper.(Original 5⅝ x 3⅞.)
ON THE RIVER ROTHER.Half-tone from Indian-ink wash drawing on grey paper.(Original 5⅝ x 3⅞.)
ON THE RIVER ROTHER.
Half-tone from Indian-ink wash drawing on grey paper.(Original 5⅝ x 3⅞.)
Either water colour or oil may be worked upon a photographic basis in order to save labour or difficulties in drawing. In such cases the photographic print should be as faint as possible; any photographic paper may be used for water colour, but smooth platinotype will probably be the most pleasant. The surfaces to which oil colour may be applied will benaturally more limited, but ready-sized canvas for printing in bromide by artificial light is made, and is largely used for oil painting for the commoner kind of portraits.
DESIGN—CHINESE WHITE ON ORDINARY BROWN PAPER—HALF-TONE.(Original 7¼ x 4¾.)
DESIGN—CHINESE WHITE ON ORDINARY BROWN PAPER—HALF-TONE.(Original 7¼ x 4¾.)
DESIGN—CHINESE WHITE ON ORDINARY BROWN PAPER—HALF-TONE.
(Original 7¼ x 4¾.)
It will, however, sometimes be found desirable to economise labour by using a photogram to paint on, thus saving time in re-drawing and ensuring accuracy of elaborate details. Moreover, paint may be put upon a photogram, and much matter that is not required, or which may be judged as injurious to the pictorial effect, can be omitted. After the painting is finished, the photographic basis or original will then require to be removed.
Almost any photographic print may be prepared to receive oil paint by giving it a coating of common "size," and drying itslowlyby a fire or otherwise. The painting-on being then proceeded with, and the paint dry, thebackof the print is to be sponged or brushed with the iodine solution mentioned on page 114. Platinotype paper being already sized requires no further sizing, and by making a weak under-exposed print the subsequent reduction or bleaching of the image can be rendered unnecessary.
By permission of the proprietors of "The English Illustrated Magazine".Engraved from pencil sketch by The Meisenbach Co., Ltd.,West Norwood.
By permission of the proprietors of "The English Illustrated Magazine".Engraved from pencil sketch by The Meisenbach Co., Ltd.,West Norwood.
By permission of the proprietors of "The English Illustrated Magazine".
Engraved from pencil sketch by The Meisenbach Co., Ltd.,
West Norwood.
Many illustrators are fond of making wash drawings and then strengthening them with pen or pencil. The advantage is not easy to see, a mixed and indifferent character being usually felt.
Pencil drawing with a reinforcement of a few ink lines, or pencil by itself, is a method which appears to me to be deserving of much more attention and cultivation than it has usually received.
EVENING AT WEST MERSEA.Half-tone from pencil drawing.(Original 4½ x 3½.)
EVENING AT WEST MERSEA.Half-tone from pencil drawing.(Original 4½ x 3½.)
EVENING AT WEST MERSEA.
Half-tone from pencil drawing.(Original 4½ x 3½.)
Average pencil drawing is inclined to be too weak, and wanting in those characteristics which have been already pointed out as essential in wash drawings, but if the drawing be vigorous, and the pencil strokes clean and distinct, some capital results may be obtained. In order to procure the grey of pencil work a very fine screen is used, and the printing carefully attended to, so that pencil sketches are hardly suitable for the cheaper and more rapid class of printing. The lights should be cut away on the block.
The accompanying sketch of a cottage is simply torn from the leaf of a sketch-book in which it was made without any regard for the requirements of the process; the strong shadows were slightly reinforced with penand ink, and the whole carefully reproduced.
COTTAGE AT HERONGATE.Half-tone from pencil sketch slightly strengthened with pen and ink.(Original 4½ x 3½.)
COTTAGE AT HERONGATE.Half-tone from pencil sketch slightly strengthened with pen and ink.(Original 4½ x 3½.)
COTTAGE AT HERONGATE.
Half-tone from pencil sketch slightly strengthened with pen and ink.
(Original 4½ x 3½.)
It seems scarcely necessary to refer to the use of water colour and oil paintings in colour as illustrations, inasmuch as if produced for purposes of reproduction, colour would hardly be employed. Occasionally, however, one may require to make a photogram of a painting for some such purpose, in doing which it will be best to employ a professed photographer who is accustomed to copying, and this because the photographing of coloured objects possesses peculiar difficulties.
Plates known as "Isochromatic" are used, these having certain dyes mixed with the sensitive film which makes them more sensitive to the least active colours, such as reds and yellows, and in addition a stained film of gelatine or glass is introduced into the lens to further correct the action of the colours. Special care, too, in lighting the picture to be copied is requisite, some experts recommending the use of coloured reflectors.
If the greens, reds, and yellows are not very pronounced, or the effect is not greatly dependent upon blue and such hues which by reason of their great light activity photograph as white, a fair copy photogram may be produced under ordinary circumstances; but where any doubt exists, I should recommend that the work be done by an experienced operator.
Throughout the foregoing remarks on the half-tone process, it will have been gathered that its inherent defects constantly stand in the way of our giving it unqualified approval. A recent writer on the subject, Mr. C.G. Harper, says of half-tone process that it is "inconstant and for ever incapable of rendering wash drawings as well as the wood-engraver."
Be this as it may—and it may not be possible to gainsay it—each day sees such improvements made in the processes, that even before these sheets are in my reader's hands circumstances may require a change of opinion, and prejudices may have given way under the convincing influences of modern improvements.
We may now turn our attention to the more direct processes of reproducing inline, in which, more than in any other direction, the revolution which photography has brought about in the art of illustration is evident.
LINE PROCESS.
The methods of drawing for reproduction by, and in compliance with the requirements of, a line process, are numerous and varied. They include pen, pencil, and crayon, and modifications and combinations of all three.
The information which I shall give is intended chiefly for such as know little or nothing of the manner in which such illustrations should be produced. Having already mastered the primary methods, the more practised draughtsman, knowing what any special reproduction process requires, will, to some extent, invent his own methods and often resort to some "dodge" which may occur to him, thereby producing some delightful and original result.
In describing the half-tone process we found the necessity of having an image in relief of such a character that we could print from it in ink, hence the intervention of a ruled screen, which broke up the flat even tints of the original picture into minute dots. Line processes, as the term implies, are used to reproduce an illustration which, as in a pen and ink sketch, possesses no flat tints, and requires no screen, the actual lines being reproduced in relief and printed in facsimile.
It will, of course, be remembered that a mechanical processblock can only produce in simple black and white: that is, it either reproduces a line, to print black, or omits it altogether; so that a line drawn in grey ink, and another in black, would each reproduce exactly the same, namely black. Whereas in wash drawing we were limited to a few varying tones, we are now restricted to two—white and black—and, as may be seen by looking at any good line drawing, various degrees of shade are produced by a multiplicity of lines in greater or less proximity and of varying thickness.
Before proceeding further, I will give an outline of the three principal processes used for producing drawing in line. These are the swelled gelatine, the albumen, and the bitumen processes;—other processes exist but are little practised, and offer no advantages over the above. The albumen and bitumen methods are processes of etching on zinc and familiarly known as "zinco" line process; not so the swelled gelatine, as will be seen from the following description of it. Gelatine of a hard variety is melted in water with the addition of a small quantity of sugar and chrome-alum, and is then spread evenly upon a perfectly clean glass plate. This gelatine film is, when required for use, sensitised by immersion in a solution of bichromate of potassium, methylated spirits, and water. The effect of this is to render the film, to some extent, insoluble where acted upon by light; or, more correctly speaking, non-absorbent when affected by light. A negative, made from the original to be reproduced, is placed in contact with the sensitised film and exposed to light. The film, which it will be remembered is resting upon a glass plate, is then placed in cold water, with the result that those parts which have been protected from light absorb water and swell up, leaving the non-absorbent parts, which represent the image, sunk in. When this operation has been carried far enough, a plaster of Paris cast is taken, and from this a wax mould is made, which is practically a duplicate of the gelatine mould from which the plaster cast was made. Into the wax mould copper is deposited, precisely as in ordinaryelectrotyping, thus giving us a copper relief from a gelatine or wax mould made direct from the original.[2]This process, while a favourite with the artist, is not so readily used by the process worker because it is somewhat expensive, the average cost of a block being from 9d. to 1s. 6d. per inch. But the results are very fine, especially when a drawing has been made in ignorance or regardless of the requirements of process reproduction.
The zinc etching processes, by which the great mass of newspaper blocks are made, are less regardful of delicacies of execution which the swelled gelatine often reproduces with astonishing fidelity.[3]
In the albumen process the sensitive film is composed of egg albumen, bichromate of ammonium or potassium, and water, which is spread upon azincplate. After exposure to light under the negative, the whole surface is inked over with transfer ink, and then immersed in cold water and gently rubbed. The ink will wash away from those portions which have been protected from light by the opaque portions of the negative, and will adhere to those affected by light. Thus on a bed of zinc we have an ink image on a substratum of albumen, the exact copy of the original. The zinc has now to be etched with acid.
With bitumen the procedure is somewhat similar. The bitumen is first treated with ether, which will dissolve out only those constituents which, not being sensitive to light, are not required. The residue is dissolved in benzole and spread upon a zinc plate, as with the albumen process. After exposure to light under the negative, the bitumen film is washed with turpentine, which takes away all except those portions acted upon by light. The film is next washed in water and placed in a very weak solution of nitric acid, which at once attacks those portions of the zinc unprotected by bitumen. If what now remains of the film beinked over we shall have, as in the last process, an ink image of the drawing on a zinc base, and the plate is now ready for etching.
The etching is performed by successive baths of diluted nitric acid, gum and powdered resin being applied to the plate after each etching, and heated so as to run down the sides of the ridges of metal (which at each successive etching bath are gradually growing deeper) until the "biting" or etching be considered deep enough. The ink and substratum of albumen or bitumen are then cleaned off with American potash, and the plate is finally washed. Rebiting, or still further etching, may be required before the zinc relief is ready to be mounted on a wood block "type high" for printing purposes.
As in the half-tone process, I do not pretend to have given working instructions, but only such general particulars as may interest the artist or draughtsman whose work is to be reproduced. For either of these processes the average cost is 4d. to 6d. per square inch, with a minimum charge of 5s. for a single block. Each process has its special uses and applications; the process craftsman (whom nothing delights so much as a sharp, brilliant line) will usually recommend the bitumen, but the albumen method will often give a more pleasing result. As a general rule, if your work is placed in good hands, the particular process to be used is best left to them to decide, and if a proof be submitted some little alterations may be suggested which can be carried out by an engraver.
In the subsequent pages of this book I shall make little reference to these processes; enough has been said, and they are no part of the draughtsman's business, only it will be well to keep in mind throughout such general particulars as have just been given.
Little has been said with reference to the negatives used in reproduction; but as the draughtsman who also possesses some knowledge of photography may be tempted to copy his work himself, it may be well to point out that the negative image must be as sharp as it ispossible to get it. The most trifling deviation in focussing, unnoticeable in ordinary photography, will tell seriously in making a reproduction; moreover the kind of negative one may have learned to make for ordinary photographic purposes will not do here. The function of the negative is, it will be remembered, to protect certain portions of the film from light, and to freely admit light where the image is, hence the denser portions of the negative must be very nearly, if not absolutely, opaque, and the image as nearly transparent as possible; thus giving what photography proper has taught us to abhor—a black and white print. With ordinary plates, the required amount of density is not always easy to get, and special photo-mechanical plates are supplied by Mr. John Carbutt, of Wayne Junction, Philadelphia, Pa., which give the desired result. These plates are slow, thickly coated, and capable of giving great density, all of which are characteristics peculiarly suitable to the purpose. But in the end the process man will not thank you for saving him the trouble of making a negative; he is accustomed to make negatives of a certain kind, and very properly prefers to do this himself.
Not the least contributory towards a good reproduction is the power which reduction from the original places in our hands. When making the copy negative it is most usual to make it much smaller, or, inversely, the original drawing is made a good deal larger than it is required to appear (See Illustration on page72). A somewhat ragged line of (say) one-eighth of an inch in width, would, if sufficiently reduced in size, come out as a fine line no thicker than a hair. Though reduction carried to such a degree would be impracticable, a drawing twelve inches by nine inches, reduced to eight by six, will usually be advantageous. Not only is a certain degree of coarseness and roughness thus removed, but the lines themselves become smoother and rounder; lines, however, which are very close together, are apt to close up into a solid mass, both from the reduction and because lines sometimes have a tendency to thicken in reproduction—a point to be guarded against when drawing.
If a drawing be examined through a simple double concave lens, that is to say the reverse of a magnifying-glass, the effect of reproduction can be seen, and the result anticipated; such lenses, called "diminishing glasses," are sold expressly for the purpose.
The reader need hardly be reminded that everything on the drawing will be reproduced, except perhapsbluepencil lines, this colour being photographically white; hence all finger-marks, spots, and stains must be carefully avoided. No doubt these, and sundry faults in drawing, can be cut away by the engraver, but an ideal block is one which requires no such helps to perfection, but which comes from the etcher's hands ready for use, and to such an ideal even the tyro must work.
The strong point and chief recommendation of a process block is that it reproduces infacsimilethe draughtsman's original; once introduce hand-work and it begins to lose this character; moreover expense and delay in production are incurred, again depriving the mechanical block of its distinctive and valuable features.
Sundry elemental methods of getting an image on to zinc for etching without the intervention of photography may perhaps suggest themselves to the reader. Thus, for instance, an outline drawing may be made in transfer ink on transfer paper and at once laid down on the zinc and etched. A glass plate, coated with a soft opaque substance, may have a design scratched thereon and be used in place of a negative; but such methods are crude and limited, and need not be considered here.
We will now pass to an examination of the various kinds of drawings suitable for reproduction by relief process blocks, describing as nearly as possible how they are made and with what materials.