Part 5 (1/2)

It is the exception to get good printing in England, under present conditions of haste and cheapening of production, and therefore the best drawings for rapid reproduction are those that require the least touching on the part of the engraver, as _a touched-up process block is troublesome to the printer_; but it is difficult to impress this on the artisticventure, nothing have_,” by E P SANGUINETTI

Pen-and-ink drawing frouinetti, 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 exaenuity of line The tone and shadows on the ground equal the best fac-si, from which both blocks were made, 15 10 in)]

[Illustration: ”ON THE TERRACE” (E A ROWE) _From his water-colour in the New Gallery, 1894_

Size of Pen Drawing, 5-3/4 x 7-1/2 in]

Some people cannot draw firm clean lines at all, and _should 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 alreat inequality in the s may bethan 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; exae and consideration of the requirements of process, as an antidote to the sketchy, careless ue Here we may see--as has probably never been seen before in one volume--what harmonies and discords

One string--no ” about,” if the phrase may be excused--pure black lines on Bristol board (or paper of the saraphed 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 coether by the process

[Illustration: No XIV

”_For the Squire_,” by SIR JOHN MILLAIS, BART, R A

This is an exa The accents of the picture are expressed firive 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 new & Sons (Size of pen-and-ink drawing, 7-1/4 5-1/2 in) It is suitable for s 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 shi+ny, 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 es 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 draughts a crisp line to process work, and has a useful surface for scraping out lights, &c

The results are nearly always e are two sis, which, it will be observed, are well suited to the method of reproduction for the type press The first is by Mr H S Marks, R A (which I take froes of _Academy 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 ith the type of a book

[Illustration: ”THE STOPPED KEY” (H S MARKS, R A)]

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

[Illustration: ”NYMPH AND CUPID” SMALL BAS-RELIEF (H HOLIDAY)

(_From ”Academy Notes”_)]

FOOTNOTES:

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

[8] One of the lish 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