CHAPTER XII.

THE SCRAPER.

No. I.No. II.DOTS.HORIZONTAL LINES.

No. I.No. II.

DOTS.HORIZONTAL LINES.

No. III.No. IV.DIAGONAL LINES.AQUATINT.

No. III.No. IV.

DIAGONAL LINES.AQUATINT.

EXAMPLES OF BLACK GRAIN "SCRAPE BOARDS." (Original size.)

In No. 1 we have a board with parallel ruling, as supplied by the makers; in No. 2, a few strokes of the knife have converted some of the lines into dots; in No. 3, the knife has been used more vigorously, scraping away lines altogether and thus producing plain whites. This, then, gives us full tint, half-tint, and white. Now if we work with pencil or pen on the full tint, building up the drawing precisely as if drawing on plain white card, and then scrape out, as just illustrated, it will be seen what a wide range of "tones" will be suggested.

No. I.No. II.No. III.

The drawing is to be put in first either with crayon, pencil, or ink, and the scraping done afterwards; by this means any mistakes can readily be scratched out; no small consolation to the unpractised. But, on the other hand, a faulty scratch or scrape cannot be rectified, hence the greater need for care.

The manner of handling the knife (an ordinary penknife, or a specially constructed blade, may be used) differs a good deal in individual workers, but the safer manner is perhaps to keep the knife well up and nearly vertical. Avoid outlines, allowing the different degrees of tint to separate one object from another, as one would do in a wash drawing, and proceed somewhat in the manner illustrated by the accompanying figures.

A MISTY MOONRISE.(Original 4 x 2½.)

A MISTY MOONRISE.

(Original 4 x 2½.)

One of the difficulties to be guarded against is the too great evidence of scraping, the knife marks often revealing themselves much more plainly in the reproduction than in the original, also the too sudden contrast between the full tint and the scratched half-tint. Notice in the two accompanying sketches on diagonal grain boards, by Mr. C.J. Vine, how the full tint, when it meets the half-tint, is broken up by slight irregular scratches; especially is this seen in the sky of "A Misty Moonrise." In this sketch, sky, sea, and the sails of the two more distant boats, are almost entirely made up by the diagonal tint and the scraped half-tint. Only in the hulls of the boats and the sails of thenearest boat is pen-work introduced, the lines being drawn diagonally from right to left, at right angles to the grain of the full tint.[6]

PEN AND INK ON BLACK LINE SCRAPE BOARD. FIRST STAGE.(Original 5¾ x 3.)

PEN AND INK ON BLACK LINE SCRAPE BOARD. FIRST STAGE.

(Original 5¾ x 3.)

PEN AND INK ON BLACK LINE SCRAPE BOARD WITH WHITE SCRAPED OUT.(Original 5½ x 3¼.)

PEN AND INK ON BLACK LINE SCRAPE BOARD WITH WHITE SCRAPED OUT.

(Original 5½ x 3¼.)

A more rapid way of obtaining an effect can hardly be imagined than by these "scraped" boards, and in good hands, or with practice, the effects obtainable are often very charming. The drawings should, as a rule, be not greatly larger than the reproduction intended—a reduction of one-third or one-half being about the best. All the different kinds of black grain boards are treated in the same manner as above described.

PENCIL ON VERTICAL GRAIN WHITE SCRAPE BOARD.By C.J. Vine.(Original 4 x 3.)

PENCIL ON VERTICAL GRAIN WHITE SCRAPE BOARD.

By C.J. Vine.(Original 4 x 3.)

Now the use of white grained boards is less a scraping method than pure line drawing, much of the "line" being almost mechanically produced by drawing upon the "ribbed" surface with pencil. We know if we place a piece of paper upon a rough, cloth-covered book and rub a blacklead pencil over it we get a mottled effect, the blacks and whites of which are reproductions of the projections and depressions on the book cover; so if we draw on a ribbed surface clay-board with pen and ink, the ink follows elevation and depression in one continuous pen stroke. If, however, we draw with a black pencil, without undue pressure, the pencil passes from one elevation to another, or from one "rib" to another, and thus forms a broken or dotted line, which, although in actual colour as black as an ink line, yet being broken and not solid, will reproduce lighter or greyer. A number of adjacent pencil lines would therefore produce a flat tint of dots, very similar to the tint of a "half-tone" block or a "shading medium," in addition to which, and upon which, ink lines may be made to produce deeper blacks. On the accompanyingillustration are pencil marks and ink strokes drawn on a piece of grained white board, the grain or "ribs" being vertical. To the left, a single detached pencil stroke forming dotted lines; next are adjacent pencil lines constituting a grained tint, something very like the full tone of the black-grained blocks before considered, and coarser or finer in proportion as the pencil is pressed more or less heavily; next we have some pen and ink lines, the difference of which will at once be seen; and finally, a mixture of pencil and pen, on which the knife has subsequently been used to scratch some small lights. This exhausts the practical possibilities of white grained scrape boards.

The accompanying sketches will show somewhat the kind of things obtainable.

PENCIL AND PEN ON VERTICAL LINE WHITE SCRAPE BOARD.By C.J. Vine.(Original 4 x 3.)

PENCIL AND PEN ON VERTICAL LINE WHITE SCRAPE BOARD.

By C.J. Vine.(Original 4 x 3.)

Reduction causes a very marked improvement, and the drawings should be looked at from time to time whilst in progress with a "diminishing" glass. An indelible ink should be used, or one that does not penetrate but rests on the surface: such as ivory-black, lamp-black, or Indian ink. Instead of pencil, a stick of lithographic chalk will be of advantage. In the first place, the greyness of pencil is deceptive, and reproduces blacker than we expect, moreover pencil rubs and smears; not so lithographic chalk, which does not rub, and is black. The scratching or scraping must be the final stage of a drawing, as only solid pen marks can be put on the white board after the grained clay surface has been removed.

By the foregoing description of pencil or chalk drawing on ribbed surfaces, we see how a pencil drawing may be translated by an ordinary line zinco block, instead of the more expensive half-tone processdescribed in the earlier chapters. The pencil or crayon point, in passing over a rough or broken surface, forms a series of dots instead of a continuous line. The same thing occurs when pencil is used on a rough surface drawing paper. Such pencillings, being examined, are found to be lead marks, interspersed with minute interstices of white paper, the whole giving a sort of grey tint of greater or less intensity.

For broad sketchy effects such a drawing method is exceedingly valuable; some very delightful things may be done without the least appearance of the mechanical.

SEWARDSTONE MARSHES.Drawing on Conté crayon on rough paper.(Original 6 x 4.)

SEWARDSTONE MARSHES.

Drawing on Conté crayon on rough paper.(Original 6 x 4.)

As may be readily understood from the accompanying examples, such drawings are best adapted for purely artistic impressions, and not for the portrayal of detail.

Practically any paper may be used which is white, and whose surface is sufficiently rough; some particular kinds, about to be mentioned, have proved especially successful under experiment. Any material may be used to draw with, preference being given to a black substance which will not smear or rub on being touched.

A good "B" blacklead pencil has the advantage of being pleasant to handle, and capable of being used with a sufficiently fine point torender some details; it has, however, the decided disadvantage of "rubbing" with a very little touching, and the strokes, although fairly intense, are not so black as crayon; hence, in reproduction, many portions which were expected to come out soft and delicate, reproduce much too black. We have, then, for our selection, Hardmuth's or Conté's crayons, made in several degrees, and also made into cedar-wood pencils—a cleaner and more handy form. Neither of these is, unfortunately, free from the disadvantage of blurring when rubbed, and will hence require to be fixed before being sent away; the photo-engraver, in the press of his business, rarely failing to subject drawings to a severe test.

Fixing may be best effected by treating the drawing with a solution of one part pure gum mastic dissolved in seven parts methylated spirit.

In Lemercier's lithographic crayons we have a drawing medium which gives as satisfactory results as the Conté or Hardmuth, and does not blur; it therefore saves the trouble of fixing. Being greasy, they should be used in a porte-crayon. They are made in three degrees as to hardness, the No. 1 being the hardest and best suited for drawing the limited amount of detail which is possible with crayons.

So long as the drawing is not too heavily worked upon, a surprising improvement is secured by reducing. A reduction of one-half is not too much.

As to the papers to be used, the following may be mentioned as only some which I have tested, and which others have spoken well of, but there must be a great many other rough surface materials well worth a trial.

Of the well-known Whatman papers, both the "Hot-pressed" and "Not," the latter being, perhaps, preferable.

A French paper, Allongé, has a very pleasing surface grain, and may be used on the right or wrong side with different results; the right side being the rougher, and perhaps the better.

CRAYON DRAWING ON ALLONGÉ PAPER.Small whites in Chinese white.(Original 9 x 6.)

CRAYON DRAWING ON ALLONGÉ PAPER.

Small whites in Chinese white.(Original 9 x 6.)

Next, we have Lalanne and Michallet or Ingres papers, and some examples of crayon drawing on these are here given.

CRAYON ON PYRAMID PAPER NO. 2.Small whites in Chinese white.(Original 7 x 6.)

CRAYON ON PYRAMID PAPER NO. 2.

Small whites in Chinese white.(Original 7 x 6.)

The most noticeable feature in these will be the lines, or grain, formed by the texture of the paper; this grain is apparently more perceptible when vertical, but if the paper is turned round so that the lines come into a horizontal position, they are much less discernible in the finished sketch.

In many respects the effect of these papers is a good deal similar to that gained by using the white lined clay-boards; the grain being, however, less mechanical. In like manner the crayon sketch may be effectively helped by the addition of pen and ink, or fine brush work. Scraping out, however, is not within its capabilities; though Chinese white, if applied fairly solidly, may successfully stop-out small lights or efface errors.

CRAYON ON PYRAMID NO. 1.(Original 9 x 6.)

CRAYON ON PYRAMID NO. 1.

(Original 9 x 6.)

Other papers which may be attempted are Arnold's drawing papers, rough surface cartridge, various crayon papers, &c. Such houses as Penrose & Co., Amwell Street, E.C., London, or F.W. Devoe & C.T. Raynolds Co., of New York, would probably supply patterns and information in this respect.

A paper known as Pyramid Grained paper has a granulated surface, breaking the crayon marks into a succession of dots rather than broken lines, and often yields very pleasing results; it is made in two varying degrees, No. 1 having a grain of 15,000 "pyramids" to the square inch, and No. 2, 9,000.

For a further variation in effect, a drawing may be executed in crayon or pencil on a fairly smooth paper previously pressed into close contact with any rough surface, such as sandpaper or canvas. The unsized side of a canvas for oil painting, or the cover of a book, will answer the purpose; openness of work, and the amount of ultimate reduction desirable, being depended upon and controlled accordingly.

The following sketches, by Mr. C.J. Vine, on Michallet and Lallane papers (pp.111,113,115,117), are pure untouched crayon work, reproduced by zinc line etching, so that these drawings may be safely entrusted to this cheapest and least sympathetic process; though there can be little doubt that the swelled gelatine would render fuller justice to work of this class.

MECHANICAL AIDS TO DRAUGHTSMANSHIP—DRAWING AND SKETCHING FROM NATURE.

The various methods whereby illustrations may be made for reproduction have now beenreviewed, if not exhaustively, at least with sufficient completeness to enable the reader to start making those actual experiments in practice without which the most exact description is useless.

But thus far, with the exception of such cases in which it is possible to use a photogram and reproduce it by "half-tone" process, some ability to draw, some certain amount of native artistry on the part of the student, has been taken for granted.

Now, while in wash drawings, crayon, or pencil sketches, "scrape" boards, and the like, there must be some amount of instinctive artistic ability, not only to guide the hand in execution but to govern taste, idea, and selection; yet in simple line drawing with the pen, without any art knowledge or technical ability, it may be possible to produce a perfectly reproducible drawing, fulfilling in every way the essential duty of an illustration. And if this be so, there is no reason why very many more writers should not illustrate what they have to say, making matters more intelligible and producing a more lasting impression.

For the purpose we shall require a photogram to commence with, and here is a use and an application of photography not always fully realised or appreciated. A man may be possessed of considerable taste and judgment in the selecting of a view, or particular aspect of a building, and yet be utterly lacking in ability to put down on paper correctly what he sees; that is, he is not a good draughtsman. No particular taste in selecting a position may be needed, or possessed, and yet it may be desirable to portray an object, or scene, and it is to such men that the camera becomes so important as an indirect means to illustration. Indirect because, as already pointed out, the reproduction of a photogram by half-tone process (the only way of reproducing a photogram for type machine printing) is attended with difficulties, and cannot always be resorted to. The half-tone block is not suitable for the most rapid printing in newspapers, &c.; its results are not all that could be wished; it is more expensive and takes longer to make, apart from such other drawbacks pointed out in an earlier chapter. Therefore it is desirable to see how we can utilise a photogram so as to produce the simpler, and often more acceptable, line block from it, and do this by a more mechanical method than re-drawing, or copying from it.

Probably the first easy method that will suggest itself will be to make a tracing from it on tracing paper, and then with carbon paper transfer it to the desired card, &c.

There is no objection to such a course, except that it is not always attended with equal satisfaction. To begin with, a photogram is often so dark in parts as to prevent our seeing many details through the tracing paper; also, however careful, if we are tracing a face, the slight deviation in tracing over the outlines and features, which is almost unavoidable, and further variations when afterwards transferring, will often seriously interfere with the likeness—presuming a likeness to be required.

STUDY OF TREES.Crayon drawing on Lalanne paper; vertical grain.(Original 8 x 4½.)

STUDY OF TREES.

Crayon drawing on Lalanne paper; vertical grain.(Original 8 x 4½.)

An avoidance of error and saving of time may be effected by making a fairly pale print and, having "fixed" it, cover the back with the scribble of a blue pencil or chalk.

We can now place this down upon the card board or paper to be drawn upon, and carefully go over everything that is to be drawn with a sharp hard point, which will leave a blue outline sketch which can then be inked in, and the blue need not be rubbed out afterwards as it will not appear in reproduction.

In the same way the original photogram can be used with a piece ofbluecarbon paper instead of chalking the back of the print. No attempt should be made to draw in all the details of a photogram, but only such salient points as may be required for illustration.

Another method is as follows:—Make the photogram in the ordinary way, but on "plain salted paper," or "Matt silver sensitised paper," which has been previously prepared by immersion for a short while in a solution of ammonium chlorate, 100 grains; gelatine, 10 grains; water, 10 ounces.

The photogram is to be fixed and washed, toning being unnecessary; when dry it can be drawn upon with a "fixed" orindelibleblack ink, carefully putting in just what parts are needed and disregarding the rest of the picture. As soon as the ink is dry, the print is immersed in a bath of mercury bichlorate and alcohol, when the photogram will gradually disappear, leaving the black ink lines on plain white paper. Nothing more is required beyond mounting on card to fit it for reproduction. Of course corrections can be made and stains, &c., be removed with Chinese white. Should it be desired to restore the bleached photogram, it can be done by immersing in a weak solution of soda hyposulphite.

The foregoing method is one given by Mr. C.G. Harper in his book "Drawing for Reproduction"; it appears, however, needlessly elaborate, and I presume mercurybichlorideis intended and not bichlorate. Even with care the photographic image is sometimes slow to get rid of, and will often refuse altogether to leave the clear white blank we require.

ADVANCING TWILIGHT.Crayon drawing on Lalanne paper; horizontal grain.(Original 10½ x 6.)

ADVANCING TWILIGHT.

Crayon drawing on Lalanne paper; horizontal grain.(Original 10½ x 6.)

A photographic print, however, on either albumenised or "Matt" paper will certainly disappear utterly if subjected to the following bath, for which formula I am indebted to Mr. E.J. Wall:—

Iodine1 grainIodide of Potassium10 grainsCyanide of Potassium20 "Water102 "

This is a similar solution as is used to remove ink-stains from linen, &c.

The print may also be bleached by sponging over with the following preparation, recommended by W. Ethelbert Henry:—

Saturated Solution Iodine in Alcohol1 part""Cyanide of Potassium in Water2 partsWater2 "

After which the print is to be washed well for a few minutes.

Of course the reason for using a "fixed" ink in such processes is obvious.

Yet another method on similar lines, but even simpler in operation. A certain photographic printing paper called "Ferro-prussiate" paper gives, on exposure to light, ablueimage, and only requires washing in water to "fix" or make it permanent. This blue print can now be used for drawing upon, as in the previous instance, only that the photographic image, being blue, does not need to be bleached, and will not interfere with the reproduction of the black lines drawn upon it.

If for any reason it be desired to get rid of the blue print, this can be bleached by immersion in water containing a little common washing soda.

BEACHY HEAD.Crayon drawing on Michallet paper, right side.(Original 8½ x 5½.)

BEACHY HEAD.

Crayon drawing on Michallet paper, right side.(Original 8½ x 5½.)

Thus from a photogram of even the most elaborate subject an absolutely correct drawing may be made fit for reproduction without the illustrator having any knowledge or skill as a draughtsman.

By placing the unskilled in such a position, photography appears to have removed the last obstacle to the more frequent use of appropriate illustration; and the ease with which both pleasing andaccurateoutlines can be made should render inexcusable the shamefully untruthful "sketches" which every day appear in newspaper and magazine.

The method of drawing on thin transfer paper with transfer ink, and then placing the drawing direct on to a zinc block, hardly needs to be referred to here. Such a simple means of placing the image on the zinc and then etching is necessarily of limited application, neither reduction nor enlargement is possible, and photography is not employed; it is merely a mechanical etching of the zinc in all parts not protected by the ink image, as transferred from the drawing in transfer ink, and is used for very rapid and imperfect portraits, &c., in the commoner class of newspaper work.

And now, whatever be the special characteristics and advantages of the camera, it is by no means my intention to advocate its use where even only a moderate amount of native artistic ability exists; and, in all probability, the possessor of such ability will more frequently prefer to use his sketch-book than his camera—and this is as it should be. There is always something of freshness about a first original sketch, be it in whatsoever medium, a quality which the most careful copy fails to repeat.

This brings us to consider whether it would not be well to make our first impressions or sketches in such a manner that they could be handed to the process worker right away; and we shall then have to consider what medium and what materials are suitable for "drawing from life." Certainly the ordinary pencil sketch, as taken from the pocket sketch-book, would not do. In the first place such sketches would rarely be vigorous enough, and whatever vigour they possessed would be sadly diminished by rubbing and the pressure of the opposite page.

A SUSSEX LANE.Crayon drawing on Michallet paper, wrong side of paper used.(Original 9 x 4½.)

A SUSSEX LANE.

Crayon drawing on Michallet paper, wrong side of paper used.(Original 9 x 4½.)

Very few have successfully drawn from life in pen and ink. Some few well-known caricaturists and figure draughtsmen do so, and attain success purely through their splendid dash and spirit, but such things are forbidden the average man with whom the pen drawing is a matter of delicate care. But there seems no reason why the lithographic crayon on rough paper should not be thus utilised, and slight "touchings-up" added afterwards. In this way we might often have ready for immediate reproduction a sketch containing some of that spontaneous feeling which is so noticeable when glancing through the pages of an artist's sketch-book.

I have noticed in some a very false idea existing with regard to draughting in a picture with pencil before using the pen and ink. Now I do not hesitate to say that the careful sketching in of the subject in pencil is essential to all except the genius, and I am not writing for the genius, who knows more than I can tell him and can dispense with what he does not know. There is nothing to be ashamed of in drawing first in pencil; one might perhaps be able to draw in quite as correctly with the pen, but the advantage of a pencil outline as a guide is that it gives more time and leisure thought for carefully considering the pen work before putting it in. By this course there is less danger of confused hesitating lines. From the first let the ink lines be clear, distinct, and black; no "messing about," to quote Mr. Blackburn's expressive phrase; be decided as to the sort of shading you are going to put in a certain place and put it there, once for all, and don't touch it again. Avoid, by constant self-restraint, over-elaboration or too much laboured detail; let each part of the drawing befinishedfrom the first, and do not return to it and work on it over and over again. And the first step to ensuring this precision will be by carefully pencilling everything,indicatingonly where shading is to come. Whenthe pen and ink drawing is completed, carefully erase the pencil marks withbread crumbs; do not use indiarubber, which will be sure to abrade the surface, and probably break the continuity of the ink lines.

As we become more conversant with the possibilities of the zinco process, an intimacy which can only be brought by an experience built up of experiments and failures, we shall find it possible to sometimes leave in certain of the pencilling (allowing, of course, for their coming up as black as ink), but for the beginner such a practice is not recommended, as it is nearly sure to end in disappointment.

There are many interesting modifications of recognised means which are possible to the experienced—especially the production of what may be termed "mixed drawings," either for reproduction in half-tone or line, drawings in which in order to produce less ordinary effects, wash, pen, and pencil are employed combinedly; but, by the time my gentle reader has reached a stage when he may advisedly attempt such excursions from the orthodox path, he will have passed beyond the sphere of this book and will be entitled to that liberty which art permits to its practitioners.

In the meantime let me ask the student to repress for a time his more lofty aspirations, and content himself with patiently learning to produce—not a charming sketch, a delightful drawing, but—a drawing in which there is as much of artistic or pictorial merit as is compatible with the requirements of the process of reproduction. If you are drawing professedly for reproduction, no blame can attach to you if you "bear in mind during the production of your drawing the necessity of its making a good block, with as little sacrifice of artistic quality as may be."

An exalted position as an art is not necessarily claimed for drawing or painting for reproduction; but how much of that difficult-to-be-defined quality which we call "artistic" exists in it, depends not so muchupon the method, the means, or the application, as it does on those who work at it and their motive. Apart from this, viewed from the lowest aspect, its utility is beyond question, and at the present time it is an application of fine art showing the most vitality of any.

The books devoted to the subject which have already been written, have perhaps given too much attention to the actual processes of reproduction—they have not appealed to the illustrator; or else, while professing to be books of instruction in practice, have dealt rather with the theory of illustration and the comparison of styles. It seemed to me there was need for a simple description of methods for the enlightening of a beginner: an elementary guide; a first step; in short, a Handbook of illustration.

They are used and endorsed by the leading Illustrators, Schools, Colleges and Institutes. Three-fourths of the professional draughtsmen of this country use no other drawing ink.The manufacturers have never solicited a single testimonial, yet the merits of the inks have called forth endorsement from the most famous and experienced users of drawing inks in various professions, real masters of their arts. The following are a few commendations:Jo. Pennell, the celebrated pen artist of London, Eng.—"There is no ink equal to it for half a dozen reasons. From the time you open the bottle until you have put all its contents on paper, you have no reason to find fault with it."A.B. Frost, the famous American illustrator, Convent, N.J., U.S.A.—"I use a great deal of it, and it is certainly the best."E.W. Senior, C.E., Sydney, Australia.—"I cannot refrain from letting you know how I appreciate your 'American Drawing Ink.' It is an article long been looked for by us professional men. In my opinion, it is far superior to [Blank's] Liquid Indian Ink. I have been using it for 2½ years now, and have during that time and up to the present ceased to have any other brand in the office—so pleased am I with it."T.B. Norgate, Patent Attorney, Victoria, B.C.—"I have used your inks for some years and find them first-class."Jacob Hauck, Draughtsman, County Surveyor's Office, Omaha, Neb.—"I have used hundreds of your 'General Inks,' and became a great admirer of your unequalled ink."The Inks are as follows:Blacks—Two kinds. Waterproof (insoluble when dry) and General (soluble).Colors—Carmine, Scarlet, Vermilion, Brick Red, Blue, Yellow, Green, Orange, Brown, Indigo, Violet.Prices—Small bottles, 25 cents each; half pints, $2 each; pints, $3.75 each, and quarts, $7 each.Users are cautioned to refuse untried and experimental inks, which may be claimed as being equal to theHiggins Inks.Higgins' American Drawing Inkswere first introduced in 1880, and have hencestood the test of timeunfailingly. Every bottle is strictly guaranteed from first to last by the manufacturers. Color cards showing actual inks sent free.FOR SALE BY DEALERS THROUGHOUT THE WORLDCHAS. M. HIGGINS & CO.,Originators and Manufacturers Inks and Adhesives,168 to 172 Eighth Street, Brooklyn, N.Y., U.S.A.London Office, 106 Charing Cross Road.

They are used and endorsed by the leading Illustrators, Schools, Colleges and Institutes. Three-fourths of the professional draughtsmen of this country use no other drawing ink.

The manufacturers have never solicited a single testimonial, yet the merits of the inks have called forth endorsement from the most famous and experienced users of drawing inks in various professions, real masters of their arts. The following are a few commendations:

Jo. Pennell, the celebrated pen artist of London, Eng.—"There is no ink equal to it for half a dozen reasons. From the time you open the bottle until you have put all its contents on paper, you have no reason to find fault with it."

A.B. Frost, the famous American illustrator, Convent, N.J., U.S.A.—"I use a great deal of it, and it is certainly the best."

E.W. Senior, C.E., Sydney, Australia.—"I cannot refrain from letting you know how I appreciate your 'American Drawing Ink.' It is an article long been looked for by us professional men. In my opinion, it is far superior to [Blank's] Liquid Indian Ink. I have been using it for 2½ years now, and have during that time and up to the present ceased to have any other brand in the office—so pleased am I with it."

T.B. Norgate, Patent Attorney, Victoria, B.C.—"I have used your inks for some years and find them first-class."

Jacob Hauck, Draughtsman, County Surveyor's Office, Omaha, Neb.—"I have used hundreds of your 'General Inks,' and became a great admirer of your unequalled ink."

The Inks are as follows:Blacks—Two kinds. Waterproof (insoluble when dry) and General (soluble).Colors—Carmine, Scarlet, Vermilion, Brick Red, Blue, Yellow, Green, Orange, Brown, Indigo, Violet.

Prices—Small bottles, 25 cents each; half pints, $2 each; pints, $3.75 each, and quarts, $7 each.

Users are cautioned to refuse untried and experimental inks, which may be claimed as being equal to theHiggins Inks.Higgins' American Drawing Inkswere first introduced in 1880, and have hencestood the test of timeunfailingly. Every bottle is strictly guaranteed from first to last by the manufacturers. Color cards showing actual inks sent free.

FOR SALE BY DEALERS THROUGHOUT THE WORLD

CHAS. M. HIGGINS & CO.,

Originators and Manufacturers Inks and Adhesives,

168 to 172 Eighth Street, Brooklyn, N.Y., U.S.A.

London Office, 106 Charing Cross Road.

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BY GEORGE FRITZVICE-DIRECTOR OF THE COURT AND IMPERIAL STATEPRINTING WORKS AT VIENNATRANSLATED BY E.J. WALLFELLOW OF THE ROYAL PHOTOGRAPHIC SOCIETYCONTAINING SIX FULL PAGE PLATES BY THE IMPERIALSTATE PRINTING WORKS AT VIENNATHIS book treats of the preparation of Collodions, etc., for Negative work, preparation of stones and of Zinc plates and the making of drawings for Photo-Lithographic work, and includes special detailed instructions for the various materials used, diagrams illustrating the best studios and work rooms, etc.G. GENNERT, PUBLISHER24 & 26 East 13th St. NEW YORK

BY GEORGE FRITZ

VICE-DIRECTOR OF THE COURT AND IMPERIAL STATEPRINTING WORKS AT VIENNA

TRANSLATED BY E.J. WALL

FELLOW OF THE ROYAL PHOTOGRAPHIC SOCIETY

CONTAINING SIX FULL PAGE PLATES BY THE IMPERIALSTATE PRINTING WORKS AT VIENNA

THIS book treats of the preparation of Collodions, etc., for Negative work, preparation of stones and of Zinc plates and the making of drawings for Photo-Lithographic work, and includes special detailed instructions for the various materials used, diagrams illustrating the best studios and work rooms, etc.

G. GENNERT, PUBLISHER

24 & 26 East 13th St. NEW YORK

CHAMPION CARDAND PAPER CO.EAST PEPPERELL, MASS.MANUFACTURERS OFSURFACE-COATEDPAPERS ....PLAIN ANDCOATED BLANKSFOR PRINTERS& LITHOGRAPHERS"THIS BOOK IS PRINTED ONOUR COATED PAPER"

CHAMPION CARDAND PAPER CO.

EAST PEPPERELL, MASS.MANUFACTURERS OF

SURFACE-COATEDPAPERS ....PLAIN ANDCOATED BLANKSFOR PRINTERS& LITHOGRAPHERS

"THIS BOOK IS PRINTED ONOUR COATED PAPER"

Hume'sCANTILEVERENLARGINGAPPARATUSIn 30 Sizes, Various Patterns.5½ in. Condensers, for 3¼ 4¼ plate, without objective, $35; with objective, $45.8¼ in. Condensers, for 5 × 7 plate, without objective, $60; with objective, $80.Fine Screw Motion, for use with non-racking lenses. Price for all sizes, $5.Goods Tested Thoroughly and Packed FreeG. GENNERTSole American Agent24 and 26 East 13th St.NEW YORK

Hume's

CANTILEVERENLARGINGAPPARATUS

In 30 Sizes, Various Patterns.

5½ in. Condensers, for 3¼ 4¼ plate, without objective, $35; with objective, $45.8¼ in. Condensers, for 5 × 7 plate, without objective, $60; with objective, $80.Fine Screw Motion, for use with non-racking lenses. Price for all sizes, $5.

5½ in. Condensers, for 3¼ 4¼ plate, without objective, $35; with objective, $45.

8¼ in. Condensers, for 5 × 7 plate, without objective, $60; with objective, $80.

Fine Screw Motion, for use with non-racking lenses. Price for all sizes, $5.

Goods Tested Thoroughly and Packed Free

G. GENNERT

Sole American Agent

24 and 26 East 13th St.NEW YORK

AdamsA perfect, bright and distinct image in direct sunlight, or in a room where objects are hardly discernible on the ground glass.STYLE No. 1, FOR REGULAR CAMERASSTYLE No. 2, FOR DETECTIVE CAMERASJ.A. LEONARD,Civil Engineer.Newburgh,N.Y., Oct. 2, 1895.The "Adams" Finder received this A.M., and I want to thank you for putting me in the way of getting such a perfect instrument. While the price seemed high, the results are so far beyond anything that I deemed possible, that I am more than satisfied. I find that in the brightest sunlight the Finder gives a beautiful, clear and brilliant image, without any necessity of shading.Very sincerely yours,(Signed)J.A. LEONARD.Adams Brilliant FindersStyle No. 1. Size No. 1, $4.50 Size No. 2, $5.50 Size No. 3, $6.50Style No. 2. Size No. 1, 3.50 Size No. 2, 4.50 Size No. 3, 5.50G. GENNERT, Sole Agent24 and 26 East 13th Street, NEW YORK

Adams

A perfect, bright and distinct image in direct sunlight, or in a room where objects are hardly discernible on the ground glass.

STYLE No. 1, FOR REGULAR CAMERASSTYLE No. 2, FOR DETECTIVE CAMERAS

J.A. LEONARD,Civil Engineer.Newburgh,N.Y., Oct. 2, 1895.The "Adams" Finder received this A.M., and I want to thank you for putting me in the way of getting such a perfect instrument. While the price seemed high, the results are so far beyond anything that I deemed possible, that I am more than satisfied. I find that in the brightest sunlight the Finder gives a beautiful, clear and brilliant image, without any necessity of shading.Very sincerely yours,(Signed)J.A. LEONARD.

J.A. LEONARD,Civil Engineer.Newburgh,N.Y., Oct. 2, 1895.

The "Adams" Finder received this A.M., and I want to thank you for putting me in the way of getting such a perfect instrument. While the price seemed high, the results are so far beyond anything that I deemed possible, that I am more than satisfied. I find that in the brightest sunlight the Finder gives a beautiful, clear and brilliant image, without any necessity of shading.

Very sincerely yours,(Signed)J.A. LEONARD.

Adams Brilliant Finders

Style No. 1. Size No. 1, $4.50 Size No. 2, $5.50 Size No. 3, $6.50Style No. 2. Size No. 1, 3.50 Size No. 2, 4.50 Size No. 3, 5.50

G. GENNERT, Sole Agent

24 and 26 East 13th Street, NEW YORK

THE "GENNERT""UNIVERSAL"Hard Rubber Fixing BoxNo. 1.No. 2.The "Gennert" Universal Fixing Box is a decided improvement over the well-known "Gennert" Hard Rubber Bath. The"Gennert" Universal Fixing Boxis a substantial box with cover, made entirely of hard rubber, and has the following advantages over all other methods of fixing: It has ridges on all four sides, thus allowing any size plate to be fitted (see cut No. 2). The plate stands half an inch above the ridges, allowing the operator to remove it without touching the film, as the top of the box above the ridges flares out sufficiently to admit the fingers to reach the side of the plate. It fixes more plates. The cover prevents dust and light from entering the box. The hypo is always clean and fresh. All impurities sink to the bottom and the plate cannot touch them. It saves plates. No spots possible on your negatives. It saves spotting and retouching. It saves your temper.The "Gennert" Universal Fixing Boxis made in two sizes: No. 1 allows of twenty 3¼ × 4¼, 4¼ × 5½ or 4¼ × 6½, or eleven 6½ × 8½ plates being fixed at one time: price,$4.50. No. 2 allows of twenty-two 4 × 5, 5 × 7 or 5 × 8, or eleven 8 × 10 plates being fixed at one time; price,$5.00.Buy a "Gennert" Universal Fixing Box, made of pure hard rubber, and save your hypo, plates and temper, by sending an order to your dealer for aUniversal.G. GENNERT, Manufacturer24-26 East 13th StreetNEW YORK

THE "GENNERT""UNIVERSAL"

Hard Rubber Fixing Box

No. 1.No. 2.

The "Gennert" Universal Fixing Box is a decided improvement over the well-known "Gennert" Hard Rubber Bath. The

"Gennert" Universal Fixing Box

is a substantial box with cover, made entirely of hard rubber, and has the following advantages over all other methods of fixing: It has ridges on all four sides, thus allowing any size plate to be fitted (see cut No. 2). The plate stands half an inch above the ridges, allowing the operator to remove it without touching the film, as the top of the box above the ridges flares out sufficiently to admit the fingers to reach the side of the plate. It fixes more plates. The cover prevents dust and light from entering the box. The hypo is always clean and fresh. All impurities sink to the bottom and the plate cannot touch them. It saves plates. No spots possible on your negatives. It saves spotting and retouching. It saves your temper.

The "Gennert" Universal Fixing Box

is made in two sizes: No. 1 allows of twenty 3¼ × 4¼, 4¼ × 5½ or 4¼ × 6½, or eleven 6½ × 8½ plates being fixed at one time: price,$4.50. No. 2 allows of twenty-two 4 × 5, 5 × 7 or 5 × 8, or eleven 8 × 10 plates being fixed at one time; price,$5.00.Buy a "Gennert" Universal Fixing Box, made of pure hard rubber, and save your hypo, plates and temper, by sending an order to your dealer for aUniversal.

Buy a "Gennert" Universal Fixing Box, made of pure hard rubber, and save your hypo, plates and temper, by sending an order to your dealer for aUniversal.

G. GENNERT, Manufacturer

24-26 East 13th StreetNEW YORK

PRICE LIST—Plain, Orthochromatic and StrippersSizes.Per Doz.Plainor Ortho.Per Doz.Strippers.No. ofDoz.in Case.3¼ × 4¼$0 45$0 70364 × 50 650 90364¾ × 6½1 001 25245 × 71 101 45245 × 81 251 65246½ × 8½1 652 20128 × 102 403 201210 × 123 805 00411 × 145 006 65314 × 179 0012 002CARBUTT'S FLUID STRIPPING MEDIUMWhich has been arrived at after a series of exhaustive experiments, is destined to entirely supersede the old gelatine processes. It is supplied already prepared from the factory. It is appliedcold, sets and dries quickly, forming a pellicle negative,thin, tough and flexible, and may be printed from either side. Full particulars for use accompany each package. Price: Pint bottles, 75c.; quart bottles, $1.35; per gallon, $5.Testimonial"We have been in the photo-engraving business over three years. Used wet-plates for two years, and your process-plates for the last year on half-tone work. Each lot seemed uniform with the others and worked well. Have not had a wet-plate bath in the place, even for line work (or half-tone either), for over a year, and have turned out just as good half-tone work as can be done, so our customers say. It is as good as we could ever get with wet plates."—H....Eng. Co., per G.C.A.WRITE TO FACTORY FOR CIRCULARSJOHN CARBUTT,KEYSTONE DRY PLATE AND FILM WORKSWayne Junction, Philadelphia

Sizes.Per Doz.Plainor Ortho.Per Doz.Strippers.No. ofDoz.in Case.3¼ × 4¼$0 45$0 70364 × 50 650 90364¾ × 6½1 001 25245 × 71 101 45245 × 81 251 65246½ × 8½1 652 20128 × 102 403 201210 × 123 805 00411 × 145 006 65314 × 179 0012 002

CARBUTT'S FLUID STRIPPING MEDIUM

Which has been arrived at after a series of exhaustive experiments, is destined to entirely supersede the old gelatine processes. It is supplied already prepared from the factory. It is appliedcold, sets and dries quickly, forming a pellicle negative,thin, tough and flexible, and may be printed from either side. Full particulars for use accompany each package. Price: Pint bottles, 75c.; quart bottles, $1.35; per gallon, $5.

Testimonial

"We have been in the photo-engraving business over three years. Used wet-plates for two years, and your process-plates for the last year on half-tone work. Each lot seemed uniform with the others and worked well. Have not had a wet-plate bath in the place, even for line work (or half-tone either), for over a year, and have turned out just as good half-tone work as can be done, so our customers say. It is as good as we could ever get with wet plates."—H....Eng. Co., per G.C.A.

WRITE TO FACTORY FOR CIRCULARS

JOHN CARBUTT,KEYSTONE DRY PLATE AND FILM WORKS

Wayne Junction, Philadelphia

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