CHAPTER IV.

To return to illustration. The education of the illustrator in these days means much more than mere art training. The tendency of editors of magazines and newspapers is to employ those who can write as well as draw. This may not be a very hopeful sign from an art point of view, but it is a condition of things which we have to face. Much as we may desire to see a good artist and a goodraconteurin one man, the combination will always be rare; those editors who seek for it are often tempted to accept inferior art for the sake of the story. I mention this as one of the influences affecting the quality of illustrations of an ephemeral or topical kind, which should not be overlooked.

In sketches of society the education and standing of the artist has much to do with his success. M. du Maurier’s work inPunchmay be taken as an example of what I mean, combining excellent art with knowledge of society. His clever followers and imitators lack something which cannot be learned in an art school.

It should be understood that, in drawing for reproduction by any of the mechanical processes (either in wash or in line, but especially the latter), there is more strain on the artist than when his work was engraved on wood, and the knowledge of this has left drawing for process principally in the hands of the younger men. They will be older by the end of the century, but not as old then as some of our best and experienced illustrators who keep to wood engraving.

No. VII.“Blowing Bubbles,” byC. E. Wilson.This is an excellent example of drawing—and of treatment of textures and surfaces—for process reproduction. The few pen touches on the drapery have come out with great fidelity, the double lines marking the paving stones being the only part giving any trouble to the maker of the gelatine relief block. The skilful management of the parts in light shows again “the art of leaving out.”

No. VII.

“Blowing Bubbles,” byC. E. Wilson.

This is an excellent example of drawing—and of treatment of textures and surfaces—for process reproduction. The few pen touches on the drapery have come out with great fidelity, the double lines marking the paving stones being the only part giving any trouble to the maker of the gelatine relief block. The skilful management of the parts in light shows again “the art of leaving out.”

I am touching now upon a difficult and delicate part of the subject, and must endeavour to make my meaning clear. The illustrations inPunchhave, until lately, all been engraved on wood (the elder artists on the staff not taking kindly to the processes), and the style and manner of line we see in its pages is due in great measure to the influence of the wood engraver.8

This refers to fac-simile work, but the engraver, as we know, also interprets wash into clean lines, helps out the timid and often unsteady draughtsman, and in little matters puts his drawing right.

The wood engraver was apprenticed to his art, and after long and laborious teaching, mastered the mechanical difficulties. If he had the artistic sense he soon developed into a master-engraver and illustrator, and from crude and often weak and inartisticdrawings produced illustrations full of tone, quality, and beauty. From very slight material handed to him by the publisher, the wood engraver would evolve (from his inner consciousness, so to speak) an elaborate and graceful series of illustrations, drawn on the wood block by artists in his own employ, who had special training, and knew exactly how to produce the effects required. The system often involved much care and research for details of costume, architecture, and the like, and, if not very high art, was at least well paid for, and appreciated by the public. I am speaking of the average illustrated book, say of twenty years ago, when it was not an uncommon thing to spend £500 or £600 on the engravings. Let us hope that the highest kind of wood engraving will always find a home in England.

Nobody knows—nobody ever will know—how much the engraver has done for the artist in years past. “For good or evil,”—it may be said; but I am thinking now only of the good, of occasions when the engraver has had to interpret the artist’s meaning, and sometimes, it must be confessed, to come to the rescue and perfect imperfect work.

No. VIII.Illustration to “Dreamland in History,” by Dr. Gloucester. (London: Isbister & Co.) Drawn byHerbert Railton.Example of brilliancy and simplicity of treatment in line drawing for process. There is no illustration in this book which shows better the scope and variety of common process work. Mr. Railton has studied his process, and brought to it a knowledge of architecture and sense of the picturesque. This illustration is reduced considerably from the original drawing.

No. VIII.

Illustration to “Dreamland in History,” by Dr. Gloucester. (London: Isbister & Co.) Drawn byHerbert Railton.

Example of brilliancy and simplicity of treatment in line drawing for process. There is no illustration in this book which shows better the scope and variety of common process work. Mr. Railton has studied his process, and brought to it a knowledge of architecture and sense of the picturesque. This illustration is reduced considerably from the original drawing.

The artist who draws for reproduction by chemical and mechanical means is thrown upon his own resources. He cannot say to the acid, “Make these lines a little sharper,” or to the sun’s rays, “Give a little more light”; and so—as we cannot often have good wood engraving, as it is not always cheap enough or rapid enough for our needs—we draw on paper what we want reproduced, and resort to one of the photographic processes described in this book.

“BY UNFREQUENTED WAYS.” (W. H. GORE.)

I do not think the modern illustrator realises how much depends upon him in taking the place, so to speak, of the wood engraver. The interpretationof tone into line fitted for the type press, to which the wood engraver gave a lifetime, will devolve more and more upon him. We cannot keep this too continually in mind, for in spite of the limitations in mechanically-produced blocks (as compared with wood engraving) in obtaining delicate effects of tone in line, much can be done in which the engraver has no part.

“THE LOWING HERD WINDS SLOWLY O’ER THE LEA.” (W H. GORE.)

I purposely place these two pen-and-ink drawings by Mr. Gore side by side, to show what delicacy of line and tone may be obtained on a relief block by proper treatment. One could hardly point to better examples of pure line. They were drawn on ordinary cardboard (the one above, 4¼ × 9¾ in.) and reproduced by the gelatine relief process.

All this, it will be observed, points to a moredelicate and intelligent use of the process block than is generally allowed, to something, in short very different to the thin sketchy outlines and scribbles which are considered the proper style for the “pen-and-ink artist.”

But “the values” are scarcely ever considered in this connection. Mr. Hamerton makes a curious error in hisGraphic Arts, where he advocates the use of the “black blot in pen drawing,” arguing that as we use liberally white paper to express air and various degrees of light, so we may use masses of solid black to represent many gradations of darkness. A little reflection will convince anyone that this is no argument at all.

Mr. Ruskin’s advice in hisElements of Drawing, as to how to lay flat tints by means of pure black lines (although written many years ago, and before mechanical processes of reproduction were in vogue) is singularly applicable and useful to the student of to-day; especially where he reminds him that, “if you cannot gradate well with pure black lines, you will never do so with pale ones.”

To “gradate well with pure black lines” is, so to speak, the whole art and mystery of drawing for the photo-zinc process, of which one London firm alone turns out more than a thousand blocks a week.

As to the amount of reduction that a drawing will bear in reproduction, it cannot be sufficiently widely known, that in spite of rules laid down, there is no rule about it.

“ADVERSITY.” (FRED. HALL.)

It is interesting to compare this reproduction with the larger one overleaf. There is no limit to the experiments which may be made in reduction, if pursued on scientific principles.

No. IX.“Adversity,” byFred. Hall.This fine drawing was made in pen and ink by Mr. Hall, from his picture in the Royal Academy, 1889. Size of original 14½ × 11½ in. Reproduced by gelatine blocks.The feeling in line is conspicuous in both blocks, many painters might prefer the smaller.

No. IX.

“Adversity,” byFred. Hall.

This fine drawing was made in pen and ink by Mr. Hall, from his picture in the Royal Academy, 1889. Size of original 14½ × 11½ in. Reproduced by gelatine blocks.

The feeling in line is conspicuous in both blocks, many painters might prefer the smaller.

“A WILLOWY STREAM.” (FROM THE PAINTING BY MAUD NAFTEL.)(New Gallery, 1889.)

Mr. Emery Walker, of the firm of Walker and Boutall, who has had great experience in the reproduction of illustrations and designs from old books and manuscripts, will tell you that very often there is no reduction of the original; and he will show reproductions in photo-relief of engravings and drawings of the same size as the originals, the character of the paper, and the colour of the printing also, so closely imitated that experts can hardly distinguish one from the other. On the other hand, the value of reduction, for certain styles of drawing especially, can hardly be over-estimated. The last drawing was reduced to less than half the length of the original, and is, I think, one of the best results yet attained by the Dawson relief process.

Again, I say, “there is no rule about it.” In the course of years, and in the reduction to various scales of thousands of drawings by different artists, to print at the type press, my experience is thatevery drawing has its scale, to which it is best reduced.

In these pages will be found examples of drawings reduced toone-sixtieththe area of the original, whilst others have not been reduced at all.

No. X.“Twins,” byStanley Berkley.Sketch in pen and ink (size 8¼ × 5½ in.) from Mr. Berkley’s picture in the Grosvenor Gallery in 1884.A good example of breadth and expression in line, the values being well indicated. Mr. Berkley, knowing animal life well, andknowing his picture, is able to give expression to almost every touch. Here the common zinc process answers well.

No. X.

“Twins,” byStanley Berkley.

Sketch in pen and ink (size 8¼ × 5½ in.) from Mr. Berkley’s picture in the Grosvenor Gallery in 1884.

A good example of breadth and expression in line, the values being well indicated. Mr. Berkley, knowing animal life well, andknowing his picture, is able to give expression to almost every touch. Here the common zinc process answers well.

“THE DARK ISLAND.” (FROM THE PAINTING BY ALFRED EAST.)(Royal Academy, 1885.)

There is much instruction in these drawings by painters, instruction of a kind, not to be obtained elsewhere. The broad distinction between a “sketch” from Nature anda drawing made in a sketchy mannercannot be too often pointed out, and such drawings as those by Mr. G. Clausen (p. 59), Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. Gotch (p. 83), and others, help to explain the difference. These are all reproduced easily on process blocks.9

As to sketching in line from life, ready for reproduction on a process block, it is necessary to say a few words here. The system is, I know, followed by a few illustrators for newspapers (and by a few geniuses like Mr. Joseph Pennell, Raven Hill, and Phil. May, who have their own methods), and who, by incessant practice, have become proficient. They have special ability for this kind of work, and their manner and style is their capital and attraction.

No. XI.A Portrait, byT. C. Gotch.Pen-and-ink drawing (size 7½ × 6½ in.); from his picture in the Exhibition of the New English Art Club, 1889.Mr. Gotch is well known for his painting of children; but he has also the instinct for line drawing, and a touch which reproduces well without any help from the maker of the zinc block.The absence of outline, and the modelling suggested by vertical lines, also the treatment of background, should be noticed. This background lights up when opposed to white andvice-versa.

No. XI.

A Portrait, byT. C. Gotch.

Pen-and-ink drawing (size 7½ × 6½ in.); from his picture in the Exhibition of the New English Art Club, 1889.

Mr. Gotch is well known for his painting of children; but he has also the instinct for line drawing, and a touch which reproduces well without any help from the maker of the zinc block.

The absence of outline, and the modelling suggested by vertical lines, also the treatment of background, should be noticed. This background lights up when opposed to white andvice-versa.

But to attempt toteachrapid sketching in pen and ink is beginning at the wrong end, and is fatal to good art; it is like teaching the principles of pyrotechnics whilst fireworks are going off. And yet we hear of prizes given for rapid sketches to be reproduced by the processes. Indeed, I believe this is the wrong road; the baneful result of living in high-pressure times. It is difficult to imagine any artist of the past consenting to such a system of education.

Sketching from life is, of course, necessary to the student (especially when making illustrations by wash drawings, of which I shall speak presently), but for line work it should be done first in pencil, or whatever medium is easiest at the moment. The lines for reproduction require thinking about, thinking what to leave out, how to interpret the grey of a pencil, or the tints of a brush sketch in the fewest lines. Thus, and thus only, the student learns “the art of leaving out,” “the value of a line.”

The tendency of modern illustrators is to imitate somebody; and in line drawing for the processes, where the artist, and not the engraver, has to make the lines, imitation of some man’s method is almost inevitable.

No. XII.“Sir John Tenniel,” byEdwin Ward.Example of another style of line drawing. Mr. Ward is a master of line, as well as a skilful portrait painter. He has lost nothing of the force and character of the original here, by treating it in line.Mr. Ward has painted a series of small portraits of public men, of which there is an example on p. 90.Size of pen-and-ink drawing 8½ × 5½ in., reproduced by common process.

No. XII.

“Sir John Tenniel,” byEdwin Ward.

Example of another style of line drawing. Mr. Ward is a master of line, as well as a skilful portrait painter. He has lost nothing of the force and character of the original here, by treating it in line.

Mr. Ward has painted a series of small portraits of public men, of which there is an example on p. 90.

Size of pen-and-ink drawing 8½ × 5½ in., reproduced by common process.

Let me quote an instance. The style of the late Charles Keene is imitated in more than one journal at the present time, the artists catching his method of line more easily than the higher qualities of his art, hischiaroscuro, his sense of values and atmospheric effect. I say nothing of his pictorial sense and humour, for they are beyond imitation. It is the husk only we have presented to us.

As a matter of education and outlook for the younger generation of illustrators, this imitation of other men’s lines deserves our special consideration. Nothing is easier in line work than to copy from the daily press. Nothing is more prejudicial to good art, or more fatal to progress.

And yet it is the habit of some instructors to hold up the methods (and the tricks) of one draughtsman to the admiration of students. I read in an art periodical the other day, a suggestion for the better understanding of the way to draw topical illustrations in pen and ink, viz.: that examples of the work of Daniel Vierge, Rico, Abbey, Raven Hill, and other noted pen draughtsmen, should be “set as an exercise to students;” of course with explanation by a lecturer or teacher. But this is a dangerous road for the average student to travel. Of all branches of art none leads so quickly to mannerism as line work, and a particular manner when thus acquired is difficult to shake off.

THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)

Think of the consequences—Vierge with his garishlights, his trick of black spots, his mechanical shadows and neglect ofchiaroscuro—all redeemed and tolerated in a genius for the dash and spirit and beauty of his lines—lines, be it observed, that reproduce with difficulty on relief blocks—imitated by countless students; Mr. E. A. Abbey, the refined, and delicate American draughtsman, imitatedfor his method—the style andchicof it being his own, and inimitable. Think of the crowd coming on—imitators of the imitators of Rico—imitators of the imitators of Charles Keene!

It may be said generally, that in order to obtain work as an illustrator—the practical point—there must be originality of thought and design.There must be originality, as well as care and thought bestowed on every drawing for the Press.

The drawing of portraits in line from photographs gives employment to some illustrators, as line blocks will print in newspapers much better than photographs. But for newspaper printing they must be done with something of the precision of this portrait, in which the whites are cut deep and where there are few broken lines.

It is the exception to get good printing in England, under present conditions of haste and cheapening of production, and therefore the best drawings for rapid reproduction are those that require the least touching on the part of the engraver, asa touched-up process block is troublesome to the printer; but it is difficult to impress this on the artistic mind.

No. XIII.“Nothing venture, nothing have,” byE. P. Sanguinetti.Pen-and-ink drawing from the picture by E. P. Sanguinetti, exhibited at the Nineteenth Century Art Society’s Gallery, 1888.The large block is suitable for printing on common paper, and by fast machines. The little block is best adapted for bookwork, and is interesting as showing the quality obtained by reduction. It is an excellent example of drawing for process, showing much ingenuity of line. The tone and shadows on the ground equal the best fac-simile engraving. (Size of original drawing, from which both blocks were made, 15 × 10 in.)

No. XIII.

“Nothing venture, nothing have,” byE. P. Sanguinetti.

Pen-and-ink drawing from the picture by E. P. Sanguinetti, exhibited at the Nineteenth Century Art Society’s Gallery, 1888.

The large block is suitable for printing on common paper, and by fast machines. The little block is best adapted for bookwork, and is interesting as showing the quality obtained by reduction. It is an excellent example of drawing for process, showing much ingenuity of line. The tone and shadows on the ground equal the best fac-simile engraving. (Size of original drawing, from which both blocks were made, 15 × 10 in.)

“ON THE TERRACE.” (E. A. ROWE.)From his water-colour in the New Gallery, 1894.Size of Pen Drawing, 5¾ x 7½ in.

Some people cannot draw firm clean lines at all, andshould not attempt them. Few allow sufficiently for the result of reduction, and the necessary thickening of some lines. The results are often a matter of touch and temperament. Some artists are naturally unfitted for line work; the rules which would apply to one are almost useless to another. Again, there is great inequality in the making of these cheap zinc blocks, however well the drawings may be made; they require more care and experience in developing than is generally supposed.

As line drawing is the basis of the best drawing for the press, I have interspersed through these pages examples and achievements in this direction; examples which in nearly every case are the result of knowledge and consideration of the requirements of process, as an antidote to the sketchy, careless methods so much in vogue. Here we may see—as has probably never been seen before in one volume—what harmonies and discords may be played on this instrument with one string. One string—no “messing about,” if the phrase may be excused—pure black lines on Bristol board (or paper of the same surface), photographed on to a zinc plate, the white parts etched away and the drawing made to stand in relief, ready to print with the letterpress of a book; every line and touch coming out a black one, or rejected altogether by the process.

No. XIV.“For the Squire,” bySir John Millais, Bart., R. A.This is an example of drawing for process for rapid printing. The accents of the picture are expressed firmly and in the fewest lines, to give the effect of the picture in the simplest way. Sir John Millais’ picture, which was exhibited in the Grosvenor Gallery in 1883, was engraved in mezzotint, and published by Messrs. Thos. Agnew & Sons. (Size of pen-and-ink drawing, 7¼ × 5½ in.) It is suitable for much greater reduction.

No. XIV.

“For the Squire,” bySir John Millais, Bart., R. A.

This is an example of drawing for process for rapid printing. The accents of the picture are expressed firmly and in the fewest lines, to give the effect of the picture in the simplest way. Sir John Millais’ picture, which was exhibited in the Grosvenor Gallery in 1883, was engraved in mezzotint, and published by Messrs. Thos. Agnew & Sons. (Size of pen-and-ink drawing, 7¼ × 5½ in.) It is suitable for much greater reduction.

Drawings thus made, upon Bristol board or paper of similar surface, with lamp black, Indian ink, or any of the numerous inks now in use, which dry with a dull, not shiny, surface, will always reproduce well. The pen should be of medium point, or a brush may be used as a pen. The lines should be clear and sharp, and are capable of much variation in style and treatment, as we see in these pages. I purposely do not dwell here upon some special surfaces and papers by which different tones and effects may be produced by the line processes; there is too much tendency already with the artist to be interested in the mechanical side. I have not recommended the use of “clay board,” for instance, for the line draughtsman, although it is much used for giving a crisp line to process work, and has a useful surface for scraping out lights, &c. The results are nearly always mechanical looking.10

On the next page are two simple, straightforward drawings, which, it will be observed, are well suited to the method of reproduction for the type press. The first is by Mr. H. S. Marks, R. A. (which Itake from the pages ofAcademy Notes), skilfully drawn upon Bristol board, about 7 × 5 in.

Here every line tells, and none are superfluous; the figure of the monk, the texture of his dress, the old stone doorway, the creeper growing on the wall, and the basket of provisions, all form a picture, the lines of which harmonise well with the type of a book.

“THE STOPPED KEY.” (H. S. MARKS, R. A.)

In this deliberate, careful drawing, in which white paper plays by far the principal part, thebackground and lighting of the picture are considered, also the general balance of a decorative page.11

“NYMPH AND CUPID.” SMALL BAS-RELIEF. (H. HOLIDAY.)(From “Academy Notes.”)

7No one artist can teach drawing in line without a tendency to mannerism, especially in art classes.8One of the most accomplished of English painters told me the other day that when he first drew for illustration, the wood engraver dictated the angle and style of cross-hatching, &c., so as to fit the engraver’s tools.9Special interest attaches to the examples in this book from the fact that they have nearly all beendrawn on different kinds of paper, andwith different materials; and yet nearly all, as will be seen, have come out successfully, and give the spirit of the original.10For description of the various grained papers, &c., see page 113, alsoAppendix.11The young “pen-and-ink artist” of to-day generally avoids backgrounds, or renders them by a series of unmeaning scratches; he does not consider enough the true “lighting of a picture,” as we shall see further on. The tendency of much modern black-and-white teaching is to ignore backgrounds.

7No one artist can teach drawing in line without a tendency to mannerism, especially in art classes.

8One of the most accomplished of English painters told me the other day that when he first drew for illustration, the wood engraver dictated the angle and style of cross-hatching, &c., so as to fit the engraver’s tools.

9Special interest attaches to the examples in this book from the fact that they have nearly all beendrawn on different kinds of paper, andwith different materials; and yet nearly all, as will be seen, have come out successfully, and give the spirit of the original.

10For description of the various grained papers, &c., see page 113, alsoAppendix.

11The young “pen-and-ink artist” of to-day generally avoids backgrounds, or renders them by a series of unmeaning scratches; he does not consider enough the true “lighting of a picture,” as we shall see further on. The tendency of much modern black-and-white teaching is to ignore backgrounds.

IN order to turn any of these drawings into blocks for the type press, the first process is to have it photographed to the size required, and to transfer a print of it on to a sensitized zinc plate. This print, or photographic image of the drawing lying upon the zinc plate, is of greasy substance (bichromate of potash and gelatine), and is afterwards inked up with a roller; the plate is then immersed in a bath of nitric acid and ether, which cuts away the parts which wereleft white upon the paper, and leaves the lines of the drawing in relief. This “biting in,” as it is called, requires considerable experience and attention, according to the nature of the drawing. Thus, the lines are turned into metal in a few hours, and the plate when mounted on wood to the height of type-letters, is ready to be printed from, if necessary, at the rate of several thousands an hour.

PORTRAIT. (T. BLAKE WIRGMAN.)(From “Academy Notes.”)

[This portrait was exhibited in the Royal Academy in 1880. I reproduce Mr. Wirgman’s sketch for the sake of his powerful treatment of line.]

No. XV.“Forget-Me-Not,” byHenry Ryland.(From the “English Illustrated Magazine.”)An unusually fine example of reproduction in line, by zinc process, from a large pen-and-ink drawing. It serves to show how clearly writing can be reproduced if done by a trained hand. Students should notice the variety of “colour” and delicacy of line, also the brightness and evenness of the process block throughout.This illustration suggests possibilities in producing decorative pages in modern books without the aid of printers’ type, which is worth consideration in art schools. It requires, of course, knowledge of the figure and of design, and a trained hand for process. One obvious preparation for such work, is an examination of decorative pages in the Manuscript Department of the British Museum. (See Appendix.)It would be difficult, I think, to show more clearly the scope and variety of line work by process than in the contrast between this and the two preceding illustrations. Each artist is an expert in black and white in his own way.

No. XV.

“Forget-Me-Not,” byHenry Ryland.(From the “English Illustrated Magazine.”)

An unusually fine example of reproduction in line, by zinc process, from a large pen-and-ink drawing. It serves to show how clearly writing can be reproduced if done by a trained hand. Students should notice the variety of “colour” and delicacy of line, also the brightness and evenness of the process block throughout.

This illustration suggests possibilities in producing decorative pages in modern books without the aid of printers’ type, which is worth consideration in art schools. It requires, of course, knowledge of the figure and of design, and a trained hand for process. One obvious preparation for such work, is an examination of decorative pages in the Manuscript Department of the British Museum. (See Appendix.)

It would be difficult, I think, to show more clearly the scope and variety of line work by process than in the contrast between this and the two preceding illustrations. Each artist is an expert in black and white in his own way.

“BABY’S OWN.” (G. HILLYARD SWINSTEAD.)(From “Academy Notes,” 1890.)

A wonderful and startling invention is here, worthy of a land of enchantment, which, without labour, with little more than a wave of the hand, transfixes the artist’s touch, and turns it into concrete; by which the most delicate and hasty strokes of the pen are not merely recorded in fac-simile for the eye to decipher, but are brought out in sharp relief, as bold and strong as if hewn out of a rock! Here is an argument for doing “the best and truest work we can,” a process that rendersindestructible—so indestructible that nothing short of cremation would get rid of it—every line that we put upon paper; an argument for learning for purposes of illustration the touch and method best adapted for reproduction by the press.13

“A SILENT POOL.” (ED. W. WAITE.)(From “Academy Notes,” 1891.)

GELATINE PROCESS.

By this process a more delicate and sensitive method has been used to obtain a relief block.

The drawing is photographed to the required size (as before), and thenegativelaid upon a glass plate (previously coated with a mixture of gelatine and bichromate of potash). The part of this thin, sensitive film not exposed to the light, is absorbent, and when immersed in water swells up. The part exposed to the light (i.e., the lines of the drawing) remains near the surface of the glass. Thus we have a sunk mould from which a metal cast can be taken, leaving the lines in relief as in the zinc process. In skilful hands this process admits of more delicate gradations, and pale, uncertain lines can be reproduced with tolerable fidelity. The blocks take longer to make, and are double the price of the photo-zinc process first described. There is no process yet invented which gives better results from a pen-and-ink drawing for the type-press. These blocks when completed have a copper surface. The reproductions of pencil, chalk, or charcoal drawings by the zinc, or “biting-in” processes are nearly always failures, as we may see in some of the best artistic books and magazines to-day.

No. XVI.“The Miller’s Daughter,” byE. K. Johnson.Another very interesting example of Mr. E. K. Johnson’s drawing in pen and ink. Nearly every line has the value intended by the artist.The drawing has been largely reduced, and reproduced by the gelatine relief process.

No. XVI.

“The Miller’s Daughter,” byE. K. Johnson.

Another very interesting example of Mr. E. K. Johnson’s drawing in pen and ink. Nearly every line has the value intended by the artist.

The drawing has been largely reduced, and reproduced by the gelatine relief process.

“THE END OF THE CHAPTER.” (FROM THE PAINTING BY W. RAINEY.)Royal Academy, 1886.(Reproduced by the old Dawson process.)

“IN THE PAS DE CALAIS.” (JAS. PRINSEP BEADLE.)14

GRAINED PAPERS.

For those who cannot draw easily with the pen, there are several kinds of grained papers which render drawings suitable for reproduction. The first is a paper withblack linesimprinted upon it on a material suitable for scraping out to get lights, and strengthening with pen or pencil to get solid blacks. On some of these papers black lines areimprinted horizontally, some vertically, some diagonally, some in dots, and some with lines of several kinds, one under the other, so that the artist can get the tint required by scraping out. Drawings thus made can be reproduced in relief like line drawings, taking care not to reduce a fine black grain too much or it will become “spotty” in reproduction.

“GOLDEN DAYS.” (F. STUART RICHARDSON.)(Black-grained paper.)

This drawing and the one opposite by Mr. Hume Nisbet show the skilful use of paper with vertical and horizontal black lines; also, in the latter drawing, the different qualities of strength in the sky, and the method of working over the grained paper in pen and ink.

No. XVII.“TWILIGHT.” (SPECIMEN OF BLACK-GRAINED PAPER.)(From “Lessons in Art,” by Hume Nisbet, published by Chatto & Windus.)

No. XVII.

“TWILIGHT.” (SPECIMEN OF BLACK-GRAINED PAPER.)

(From “Lessons in Art,” by Hume Nisbet, published by Chatto & Windus.)

No. XVIII.“Le Dent du Géant,” byE. T. Compton.Another skilful use of the black-grained paper to represent snow, glacier, and drifting clouds. The original tone of the paper may be seen in the sky and foreground.The effect is obtained by scraping out the lighter parts on the paper and strengthening the dark with pen and pencil.It is interesting to compare the two blocks made from the same drawing. (Size of drawing 7¾ × 4 in.)

No. XVIII.

“Le Dent du Géant,” byE. T. Compton.

Another skilful use of the black-grained paper to represent snow, glacier, and drifting clouds. The original tone of the paper may be seen in the sky and foreground.

The effect is obtained by scraping out the lighter parts on the paper and strengthening the dark with pen and pencil.

It is interesting to compare the two blocks made from the same drawing. (Size of drawing 7¾ × 4 in.)

No. XIX.Landscape, byA. M. Lindstrom.Example of bold effect by scraping out on the black-lined paper, and free use of autographic chalk.This drawing shows, I think, the artistic limitations of this process in the hands of an experienced draughtsman.The original drawing by Mr. Lindstrom (from his painting in the Royal Academy) was the same size as the reproduction.

No. XIX.

Landscape, byA. M. Lindstrom.

Example of bold effect by scraping out on the black-lined paper, and free use of autographic chalk.

This drawing shows, I think, the artistic limitations of this process in the hands of an experienced draughtsman.

The original drawing by Mr. Lindstrom (from his painting in the Royal Academy) was the same size as the reproduction.

Other papers largely used for illustration in the type press have awhite grain, a good specimen of which is on page 123; and there are variations of these white-grained papers, of which what is known in France asallongépaper is one of the best for rough sketches in books and newspapers.

The question may arise in many minds, are these contrivances with their mechanical lines for producing effect, worthy of the time and attention which has been bestowed upon them? I think it is very doubtful if much work ought to be produced by means of the black-grained papers; certainly, in the hands of the unskilled, the results would prove disastrous. A painter may use them for sketches, especially for landscape. Mr. Compton (as on p. 116) can express very rapidly and effectively, by scraping out the lights and strengthening the darks, a snowdrift or the surface of a glacier. In the drawing on page 123, Mr. C. J. Watson has shown us how the grained paper can be played with, in artistic hands, to give the effect of a picture.

The difference, artistically speaking, between sketches made on black-grained and white-grained papers seems to me much in favour of the latter.

No. XX.“Volendam,” byC. J. Watson.Example of white-lined paper, treated very skilfully and effectively—only the painter of the picture could have given so much breadth and truth of effect.Thiswhitepaper has a strong vertical grain which when drawn upon with autographic chalk has the same appearance as black-lined paper; and is often taken for it.(Size of drawing 6 × 4½ in.)

No. XX.

“Volendam,” byC. J. Watson.

Example of white-lined paper, treated very skilfully and effectively—only the painter of the picture could have given so much breadth and truth of effect.

Thiswhitepaper has a strong vertical grain which when drawn upon with autographic chalk has the same appearance as black-lined paper; and is often taken for it.

(Size of drawing 6 × 4½ in.)

But at the best, blocks made from drawings on these papers are apt to be unequal, and do not print with the ease and certainty of pure line work; they require good paper and careful printing, which is not always to be obtained. The artist who draws for the processes in this country must not expect (excepting in very exceptional cases) to have his work reproduced and printed as in America, or even as well as in this book.

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